Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

By Lynn Venhaus

Equal parts salty, sweet, silly, sentimental, scary, and strange, this third chapter spotlighting freaky misfits saving the universe is a very busy mixed bag in “Guardians of the Galaxy Vol. 3.”

Legendary Star-Lord Peter Quill (Chris Pratt) leads his rag-tag team through life-and-death situations, all in superhero service of protecting good galactic folks under siege. This time, the High Evolutionary (Chukwudi Iwuji) wants to rule the universe by controlling all living things. Sure, it’s a lofty goal, but many obstacles are in the way, and inevitably, there will be an epic battle between good and evil. (We’re not allowed to divulge much)

The best part of these grandiose Marvel Cinematic Universe series is the chemistry of the superheroes, and having this motley crew back together one more time has deepened their ties, softened their tough exteriors, and created playful exchanges that enhance what is a dense and convoluted story.

Earth-born Peter Quill leads a rascally turbo-charged group that includes a hulking Drax the Destroyer (Dave Bautista, who is endearing as a gentle giant), intuitive Mantis (Pom Klementieff, lively as a smart and sweet says-it-like-it-is sentinel), intimidating Nebula (Karen Gillan, whose bark is worse than her bite), the versatile tree monster Groot (voice of Vin Diesel, who is able to morph into a number of effective sizes and shapes), and a sarcastic racoon named Rocket (voice of Bradley Cooper as a big-brained, no-nonsense warrior). Zoe Saldana returns as an alternate Gamora, which is better left unexplained (No spoilers from me).

Does anyone remember the plots other than bickering and banter between the Guardians, gnarly ginormous figures wreaking havoc, chaotic flights and fights through space, and clever needle drops that make characters shut up and dance?

This third outing is quite complicated: Rocket’s origin story, Ravagers show up with some key characters, and then a power-hungry maniacal villain called The High Evolutionary messes with species and is focused on wiping out civilization.

Merry band of misfits

The action, while often well-staged with choreographed slow-motion and quicksilver derring-do, has the usual repetitive litany of explosions, flying chunks of concrete, interstellar mayhem, and grotesque creatures to become mind-numbing. The film feels every bit of its 2 hours and 30 minutes run-time.

Director James Gunn, who co-wrote the script with his writing partners on the other two, Dan Abnett and Andy Lanning, has again stamped his devil-may-care attitude on this quirky comic book series, but also built up the found family theme

The elaborately designed spacecrafts and hub of activity known as the Knowhere outpost seem to layer on excessive visual effects.

The first Guardians of the Galaxy in 2014 was a breath of fresh air in the superhero realm, and the second one in 2017 capitalized on the original’s charm, laying on the kitchy pop culture. While Gunn retains his puckish sense of adventure, he has added more emotional beats this time around.

Newcomers include Will Poulter as Adam Warlock and Elizabeth Debicki as his mother Ayesha, characters introduced in the comics but not explained well here, and Maria Bakalova is the voice of the funny Cosmo the space dog. And Chukwudi Iwuji makes an impression as the flamboyant mad scientist who goes increasingly over the top.

For this final time, Pom Klementieff as Mantis and Dave Bautista as Drax are the standouts, creating a delightful comical dynamic.

But one of the bigger missteps is that this film is rated PG-13, for there are many elements that will frighten youngsters, especially about animals in cages.

The movie starts rather raggedy but ends with genuine emotional beats, and staying through the credits is a must. Also, it helps to be familiar with the other two.

When this overstuffed finale is hitting the right notes, it’s an earnest tug on the heartstrings, but because the story so often shifts tones and is stretched so thin – too many people! – overall, it’s frustrating.

“Guardians of the Galaxy Vol. 3” is a 2023: Sci-Fi, Fantasy, Action, Adventure film directed by James Gun and starring Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Chukwudi Iwuji, Will Poulter, Sean Gunn and Maria Bakalova
Rated PG-13 for intense sequences of violence and action, strong language, suggestive/drug references, and thematic elements and run time is 2 hours, 30 minutes. Opens in theaters May 5. Lynn’s Grade: C+

Will Poulter as Adam Warlock
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The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny has announced that Bryonha Marie, Mamie Parris, James T. Lane, Alan H. Green, Thom Sesma, Meredith Aleigha Wells, Madeleine Doherty, Katy Geraghty, Brandon Espinoza, F. Michael Haynie and Darron Hayes will star in the divine musical comedy Sister Act, August 14 – 20, 2023. The grand finale to The Muny’s 2023 Season will be directed and choreographed by Denis Jones, with associate choreographer Barry Busby and music direction by Sheilah V. Walker. Walker will also conduct.

“To head directly to the obvious, this cast is heaven,” said Muny Artistic Director and Executive Producer.  “We are so inspired that so many great talents will be creating our “Sister Act.”   Our prayers have indeed been answered.”

