Wildly creative and packed with fascinating ideas, director George Miller’s “Three Thousand Years of Longing” is uneven, yet never less than intriguing.
Based on the short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt, the film centers around Alithea Binnie (Tilda Swinton), an all-business-no-pleasure narratologist who travels to Istanbul to give a presentation on storytelling. Alithea has convinced herself that she’s perfectly content being immersed in her work without much of a social life to speak of.
Additionally, Alithea sees visions of spirits from time to time — one older gent, clad in a white robe, angrily floats toward her during her talk and she promptly faints, for example — but blames the phenomenon on her imagination. After purchasing an antique bottle at a bazaar, she finds that she’s actually in possession of a Djinn (Idris Elba), who emerges as a hulking figure, complete with pointy ears and golden dust, that barely fits in Alithea’s hotel room. The Djinn, soon shrinking down in size, is a stoic, contemplative, and world-weary being that needs Alithea’s help.
Alithea learns that she must let the Djinn fulfill three wishes (her heart’s desire) to grant his freedom. Unfortunately for the Djinn, Alithea doesn’t have anything to ask for— her “desire” has been repressed by cynicism and a solitary lifestyle that she insists suits her just fine. She’s also highly skeptical of the Djinn’s intentions. In order to prove himself, the Djinn proceeds to outline how he became trapped in the bottle, and presents three subsequent stories of wishes gone wrong.
It all begins with a love triangle involving the Djinn, the Queen of Sheba (Aamito Lagum), and the vengeful King Solomon (Nicolas Mouawad), who casts the fateful curse on the Djinn to take Sheba for himself. We’re then transported back to the 15th- and 16th-century Ottoman Empire in tales of magic, greed, madness, cutthroat machinations, and ridiculously bad luck, before one last story of the Djinn meeting a beautiful, intelligent Turkish merchant named Zefir (Burcu Gölgedar), and the turbulent bond that followed. Back in the hotel room, Alithea’s emotional barriers begin to weaken, and love might be in the air.
“Three Thousand Years of Longing” is nothing if not imaginative, coming from the mind that created the “Mad Max” and “Happy Feet” franchises. Miller’s direction remains as energetic, out-there, and distinctive as ever, but the film remains irritatingly distant. There’s plenty to think about regarding the power of stories to connect, enlighten, and give meaning to our lives; however, the film’s illustration of that idea lacks punch — a theme in need of stronger characters and tighter pacing.
Fortunately, even though “Three Thousand Years of Loving” never achieves the swooning heights it aspires to, Miller presents such a bizarre, unorthodox vision that it stays engaging throughout. The film’s strengths lie in those aforementioned flashbacks, complete with violence, treachery, jealousy, heartache, and heartbreak, each highlighting different morals relating to power and desire. Cinematographer John Seale captures sweeping, vibrantly photographed palaces and their surrounding landscapes. This includes surreal touches like an instrument that plays itself, a sinister figure whose head erupts into spiders, and first-person-POV shots of the Djinn as he wispily floats throughout winding chambers, trying to lure someone back to the bottle he’s stuck in. It’s difficult to become attached to anyone specific in these sequences — largely due to Elba’s pervasive narration — but they’re still inventive, possessing Miller’s characteristic flair for the idiosyncratic and darkly comedic.
The happenings of Alithea and the Djinn are far less interesting. Swinton does a fine job portraying a reserved, closed-off individual, but her arc seems rushed, coming across as abrupt and awkward in the final stretch. Since most of the film takes place in flashbacks, the present-day drama is sidelined, and Alithea’s evolution isn’t given the attention it needed to earn the heavy-handed payoff. Elba is typically great, but his dry, stoic line readings (in keeping with his character) aren’t the most dynamic or attention-grabbing. His chemistry with Swinton is similarly hamstrung by the screenplay, making their romance difficult to become enraptured by.
All that being said, “Three Thousand Years of Longing” is worth a look for Miller’s unconventional narrative and visual flair, despite a resolution that left me wanting — longing, in fact — for something greater.
“Three Thousand Years of Longing” is a 2022 fantasy-drama-romance directed by George Miller and starring Tilda Swinton and Idris Elba. It is rated R for some sexual content, graphic nudity, and brief violence and runs 1 hour, 48 minutes. It opened in theaters Aug. 26.Alex’s Grade: B-
By Lynn Venhaus A well-acted, well-written satirical comedy about organized religion manipulators has one major obstacle: Its subject matter is icky.
And infuriating. And such easy targets.
