Two lethal Hasidic Jews, two Russian mobster goons, a Latino gangster and a tough-talking cop walk into a grungy East Village bar in 1998 New York City, and mayhem ensues in a fast-paced bloody treasure hunt “Caught Stealing.”
Henry “Hank” Thompson (Austin Butler), a former jock who could have had a shot in the major leagues, is now tending bar in New York City’s Lower East Side, drinking way too much and tormented by what might have been. His neighbor Russ (Matt Smith) asked him to take care of his cat while he heads home because his father had a stroke. Without warning, Hank becomes embroiled in the criminal underworld.
Inexplicably, unlucky Hank’s life becomes a living hell. Butler, with his movie star charisma, drives the film’s energy as the former golden boy tarnished by a messy life.
Embroiled in a violent “Wrong Man” type scenario, he leads a strong ensemble cast as disparate as mohawked Matt Smith as the Brit punk neighbor, Regina King as the hardboiled detective, Liev Schreiber and Vincent D’Onofrio as machine gun-toting Hebrews with Carol Kane as their Bubbe, a grungy Griffin Dunne as grizzled bar owner Paul, and feisty Zoe Kravitz as his charming paramedic girlfriend Yvonne.
Zoe Kravitz, Austin Butler.
Butler and Kravitz click with tangible chemistry, and the cast digs into the quirky characters developed by author Charlie Huston, in his Hank Thompson mystery trilogy, who also wrote the screenplay.
Because Huston followed his 2004 “Caught Stealing” with 2005’s “Six Bad Things,” and 2006’s “A Dangerous Man,” can a sequel be far behind? (In case you are wondering, Huston is the grandson of legendary film actor and director John Huston and nephew of actors Anjelica Huston and Danny Huston.)
That’s the thing about a book adaptation. We don’t get the rich backstories of what’s going on in people’s heads – it’s up to the cast to convey, with nuance and depth, their inner lives.
Director Darren Aronofsky, leans more into the bullets flying and full-throttle chaos and less into character development as we’re quickly plunged into this darkly comedic-action thriller with a high body count —similar to “Bullet Train” three years ago.
Regina King, Austin Butler.
As a summer wild ride that knocks off pieces of “John Wick,” “After Hours” and any Quentin Tarantino -Guy Ritchie crime caper is light on original style but heavy on unpredictable, but it suffices as an easy-to-digest movie relying on cast appeal.
The humor is interspersed with gruesome killings, so the tonal whiplash shift doesn’t always work.
Aronofsky, who has helmed “The Whale,” “The Wrestler,” “Black Swan,” “Noah” and “Requiem for a Dream,” may seem like an odd fit, but he nails the scruffiness of late ‘90s NYC.
Of course, he benefits from cinematographer Matthew Libatique’s keen eye for detail in Pre-Millennium times, and winks by including some of his favorite spots like the long gone Kim’s Video.
Crackerjack editing by Andrew Weisblum, accompanied by a pulsating score from Rob Simonsen, also helps with the atmosphere.
Matt Smith, Butler.
Haunted by his past, including a career-shattering drunk driving accident 15 years ago, that fuels Hank’s decisions and re-occurring nightmares. He deals with a reckoning through the film that is only touched on, but developed more in the books.
A California transplant who roots for his beloved San Francisco Giants and talks to his devoted mother (Laura Dern, in uncredited cameo) almost daily, Hank is likable but has issues he needs to address.
The pair of bald thugs who first roughed him up (Nikita Kukushkin and Yuri Kolokolnikov) are relentless, then they are joined by an enforcer (Bad Bunny) with a time-stamped ultimatum.
Trying to stay alive takes precedence for Hank as his loved ones are in danger, and he must see an endgame, but it doesn’t seem in sight. These plot threads keep unraveling, leading to tedium.
Liev Shreiber, Vincent D’Onofrio, Butler.
With all these colorful characters, one appreciates their contributions, but the chase becomes a labyrinth, and the film starts running out of gas.
Still, more surprises are in store. Yet, the cat named Bud is a reliable scene-stealer (Tonic, from “Pet Sematary” reboot).
“Caught Stealing” is a rough ride, depending on how you tolerate violence.
However, Butler proves himself as a certifiable leading man, Oscar nominated for “Elvis” and trying hard to show a range (“Dune,” “The Bikeriders,” and Eddington”). He is such a winning presence as Hank that you want to follow him on his journeys. They set up the ending for a sequel.
Wherever Hank and Bud go, you hope they go together. And you can sense they will be magnets for trouble. And there’s enough of a crime caper here to keep us turning in an imperfect summer throwaway.
“Caught Stealing” is a 2025 darkly comedic action thriller directed by Darren Aronofsky and starring Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne and Carol Kane. It’s rated R for strong violent content, pervasive language, some sexuality/nudity and brief drug use, and the run time is 1 hour, 47 minutes. It opens in theatres on Aug. 29. Lynn’s Grade: B-
Available worldwide September 19 on the Delos label, album includes recordings of Puts’ Concerto for Orchestra, Silent Night Elegy, and Virelai (after Guillaume de Machaut), recorded at Powell Hall
The St. Louis Symphony Orchestra (SLSO) has announced the international release of an album featuring the world premiere recordings of three works by Pulitzer Prize-winning composer Kevin Puts. The album marks the SLSO’s first collaboration with the Delos label.
