Popster Picks for Thursday, Oct. 6

Popster Picks for Thursday, Oct. 6

And Some Weekend Happenings, Too

By Lynn Venhaus

Video: “Night of the Living Dead”

Criterion Collection

It’s that time of year for spooky movies, and “Night of the Living Dead,” shot outside Pittsburgh on a shoestring budget and released in 1968, has now been released through the Criterion Collection. There’s a 4K USD disc of the film and two Blu-rays with the film and special features.

The film’s zombie plot and the guerilla filmmaking are part of film lore. Now a horror master, George A. Romero directed and co-wrote with John A. Russo this landmark indie, at first relegated to midnight movie bookings but became a box office hit and is considered one of the most influential films of all-time.

The story is a simple one about a group of strangers trapped in a farmhouse find themselves battling recently dead flesh-eaters. Romero’s claustrophobic vision of a late 1960s America, along with his social commentary, changed the horror genre. He also broke ground casting black actor Duane Jones in the leading role.

For more info on all the extras, read: https://onvideo.org/criterion-collection-october-releases-3/

To read insights from Film School Rejects, visit this site: https://filmschoolrejects.com/26-things-we-learned-from-the-night-of-the-living-dead-commentary-1f0ef17cda1e/

Wilco


Music: Wilco “Yankee Hotel Foxtrot”

To celebrate its 20th anniversary, Wilco has reissued its masterpiece “Yankee Hotel Foxtrot”

Here’s the versions: https://wilco-reissue-store.com/

Now considered a “Chicago group,” we all know they started here in St. Louis, and Jeff Tweedy grew up in Belleville.

For more on Yankee Hotel Foxtrot, check this out: https://www.thisisdig.com/jeff-tweedy-on-wilcos-yankee-hotel-foxtrot-reissue/

Food: Four Fall Inspired Flavors at Clementine’s Creamery

Mexican Hot Chocolate has rich dark chocolate, cinnamon, smoky heat from chipotle, and a touch of Tuaca. In the Naughty section.

Orange Ghoulius is a creamsicle-like ice cream made with orange juice and cream and laden with house-made colorful Halloween pretzel crisps.

Pumpkin Toffee Cake consists of natural pumpkin ice cream with warm notes of cinnamon, clove, nutmeg and sprinkled with bits of toffee for added crunch and sweetness.

Vegan Boo-Berries is bursting with blueberries! It is a creation with bubbling baked blueberries and sprinkled with a crispy gluten-free crumble of rolled oats.

As participants in the National Domestic Violence Awareness Month giveback organized by STL Wine Girl, 15% of all pint sales of Vegan Boo-Berries will be donated to @thewomenssafehousestl through the month of October.

For more information, visit www.clementinescreamery.com

Theatre: Something’s Rotten

Must-see at New Line Theatre, Thursdays through Saturdays now through Oct. 15 at The Marcelle. Really fun show! Regional professional premiere. Here is my review:

https://www.poplifestl.com/new-line-theatres-crisp-something-rotten-is-fresh-fun-and-frisky/

New Line’s “Something Rotten!” Photo by Jill Ritter Lindberg.

Today’s Trailer: Action-Romantic Comedy “Shotgun Wedding”

Jennifer Lopez and Josh Duhamel star as an engaged couple at a destination wedding, and the guests are taken hostage by criminals. This rom-com comes out on Prime Video on Jan. 27, 2023. Amazon dropped the trailer yesterday.


Playlist: “Faith” George Michael

On this date in 1987, George Michael released the single, “Faith,” which went on to become the Billboard Song of the Year in 1988. It was from his debut solo album of the same name, released on Oct. 30, 1987, which is one of the best-selling albums of all time having sold over 25 million copies worldwide. The album won several awards, including Album of the Year, at the 31st Grammy Awards.

Cardinal Nation: Wild Card Games this weekend

Tickets are on sale for the Wild Card games, which are set for Friday afternoon and Saturday night at Busch Stadium, and if needed, Sunday night.

Friday’s game against the Philadelphia Phillies will be on ABC at 1:07 p.m. and Saturday’s game is set for 7:37 on ESPN2.

Weekend Happenings:

Belleville Chili Cook-off Friday and Saturday
Main Street, downtown square

For more than 39 years, the Greater Belleville Chamber of Commerce has hosted the Annual Chili Cook-off and has grown to over 50 vendors – individuals, local organizations, and area businesses.

Haunted Garage Horror Festival Oct. 7-9, Westport Playhouse

Last year’s Best of Fest, “Fresh Hell,” will screen on Friday evening. Who will take home this year’s Golden Piston Awards?

For a complete line-up of the fun and fright that awaits this weekend on the 40-foot screen at the renovated Westport Playhouse, read on:

https://www.hauntedgaragehorrorfest.com/

To hear more from fest founder Franki Cambeletta, listen to the PopLifeSTL.com Presents Podcast with co-hosts Lynn Venhaus and Carl “The Intern” Middleman:

Word: She’s got Bette Davis Eyes

“Without wonder and insight, acting is just a trade. With it, it becomes creation.” – Bette Davis

One of the legendary Hollywood stars of the golden era, Bette Davis died on Oct. 6, 1989, at age 81. She made over 100 movies during her 60-year career, won two Academy Awards and the AFI Lifetime Achievement Award in 1977. Ruth Elizabeth Davis was born in Lowell, Mass., on April 5, 1908

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Symphony Presents Pleasing Western-Eastern Fusion Featuring Mahler’s ‘Das Lied von der Erde’

Symphony Presents Pleasing Western-Eastern Fusion Featuring Mahler’s ‘Das Lied von der Erde’

By CB Adams

Upon first reviewing the selections for the St. Louis Symphony Orchestra’s second performance of the 2022-23 season, it might have seemed like a concert designed by Debbie Downer.