In the aftermath of a huge sexual-misconduct scandal, Trinitie Childs (Regina Hall), the first lady of a prominent Southern Baptist megachurch, attempts to help her disgraced pastor-husband, Lee-Curtis Childs (Sterling K. Brown), rebuild their congregation.
As we’ve seen in headlines and tabloids, in the name of the Lord, some so-called Christian leaders who are respected and admired prey upon the vulnerable and the devout, which is disgusting and disturbing
Because the two disingenuous lead characters are so unlikable, it’s not only a skin-crawling watch, but a hard sell.
Similar real-world scandals have become commonplace, therefore, a narrative about such thoroughly reprehensible people is tough to endure, even when sharp barbs and the audacity of it all lands a laugh.
Nevertheless, the performances are stellar – Sterling K. Brown and Regina Hall give the characters more depth than written. It would be easy to make buffoons of the deceitful pastor and his conspicuous consumer wife attempting to redeem themselves and return to an extravagant lifestyle.
The Emmy-winning Brown, a native St. Louisan, tries to evoke sympathy as Lee-Curtis, but his role is too slimy and loathsome as an egotistical preacher convinced that they are entitled to live lavishly because of the work they do saving souls.
But oh, those deadly sins – lust, greed, pride, and envy — keep surfacing. Their personal demons can’t be so easily dismissed, no matter how much they pray away.
Childs confessed to his weaknesses, but this false prophet’s proclivity for down-and-out young men isn’t forgotten. While he is steadfast and focused on a comeback, hiring a documentary crew to film their work preparing the church to re-open, his hubris gets in the way.
Hall has more to do with her character’s arc as a clueless shopaholic who has pledged her loyalty, but slowly realizes that believing people will follow them back is folly – and frustrating, humiliating, and pathetic. Having her stoop to grovel roadside in mime-face is nearly the last straw.
It doesn’t help that former congregants now run a rival church opening on the same day. Nicole Beharie and Conphidance excel as Shakura and Keon Sumpter, a faithful couple in sharp contrast to the Childs’ pretensions and extravagance.
Austin Crute is memorable as one of Lee-Curtis’ victims, Khalil.
When reminders of the scandal won’t disappear, Childs gets more desperate — and the puffery gets more grandiose.
Writer-director Adamma Ebo developed her 15-minute short film she made in 2018 into this feature, her first, which debuted at this year’s Sundance Film Festival. It is produced by her twin sister, Adanne Ebo.
John Collins’ production design is an eye-popping example of over-the-top opulence to portray the gaudy excesses of the Childs, their ostentatious mansion, and their ornate megachurch.
Costume designer Lorraine Coppin has assembled glamorous outfits for Hall, so that her character is flashy and elegant at the same time, perfectly coordinated and coifed for each look.
Maurice Norris has crafted a soundtrack superbly blending secular and gospel music.
At 1 hour and 42 minutes, one thinks a more succinct version would have worked just fine for the same effect.
Regina Hall, Sterling K Brown
“Honk for Jesus. Save Your Soul” is a 2022 comedy directed by Adamma Ebo that stars Sterling K. Brown, Regina Hall, Conphidance, Nicole Beharie and Austin Crute. It is rated R for language and some sexual content and has a run time of 1 hour, 42 minutes. It is in theaters and streaming on Peacock beginning Sept. 2. Lynn’s Grade: C+
What treasures St. Louis Shakespeare Festival and our bi-state area public parks are! We are so fortunate to have such forward thinkers in our midst.
And because of these creative souls, ta-da! – we have a late summer treat in the form of a delightfully entertaining, high-energy Afrocentric interpretation of “A Midsummer Night’s Dream” with original music.
During August, the TourCo has been crossing rivers and county lines, going into both rural and urban areas, and providing access to the arts that these neighborhoods may not have otherwise. It’s a beautiful thing to be a part of –and the show is unlike anything you have seen before.
Six perspicacious performers present one of Shakespeare’s most beloved comedies by taking on multiple roles as young lovers, close-minded royal parents, mischievous fairies, and a goofy troupe of traveling actors on their way to perform at the Duke of Athens’ wedding.
The multi-talented Tre’von Griffith has directed with a clear vision, making the confusion and disorder lucid, showing us how love and joy win out in the end. Assistant director was Cameron Jamarr Davis.
The fleet-footed six dance and sing with a great deal of zest. Their spirited delivery spreads the fun by involving the audience, and it’s wonderful to see that connection. Stage Manager Britteny Henry makes sure everything moves swiftly.