Conducted by SLSO Music Director Stéphane Denève, the album features Puts’ Concerto for Orchestra, a six-movement orchestral showcase; Silent Night Elegy, a single-movement essay of music from the Pulitzer Prize-winning opera Silent Night; and Virelai (after Guillaume de Machaut), composed to celebrate Denève’s inaugural concerts as SLSO Music Director. The SLSO was the lead commissioner and gave the world premiere performances of Concerto for Orchestra and Virelai, and was a co-commissioning orchestra for Silent Night Elegy.
Since 2004, Puts has been a close artistic collaborator of the orchestra and will serve as the SLSO’s Composer in Residence for the 2025/26 season, which celebrates the reopening of the orchestra’s venue, Powell Hall at the Jack C. Taylor Music Center, following a transformational expansion and renovation. The opening weekend of concerts features the world premiere of an SLSO-commissioned song cycle by Puts, House of Tomorrow. Puts’ music will be performed throughout the season, including Concerto for Orchestra and Virelai.
Stephane Deneve
Stéphane Denève, SLSO Music Director, said, “Discovering during our first conversations that Kevin and I share many similar interests and connections—including St. Louis, a city where he was born and where I live today— helped to create our years-long friendship. The SLSO likewise has had a rewarding relationship with Kevin for more than 20 years, and this album is a beautiful representation of our musical kinship. His music is a symphonic tour de force which proves that wondrously crafted music of our time can touch the heart as well as the mind.”
Kevin Puts, composer, said, “I often tell my students about the importance of finding one’s people over the long arc of a career: write the music you care most earnestly about and a supportive network of musicians to coalesce around your work. For me, Stéphane and the SLSO is primary among these. All three works on this album were fueled by our musical kinship. As a native of St. Louis, it is especially meaningful to hear my work endorsed so expertly by the great musicians of the SLSO, an orchestra which I have known since my earliest years.”
Recorded at historic Powell Hall in September 2019 (Virelai), February 2020 (Silent Night Elegy) and January 2023 (Concerto for Orchestra), the album is slated for physical and digital release on the Delos label on September 19. Pre-orders begin on August 22.
The album celebrates the dynamic partnership between Puts, Denève, and the SLSO. Dedicated to the SLSO and Denève, Puts composed Concerto for Orchestrain response to an Amanda Gorman poem written in the wake the horrific school shooting that occurred in Uvalde, Texas, in 2022. Silent Night Elegy is drawn from Puts’ acclaimed opera, which adapts Joyeux Noël, the award-winning film that tells the story of the spontaneous ceasefires along the Western Front on the first Christmas Eve of World War I. Virelai, a brief and celebratory fanfare, was inspired by Guillaume de Machaut, the 14th-century composer and poet.
Kevin Puts
Since the first SLSO performances of his music in 2004, the orchestra has performed many of Puts’ pieces ranging from full orchestral works to chamber works and choral music sung by the St. Louis Symphony Chorus. As the SLSO’s historic home reopens for the 2025/26 season, the inaugural concerts in the renovation venue include the world premiere of Puts’ new song cycle, House of Tomorrow, featuring acclaimed mezzo-soprano Joyce DiDonato. Kevin Puts’ music is published worldwide by G. Ricordi & Co., New York, a Universal Music Publishing Classics & Screen company.
This SLSO release is the latest in a robust history of recordings that has resulted in nine Grammy Award wins. Most recently, the SLSO, in conjunction with Pentatone, released the SLSO’s inaugural recordings with Denève and violinist James Ehnes with music by Leonard Bernstein and John Williams. The SLSO won the 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of John Adams’ City Noir conducted by former Music Director David Robertson.
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 146th year with the 2025/26 season and its seventh 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 25/26 season marks the reopening of the orchestra’s historic home following a two-year transformational expansion and renovation designed by acclaimed architecture firm Snøhetta. The Jack C. Taylor Music Center, with a renovated Powell Hall at its heart, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. For more information, visit slso.org.
About Stéphane Denève
Known for his visionary storytelling and heartfelt interpretations, Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director, joined the St. Louis Symphony Orchestra in September 2019, having served as Music Director designate during the 2018/2019 season.
Now in his seventh season as the 13th Music Director of the SLSO, Stéphane has shaped his tenure around creating extraordinary experiences that give an authentic voice to music. An expert with repertoire across genre and time, he has cultivated specific recognition for his interpretation of French, American, vocal, and operatic music.
Through thoughtful and innovative programming, he maintains an enthusiasm for music and composers of today. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, as well as nurturing the SLSO’s role as a creative leader for the St. Louis community and making orchestral music accessible to all.
Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. In addition to his role in St. Louis, he is the Artistic Director of the New World Symphony (Miami) and the Principal Guest Conductor of the Netherlands Radio Philharmonic. He has held leadership positions at the Brussels Philharmonic, the Philadelphia Orchestra, and the Royal Scottish National Orchestra.
Stéphane regularly works with orchestras and opera companies worldwide and is also a popular guest at many of the US summer music festivals and venues. As a recording artist, he has won critical acclaim for his recordings of the works of Connesson, Debussy, Franck, Poulenc, Ravel, and Roussel. He is a triple winner of the Diapason d’Or of the Year and has been shortlisted for Gramophone’s Artist of the Year Award. His inaugural album with the SLSO, featuring the music of Leonard Bernstein and John Williams with violinist James Ehnes, earned critical acclaim.
Since his first visit to St. Louis in 2003, Stéphane has charmed audiences with his wit, warmth, and genuine passion for music and the St. Louis region. He is shaping the future of the SLSO through his appointments of artistic leaders and one-quarter of the orchestra to date, advanced audience-building initiatives with new happy hour concerts, and made music more accessible to the community through cross-artistic collaborations with partnering St. Louis arts organizations. He has welcomed music lovers to SLSO performances in St. Louis, at universities throughout the Midwest, and in some of Europe’s most-respected concert venues.