Two of the pieces, Tōru Takemitsu’s “Night Signal” and Qigang Chen’s “L’Éloignement” (The Distancing), are neither well-known nor necessarily upbeat sounding based on their titles. And the better known Mahler work, “Das Lied von der Erde” (“The Song of the Earth”), is an hour-long cycle of six song movements that explore themes and variations on the shuffling off of this mortal coil, i.e., life and death.

But not all first thoughts are best thoughts.

Stéphane Denève, Music Director, and Erik Finley, development partner and the SLSO’s Vice President and General Manager, chose a more sophisticated and ultimately uplifting curation of pieces chosen to be experienced in person in a concert hall. This concert was designed to be both self-contained and part of the overall arc of the entire season – to experience through music the interconnectedness of the world.

To use a twenty-five-cent word: it was polyphony. To quote the Sherman Brothers’ Disneyland boat ride ditty, “It’s a small world after all.” Either way, Denève and SLSO delivered an exquisite performance from first note to last.

The performance began with the brass section standing in a line behind the strings. This arrangement provided a potent visual clue that Takemitsu’s “Night Signal” was about to emit something out of the ordinary. According to The Guardian, “Takemitsu’s understated and crystalline compositions combine elements of his own Japanese traditions with the western modernism he loved so much.” That modernism included American jazz, elements of which are woven into “Night Signal” like “tsuzure-nishiki,” the Japanese term for polychrome tapestry.

“Night Signal” was unusual in another way. At the three-minute mark, a time when listeners are just getting settled into a piece, it was over. It was brief only in duration. It made a complete, minimalist statement unto itself while serving as a fanfare for the pieces that followed. Roger Kaza, principal horn, and the entire horn section rendered the score with a nimbleness and restraint.

The orchestra then settled into place for Qigang Chen’s “L’Éloignement.”  Chen is a Chinese-born French composer whose credits include symphonies, chamber pieces, film scores and songs, including “You and Me,” the theme song for the opening ceremony of the Beijing Olympics (he also served as music director). Moving from “Night Signal” to the string-only “L’Éloignement” was a logically smooth transition into the latter’s bustling, cinematic phrases woven with a touching Chinese folk love song.

“Night Signal” and “L’Éloignement” were clearly selected and sequenced because they share a delicate aesthetic melding for western and eastern influences. These influences were pleasing and expanding in the effects. The pieces were expert choices to demonstrate polyphony at its most subtle and worldliness. And Danny Lee, principal cellist, and Beth Guterman, principal violist, proved in their performances why they deserved to sit at the head of their sections. 

Many who attended the Sept. 22 or 23 performances probably came for “Das Lied von der Erde,” described by Leonard Bernstein as Mahler’s “greatest symphony.” Such a listy designation may be debatable, but “The Song of the Earth” is almost universally considered Mahler’s most autobiographical work.

It’s a symphonic cycle of six songs for alto and tenor voices and orchestra. Kelley O’Connor, mezzo-soprano, and Clay Hilley (making his SLSO debut), tenor, were the soloists for these performances.

So, what’s this piece got to do with the intermingling of western and eastern musical influences? The answer is not really sonically. It’s somewhat part academic and definitely part Six Degrees of Kevin Bacon. The source material is a bit removed as it was inspired by an anthology of Chinese poems translated into German. This text was further translated into English and projected during the performance. The result was often more Germanic sturm und drang (and drinking), especially during Hilley’s songs.

“’Das Lied von der Erde’” is about loss, grief, memory, disintegration, and, ultimately, transfiguration,” according to Robert Greenberg, a noted historian, composer, pianist and author. And it’s those themes that make a compelling case for including it with the preceding compositions rather than Mahler’s masterful use of eastern pentatonic scales.

Mahler’s “song symphony” is essentially a two-part symphony with six songs that explore the phases of life (songs 1-5) and the transition to death (song 6). O’Connor and Hilley were splendid and powerful in distinctively different ways. They were definitely a study in contrast, with Hilley storming through his songs with operatic passion while O’Connor presented her lyrics with refined, gossamer restraint. This binary approach aligned with – mirrored – the song symphony’s themes of life and death, light and dark, conflict and acceptance.

And it’s that last word – acceptance – that ended the performance so satisfyingly. As O’Connor sang “Der Abschield” (“The Farewell”), her voice led toward the ending that Mahler intended: acceptance of death as well as acceptance of the pairing of these compositions into a cohesive experience.

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Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

By CB Adams

Every so often, The Muny and the St. Louis Symphony come together like Peaches & Herb: “Reunited, and it feels so good…”

These two cultural cousins know how to celebrate. That was definitely the vibe at Power Hall on October 2 when these two local cultural titans combined talents for “A Little Sondheim Music,” a concert to celebrate composer-lyricist Stephen Sondheim, a titan of different sort. The last time the Symphony and Muny combined forces was to celebrate the The Muny’s 100th birthday.

With Mike Isaacson, the Muny’s Artistic Director and Executive Producer, at the helm as host and master of ceremony, the lively event perked along through a well-curated roster of songs from Sondheim’s career. This was no jukebox jaunt through Sondheim’s songbook. It was a journey into Sondheim’s impressive range of songs and characters, some of which aren’t among his greatest hits.

So, along with the familiar titles from “Follies,” “A Little Night Music,” “Company” and “Sweeney Todd,” the audience was also to treated to selections from the lesser-known “Saturday Night,” “Evening Primrose” and “Anyone Can Whistle.” Another entire concert or two could be created from Sondheim’s deep cuts from other shows. To borrow a line from “Send In the Clowns, “…well, maybe next year.” (hint, hint).

In his opening, Isaacson quoted the three guiding principles that Sondheim hewed to during his career: content dictates form, less is more and God is in the details. To which Sondheim also added, “All in service of Clarity, without which nothing else matters.”

Bryonha Marie in rehearsal. Julie Merkel photo.

Clarity ruled the afternoon performance and elevated the achievements of Sondheim rather than mourn his passing last November at age 91. Lending their vocal talents to the celebration were some of Broadway’s brightest babies:  Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner and Elizabeth Stanley. Their talents were on full display, whether performing individually, in duets or as an ensemble. And it would be unfair if not impossible to cite any one performance as a standout because they were all standouts.