Bryonha Marie

BRYONHA MARIE (Deloris Van Cartier) Muny: The Sound of Music (Mother Abbess) and A Little Sondheim Music (Powell Hall). Broadway: Prince of Broadway, The Book of Mormon, After Midnight, The Gershwin’s Porgy and Bess, Ragtime. Off-Broadway/NY: Promenade (NY City Center Encores!), Candide (Carnegie Hall), NY Philharmonic’s Show Boat and Sweeney Todd (Beggar Woman), Ragtime (Lincoln Center). Tour: Falsettos. World premiere: Dave (Arena Stage, 2019 Helen Hayes nominee), Prince of Broadway (Tokyo Orb). A 2022 Jeff nominee for her performance in Life After, Bryonha has appeared regionally, most recently as Mrs. Lovett in the Signature Theatre production of Sweeney Todd, directed by Sarna Lapine, The Gershwin’s Porgy and Bess (ART), Ragtime (Kennedy Center), The Civil War (NETworks), Hair (Broadway Sacramento), Dreamgirls (Effie White, North Shore), Little Shop of Horrors (Berkshire Theatre Group) and many more. TV: The SpongeBob Musical: Live on Stage!; Madam Secretary, Show Boat and Sweeney Todd (Live from Lincoln Center).

MAMIE PARRIS (Mother Superior) Muny: Paint Your Wagon (Cayla Woodling), Hello, Dolly! (Irene Molloy) and Joseph… Dreamcoat (Narrator). On Broadway, Mamie is perhaps best known for her iconic rendition of Memory from the recent revival of Cats. Other Broadway: School of Rock, Ragtime, The Drowsy Chaperone, On The 20th Century and 110 in the Shade. Off-Broadway: Anything Can Happen in The Theater (plus cast album), Pump Boys and Dinettes (Prudie). Tours: Wicked (Elphaba), 9 to 5 (Judy), Legally Blonde. Regional: Paper Mill Playhouse, Arena Stage, The Old Globe, Goodspeed, Pittsburgh CLO and more. Film/TV: A Standup Guy, State of Affairs, The Blacklist and The PBS Great Performances 50th Anniversary special. Audiobook narrator and lauded symphony soloist.

JAMES T. LANE (Eddie Souther) is from Philadelphia. Muny: Chicago (Billy Flynn), Disney’s The Little Mermaid (Sebastian). West End: The Scottsboro Boys, A Chorus Line. Broadway: Chicago (Billy Flynn), Kiss Me, Kate (Paul), King Kong, The Scottsboro Boys (Ozie Powell/Ruby Bates), A Chorus Line (Richie Walters). National tours: Ain’t Too Proud – The Life and Times of The Temptations (Paul Williams), Jersey Boys. Regional: Guys and Dolls (Nicely-Nicely Johnson), Mary Poppins (Bert), The Wiz (Tin Man) and more. Lane also created and performed in Triple Threat, a “play that moves and sings.”

Alan H. Green

ALAN H. GREEN (Curtis Jackson) Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act and Play On! Original Cast Albums include his Broadway shows as well as Broadway Bounty Hunter, Freaky Friday and Carols for a Cure. First national tours: 25th Annual Putnam County Spelling Bee, Swing!; Smokey Joe’s Cafe. International: Miss Saigon (sung in German). Recent Regional: The Griswold’s Broadway Vacation (5th Avenue Theatre), The Karate Kid (Stages St. Louis), A.D. 16 (Olney Theatre). TV: Almost Family, Unforgettable, Murphy Brown, 30 Rock, Peter Pan Live!; Law & Order: SVU; Guiding Light and lots of national commercials. Awards: Outstanding Lead Actor in a Musical (Berkie), Best Performer in a Streamed Musical (BroadwayWorld). BA in Vocal Performance from Rice University. Board Member and Associate Artist at Barrington Stage Company.

THOM SESMA (Monsignor O’Hara) made his Muny debut in 2013 as Jafar in Disney’s Aladdin. He has numerous credits at Repertory Theatre of St. Louis, where he appeared in Sweeney Todd, A Little Night Music, Dinner with Friends and where he directed Life (x) 3. Elsewhere, he was most recently seen in Oliver! (New York City Center Encores!), followed by the world premiere production of Madeline Myers’ Double Helix (Bay Street Theatre, Sag Harbor, NY). Other recent New York credits include A Man of No Importance (Classic Stage Company), Letters of Suresh (Second Stage, Lortel Award nomination), Unknown Soldier (Playwrights Horizons) and Ghosts (Williamstown/Seattle Rep). Broadway/National tour credits include: The Times They Are A-Changin’; Disney’s The Lion King, Titanic, Miss Saigon, Man of La Mancha, Search and Destroy, Nick & Nora. Select TV credits: Instinct, The Good Wife, Madam Secretary, Gotham, Jessica Jones.

MEREDITH ALEIGHA WELLS (Sister Mary Robert) made their national tour debut in Dr. Seuss’ How the Grinch Stole Christmas!, marking the first performance in a Broadway national tour by a wheelchair user. They have also toured their original one-person musical Dysfunctioning Just Fine (Purple Skies Playwright Award) across the northeast. Off-Broadway: Various readings with New York Theatre Workshop. Regional: Teenage Dick (Buck, Seattle Rep), Disney’s The Little Mermaid (Atina, Music Theater Works), Blue Roses (Laura Wingfield, Rec Room Arts), Shrek (Ugly Duckling, Beck Center) and Cleveland Public Theatre. Other appearances include Dance St. Louis, CounterBalance, OhioDance Festival, Boston’s Symphony Hall, Playhouse Square, Ailey Citigroup Theater, The Macy’s Thanksgiving Day Parade, and the Luminous Festival in Beijing, China. In 2020, Meredith started their newsletter, Message in a Bottle, where they continue to spread chronic illness awareness and help others through sharing their experience as a queer disabled performer.