About Kevin Puts
Pulitzer Prize and Grammy®-winning composer Kevin Puts has established himself as one of America’s leading composers. He has been commissioned and performed by leading organizations, including the Metropolitan Opera, Philadelphia Orchestra, the New York Philharmonic, Carnegie Hall, Opera Philadelphia, Minnesota Opera, and many more, and has collaborated with world-class artists such as Renée Fleming, Joshua Bell, Yannick Nézet-Séguin, and Marin Alsop, among others.
In March 2022 Puts’ fourth opera, The Hours, had its world premiere on the concert stage by the Philadelphia Orchestra under the baton of Yannick Nézet-Séguin. The Hours premiered to sold-out houses at the Metropolitan Opera in November 2022 starring Renée Fleming, Kelli O’Hara, and Joyce DiDonato and was called “a stunning triumph” by Variety Magazine. The opera’s revival in May 2024 played to packed houses and marked the first instance in the Metropolitan Opera’s history of a work returning the season after its premiere. His multi-media song cycle The Brightness of Light featured Renée Fleming and Rod Gilfry at its Tanglewood premiere with Andris Nelsons and the Boston Symphony and has been presented by over 20 orchestras. Puts’ triple concerto, Contact, had its world-premiere in March 2022. A recording of the piece by the Philadelphia Orchestra and conductor Xian Zhang was released on the Deutsche Grammophon album “Letters for the Future” and was awarded “Best Contemporary Classical Composition” at the 2023 Grammy® Awards. Puts was named Musical America’s Composer of the Year in 2024.
Puts’ breakthrough opera Silent Night–for which he was awarded the 2012 Pulitzer Prize– was heralded as “remarkable” (The New York Times). Since 2006, he has been a member of the Composition Faculty at the Peabody Institute. He has also served as Distinguished Visiting Composer at the Juilliard School as well as Director of the Minnesota Orchestra Composer’s Institute.
About Delos
Founded 50 years ago in California by Amelia Haygood and later expertly led by pianist Carol Rosenberger, Delos features collaborations with a host of renowned artists and ensembles and is a beacon for American composers. With more than 680 albums featuring top artists from America and around the world, Delos is known as a label with a strong personality which has also garnered acclaim for the technical excellence of its recordings. Outhere Music welcomed the prestigious label into its family in November 2023.
By CB Adams It is a rare pleasure to encounter “Salome,” Richard Strauss’s 1905 masterpiece (after Oscar Wilde’s scandalous play), on a St. Louis stage. Union Avenue Opera’s production reminds us that even in a modest house, this one-act psychodrama retains its power to disturb.
The evening offered superlative singing across the board, a moody if sometimes murky staging and Strauss’s extraordinary score rendered with clarity and bite by a chamber-sized orchestra that, under Scott Schoonover, sounded far larger than its 23 players.
The vocal achievement was formidable. St. Louis’s own Kelly Slawson brought fearlessness and stamina to the punishing title role, her dramatic soprano slicing cleanly through Strauss’s post-Wagnerian textures. The part notoriously demands everything from flights of coloratura to plunges into the contralto register along with sheer brute endurance.
Slawson met those challenges with assurance, shaping a Salome who was as predatory as she was magnetic. She infused the role with a heavy-metal intensity — thrilling, unsettling and never bland.
Opposite her, baritone Daniel Scofield supplied a commanding Jochanaan, his resonant timbre and prophetic fire holding the line against Salome’s obsessive advances.
Daniel Scofield, Kelly Slawson. Photo byDan Donovan.
Will Upham’s Herod was appropriately febrile, a portrait of jittery decadence, while Joanna Ehlers’s Herodias offered caustic bite and a Wildean cynicism delivered with relish.
Brian Skoog (Narraboth) brought pathos to his brief trajectory, Emily Geller (the Page) added androgynous ambiguity and the quintet of Jews (Zachary Devin, Thomas M. Taylor IV, David Morgans, James Stevens, Fitzgerald St Louis) bickered with crisp ensemble precision. It was a cast without weak voices.
For all its musical strengths, the staging stumbled at two moments of dramatic consequence. The first misstep came early in the opera with Narraboth’s suicide. Poorly blocked, the scene left the audience’s eye on Salome rather than the lovesick captain.
His awkward, almost perfunctory thrust of the sword could have been missed entirely, thereby diluting Herod’s subsequent questions about the bloodied corpse. What should resonate as the opera’s first shocking rupture barely registered.
Will Upham and Joanna Ehlers. Photo by Dan Donovan.
The Dance of the Seven Veils, the opera’s centerpiece, likewise faltered. Slawson committed herself wholly, but the choreography lurched from abrupt pivots to ground- wriggling, from a parody of Norma Desmond to burlesque flourishes, all without discernible logic. A needless ascent and descent of the steps only deepened the sense of randomness.
At one point she barked toward the chorus; at another, the sequence spun into manic incoherence. The result brought to mind Brad Pitt’s turn in “12 Monkeys” — all nervous tics, sudden lunges and wide-eyed mania, as though every acting exercise had been flung on stage at once.
In a film, that kind of method-to-madness can be riveting; in this opera, it scattered the focus of a moment that should be singularly hypnotic. As a seduction meant to clinch the opera’s fatal bargain, the dance distracted rather than compelled — a pity, given the strength of the surrounding production.