Ask 10 audience members what their favorite was, and you’d probably get 10 different answers. My own personal favorite was Skinner’s interpretation of “Send In the Clowns.” Her use of pauses and emphasis provided new insight into the lyrics’ meanings and to the rueful ruminations of the character Desirée in “A Little Night Music.”  I’m just a sucker for that song.

Clarity was certainly one of the concert’s throughlines. Songs such as ”If You Can Find Me, I’m Here,” sung by Scott, and “Broadway Baby,” sung by Marie, exemplify Sondheim’s ability to pack an entire show’s worth of characterization into a single lyric. And Scott interpreted his song by channeling an inner Dustin Hoffman, ala “The Graduate,” and Marie delivered sass, sashay and plenty of boop-oop-a-doop to hers.  

Each Sondheim song is its own mini-musical. All of the performers tapped into this with brio and moxie, moving across the narrow strip of stag and conjuring the spirit of the actual musicals. Even if you didn’t know the show, you understood it from the song itself. That’s part Sondheim genius, part musical magic and part high-caliber performance from the artists.

Rehearsal photo of the two Bens – Davis and Whiteley. Photo by Julie Merkel.

Cases in point: Davis, fresh off this last summer’s successful Muny production of “Sweeney Todd,” reprised his take on the chilling “My Friends” by pivoting from fetishistic heavy petting of cutlery to the abrupt declaration, “At last, my arm is complete again!” Dexter should be so lucky.

And Stanley provided a disarmingly plaintive interpretation of “In Buddy’s Eyes” from “Follies” that reworked the breathless suffering usually associated with this song – written for an older character – into an ironic conscience examination of someone younger.

Also providing clarity to the concert was the St. Louis Symphony Orchestra, under the direction of Maestro Ben Whiteley, who has long been a member of the Muny artistic family. Host Isaacson thanked Whiteley “…who really created this program, bringing his incredible knowledge and passion to the creation of this program.”

The orchestra launched the performance with the opening overture to “Merrily We Roll Along” and was featured post-intermission with the overture to “A Funny Thing Happened on the Way to the Forum,” as well as a smooth and graceful “Night Waltz” from “A Little Night Music” in the second half. These were a potent reminder of the beauty of Sondheim’s compositions and how much a fine performance of them deepens their impact.

Also in the second half was a special appearance by St. Louis native Ken Page who sang “Anyone Can Whistle” with a sage-like preciousness that did the Old Deuteronomy cat proud.

As the concert drew to a close, Isaacson quoted Sondheim who answered an interviewer’s question about what he hoped his legacy would be. “Oh, I just would like the shows to keep getting done. Whether on Broadway, or in regional theaters, or schools or communities, I would just like the stuff to be done. Just done and done and done and done and done.”

With a concert like “A Little Sondheim Music,” The Muny and the Symphony have ensured that at least one of those done’s was accomplished – and done to perfection. It doesn’t get much clearer than that.

Featured Photo: Ben Whiteley, Michael Baxter, Nicolas Valdez, Bryonha Marie, Ben Davis, Matthew Scott, Emily Skinner.. Photo by Julie Merkel.

Matthew Scott in rehearsal. Photo by Julie Merkel.
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Popster Picks for Monday, Oct. 3

Popster Picks for Monday, Oct. 3

By Lynn Venhaus

Movies: It’s #MeanGirlsDay

This is so fetch!

In the 2004 movie, Cady Heron started talking to Aaron in math class when he asked her what day it was. And just like all classic date lines in movies or music, we now celebrate the pop culture phenom “Mean Girls” on Oct. 3. Just look at your social media today.

Ways to Celebrate:

  1. Wear Pink
  2. Or wear something vintage
  3. Watch the movie on Netflix

If you do not have the streaming service, you can rent the endlessly quoteable movie Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, Redbox, AMC on Demand, Apple iTunes, DIRECTV, Alamo on Demand online.

For more:
https://www.newsweek.com/mean-girls-october-3rd-celebrations-mean-girls-day-1634615

Streaming: “Schitt’s Creek”

All six seasons of the hit sitcom “Schitt’s Creek” are now available on Hulu.

Down on their luck, the once-wealthy Rose family has moved back to a small town that Johnny (Eugene Levy) once bought as a joke. Levy’s son Daniel plays son David, his fellow Second City trouper Catherine O’Hara plays his wife Moira, and Annie Murphy plays daughter Alexis. The Roses deal with the culture shock in humorous ways. One of the wacky characters is the town mayor played by Chris Elliott. Schitt’s Creek won nine Emmy Awards 2015-2021.

TV: “The House That Norm Built,” PBS, 9 p.m. CST (Ch. 9)

Master Carpenter Norm Abram is retiring from PBS’s “This Old House” after 43 years. He started on Episode 2 in 1979, and this hour retrospective features classic archival footage and tributes from celebrities and colleagues.

On This Day in TV: 1960

If you can whistle, all together now – the theme of “The Andy Griffith Show,” which premiered on this day in 1960. For Sheriff Andy Taylor and the denizens of Mayberry entertained us on CBS until 1968.

The series won 7 Emmys, including four for Don Knotts as supporting actor. His portrayal of deputy Barney Fife won in 1962-63 and 66-67.

Quote: ‘If there’s anything that upsets me, it’s having people say I am sensitive.” – Barney Fife.

New Trailer: “Wakanda Forever”

Out Nov. 11: https://youtu.be/_Z3QKkl1WyM

Food: Steve’s Hot Dogs + Eckert’s

Back by Popular Demand is the Eckert’s Caramel Apple Campfire at Steve’s Hot Dogs – available only Oct. 3-9 only. The sleeper hit has the flavors of fall a smoked & grilled all-beef dog topped with spiced cinnamon apples, sweet ricotta cream, and a decadent caramel sauce. Comes with an optional Cinnamon Toast Crunch crumble.