MADELEINE DOHERTY (Sister Mary Lazarus) Broadway: Les Misérables (Ensemble, u/s Madame Thenardier, dance captain), A Christmas Carol (Char Woman, original cast), The Producers (Hold Me Touch Me, original cast), Sister Act (Sister Mary Teresa, original cast), Gigi (u/s Mamita/Alicia, original cast/revival), Charlie and The Chocolate Factory (Grandma Georgina, original cast). Off-Broadway: Romance, Romance (original cast), A Time for Singing (York Theatre). Six national tours, over 50 regional theatres, one son, one grandson, four step-kids, five step-grandkids, one dog and three unions.

Katy Geraghty

KATY GERAGHTY (Sister Mary Patrick) was most recently seen as Little Red in Into the Woods on Broadway as well as the national tour. Other Broadway credits include the original cast of Groundhog Day, as well as the pre-Broadway run of & Juliet in Toronto. Select Regional: Hairspray (Tracy Turnblad), Bliss (Princess Carmella, world premiere, 5th Avenue), Shrek (Gingy). TV: Modern Love and Sing It On.

BRANDON ESPINOZA (Pablo) Muny: Grease (Danny Zuko, Director/Choreographer: Denis Jones). Broadway: SpongeBob SquarePants, Tuck Everlasting, Gypsy, Big, Les Misérables, The Will Rogers Follies. Off-Broadway: The Visitor (Public Theater), Substitution (Playwrights Realm), Scarcity (Atlantic Theater Company), Tea and Sympathy (Keen Company), Captains Courageous (Manhattan Theater Club; Drama League honoree/nominee). Regional: The Rembrandt (TheaterWorks Hartford), Anna in the Tropics (Director/Playwright: Nilo Cruz, Miami New Drama, 20th anniversary production), On Your Feet! (Paper Mill Playhouse), The Way of the World (Director/Playwright: Theresa Rebeck; Folger Theatre), A View from the Bridge (Director: Ivo van Hove; Goodman Theatre). Current TV: Power Book III: Raising Kanan (Detective Garcia, Starz). Other TV: The Blacklist (NBC), Law & Order: Organized Crime (NBC), The Equalizer (CBS), FBI (CBS), The Leftovers (HBO), The Following (Fox), The Mysteries of Laura (NBC), The Carrie Diaries (CW).

F. MICHAEL HAYNIE (Joey) most recently starred as Olaf in the North American Tour of Frozen. Broadway: Wicked, Charlie and the Chocolate Factory, Holler If Ya Hear Me. Off-Broadway: Carrie (MCC), Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC) and more. TV/Film: Jesus Christ Superstar Live in Concert (NBC), Peter Pan LIVE! (NBC), Not Fade Away (Paramount).

DARRON HAYES (TJ) Muny: Joseph and the Amazing Technicolor Dreamcoat. He recently returned home to the states after playing Pharus in the Australian Premiere of Choir Boy. Australian Theatre: The National Theatre of Parramatta. Off-Broadway/New York: The Gospel According to Heather, Notes from Now, Love Around the Block. Regional: Asolo Repertory Theatre, Music Theatre Wichita, Two River Theater, New London Barn Playhouse, and JAG Productions where he premiered in the first ever all-Black Production of Next to Normal. University of North Carolina School of the Arts 2017. Penn State Musical Theatre 2021.

About the show:

Based on the smash hit film, Sister Act is a heavenly musical comedy that proves nothing can stand in the way of sisterhood! Disco diva Deloris dreams of fame and fortune, but is she prepared for the way she receives it? Songs inspired by Motown, soul and disco, including “Take Me to Heaven,” “Fabulous, Baby!” and “Raise Your Voice,” this score is sure to raise your spirits. The grand finale to the Muny season promises to be divine!

Music by Alan Menken, Lyrics by Glenn Slater, Book by Cheri Steinkellner & Bill Steinkellner, Additional Book Material by Douglas Carter Beane. Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard.

The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

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Baseball Historian Ed Wheatley Releases Book on STL Cardinals

Baseball Historian Ed Wheatley Releases Book on STL Cardinals

The new book St. Louis Cardinals: Everything You Need to Know! offers a unique approach to telling the story of Cardinals baseball for fans young and old.

Hundreds of vivid photos and accompanying vignettes allow readers to experience the players, teams, and special moments of one of baseball’s greatest franchises. Within these pages, readers will find the love and joy that fans call “Cardinal baseball.” Relive the 19 pennants, the 11 World Series Championships, and all the special moments in-between.