Kelly Slawson as Salome. Photo by Dan Donovan.
Schoonover drew exceptional results from the orchestra. Strauss scored “Salome” for more than a hundred musicians, but Union Avenue performed it using Francis Griffin’s reduced orchestration for 23 players. In Schoonover’s hands, the ensemble produced a luminous, incisive sound that never swamped the singers while still carrying the music’s unsettling erotic charge.
Union Avenue’s “Salome” deserves praise as a rare and rewarding opportunity (despite its missteps) to encounter Strauss’s modernist milestone. Vocally and musically, it was a triumph; dramatically, it remained absorbing despite missteps. For audiences willing to face opera at its most decadent and disturbing, this production more than justified the journey.
Union Avenue Opera’s production of “Salome” was performed Aug. 15, 16, 22 and 23 at the Union Avenue Christian Church
The cast of “Salome.” Photo by Dan Donovan.Daniel Scofield. Photo by Dan Donovan.
“Eenie Meanie” is the latest Quentin Tarantino-Guy Ritchie wannabe that is derivative of “Baby Driver,” “Drive,” “Fast and Furious” franchise and other pedal to the metal adrenaline rush movies heavy on blood-splattered action and light on logic and depth.
First-time director Shawn Simmons has assembled a recognizable cast headed by charismatic Samara Weaving, but the rest of the characters woefully lack any thoughtful development and are not interesting enough to spend an entire film with – and the main conflict is repellent.
It’s as if this cast is plopped straight into a B-movie heist plot without any indication if they are either the good or the bad guys, mostly idiots and all caricatures. And each actor seems to be in a different movie.
Weaving is Edie, nicknamed Eenie Meanie, first shown as a glum, nervous teen with awful parents, who later endured a harsh life of foster homes and has a criminal past as a getaway driver.
Samara Weaving and Karl Glusman in “Eenie Meanie”
She’s a very good driver, nevertheless. After the opening scene, depicting how irresponsibly foolish her parents are (Steve Zahn, Chelsey Crisp), the film fasts forward to 14 years later.
Now a single bank clerk going to community college, her roommate is a longtime supportive friend Baby Girl (Kyanna Simone). Edie, spinning her wheels, has a loser boyfriend, among other tough-life dramas. Therefore, given choices, she usually goes with the wrong one.
John, the dippy bad luck-magnet boyfriend, is played by Karl Glusman. They are on-again, off-again, and she’d be much better off without him, because all indications are he’s a Bad Idea.
Gusman, part of ensemble casts in “The Bikeriders,” “Civil War,” and “Greyhound,” among others, tries to make John have some redeeming qualities, but the part is a screw-up, so…
He has screwed up a casino heist scheme by her old boss Nico (Andy Garcia wasted in tough-guy mode). Reluctantly, it’s Edie to the rescue – because she is always cleaning up everyone’s messes.
Marshawn Lynch is a getaway driver, so is Samara Weaving in “Eenie Meanie.”
She finds out she is pregnant, compounding the situation, so she helps the doofus avoid getting beaten to a pulp. They take off on the run, squealing tires in zippy car chases where they mostly escape danger that keeps popping up.
The couple, who have some interesting exchanges, click on screen as they are pursued by an assortment of cliched quirky characters that are standard in these types of films.
Because of that, the screenplay is less thrilling because it’s a cluttered, clustered mishmash. Is she destined not to get anything she wants in life? That’s very sad.
Her new path is on hold while she deals with these peculiar, mostly unsavory, people. They are all in a never-ending toxic cycle – and why should we care? You feel for Edie because life has given her a big bag of lemons, and she can’t seem to make lemonade, no matter how hard she tries.
Randall Park is misused in a brief, persnickety role, while ex-pro running back Marshawn Lynch appears in a flashier but tiny part as another driver for Nico.
Hopefully, Weaving will have a better choice of roles in her future. Without a fresh spin, “Eenie Meanie” can’t rise above its hackneyed plot and trite characters, unable to cross the finish line.
“Eenie Meanie” is a 2025 action-crime thriller directed by Shawn Simmons and starring Samara Weaving, Karl Glusman, Andy Garcia, Marshawn Lynch, Jermaine Fowler, Kyanna Simone, Steve Zahn, Chelsey Crisp, and Randall Park. It is rated R for violence/bloody images, pervasive language, nudity, some sexual material and brief drug use, and run time is 1 hour, 46 minutes. It started streaming on Hulu Aug. 22. Lynn’s Grade: C-.
A dour, dismal retelling of a 1930s island utopia that goes horribly awry, “Eden” is supposed to be high-stakes drama where people build a better society, but it turns comical– not in a good way — then the inevitable blood-spilling happens.
Based on a factual account of a group of outsiders who settle on a remote uninhabited island only to discover their greatest threat isn’t the brutal climate or deadly wildlife, but each other. They abandon modern society in search of a new beginning.
Jude Law, Ana de Armas, Vanessa Kirby, Daniel Brühl, and Sydney Sweeney see their utopian dream unravel as tensions mount and desperation takes hold. Facing a brutal climate, deadly wildlife, and lack of resources, the colony descends into chaos when a twisted power struggle leads to betrayal, violence and deaths.
Worst of all, Ana de Armas and Vanessa Kirby, two Oscar-nominated actresses, are at their worst, with ridiculous over-the-top performances. Jude Law is not that much better as an increasingly unhinged doctor-turned-philosopher.