Steve’s Hot Dogs is open daily from 11 a.m. to 10 p.m. at 3145 S Grand Blvd, St. Louis.

Playlist: Tom Petty

On this day in 2017, Tom Petty died at age 66

He went into cardiac arrest at his Malibu home and was taken to UCLA medical center, but cannot be revived. Later that night, after his friends and family gather, he is taken off life support.

Just a week earlier, Tom Petty & the Heartbreakers wrapped up their 40th Anniversary tour, a successful 53-date trek that found the band in top form and Petty in good spirits. In January 2018, when the medical examiner’s report is complete, Petty’s family issues a statement explaining that he was in inconsiderable pain throughout the tour, with knee problems and a fractured hip. His death was the result of an accidental overdose of prescription medications – the same thing that killed Prince in 2016.

Listen to some “Free Falling.”

https://youtu.be/1lWJXDG2i0A

ICYMI: Cardinal Nation

Waino, Yadi, Pujols leave the field together on Sunday.

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Steve Ewing’s STLOriginals Music Festival to Highlight Homegrown Bands, Raise Funds to Fight Hunger

Steve Ewing’s STLOriginals Music Festival to Highlight Homegrown Bands, Raise Funds to Fight Hunger

Steve Ewing’s STLOriginals Festival will be held on Sunday, Oct. 2, in Ritz Park on South Grand – the pocket park that attaches to the patio of Steve’s Hot Dogs. 

This will be the first year for the festival and our goal is to really celebrate St. Louis’s homegrown creators – while leaving a positive mark on the community at the end of the day. The performers are hand-picked by Steve – as he works to foster up-and-coming St. Louis music talent

Danni Eickenhorst, co-owner of Steve’s Hot Dogs, “Some of our customers that frequent Steve’s Hot Dogs don’t always make the connection that Hot Dog Steve is also accomplished Musician Steve Ewing. It’s always fun to see their faces once they figure it out,” she said.

Founder and fearless leader Steve Ewing has seen the world touring as the frontman with bands like The Urge, Master Blaster and the Steve Ewing band. He has shared the bill with musical heavyweights such as 311, Korn, and Incubus, releasing 3 major records with Epic Records and Virgin records, charting in Billboard’s top 100 and hitting alternative radio’s Top 10. Ewing did all of this while calling St. Louis his home base. Now Steve is working on his next phase – nurturing new homegrown talent and finding new ways to give back to the community that has given him so much.

We will have live art creation, locally grown musical talent including Boomtown United, Orangetree, Midwest Avengers and more. We will highlight emerging talent as well with performances by Mary Clare Dunphy, Kathleen Teeter and the young talent at School of Rock, Eickenhorst said.

The one-day festival will also raise funds to support Steve’s Hot Dogs Feed the People program – which provides about $10,000 in meals for the hungry and first responders in the St. Louis community.

About 85% of the meals we give away are distributed to partners who address food insecurity in our community – including St. Patrick’s Center, and the Waymakers Chapel for the Exceptional. The remainder are given to first responders in our community as our way of thanking them for all they do in our times of need. 

The program is funded by customers of Steve’s Hot Dogs who purchase meals from the restaurant. The meals are then allocated in a fund and distributed through community partnerships. Our hope is to say “Yes” whenever we’re asked to give. We are on pace to give away about 1,000 meals this year – including 150 to first responders by the end of October, but donations are running low, so the STLOriginals concert and its fundraising are coming at an ideal time.

Those who attend the concert will be able to donate to Feed the People by buying a meal on the spot, signing up for recurring meal donations, by participating in a raffle for donated prizes, buying t-shirts or grabbing a meal at Steve’s Hot Dogs – which will allocate 15% of all sales during the event to the help replenish the fund. Those that can’t attend in person are invited to donate a one-time meal purchase or to set up a recurring purchase of meals each month online.

The event is free to the public thanks to sponsorship from local partners including Sysco, 4 Hands Brewing, Country Financial, Toast, and more. There is built-in seating in Ritz Park, but guests are encouraged to bring lawn chairs in the event that none is open. Free parking is available behind Commerce Bank along Hartford at South Grand. More information is available at https://www.steveshotdogsstl.com/stloriginals. 

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‘The Greatest Beer Run Ever’ Falls Flat as Vietnam War Dramedy

‘The Greatest Beer Run Ever’ Falls Flat as Vietnam War Dramedy

By Lynn Venhaus
Dumbfounded, I can’t recall a recent movie that is as tone-deaf as “The Greatest Beer Run Ever.”

In 1967, John “Chickie” Donohue decides to track down his friends fighting in Vietnam and honor them with a Pabst Blue Ribbon for their service. When the pro-war Merchant Marine is confronted with the horrors of the conflict, he sees that the ‘real’ chaos is different than the ‘public relations’ portrait the powers-at-be are giving to the American people.

Director Peter Farrelly has followed up his Oscar-winning crowd-pleaser “Green Book” with another true story, although this one is harder to make palatable. Somehow, pairing a harrowing war drama with comedic elements doesn’t work, getting more head-scratching as it unfolds in 2 hours, 6 minutes.

This isn’t “M*A*S*H,” not even close. It is also a war depiction that we have seen multiple times, and with a much better story, although I don’t think I’ve ever seen such a dunderheaded protagonist.

Merchant Marine and world-class slacker John “Chickie” Donohue lives in Inwood, a working-class enclave in northern Manhattan. Without thinking, he agrees to a scheme suggested by bar owner “The Colonel,” a World War II veteran played by Bill Murray.

The bar crowd at Doc Fiddler’s Tavern is pro-war, this being early in the escalation, and everyone’s dad or grandad fought in World War II, aka “The Good War.”

So, when The Colonel says he’d like to send the guys serving in ‘Nam a beer to thank them for their service, Chickie volunteers: “I could do that.”

Well, nobody thinks he can, so he doubles-down. Zac Efron’s grown on me as an actor, but he can’t make such an idiot, with far too much hubris, that likeable. He thinks he will just hitch-hike through enemy territory handing out beers on the front lines.