That famous line: “The course of true love never did run smooth” is in this play, and that’s the crux. In Athens, Hermia is promised to Demetrius but loves Lysander. Meanwhile, Helena, Hermia’s best friend, loves Demetrius. It gets complicated when spells are cast in a magical forest, for fairies get mixed up in the romances when love potions are used on the wrong people.
A life force, Tiélere Cheatem plays Helena, Hippolyta (queen of the Amazons) and Peter Quince, and it is a graceful site, such lovely physicality to watch. Rae Davis excels as Hermia, Tom Snout and Titania (queen of the fairies), and the amusing Ricki Franklin easily switches from Demetrius to the goofball Nick Bottom – a cartwheel! — while Asha Futterman nimbly does double duty as Theseus (Duke of Athens) and Oberon (king of the fairies). Mel McCray is an agile Lysander and Francis Flute, and Christina Yancy is spry alternating as Egeus (Hermia’s father), Snug, Robin, and Puck.
Everyone should leave with a smile on their face and a song in their hearts.
Griffith, known as Tre-G, is a gifted artist and composer from St. Louis who graduated from the prestigious Berklee School of Music in Boston with a bachelor’s degree in music business and management. His original music enlivens the pared-down play – and the beat is contagious in getting the crowd into the show.
The imaginative costumes by local designer Brandin Vaughn are whimsical and cleverly separate the characters – and Cheatem rocks whatever he is wearing with great style.
Laura Skroska crafted a production design that is interesting, portable, and quick to assemble in all kinds of outdoor spaces.
So, what are you waiting for? You must make time to spend 90-minutes in its final free evening programs.
Originally scheduled for 24 shows, four remain (Aug. 24 – Jones Water Park in East St. Louis, Aug. 25 – Shaw Park in Clayton, Aug. 26 – Chroma Plaza in the Grove, Aug. 27 – Hermann, Mo., and final night is Tuesday, Aug. 30, the rescheduled Tower Grove Park performance, which had been rained out.
The show starts at 6:30 p.m. and ends at 8 p.m. Bring your own chair or blanket. Guests can bring their own food and drink, and some sites sell items, too.
Go!
Live theater has enriched my life immeasurably, and one of the best experiences is to witness a production outside with an audience of all ages and walks of life. Connecting with others through the arts is one of life’s greatest pleasures.
One summer night growing up in Belleville, Ill., the neighborhood public school put on a version of “Tom Sawyer” on their grounds. I recall benches were placed in an alcove, but I don’t remember what age the cast members were — all I know was I was entranced. This was in the mid-1960s, and as the oldest of five kids raised by a single mom, we had very little money for extra things. The arts opened a whole new world.
Free theater! I never forgot that opportunity, and throughout my previous life staging shows outside, I marveled at the melding of art and the outdoors – it seemed so natural.
(And later, I’d realize how much work they were – moving everything outside! But I digress…And fun fact, a local professional actor who often is part of the big summer show in Shakespeare Glen was in that grade school play I saw. Small world, full circle, six degrees…and so forth).
I have been fortunate to review the festival since 2013, and one of my favorites was “A Midsummer Night’s Dream” the summer of 2016. It was so inspired and playful. This one, too, is doused in fairy dust. While it helps to know the basics, really the way they prepare the show makes it easy to follow for all of us.
Because my June schedule prevented me from coming earlier, I headed to the picturesque village of Brussels, Ill., population 112, on Sunday, Aug. 21, a place I hadn’t been to in 25 years! In the fall of 1997, I had taken my two sons hiking in Pere Marquette State Park and we took the Brussels Ferry across the Illinois River. This time, now living in St. Louis, I drove to St. Charles and crossed the Mississippi River on the Golden Eagle Ferry.
Winding through the narrow roads of Calhoun County, I found the town center on Main Street – and saw folks in lawn chairs at Heritage Park, enjoying the pleasant sunny day and festive spirit. The music and the likable performers were engaging everyone, and Community Engagement Manager Adam Flores warmly welcomed those gathered.
It was such a joyous communal experience – and to see people coming up to the performers afterwards to say how much they enjoyed it, well, what’s better? (And we had time to get to the ferry as twilight fell!).
The St. Louis Shakespeare Festival started fostering community and continuing the Shakespearean tradition of art for all in 2001, when they first presented a free show for two weeks in Forest Park – “Romeo and Juliet.” Now a month long in Shakespeare Glen that attracts thousands, the free event is the start to summer for many St. Louisans.