It was an embarrassment for the whole cast but faring better were a nearly unrecognizable Sydney Sweeney and sturdy German actor Daniel Bruehl, who worked with director Ron Howard on “Rush,” but it’s not their task to carry the whole film.
Bruehl’s accent is authentic – the others, not so much.
Sadly, most of this lethargic film is painful to watch for 2 hours and 9 minutes. Because these people don’t want to be on the island with each other, why should we invest ourselves in their drama?
Based on a true story, director Ron Howard’s misfire unfortunately doesn’t give us a clear point of view because he took two conflicting published accounts of what happened and tried to blend them. He co-wrote the screenplay with Noah Pink, and the result is confusion as to what really occurred — and provides few answers.
Disillusioned Dr. Friedrich Ritter (Jude Law) and his equally peculiar wife, Dora Strauch (Vanessa Kirby), left civilization behind for Floreana in the Galapalos Islands, a province of Ecuador.
Suffering from multiple sclerosis, Dora hoped the island air would help her physically while Ritter’s radical philosophies are inspiring others with his letter-writing that is being published in Europe. He believes society is doomed and becomes more disturbing as he types his manifesto, obsessed with his crackpot ideas.
That leads to other ‘outsiders’ being lured there, not realizing how hostile the environment would be, and unaware they won’t be welcomed by the disdainful duo.
First to arrive are industrious Heinz and Margret Witmer (Bruehl, Sweeney) in 1932. Hard-working and kind, they are accompanied by Heinz’s obedient son Harry (Jonathan Tittel), who has tuberculosis.
They are good people, but the next to arrive isn’t. Self-absorbed, deceitful and haughty, the ridiculous Baroness Eloise Bosquet de Wagner Wehrhorn arrives with an entourage (lovers). Her goal is to build a luxury hotel on the beach for only millionaires.
She manipulates the men around her, flaunts her hedonistic lifestyle, and treats the Witmer’s as hired help. The detached Ritters dismiss her as a frivolous party girl, until she surprises them with a devious legal maneuver.
De Armas, exerting over-the-top theatricality, schemes, fumes and uses everyone for her own selfish gains. Her soap opera’s villain character becomes tiresome, and her rottenness infects everyone. As an actress, de Armas seems to rely more on her sexuality in films, risking becoming a caricature.
Heinz, who fought in World War I, builds a new life for his family, despite setbacks and de Armas’ sabotage attempts. Margret, a young dutiful homemaker, discovers she is pregnant.
Sweeney has the film’s most physical and harrowing scene as she’s in labor, alone, afraid and surrounded by danger, including a pack of wild dogs. She’s also revealed to be one smart, resourceful woman.
After Law’s impressive performance last year as an FBI agent in “The Order,” he returns to being streaky again with his choices, and here he’s flamboyantly scenery chewing. Spouting Nietzsche and baring all, Law is extremely unlikable as this megalomaniac who believes in his own delusional providence.
Kirby, last seen as the kindly but fierce mother figure Sue Storm in “Fantastic Four: First Steps,” adds aloof bitter shrew to her repertoire.
Shot in Australia, the film premiered at last year’s Toronto International Film Festival and is being released now.
This disappointing effort from Howard joins his other misses, “Hillbilly Elegy” in 2020, “In the Heart of the Sea” in 2015, and “The Dilemma” in 2011.
The story gets darker and drearier, no thanks to Hans Zimmer’s dirge-like score nor Mathias Herndl’s stark cinematography. As the film disintegrates along with the characters – each seem to be in their own different movie – it hints at a “Lord of the Flies” scenario.
The pace, already sluggish, becomes interminable with the inevitable showdown and wrap-up. “Eden” is a disastrous survival story that has little optimism. I’d want to be voted off the island immediately.
“Eden” is a 2024 psychological thriller directed by Ron Howard and starring Jude Law, Vanessa Kirby, Ana de Armas, Danel Bruehl, Sydney Sweeney, Felix Kammerer, Richard Roxburgh, Jonathan Tittel, and Toby Wallace. It is rated R for some strong violence, sexual content, graphic nudity and language,.and its runtime is 2 hours, 9 minutes. It opens in theatres Aug. 22. Lynn’s Grade: D
“But the first time the four of us made that sound, our sound, when everything dropped away and all there was, was the music…that was the best,” – Frankie Valli
With its focus on the driven, determined and dynamic brotherhood who became the enduring superstar quartet The Four Seasons, their lively legacy lives on in the Muny’s crowd-pleasing rolling ball of thunder “Jersey Boys.”
A celebrated smash hit around the world, the smartly constructed Tony winner is a can’t-miss bio-jukebox musical because of its vibrant staging, captivating storytelling and unforgettable sound.
Not only featuring a substantial collection of hits, the charming combination of showbiz spectacle and personal struggles connect with generations authentically, garnering empathy, and the group’s hard-won success resonates.
The rags-to-riches true stories of Frankie Valli (Pablo David Laucerica), Bob Gaudio (Andrew Poston), Tommy DeVito (Ryan Vasquez) and Nick Massi (Cory Jeacoma), blue-color kids from a tough Italian neighborhood in Belleville, New Jersey, are detailed in Marshall Brickman and Rick Elice’s straight-shooting documentary-style book.
Pablo David Laucerica, Andrew Poston, Jerry Vogel_Photo by Phillip Hamer
By presenting four different points of view, they also broke the Fourth Wall, where characters talk directly to the audience, and each one narrates their version. Being wise street guys, their salty dialogue is peppered throughout the two acts. They sure were entertaining, on stage and off.