And when did New York accents sound like Boston Southees?

His duffle bag of beer seems to have an unlimited supply of warm, maybe stale, Pabst Blue Ribbon. As Russell Crowe, playing a war correspondent for Look magazine says: “They have beer here,” Chickie retorts “but not American beer!”

(My Uncle Eddie, a career Air Force officer, was at Tuy Hoa Air Base for a year in 1968, and I know they had beer. He wrote letters home talking about the guys unwinding.)

The soldiers from back home don’t exactly know what to think about this gesture. Some are glad to see him, some think its foolhardy to risk life and limb this way.

Because people think no one would be a tourist in a war zone, guys believe he is a CIA operative, so he gets around using military and media guides to help him.

Along the way, he sees intense action. The tail-end of his visit actually coincides with the Tet Offensive. (Another aside – I had a cousin in the Marines who was killed right before Christmas in 1967. I’m sure he would not have appreciated some lunkhead roaming around where he shouldn’t have been. This movie is rather offensive, I would think, to those who served honorably.)

Chicken comes home a changed man because he learns “war is hell.” He’s seen the guys who love the smell of napalm in the morning. Once a hawk, he starts to understand the anti-war sentiment 

Russell Crowe, Zac Efron

So, that’s the takeaway. He has an epiphany that LBJ, General Westmoreland and others in the government are lying about how well the war is going, which the media keeps pointing out to Chickie over bars in Saigon.

Does he deserve a round of applause, a medal? He not only put himself in harm’s way but endangered his buddies too.

He does tell the barflies that the chaos is not like the previous world war, and they should be more skeptical of what the U.S. brass is telling citizens.

At the end, he doesn’t become a peacenik like his sister Christine (Ruby Ashbourne Serkis), who is seen chanting “Hey, hey LBJ, how many kids did you kill today?” earlier, but they come to an understanding.

Chickie’s harsh lesson is a good thing, and he’s endured the loss of several friends, which does tug at your heart strings — especially the flashbacks in which Will Hockmann plays Tommy, questioning if he did the right thing by signing up. He’s one missing in action early on, and it’s sad. 

The other soldiers – just kids – making an impression are Jack Picking as Rick Duggan and Archie Renaux as Tom Collins.

Crowe lends gravitas as the jaded journalist, but he’s been given the “important” task of being the voice of reason – and he’s not in the film that much (neither is Murray).

Farrelly, in an attempt to have lightning strike twice, debuted this at the Toronto International Film Festival, hoping to be in contention for the Audience Award, just like “Green Book” did. Well, it didn’t win – Spielberg’s semi-autobiographical film “The Fablemans” did. 

The only awards I think this film might be considered for would be The Razzies, which honors the “worst.”

Farrelly’s used to success with low-brow humor, such as “Dumb and Dumber” and “There’s Something About Mary,” but in recent years, he’s moved into more ‘prestige’ picks that seem pretentious.

He stages some harrowing action scenes and shows how a jungle climate threw wrenches into things, as in long slithering insects. 

Cinematographer Sean Porter’s work captures the madness that was an Asian country where you couldn’t tell the enemy from the supporters, and the dangers therein.

Just because this is based on a true story doesn’t mean it’s a sympathetic one to tell. There are so many WTH moments that it becomes painful to slog through. For instance, Chickie is riding in a helicopter. Another man is interrogating a Viet Cong operative. He tosses him out the chopper while The Association’s song “Cherish” plays.

Oh, the irony.

Farrelly co-wrote the script with Brian Hayes Currie and Pete Jones, based on the book by Chickie and J.T. Molloy. Did they not see that Chickie should have ‘read the room’ — or themselves?

The soundtrack is chock-full of groovin’ 60s hits, which is a plus when it’s used in context. But not suitable for a montage of dead soldiers in flag-draped coffins. Not sure it all fits or syncs well to the story, but sometimes it’s on the nose, punctuating a bizarre tale.

This buddy movie is a dud, and can’t quite blend the somber with the silly in an effective way.

“The Greatest Beer Run Ever” is a 2022 war drama-comedy directed by Peter Farrelly and starring Zac Efron, Russell Crowe, Bill Murray, Jack Picking and Will Hockmann. Rated R for language and some war violence. It is in theaters Sept. 30 and streaming on Apple TV+. Lynn’s Grade: C-

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Hawthorne Players Present ‘Voices at Bellefontaine’ in Cemetery on Oct. 1-2

Hawthorne Players Present ‘Voices at Bellefontaine’ in Cemetery on Oct. 1-2

Hawthorne’s acclaimed “theatre in a cemetery” plays are back, now at Bellefontaine Cemetery and Arboretum, 4947 W Florissant Ave, St. Louis, MO 63115.

Voices at Bellefontaine will be presented during the day on Saturday and Sunday, October 1 and 2 at  Bellefontaine Cemetery and Arboretum, 4947 W Florissant Ave, St. Louis, MO 63115.

The presentations will be researched, written, and directed by Larry Marsh, who is thrilled to have new stories to tell in a beautiful and historic new location. 

The all-star cast features Danny Brown, Tim Callahan, Ken Clark, Kent Coffel, Ryan Cooper, Robert Doyle, Colleen Heneghan, Eleanor Marsh, and Todd Micali.

Guides are Patrick Brueggen, Tanya Burns, Nancy Crouse, Ann Hier, Marian Holtz, Kim Jones, Kay Love, Lori Renna, John Robertson and Lynn Working.

At Bellefontaine, audiences will be transported through the grounds on trolleys.

Some of the permanent residents will come forward and tell their stories will include a detective who solved the “Crime of the (19th) Century”; a musician who played for European nobility before being hired by P. T. Barnum; a lesser-known, ill-fated brother of one of St. Louis’s famous early families; a loyal servant of another of those families; a noted health commissioner; a snake-oil salesman and more.