Which Redbird players were the best at each position and which ones made it to the Hall of Fame? Can you name their lone Triple Crown winner or the team’s MVPs? What are the “Perfectos” and who’s in the “Gashouse Gang?” It’s a story over 140 years in the making that will simply make Redbird fans of all ages “Go Crazy” for Cardinal baseball! 

St. Louis author and baseball historian Ed Wheatley covers this storied franchise with an illustrated collection of highlights from the 1800s to today. Look back at your favorite Cardinals moments or discover things you never knew in St. Louis Cardinals: Everything You Need to Know!

Book Signings:

Saturday, May 20 at 11 a.m.
Main Street Books
307 S. Main Street in St. Charles, MO

Monday, June 5 at 6 p.m.
Scenic Regional Library
111 Lamar Parkway in Pacific, MO

Mike Shannon
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Midnight Company to Present ‘The Absolute Brightness of Leonard Pelkey’ May 4-20

Midnight Company to Present ‘The Absolute Brightness of Leonard Pelkey’ May 4-20

The Midnight Company will present the solo show THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY, by Celeste Lecesne.  May 4-20 at The Kranzberg Black Box Theatre.  Performances are Thursdays, Fridays and Saturdays at 8pm.  Tickets ($25 for Friday/Saturday and $20 for Thursday) will go on sale April 10 at MetroTix.com.  Alicen Moser directs.

Joe Hanrahan, Midnight’s Artistic Director, portrays a detective and other characters in a small New Jersey town as he unravels the story of Leonard Pelkey, a tenaciously optimistic and flamboyant fourteen-year-old boy who goes missing.  A luminous force of nature whose magic is only truly felt once he is gone, Leonard becomes an unexpected inspiration as the town’s citizens question how they live, who they love, and what they leave behind.

Celeste (formerly James) Lecesne has written several books, including the novel ABSOLUTE BRIGHTNESS, which gave birth to the play, as well as the play and book, WORD OF MOUTH, which gave birth to the short film, TREVOR.

The New York Times said ABSOLUTE BRIGHTNESS “…leaves you beaming with joy…a superlative solo show…Mr. Lecesne is a writer of wit and great observational skills, who here unfolds a dark tale that shimmers with needling suspense you associate with best police procedurals…Perhaps most remarkably, he’s the rare artist who doesn’t shy away from sentimentality…you may find yourself choking back a tear or two.”

The New York Post called the show “…moving…Lecesne delivers a message of acceptance without being preachy.  Intimate and affectionate, ABSOLUTE BRIGHTNESS is about the difference one person can make-and perhaps, with any luck, one show.”

And the Los Angeles Times said ABSOLUTE BRIGHTNESS “…shines with humanity…an affecting and entertaining testament to the beauty of a world in which difference is celebrated rather than denigrated.”

Joe Hanrahan as Detective Chuck DeSoto, photo by Todd Davis

Hanrahan has performed a number of solo shows, including several each by Eric Bogosian, Conor McPherson, Will Eno and Daniel MacIvor, as well as portraying Harry Truman in GIVE ‘EM HELL HARRY and in his own script, the Theatre Circle nominated NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND.  His play about Linda Ronstadt, JUST ONE LOOK, continues with extended performances this April at The Blue Strawberry, and coming in 2023, he will direct THE YEARS in July, write/direct the Judy Garland show YOU MADE ME LOVE YOU at The Blue Strawberry in late July, co-adapt and direct HUMANS OF ST. LOUIS from the book at The St. Louis Fringe in August, and perform in THE LION IN WINTER in October.

Director Alicen Moser is one of the artistic leaders of the theatre group, Poor Monsters, and she’s performed as an actress for many St. Louis groups, including Midnight when she appeared as George Harrison in Hanrahan’s Beatle play, THE EVEREST GAME, at the 2017 St. Louis Fringe Festival.

Linda Menard will stage manage, Tony Anselmo will design the lighting, and Kevin Bowman provides production support.

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In 1995, Celeste Lecesne wrote the screenplay for the short film, TREVOR, which won the Academy Award for Best Live Action Short Film.  Inspired by that film, in 1998 Lecesne co-founded and launched The Trevor Project, the first nationwide 24-hour crisis intervention lifeline for lesbian, gay, bisexual, transgender and questioning youth, including phone, in-person and additional online life-affirming resources.  If someone you might know is feeling helpless or suicidal, trained crisis counselors are available 24/7 at 1-866-488-7386, or by texting 678678.  More information is available at thetrevorproject.org.
The Midnight Company will be working to spread the awareness of The Trevor Project during the run of THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY.
More at MidnightCompany.com

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‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

The New Jewish Theatre will perform Gloria: A Life at the Wool Studio Theatre from June 1 to June 18. Written by acclaimed playwright Emily Mann, with guidance and participation from Gloria Steinem herself, Gloria: A Life explores the iconic feminist’s legacy. Decades after Gloria Steinem began raising her voice for equality and championing the voices of others, her vision is as urgent as ever. This play embodies Steinem’s philosophy that conversation is a catalyst for change as it celebrates one of the most inspiring women of our time.