The writing pair deftly integrated the group’s tough times and glorious moments in between 34 songs, their placement depending on recordings timeline or a means to emphasize real events.
With lead singer Valli’s unmistakable falsetto, songwriter/keyboard player Gaudio’s catchy melodies, De Vito’s guitar, and Massi’s bass, their signature sound sold 175 million records and was an essential cultural touchstone of the 1960s-1970s.
The quartet features three strong actors making their Muny debut. Indefatigable Pablo David Laucerica is a dynamo as legendary Valli, acting “Like that bunny on TV, I just keep going and going and going. Chasing the music. Trying to find our way home.”
Flashing a radiant smile often, Laucerica pours his heart and soul into the songs, and while he superbly delivers upbeat pop and moving ballads equally, one of his best numbers is the heartbreaking “Fallen Angel” about the tragic death of his daughter at 22. Frankie convincingly wrestles with his desire to perform and the need to spend more time with his family.
From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
Poston is appealing as boyish Gaudio, the self-assured songwriting wizard, while Jeacoma adds some fine-drawn heft to his Massi characterization, more than just a quirky figure eliciting laughs as the self-proclaimed “Ringo.” He’s an accomplished ‘Jersey Boys’ veteran (as is Laucerica).
In his second Muny appearance after his scene-stealing turn as the sadistic dentist in “Little Shop of Horrors” in 2023, Vasquez provides the braggadocio and is an imposing figure in his intense portrayal of slick sharp-tongued troublemaker DeVito. It’s a noteworthy muscular performance.
While they took a while to find their rhythm in the musical numbers, the four eventually clicked, their silky-smooth 4-part harmonies gelling along with their snappy movements. In their passionate portrayals, though, they established a fine rapport with each other for an immediate close-knit feeling.
First-time music director Paul Byssainthe Jr. cohesively conducted the 25-piece orchestra, emphasizing a sensational horn section that shines in the upbeat numbers.. The actors playing musicians exhibit some stylish moves.
Choreographer William Carlos Angulo’s larger dance numbers are appropriately peppy, but there is one puzzling dance interlude during a Valli solo, after his daughter’s passing. Nevada Riley, a young female dancer, enters alone, and dances in the dark, no illumination whatsoever – so how many people saw it? Could shadows have been more effective?
Wouldn’t lighting designer Rob Denton have enhanced that? Denton, one of the best in the business, has dramatically illuminated music scenes and intimate interactions effectively here. truly stunning work establishing the scenes..
Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
The Muny’s creative team transports us to the 1960s, from the smoky clubs to humble digs, to a fabled Brill Building recording studio, taping of “American Bandstand,” “The Ed Sullivan Show,” and other milestones in the 1970s and 1990. Set designer Krit Robinson has crafted a simple grid for all the moving pieces, some gritty, some finer quarters.
Costume designer Leon Dobkowski conjures up attractive vintage period pieces and status outfits, with glitzy dance and singing attire getting fancier as the gigs get bigger.
The creative eye-popping video designs by Kylee Loera and Greg Emetaz immerse us in the music business and frame the times. They incorporated hand-held cinema verité footage of interviews with the older Four Seasons, played by Drew Battles, Michael James Reed, and Jerry Vogel. The smooth, seamless integration is some of their best work.
For the Rock Hall induction scene, some members of the audience appeared confused, thinking that the older actors were the real Four Seasons when they came on stage in tuxedos. They stood up cheering, snapping photos. Unfortunately, only two of the actual members are living – Gaudio and Valli, and they were not present. (However, Gaudio did make an appearance in 2018, being introduced one night to the Muny crowd.)
From left: Tristen Buettel, Nevada Riley and Stephanie Gomerez in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | MaryKatherine Patteson
For anyone that considers these timeless songs part of the soundtrack of their lives, this is a nostalgic boogaloo down memory lane. It’s not only Boomer bliss, or for fans only, but other generations can appreciate the universal themes of ambition, friendship, love, disappointment, heartbreak and making your dreams come true.
Director Maggie Burrows presented the major music numbers with panache, especially the back-to-back hits “Sherry” (their first hit in 1962), “Big Girls Don’t Cry,” “Walk Like a Man,” and “Ragdoll.” The ‘earworm’ tunes keep coming in robust fashion — “Let’s Hang On,” “Working My Way Back to You,” “C’mon, Marianne” and “Stay” among them.
Standing out are thrilling interpretations of “December 1963 (Oh, what a Night)” – their last no. 1 hit in 1976, “Can’t Take My Eyes Off of You,” and “Who Loves You,” a rousing finale that had the crowd on its feet – and singing and clapping along to the forever hummable “December 1963” encore/curtain call.
The iconic “Can’t Take My Eyes Off of You,” released in April 1976, has a fascinating backstory that gets its deserving Muny moment. After being turned down, the embattled song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, making it Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You.” Solid gold first time out of the gate as a solo artist.
With an extended ovation and loud cheers for Laucerica’s virtuoso rendition, that reaction indicated it was an audience favorite. And the staging, with its silhouetted horn section, was a nifty touch.
Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel
In fine support are Shea Coffman as record producer and lyricist Bob Crewe (but saddled with an ill-fitting wig), John Leone – who was in the original Broadway cast — as business leader, family man and fixer Gyp de Carlo, Mike Cefalo as Joe Pesci (yes, that Joe Pesci), and Tristen Buettel as Frankie’s first wife, Mary Delgado.