As the trolleys/buses travel through the grounds, guides will tell attendees more about the cemetery, point out the impressive architecture, and note the final resting places of some of the famous residents.

Three different tour times are available both days, and tickets are $25 each.  Tickets are going fast!!

For Saturday, Oct 1 tickets, visit https://bellefontainecemetery.org/event/voices-100122/

For Sunday, Oct 2 tickets, visit https://bellefontainecemetery.org/event/voices-100222/

For more information visit www.hawthorneplayers.info or email hawthorneplayers@att.net

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‘Blonde’ Is a Relentless, Redundant Nightmare

‘Blonde’ Is a Relentless, Redundant Nightmare

By Alex McPherson

A grueling, disorienting, and horrific reimagining of the life of Norma Jeane Baker, who became Marilyn Monroe, director Andrew Dominik’s “Blonde” ultimately proves to be a case of excessive, at times exploitative, style over substance.

Based on the novel of the same name by Joyce Carol Oates, “Blonde” isn’t a traditional biopic in any sense, instead plunging viewers into a hallucinatory, David Lynchian hellhole that never lets up for its whopping 2-hour-and-46-minute runtime. Viewers begin with the child Norma Jeane (Lily Fisher, effective in her few scenes), living in Los Angeles with her single, alcoholic, mentally unstable mother, Gladys (Julianne Nicholson), while a fire rages outside in the Hollywood Hills.

Norma Jeane’s absentee father is apparently a bigshot in TinselTown, but she’s never met him, prompting trauma and insecurity that persistently haunt her throughout her life. Gladys, losing her mind and desperate to find him, then nearly drowns Norma Jeane in a bathtub, only to release her at the last second and let her escape to the next-door neighbors.

Flash forward a bit, and Norma Jeane is sent to an orphanage against her will. Flash forward again, and the “Marilyn Monroe” persona has been born, with Ana de Armas portraying our heroine with admirable, if misguided, fervor. Scarred by her horrible childhood, manipulated by devilish studio executives to advance her career, entering one corrosive relationship after another, being frequently underestimated, experiencing drug addiction, and remaining unable to separate her personal life from her public, hyper-sexualized persona, Norma Jeane’s life is tough, to say the least, and draining to watch unfold.  

Indeed, despite Dominik’s stylistic bravado and de Armas’ transformational performance, “Blonde” is difficult to recommend. This is an NC-17 rated film, and Dominik goes all-out depicting Norma Jeane’s abuse by practically everyone surrounding her. It’s too bad that far less attention is given to the character herself, reducing her to a victim sans agency, and robbing her of three-dimensionality that would have lent poignancy to the film’s onslaught of terrors. 

At least de Armas gives her all. A Cuban actor who’s left positive impressions in such films as “Knives Out” and “No Time to Die,” her impression of Norma Jeane’s voice and appearance is uncanny, particularly in Dominik’s painstaking recreations of iconic moments from Norma Jeane’s career.

De Armas’ commitment to the role overshadows the rest of the cast — though Bobby Cannavale and Adrien Brody stand out as Joe DiMaggio and Arthur Miller, respectively. Her portrayal is especially impactful when we witness the moment she quietly shifts from the crumbling Norma Jeane into the confident, alluring Marilyn — a character that she can disappear into, if never remove herself from. 

But although de Armas has the acting chops to explore Norma Jeane’s multifaceted headspace — and the real-life woman’s successes and triumphs amidst the gloom — “Blonde” doesn’t give her much room to delve into her complexities. A romance with Eddy G. Robinson Jr. (Evan Williams) and Charlie Chaplin Jr. (Xavier Samuel) marks one of the only times she actually feels companionship in the entire film, if only briefly and later upended — including a sex scene that seemingly warps and stretches the screen to pretentious effect.

Rather, more often than not, de Armas is reduced to hysterical outbursts and a performance defined by repetition, enduring violence against her (continually) naked body and her mind. Viewers aren’t granted any noteworthy insights into the dark side of Hollywood, being force-fed familiar points of misogyny, sexism, and mental illness. Even with fleeting moments here and there of Norma Jeane getting a chance to voice her opinions and demonstrate her intelligence, “Blonde” reduces her to a one-note, broken husk of a character, putting Dominik’s in-your-face filmmaking at the forefront. 

Speaking of, “Blonde” certainly doesn’t lack artistic creativity, for better and worse. Jumping between different aspect ratios and switching between black-and-white and color photography (seemingly with little reason), Chayse Irvin’s immersive cinematography is complemented by editing that’s alternately, woozy, ethereal, brutally uncompromising, and invasive.

Through this, “Blonde” effectively creates feelings of discomfort, irritability, and shocked hypnotism. The score, by Nick Cave and Warren Ellis, captures a melancholy that hints at the emotion lurking somewhere at the story’s core, begging to be released.

Still, for all the transfixion gleaned from the film’s flourishes, “Blonde” is chock full of scenes that dehumanize, violate, and demean Norma Jeane, bashing viewers over the head with the awful ways she’s treated, as well as the ever-present public eye, full of men whose mouths gape open as if to swallow her whole. From abortions viewed from the perspective of Norma Jeane’s vagina, to an absolutely vile fellatio scene late in the film that juxtaposes a spaceship crashing into the White House with reaching an orgasm, it all just begs the question… Why was this necessary?

And that’s the final takeaway from “Blonde.” Despite individual elements that shine, the overall piece is more confusing and maddening than satisfying, leaving me frustrated thinking of the powerful film that could have been.

Blonde. Ana de Armas as Marilyn Monroe. Cr. Netflix © 2022

“Blonde” is a 2022 drama-fantasy written and directed by Andrew Dominik and starring Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Garret Dillahunt, Julianne Nicholson, and Lily Fisher. It is rated NC-17 for some sexual content and the runtime is 2 hours, 46 minutes. It streams on Netflix beginning Sept. 28, and is in selected theaters Sept. 23 (but not in St. Louis). Alex’s Grade: C- 

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Popster Picks for Sept. 27

Popster Picks for Sept. 27

By Lynn Venhaus

DVD: “Thor: Love and Thunder” released today.