Sharon Hunter, the director, says she is honored to lead the production. “As our country continues to struggle with painful questions about race relations, reproductive rights and gender equality, Gloria’s leadership continues to inspire many to take up this quest for freedom,” Hunter said. “My hope is that our production will encourage men and women to rally their collective voices and carry on her work.”

In a unique and interactive take, Act II of this play is actually a “talking circle.” After telling Gloria’s story in Act I, the actors will begin a discussion. At several performances, a local “Guest Responder” will launch the talking circle by sharing their own story of breaking barriers or simply responding to the play. This gives an opportunity for the audience to learn from each other, as, according to Gloria this “is the way we discover we’re not crazy and we’re not alone.”

The New Jewish Theatre’s cast and crew will consist entirely of women. Led by director Hunter, this team includes Fallon Podrazik (Scenic Design), Michele Friedman Siler (Costume), Denisse Chavez (Lighting Design), Amanda Werre (Sound Design) and Katie Orr (Props).

Kirsten De Broux, returning to the New Jewish Theatre stage after appearing in 2022’s Laughter of the 23rd Floor, will lead as Gloria Steinem. She is joined by an ensemble of six actors:  Kayla Ailee Bush, Sarah Gene Dowling, Chrissie Watkins, Lizi Watt, Summer Baer (Brighton Beach Memoirs, 2019), and Carmen Cecilia Retzer. They play a wide variety of roles, including fellow activists and icons Flo Kennedy, Dorothy Pitman Hughes, Bella Abzug, Wilma Mankiller, and many more.

“I am thrilled to bring an all-female cast and creative team together for Gloria: A Life,” says Artistic Director of the New Jewish Theatre, Rebekah Scallet. “This play celebrates pioneering women fighting for equality in the workplace, the home, and the political arena, as well as to have control over their own bodies. The world of theatre is still very much male-dominated, especially in the fields of scenic, lighting, and sound design, so it’s wonderful to have this amazing group of talented women collaborating to tell this important story.”

Don’t miss Gloria: A Life at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running June 1 to June 18. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

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ABOUT THE NEW JEWISH THEATRE:

The New Jewish Theatre is dedicated to exploring Jewish themes and celebrating Jewish writers while examining the full range of the human experience. We present universal work through a Jewish lens, using our productions to enrich lives, promote inclusivity, and build community.

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‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

By Lynn Venhaus

Another disappointment among Disney’s increasingly lackluster live action reboots of their classic animated films, “Peter Pan and Wendy” lacks imagination in its re-imagining.

Based on J.M. Barrie’s 1904 play/novels and Disney’s 1953 animated movie, this latest version is about Wendy Darling (Ever Anderson) meeting Peter Pan (Alexander Molony), a mischievous boy who refuses to grow up. Along with her brothers John and Michael (Joshua Pickering, Jacobi Jupe), she travels to Neverland with Peter and a tiny fairy, Tinker Bell (Yara Shahidi). There, she encounters an evil pirate, Captain Hook (Jude Law) and other dangers.

Those looking for a nostalgic experience, recalling favorite versions, may wonder what’s the point of a grittier straight-to-streaming film after watching the live theatrical versions on TV, on stage, on ice, in cartoons, and countless movies from a silent era one to a 2003 Australian remake, with “Hook” sequel (1991), “Pan” (2015), “Wendy” (2020), and even the comedic spin in “Chip ‘n Dale: Rescue Rangers” (with Will Arnett as “Sweet Pete”) in the canon.

With so many different takes on “Peter Pan” already, did we need another revision? I am not sure who this film is really for, who is the targeted demographic?

Still set in Edwardian England, director David Lowery, who co-wrote the screenplay with Toby Halbrooks, has refreshed the cast with diverse characters, including girls added to the “Lost Boys” and an empowered Wendy, a welcome contemporary upgrade. They have omitted troubling language and those awful Native American stereotypes from the Disney animated film.

Jude Law as Captain Hook

However, the story is a puzzling mix of plot origins, new unnecessary backstories and deleting character traits and motivations. For instance, Tink is no longer jealous of Wendy, Captain Hook has something to do with Peter’s past, and Mr. Darling is not the same actor playing the captain either.

Disney regular Alan Tudyk is the stuffy dad while Jude Law is the unpleasant ill-tempered Captain, devoid of swagger, less campy rogue. He comes across as a sociopath who preys on children, not as a buffoon. It’s a curious portrait.

Lowery, known for his distinct character studies on human frailties (including “A Ghost Story,” “The Green Knight” and Robert Redford’s last film “The Old Man and the Gun”), remade “Pete’s Dragon” into a live action version in 2016, but otherwise would not be a first choice to insert whimsy into a fantasy adventure.

Despite the spectacular visual effect of turning Captain Hook’s pirate ship around in mid-air, using Tinkerbell’s pixie dust, the movie is woefully short on magic. The massive crocodile’s CGI terror reign is dialed to 11 and may scare young viewers.

The use of the Faroe Islands as Neverland is interesting, and there’s plenty of craggy rocks to explore, with Tiger Lily galloping on her horse for more natural interactions.