Of course, the ensemble seamlessly plays multiple roles. D’Marreon Alexander, Matt Faucher, Stephanie Gomerez, Reina Guerra, Jimin Moon, Ben Nordstrom, Matt Rivera, and Fernando Trinidad III complete the ensemble, with Kaley Bender and Noah Van Ess as swings.
Currently, the 13th longest-running show on Broadway with 4,642 performances, “Jersey Boys” ran for 11 years from Nov. 6, 2005, to Jan. 15, 2017. In 2006, it won four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design.
As the first theater to present it after the Broadway run, residence companies and national tours, The Muny featured it as a world regional premiere during the 100th year centennial season in 2018, and the joint was jumping.
While this production could have been tighter and crisper (under-rehearsed, affected by oppressive heat, perhaps?), overall, it is a rollicking, entertaining evening.
Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
This quintessential American Dream tale hasn’t lost its luster. Come for the classic hits, enjoy the laughter, delivered vigorously. Humor abounds, so do emotional tugs through their relatable journey navigating the pitfalls of fame and money.
Leaving with enough good vibes to remain uplifted, I haven’t been able to get the songs out of my head since I exited the outdoor Muny stage Tuesday for the final show of the redefining and memorable 107th season.
How lucky we are to be alive right now, connecting with each other through the time-honored tradition of sitting under the stars and seeing Broadway-quality shows Muny-style. Onward and upward for next summer!
The Muny presents “Jersey Boys” from Aug. 18 through 24 at the outdoor stage in Forest Park. It is 2 hours, 20 minutes and has an intermission. This has adult content. For tickets, go to: www.Muny.org or call the box office at 314-361-1900, located at 1 Theatre Drive in Forest Park, or MetroTix at 314-534-8111.
From left: Andrew Poston, Ryan Vasquez, Cory Jeacoma and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
The 108th Season
The Muny will announce the seven shows in its 2026 season on Dec. 1, which happens to be Cyber Monday. The invitation-only live event will be livestreamed for virtual participation. Time will be announced later.
For the first time, subscribers can renew current tickets or secure new season tickets when they unveil the season 108 lineup.
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From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica with the company of the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily SantelFrom left: John Leone, Shea Coffman, Drew Battles, Michael James Reed and Jerry Vogel in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
After two sold-out shows at New York’s Carnegie Hall in February 2025, LA LA LAND in Concert is coming to The Fabulous Fox in St. Louis on Saturday, November 1 at 8:00 p.m. Audiences revisit the multiple Academy Award®-winning 2016 Lionsgate film LA LA LAND, written and directed by Damien Chazelle, with this swoon-worthy live-to-film concert experience. The show features a full orchestra and jazz band performing the famous soundtrack live in synchronization while the film is being shown on a big screen.
LA LA LAND showcases the captivating story of a promising pianist and aspiring actress who cross paths and fall in love, while attempting to harmonize their career journeys in the city of stars. Tickets are $59, $69, $79, $89, $99, $109, $129 (plus applicable fees) and available at www.fabulousfox.com starting on Friday, August 22 at 10:00 a.m.
LA LA LAND was composed by Justin Hurwitz who graduated from Harvard University where he studied music composition and orchestration. He has composed the music for all of Damien Chazelle’s films including WHIPLASH, LA LA LAND, FIRST MAN, and BABYLON, earning two Academy Awards®, four Golden Globes®, three Critics’ Choice Awards®, two GRAMMY Awards®, and a BAFTA®.
Oscar winner Emma Stone and Oscar nominee Ryan Gosling in “La La Land.”
About Metropolitan Entertainment:
Metropolitan Entertainment is a preeminent producer of world class live entertainment. One of the most respected independent concert promoters in the U.S., Metropolitan Entertainment has been presenting a wide range of concerts and events across New York, New Jersey and beyond since 1971. For more information, please visit metropolitanpresents.com or follow Metropolitan Entertainment on Instagram @metropolitanentertainment.
About Hurwitz Concerts:
Hurwitz Concerts was founded in 2022 to produce live concerts of Justin Hurwitz’s film scores, including worldwide performances of LA LA LAND IN CONCERT, WHIPLASH IN CONCERT, and other festival appearances.
For more information, please visit www.hurwitzconcerts.com or follow Hurwitz Concerts on Instagram @lalalandinconcert and @hurwitzconcerts.
About Lionsgate Studios:
Lionsgate Studios (Nasdaq: LION) is one of the world’s leading standalone, pure play, publicly traded content companies. It brings together diversified motion picture and television production and distribution businesses, a world-class portfolio of valuable brands and franchises, a talent management and production powerhouse and a more than 20,000-title film and television library, all driven by Lionsgate Studios’ bold and entrepreneurial culture. For more information, please visit https://www.lionsgate.com/ or follow on Instagram @lionsgate.
Jazz musician and aspiring actress -,gone is the romance that was so divine. “La La Land.”
Cover Photo: “Another Day in the Sun.” Photo by Dale Robinette.
A refreshing breeze is blowing through the cozy confines of the Tower Grove Abbey in Stray Dog Theatre’s ambitious youth opera, “The Second Hurricane,” and it’s a breath of fresh air.
An earnest, well-rehearsed ensemble – 12 youth choir members and 11 adult choir members accompanied by a 12-piece orchestra, are unified in song and spirit in this rarely performed piece by Aaron Copland, flawless in their harmonies and heartfelt interpretation.
The remarkable young performers are as poised and polished as the adults are, and the entire effort is impressive. Director Gary F. Bell and Music Director John Gerdes strived for the highest level of excellence of all involved, and their dedication shows.