The third “Thor” superhero stand-alone movie combined comedy and romance with the cosmic action-adventure, earning $746.670 million worldwide. After losing his home planet and close family members during the events of “Avengers: Endgame” and “Thor: Ragnarok,” Thor embarks on a journey to find his way in the universe.

Director Taika Waititi also played a supporting role in a cast that included Chris Hemsworth as the Nordic god, Natalie Portman as his one true love Jane Foster, Christian Bale as Gorr the God Butcher, with , Karen Gillan, Chris Pratt, Matt Damon, Vin Diesel, Tessa Thompson, Bradley Cooper, Russell Crowe, Pom Klementieff, Jaimie Alexander, Melissa McCarthy, Sam Neill, Dave Bautista, Simon Russell Beale, Luke Hemsworth, and Sean Gunn. Rated PG-13, its runtime is 118 min.

Formats: DVD, Blu-ray + Digital Code, 4K Ultra HD/Blu-ray Combo + Digital Code, VOD, Digital. Extras: Gag reel; commentary; “Hammer-worthy: Thor and The Mighty Thor” featurette; “Shaping a Villain” featurette; “Another Classic Taika Adventure” featurette; deleted scenes

Here’s my review (“Fresh” on the Tomato-meter): https://www.poplifestl.com/fast-furious-and-funny-thor-love-and-thunder-is-a-rip-roaring-good-time/

Reese Witherspoon, Josh Lucas

Movie: “Sweet Home Alabama,” 20th Anniversary

On Sept. 27, 2002, a romantic comedy starring Reese Witherspoon as fashion designer Melanie Carmichael, who has reinvented herself as a socialite, opened. In the screenplay by C. Jay Cox, she becomes engaged to NYC’s most eligible bachelor, a JFK Jr.-like Drew Hennings, played by Patrick Dempsey. But her past holds many secrets, including Jake (Josh Lucas), the down-home husband she married in high school, who refuses to divorce her. She sneaks back home to Alabama to legally end the relationship after seven years of separation, but confronting her past isn’t as smooth as she had hoped.

I fell in love with this movie, not ashamed to admit it, and own the DVD – and still watch it every so often if I find it on cable. I don’t care what other critics say or what it’s ratings/scores are. What matters is that I like it, and so do many of my girlfriends. When it came out on DVD, we had a group viewing and listened to the commentary by director Andy Tennant. We still talk about how fond we are of it

I find the love triangle chemistry palpable and the supporting cast endearing. What’s not to love about Mary Kay Place and Fred Ward as her parents Pearl and Earl Smooter? And Jean Smart as Jack’s Mom Stella Kay Perry and Candice Bergen as Drew’s Mom, mayor of NYC? And the wondrous Melanie Lynsky as Lurlynn, the friend with a ‘baby in a bar’? Dakota Fanning as a young Melanie? Ethan Embry (“Grace and Frankie”) as Bobby Ray, and Earl Bridgers “The Truth About Pam”) as Eldon.

It is on the Freeform Channel today and Wednesday. There are several streaming platforms where you can watch it, as long as you have a subscription, and you can rent it on multiple platforms.

From JustWatch.com: Currently you can watch “Sweet Home Alabama” streaming on Hoopla, DIRECTV, Freeform or for free with ads on The Roku Channel. It is also possible to rent “Sweet Home Alabama” on Apple iTunes, Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, Redbox, DIRECTV, AMC on Demand, Spectrum On Demand online and to download it on Apple iTunes, Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, Redbox, DIRECTV, AMC on Demand.

Nathan Lee Graham, Reese Witherspoon, Rhona Mitra

Fun Fact: Nathan Lee Graham, who plays one of Melanie’s assistants (Frederick Montana, graduated from the Webster University Conservatory of Theatre Arts. He is currently playing Hermes in the national tour of the Tony-winning “Hadestown,” which will be at the Fabulous Fox Theatre Oct. 11-23.

Bio: https://www.broadwayworld.com/people/Nathan-Lee-Graham/

TV: David Letterman will be a guest on “Jimmy Kimmel Live!” tonight at 10:35 p.m.

This week, Jimmy returned to his hometown, Brooklyn. Growing up, he idolized Letterman. The other guest is SNL alum Tracy Morgan.

Here’s Jimmy’s favorite Letterman moments, Part II:
https://youtu.be/xhn8vHg5E-o

Part I: https://youtu.be/3BI8v8_4ZVA

Fun Fact: Today, in 1954, “The Tonight Show” debuted nationwide on NBC hosted by Steve Allen.

Music: The Dave Matthews Band

On this day in 1994, The Dave Matthews Band released their first album, “Under the Table and Dreaming,” which included the tracks “What Would You Say” and “Ants Marching” that received wide airplay. The album went on to sell over 6 million copies. They had been gaining fans on the road, especially in the Virginia area, where they played live starting in 1991.

On This Day: Cautionary Tale

In 1962, marine biologist and writer Rachel Carson published ‘Silent Spring’ about the deleterious impacts of pesticide use on the environment.

Redford, Streisand

Playlist: “The Way We Were”

Barbra Streisand sang “The Way We Were” on her 15th studio album of the same name, which was released as the album’s lead single on Sept. 27, 1973. The song, written by Alan and Marilyn Bergman, and Marvin Hamlisch. It won the Academy Award for Best Original Song.

All together now: “Memories..misty-watercolored memories…” Watch this special Oprah moment when Babs sang the song on her show

Cardinals Nation: If you can’t get enough of Albert Pujols’ 700 home runs

All 700 home runs from MLB:

Albert Jr. on his dad:

Go, Cards!