Yari Shahidi as Tinkerbell

It starts promisingly, for Wendy doesn’t want to go to boarding school and is having fun with swordplay with her two younger brothers, and they are swept away far from the comforts of home.

But the movie fumbles in trying to keep that momentum going, bogged down in realistic, anxiety-producing predicaments. Even comedian Jim Gaffigan as Smee can’t liven the proceedings.

Surprisingly, Peter Pan himself is a far less appealing character than usual, with not so much energetic bravado, but sulkier. (And really, is arrested development all that attractive?) Alexander Molony is the leader of the Lost Boys, his inexperience as an actor evident.

Wendy is far spunkier. As played by Ever Anderson, the mini-me daughter of actress Milla Jovovich, she is assertive and plucky, and not going to let the boys have all the fun.

The females fare better than the guys, for Yara Shahidi is a sparkling fairy as make-things-happen Tinkerbell, and Alyssa Wapanatâhk is a feisty Tiger Lily.

Inevitably anchored to the origin story, “Peter Pan and Wendy” doesn’t break from the mold in a satisfying way, and fails to maintain interest through its 1 hour, 46 minutes run time.

“Peter Pan and Wendy” is a 2023 fantasy-adventure directed by David Lowery and starring: Jude Law, Alexander Molony, Ever Anderson, Yara Shahidi and Jim Gaffigan. It is rated PG for violence, peril, and thematic elements and the runtime is 1 hour, 46 minutes. It began streaming on Disney Plus on April 28. Lynn’s Grade: C-

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‘Showing Up’ Is a Beautiful Tribute to Art and Life

‘Showing Up’ Is a Beautiful Tribute to Art and Life

By Alex McPherson

A gentle, tender exploration of art, creativity, and life’s winding, surprising journey, director Kelly Reichardt’s “Showing Up” reveals poignant truths through its small-scale yet meaningful narrative.

Reichardt’s film centers on the anxious, non-assertive, and perpetually fatigued Lizzy (Michelle Williams), an artist struggling to make a name for herself in Portland and preparing for an upcoming show. She would much rather immerse herself in her (somewhat tortured-looking) clay sculptures than deal with the messy distractions of other human beings, much less endure the dull grind of making enough money to pay rent.

She works as an administrative assistant at the Oregon College of Art and Craft — facilitating promotion of other, more successful artists — where her mother, Jean (Maryann Plunkett), is the artistic director. This furthers Lizzy’s low self-esteem and makes asking for a vacation day quite uncomfortable. With her slumped shoulders and exhausted, stand-offish demeanor, Lizzy stands apart from students who exuberantly indulge in their creative callings on campus, especially those doing interpretive dance in full, glorious view.

Her neighbor/friend/landlord, Jo (Hong Chau) — a comparatively outgoing, popular, successful artist herself, with two upcoming art shows— hasn’t resolved Lizzy’s non-working hot water heater, adding yet another layer of annoyance for the quietly resentful Lizzy to contend with. Plus, a few nights before her big show, Lizzy is woken up in the middle of the night by a pigeon who’s wandered into her apartment and been attacked by her cat. After Lizzy leaves the pigeon outside post cat-attack, Jo, of course, bandages it up, and entrusts it in Lizzy’s care. 

Along with that, there’s her father, Bill (Judd Hirsch), a retired artist himself who lets two ne’er do well drifters crash at his place, and her brother Sean (a scene-stealing John Magaro), who Jean describes as the artistic “genius” of the family, and whose turbulent mental health weighs heavily on Lizzy’s mind. 

It’s all a lot for Lizzy to juggle as she prepares to present her work, but Reichardt doesn’t indulge in heightened melodrama. “Showing Up,” with its breezy yet thoughtful rhythms, reflects the power of art as self-expression, as an all-consuming force, and as a means of bringing people together; of how small acts of compassion yield surprising returns, and how life itself, like Lizzy’s malleable sculptures, remains beautiful through its imperfections. Moments of connection show up in the most unexpected places.

With all these themes, “Showing Up” would seem at first glance to be a very busy movie. Under Reichardt’s patient direction, though, the film effectively brings us into Lizzy’s world and illuminates the complex connections that both create distance and bring us together. Similar to her previous masterpiece, “First Cow,” Reichardt gives scenes plenty of time to breathe, letting us sit with Lizzy’s discontent, appreciate art of all forms, and watch a story unfold that doesn’t force-feed viewers answers or wrap everything up neatly in a bow. 

Reichardt and screenwriter Jonathan Raymond thrive within the nuances of characters’ interactions — the minimalism reveals multitudes about the characters, trusting viewers to put the pieces together themselves and recognize evolution in characters’ arcs that doesn’t feel over-the-top and sensationalized, but beautifully human.

Complemented by an excellent ensemble that’s perfectly in-tune with the film’s low-key vibes and an efficient style that encourages looking beneath the surface (enhanced by Ethan Rose’s serene, flute-based score), the film has a power that percolates upon further reflection — so long as viewers are willing to adapt to its measured pacing and lack of traditionally “dramatic” moments. 