Copland is known as the Dean of American Music for his distinct musical identity that evokes the American landscape and spirit. One of the most influential composers of the 20th century, he wrote this opera, his first, in 1937, specifically for schoolchildren.
During a career that spanned 60 years, Copland incorporated jazz, folk and classical music in his traditional themes, shaping an American voice, and connecting deeply with audiences.
The dynamic dozen – the mighty musicians of “The Second Hurricane.” Photo by Stray Dog Theatre.
Perhaps you’ve heard “Fanfare for the Common Man,” a 1942 orchestral piece commissioned as a tribute to World War II soldiers; “Rodeo,” a 1942 ballet choreographed by Agnes de Mille honoring the American West that includes the very recognizable “Hoe-Down” (Remember the “Beef. It’s What’s for Dinner” ad campaign?); and his symbolic 1944 ballet “Appalachian Spring” that features the iconic “Simple Gifts” melody. He won an Oscar for the film score to “The Heiress,” among other accolades.
Bell, a longtime fan, was part of the opera’s revival in 1985 for the composer’s 85th birthday celebration. Then a 21-year-old artist living in New York City, Bell was honored to be cast in the production at the Henry Street Settlement, its original site, and met Copland, who died five years later.
His impact on Bell was significant, and the SDT artistic director said this opera is very personal to him.
Inspiring this ensemble to achieve their full potential was important, and Gerdes, a respected local musician and educator, also attained new artistic heights with the choirs and conducting the superb orchestra. They both carried this off with precision and perseverance.
The entire creative cast and crew executed Stray Dog’s first opera splendidly with an appreciation of the material, and emotional storytelling that resonates. An unmistakable feeling of community and its American essence is apparent.
The libretto by poet Edwin Denby was written specifically for young people and set during the Great Depression. It’s succinct and matter of fact, without frills or flourishes.
The accomplished adult choir. Photo by Stray Dog Theatre.
The program notes describe the time and place as: “A small Middle West town following a devastating hurricane in the 1930s. We start in a local high school and move to a rise in ground in a waste country near a great river.”
Inspired by a true story, a group of enthusiastic high school students volunteered to help with delivering supplies to victims of a recent hurricane. Little do they realize the dangers involved, for they are in harm’s way as the weather forecast predicts the possibility of a second hurricane.
With their different personalities and social hierarchy, the students tussle with each other, not agreeing much on duties and strategies. But faced with another natural disaster, frightened and with little resources as they’re stranded on a remote island, they learn to work together, cooperating and demonstrating courage and tolerance.
It’s a terrific lesson on teamwork. The six students on the rescue mission include Nadja Kapetanovich as top of the class Queenie, Bryn Sentnor as determined Gwen, Jabari Boykin as brainy Lowrie, Soren Carroll as new kid Butch, Wesley Balsamo as bully Fat, and Ben Hammock as Gyp, Fat’s younger brother. Cece Mohr plays Jeff, a country boy they discover living in a rural area.
Nadja Kapetanovich performs “Queenie’s Song.” Photo by Stray Dog Theatre.
They are bolstered by new friendships and a sense of belonging, and there’s tangible relief and gratitude from the parents.
The other expressive, self-assured students that shine in the chorus include Eliana Bryson, Margot Carroll, Abby Donald, Sydney Fendler, Sierra Hale and Ava Hettenhausen.
Demonstrating substantial technical skill, the adult choir includes Madeline Black, Leah Bryson, Jacob Cowley, Gansner, Rebecca Hatlelid, Lizzie Klemm, Brittany Kohl, Jess McCawley, Chris Moore, Jan Niehoff and Terrell Thompson. Kohl acts as the school principal and Niehoff as an aviator, Miss Maclenahan (she’s nearly unrecognizable, swallowed up in a cumbersome coat and hat).
From a first-row perch, Gerdes guides the 12 accomplished musicians to create a stirring sound and passionately interpret Copland’s music.
Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, and Ben Hammock. Photo by Stray Dog Theatre.
The cohesive musicians, behind the singers on stage, are– Helen Bednara, bassoon; Mo Carr, violin 2; Andrea Clark, flute; Jill Hamill, viola; Bill Howells, trombone; Michaela Kuba, double bass; Emily Mehigh, clarinet; Paul Rueschhoff, cello; G Schmiedeke, violin 1; Brandon Lee Thompson, oboe; Deborah Thuet, percussion; and Chris Dressler and Larry Levin each play trumpet at select performances.
Costume designer Colleen Michelson collected numerous print dresses for the period looks, and some of the boys wear overalls to reflect their rural life. Sarah Gene Dowling designed wigs for several singers. Tyler Duenow designed the lighting and Justin Been again created impeccable sound, simulating weather and making the music fill the theater.
Ava Hettenhausen, Sierra Hale, and Sydney Fendler
The two-act musical is only an hour, and the numbers are mostly presented as choral pieces, but four youngsters deliver moving and memorable solos.
Displaying clear, crisp and confident tones, Wesley Balsamo, Ben Hammock, Nadja Kapetanovich and Cece Mohr are affecting in their songs, simply titled with their characters’ names. Their stage presence is notable, too.
“The Second Hurricane” appears to be a rewarding collaborative experience, where everyone seemed to bring out the best in each other.
Stray Dog Theatre presents the Aaron Copland opera “The Second Hurricane” Aug. 7 – 30, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on Aug. 10, Aug. 17 and Aug. 24 at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or for tickets, visit the website, www.straydogtheatre.org.
Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. The opera is 1 hour long, with an intermission.