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Ballet + Bowie: Dance St. Louis Sets Complexions Contemporary Ballet

Ballet + Bowie: Dance St. Louis Sets Complexions Contemporary Ballet

At the Touhill Performing Arts Center, Saturday, November 5

Popular “game-changing” New York City-based company performs blockbuster hit STAR DUST, an “utterly transfixing” tribute
to the life and music of David Bowie

Complexions Contemporary Ballet was founded in 1994 by former Alvin Ailey American Dance Theater virtuosos
Dwight Rhoden and Desmond Richardson

Dance St. Louis, one of the country’s oldest and remaining nonprofit dance presenters, kicks off its 57th season on Saturday, November 5 at 7:30 p.m. at the Touhill Performing Arts Center with the presentation of Complexions Contemporary Ballet, the award-winning, “game-changing” New York City-based company that has been lauded for reinventing dance and contemporary ballet. Complexions is set to perform its blockbuster hit STAR DUST, an “utterly transfixing” (Billboard) tribute to the life and music of David Bowie, full of glitter and glam. Tickets are $45-$69 and available through MetroTix.com. 2022/23 season subscription packages—2-show, 3-show, 4-show—are also still available through the Dance St. Louis Box Office at 314.534.6622 or dancestlouis.org. 

STAR DUST

Critics hail STAR DUST as “spellbinding” (Billboard) and “simply one of the most exciting performances… a rock concert” (Washington Post). Featuring some of David Bowie’s best-loved music, including “Let’s Dance,” “Space Oddity,” “Heroes,” “Young Americans,” “Life on Mars,” and more, STAR DUST takes on an array of Bowie’s greatest hits to create a rock-inspired ballet in his honor. 

STAR DUST is choreographed by Complexions’ co-founder and artistic director Dwight Rhoden who says, “there is a little Bowie in all of us” (Los Angeles Times, 2018) and notes in the same article that Bowie was “so courageous and unafraid to reinvent himself over and over and over again” and “his music is timeless.”  STAR DUST’s glam-rock costumes are designed by Christine Darch, with makeup inspired by Bowie’s alternating personas of Ziggy Stardust and Thin White Duke. Lighting design is by Michael Korsch. With Bowie’s 40+ year career and 25 albums that stretch across musical borders, STAR DUST pays homage to the iconic and chameleonic spirit and genre-bending innovation of David Bowie. 

COMPLEXIONS CONTEMPORARY BALLET

Complexions Contemporary Ballet was founded in 1994 by former Alvin Ailey American Dance Theater virtuosos Dwight Rhoden and Desmond Richardson— “two of the greatest virtuosos to ever emerge from Ailey land” (The New York Times). In its 28-year history, the company has come to represent one of the most recognized and respected performing arts brands in the world.  

Through its evocative style and groundbreaking mix of methods, styles and cultures, Complexions has awakened audiences to a new, exciting genre with its singular approach of reinventing dance and contemporary ballet. Complexions’ high-octane movement astonishes audiences by pairing its fierce evocative style with musical ranges from Lenny Kravitz and David Bowie to Johann Bach. With stunning, gifted dancers and powerful choreography, Complexions has been hailed as a “matchless American dance company” (Philadelphia Inquirer). 

Complexions has received numerous awards including The New York Times Critics’ Choice Award. It has performed on major stages throughout the United States and Europe and toured extensively throughout the Baltic Regions, Korea, Brazil, Japan, Egypt, Israel, Russia, New Zealand, Bermuda, Serbia, Jamaica, and Australia. In total, the company has presented on five continents, more than 20 countries, to more than 20 million television viewers and to well over 300,000 people in live audiences. The company is poised to continue its mission of bringing unity to the world one dance at a time. 

More information about Complexions Contemporary Ballet can be found on Dance St. Louis’ website or Complexion’s website at complexionsdance.org. 

TICKETS

Tickets are $45-$69 and available via MetroTix at 314-534-1111 or https://www.metrotix.com/events/detail/dsl-complexions.

2022/23 season subscriptions (2-show, 3-show and 4-show packages) are also still available for ticket buyers interested in attending more of Dance St. Louis’ season presentations. Season ticket packages start at $80 and are available directly through the Dance St. Louis Box Office at 314.534.6622. More details at dancestlouis.org/22-23-season-subscription. 

MORE REVIEWS

“Companies like Complexions are game-changing: they’re forging a path for what ballet can be instead of what it historically has been.” — The Guardian

“…sensationally, jaw-droppingly clear that we live in the age of the super-dancer, at a time when technical virtuosity is being redefined as an expressive state…” — Dance Magazine

“…one expects to see magnificent athletic endeavors, intriguing movement invention, and perfectly contoured bodies—and the company always delivers.”  — Theater Jones

“Rhoden’s work is post-Balanchinean choreography, a new aesthetic in movement, stage picture, and performance concepts reflecting a post-modern, techno-savvy worldview.” — Dance Magazine

SPONSORS

Dance St. Louis is grateful for sponsor support to continue its nearly six decades-long mission to bring world-class dance to St. Louis. Major sponsors of the 2022-23 season include Ameren, Edward Jones, Emerson, Kranzberg Arts Foundation, Drs. Susan and Dan Luedke, Missouri Arts Council, National Endowment for the Arts, Regional Arts Commission, The Shubert Foundation, Mary Strauss and Whitaker Foundation. Bayer Fund is the education outreach title sponsor. 

DANCE ST. LOUIS’ 57th SEASON

Dance St. Louis continues to be recognized as the leading dance presenter in St. Louis and the Midwest. The remaining 2022-23 season presentations:  Giordano Dance ChicagoSaturday, February 25, 2023 at 7:30 p.m. | Touhill Performing Arts Center
Dorrance DanceSaturday, March 25, 2023 at 7:30 p.m. | Touhill Performing Arts Center
15th Annual Emerson SPRING TO DANCE® Festival 2023 Presented by Whitaker FoundationFriday and Saturday, May 26 & 27, 2023 at 7:30 p.m. | Touhill Performing Arts Center 

For tickets or more information on the Dance St. Louis 2022-23 season, please visit https://www.dancestlouis.org. 

___________

About Dance St. LouisFounded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 56 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org. 

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