Indeed, “Showing Up” takes ample time observing Lizzy slowly but surely unlocking her compassion towards others and the world in general, while providing a grounded look at artists-at-work. One sequence, for example, sees Lizzy rearranging the arms on one of her sculptures, which were originally made by artist Cynthia Lahti; cinematographer Christopher Blauvelt’s camera sits over her shoulder for an extended long-take, with only the intermittent “coo-coo” from the pigeon to accompany her. It’s both a quiet, drawn-out scene, and one where so much happens internally, if we’re game to put ourselves in Lizzy’s shoes.

Creating art is Lizzy’s preferred way of communicating with the world, and “Showing Up” illustrates how her lifestyle is both rewarding and barely sustainable. Her passion and persistence are often at odds with the rigid expectations of adulthood and personal challenges by those who, at least initially, let her down at critical moments. The aforementioned pigeon, which Lizzy first cares for out of a sense of guilt, is partly responsible for the erosion of her cynicism and reservedness; she finds some solace and relatability to this often-ignored animal in need.

Although the pigeon’s symbolism could be heavy-handed under a less-skilled storyteller, Reichardt’s approach remains neither overplayed nor maudlin. Lizzy’s bond with the bird, as well as her troubled, paranoid brother Sean; her stubborn yet caring parents; and Jo, a close friend whom she also harbors jealousy towards, point to an overarching message: the small acts of kindness and thoughtfulness Lizzy takes towards them (showing up, in other words), and vice-versa, ultimately make all the difference, inspiring hope for a new day of possibilities.

Williams is outstanding here — bringing to life Lizzy’s malaise and emotional growth in a manner that never feels overstated, rather embracing intricacies and minutiae of body language, not unlike the sculptures Lizzy so meticulously puts together. Chau is similarly exceptional as Jo, radiating enthusiasm for her craft and frustration through her flakiness and laissez-faire mindset regarding her responsibilities as a landlord.

Hirsch is charming as Lizzy’s father (with old man jokes to spare), and Magaro stands out as Sean, bringing true pathos and melancholy to his amusingly deadpan comments. André Benjamin is excellent as a laid-back kiln operator, possessing a warmth and nonjudgmental attitude contrasting Lizzy’s high-strung demeanor and the obsessive attention she puts toward her sculptures.

“Showing Up,” alas, will likely alienate viewers refusing to dig into the small-scale yet potent canvas that Reichardt lays before us. The film’s style occasionally lets scenes drag on just a beat too long, and the film requires some leg-work to untangle the threads of its deceptively straightforward narrative. For me, however, “Showing Up” is one of 2023’s strongest efforts yet — a life-affirming film that’ll only grow stronger with time.

“Showing Up” is a 2023 comedy-drama directed by Kelly Reichardt and starring Michelle Williams, Hong Chau, Judd Hirsch, John Magaro, Andre Benjamin and Maryann Plunkett. It is rated R for brief graphic nudity and runtime is 1 hour, 47 minutes. It opened in select theatres April 28. Alex’s Grade: A.

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Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

By Lynn Venhaus
Strong performances mark Prism Theatre Company’s stirring interpretation of the fascinating and complex “Doubt: A Parable,” which pits a progressive well-liked young priest against a conservative rigid nun who is the feared school principal, plunging us into a nebulous gray area.

The year is 1964, a time when America was reeling from the assassination of President John F. Kennedy, the Civil Rights movement was emerging, and Catholics would be adapting to the monumental Vatican II (1962-65).

At a Catholic school in the Bronx, Sister Aloysius Beauvier suspects Father Brendan Flynn, also the physical ed teacher, of molesting an altar boy, scrutinizing every word and action of the parish priest. Without any evidence, she shares her accusation with Sister James, an eager and inexperienced young teacher.

Sister James, sweet-natured, is drawn into her superior’s distrust with her own suspicions, and Rhiannon Creighton superbly reflects the naivete and people-pleasing character of Sister James.

Kate Durbin, Rhiannon Creighton. Photo by Kim Howland

In a fiery performance, Kate Durbin commands every scene she’s in as the embodiment of the typical strict take-charge disciplinarian we recall from our parochial school days. She is laser-focused in portraying the nun’s unbending resolve, and you feel her bristle at every example of what she finds offensive about the priest, who has opposing views to her black-and-white view of human nature. She’s as inflexible confronting modern ways as the priest is open to making the church more accessible.

Jeffrey David Thomas expertly conveys the assertive Father Flynn, making it clear his view of outreach is very different from Sister Aloysius. He projects the vibe of the ‘cool priest’ who thinks sister’s harsh opinions are a detriment to moving the church forward.

After all, the second Vatican council stressed renewal and unity, opening up participation with the laity and focused on what the pastoral needs of parishioners were. Flynn is convincingly committed to reach his ‘flock,’ and from the pulpit, communicates through sermons that are parables, not so much actual truths.

John Patrick Shanley’s masterful 2004 play, which won the 2005 Pulitzer Prize for Drama and the Tony Award for Best Play, always has made people uncomfortable, as they examine questions of faith, belief, traditions, and human behavior.

Shanley, Oscar winner in 1988 for his original screenplay of “Moonstruck,” has inserted some spot-on humor, particularly when the priest and the two sisters discuss plans for the school Christmas pageant. He wants to add a secular popular song. He also takes – gasp – three lumps of sugar in his tea.

Kate Durbin, Laurell Stevenson. Photo by Kim Howland

Shanley cannily set this explosive story when the U.S. was undergoing political and social changes, which provides another intriguing angle to the layered narrative. In the Catholic Church, Pope John XXIII and Pope Paul VI addressed the needs of modern congregations.

In trying to make the parish more of a welcome guidepost, is Flynn hiding inappropriate behavior? Or is the principal twisting his views as a personal vendetta?

The pupil that is the target of his extra attention is the only black student in the school, Donald Muller, and Laurell Stevenson is riveting as his mother, who attends a meeting arranged by the principal. She knows her son’s challenges, pointing out that she values opportunities over innuendo. Without raising her voice, in her sole scene, she lays down real-world gravitas, and emotionally delivers a raw and honest analysis about her son thriving or failing at school and in life.

This battle of wills between two authority figures is deftly staged by director Trish Brown, who doesn’t waste a precious second in allowing feelings of uncertainty to seep into our collective conscience.

Because of the nuanced performances, tension effectively mounts, and – squirming may occur. It’s not-so-subtly unsettling, and the 85-minute play is presented without intermission. Does sister’s unwavering sense of duty triumph? We are meant to be the jury and the judge, and the debate isn’t always certain, depending on how powerful the production is.

(And it goes without saying, in light of the revelations of sexual abuse cases on a global scale in the Catholic Church in recent decades, we’re looking at this narrative through that rear-view mirror). That’s why the performances are so crucial to match the sharp dialogue.)

The dynamic exchanges between the cast take place in either the sister’s office or an outdoor garden on the grounds and scenic designer Matt Stuckel has admirably transformed the intimate confines of the Kranzberg black box theatre.

Jacob Baxley’s sound design, Tony Anselmo’s lighting design, Sam Hayes’ costume design and Caleb Long’s technical work strengthened the presentation.

This is a polished production that is convincing in its clarity, with memorable performances that will persuade you to continue the conversation.

Father Flynn. Photo by Kim Howland

Prism Theatre Company presents “Doubt: A Parable” April 21-23 and 28-30 at the Kranzberg Black Box Theatre, with Thursday through Saturday at 7 p.m. and Sunday at 2 p.m. It contains adult themes, suggestions of sexual abuse and some racist language that may be offensive to some viewers.

The box office opens 30 minutes before each performance or purchase tickets online at MetroTix by phone (314)534-1111 or at the Fabulous Fox box office.

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Go for ‘Broke’ If You’re Game For a Goofy Good Time Parody

Go for ‘Broke’ If You’re Game For a Goofy Good Time Parody

By Lynn Venhaus

Even if you don’t earn a prize, you are still a winner for having attended “Broke: The Game Show Show,” a convivial interactive musical comedy parody.

Created by partners Liz Muller and C.E.Simon, this world premiere strives for a party atmosphere. Fortunately, the Saturday night I was there, a bachelorette party attended, ready to have a good time, as were the other audience members.

Muller deftly directed the inventive show with a livewire attitude in mind and kept the music direction peppy and light-hearted. The show has been extended from May 6 through May 19.

Ryan Myers and Ashley Rube excel as the two quick-witted actors in the show within a show. Myers is perfectly congenial as Hank the Host, with a dash of snark and swagger, while Rube is relatable as the more exasperated and pragmatic Alex the Technical Director.

Both are connected to the Improv Shop and other local theatrical endeavors, and their veteran improvisational skills are put to good use, as they keep the tempo lively and project a sense that wackiness will ensue.

It really is true that no two shows are the same, as the performers and contestants feed off the energy of the crowd. If you are not laughing at some of the antics, check your pulse.

During the goofy game show, people answer trivia questions for their shot to be a contestant on stage. And they have an appealing assortment of prizes to giveaway from generous local donors to give away, like tickets, meals, and fun outings.

But if you’d rather just watch from the sidelines, that’s OK – no one is forcing you to go onstage.

The experience is enhanced by the 30-foot LED video wall projections, and the “Broke” creators designed the slick video background to give it a professional game show feel – and the technical difficulties seem real. Joel Wilper has added effective lighting design while Lenny Mink and Wilper smoothly handled the sound engineering.

Stage Manager J. Myles Hesse keeps things moving swiftly, no matter what appears to be going awry (all scripted). The performance is at least 90% game show, with the behind-the-scenes story of the host and tech crew a personal subplot for character development.

The show is performed with one intermission, and drinks are permitted in the playhouse.

“Broke” is as advertised, a silly romp well-suited for diverting you from more serious world affairs – and produced with spreading good cheer in mind. Providing a communal good time is always a welcome endeavor.

“Broke: The Game Show Show” is performed every Friday and Saturday at 7:30 p.m. through May 19 at the Westport Playhouse in St. Louis, with a 2 p.m. matinee set for the final day besides an evening show. It is recommended for ages 18 and older. Tickets are $30 and are available at www.westportplay.com. Groups of 10 or more can call 314-605-3799 for special rates.

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