St Louis Shakes doesn’t end with the big show – which was the fun and funny “Much Ado About Nothing” this June – because the TourCo works their summer magic throughout the region, and come September, we have the annual free Shakespeare in the Streets to look forward to – and this year, it’s in my old neighborhood of Bevo Mill, at the intersection of Morgan Ford Road and Gravois Avenue Sept. 22-24.
The focus will be on our thriving immigrant population in the city’s southside. Deanna Jent, who did so much work with the Bosnian Project through Fontbonne University, has written this Shakespeare adaptation with them in mind.
This December, the one and only Q Brothers Collective will present their version of “A Christmas Carol.” Winner of multiple St. Louis Theater Circle Awards for their hilarious “Dress the Part” two-hander in the ‘before times’ of early 2020, I’ve heard their audio version – courtesy of the walking tour in the Central West End in the pandemic wintertime of 2020 — and I’m ready to see their fresh take at the National Blues Museum Nov. 25-Dec. 23.
You won’t want to miss any of it.
For more information, visit www.stlshakes.org.
Guests are encouraged to call ahead to the Box Office (314-287-3348) with any park accessibility questions for the tour date they plan to attend.
It is always their hope to perform, so the decision to hold or cancel the show is rarely made before showtime (6:30 pm). In the event of bad weather, the performance may be delayed. Check social @stlshakesfest across platforms for updates or call 314•287•3348.
Visually stunning, “Three Thousand Years of Longing” is wonder on a grand scale.
While attending a conference in Istanbul, Dr. Alithea Binnie (Tilda Swinton) happens to encounter a djinn, aka genie (Idris Elba), who offers her three wishes in exchange for his freedom. She is a scholar well-versed in mythology and storytelling, and is highly skeptical – after all, so much folklore involving genies turns into cautionary tales that end badly. He pleads his case by telling his fantastical life adventures, and she’s beguiled. What happens next surprises them both.
Far from his Fury Road, risk-taking director George Miller leads us on a less-traveled path. With his flair for the unusual, Miller charts new territory – his “Mad Max: Fury Road” won six Academy Awards in 2016, so of course the film’s technical elements are superb.
While I am not the biggest fan of the fantasy genre, I can appreciate the technical skill and the amount of difficulty in making it look seamless.
The work of cinematographer John Seale, who came out of retirement for the second time to shoot this movie (the first being Miller’s “Mad Max: Fury Road”), is exquisite — the vibrancy of his framed shots is breathtaking.
The film unfolds like a novel. Miller collaborated on the screenplay with Augusta Gore, adapting A.S. Byatt’s short story, “The Djinn in the Nightingale’s Eye,” first published in the Paris Review in 1994. Like the British author Byatt, Miller puts familiar fairy-tale themes in a contemporary context, commenting on society along the way.
It borrows freely from “Arabian Nights,” that compendium featuring “One Thousand and One Nights,” which brought genies, or djinns, into the modern lexicon. Djinns in Islamic culture are often considered demons, but not here. There is a mystical charm to his powers.
Yet, the stories the Djinn weaves to plead his case are not as captivating as Elba and Swinton are. The pair is far more transfixing in bathrobes than the quixotic spectacles involving the Queen of Sheba and the Ottoman Empire, because those meander and such detours take us away from the film’s more interesting core relationship.
Oscar winner Swinton and Elba, who won multiple awards for his finest work in “Beasts of No Nation,” are endearing in their roles as lonely hearts whose solitary existence have led them to this crossroads. Elba could read my tax returns and I would be spellbound.
Alithea’s skepticism is relatable – it would be easy to dismiss it all as a mirage – but it’s not, and her new discovery is a joyful sojourn, particularly when she returns to her life in London. The two bigoted biddies who live next door are a hoot.
However, understand that the exotic panoply is necessary for the fanciful backstory. It’s just curiously not that engaging – a broad canvas of heroes, villains, royal protocol and expendables.
One thing about Miller, though, is that the guy always has a unique perspective – whether it’s a savage post-apocalyptic world of survival or a whimsical journey of a sweet little talking pig or dancing penquins. (After all, he won an Oscar for Best Animated Feature for “Happy Feet” in 2006).
Swinton and Elba make us care about their characters’ outcome. Without them anchoring this film so skillfully, I would have checked out early. Still, it feels long even with its 1 hour, 48 minutes run time.
Come for the dazzling cinematic work, stay for the mesmerizing acting.
“Three Thousand Years of Longing” is a 2022 fantasy-drama-romance directed by George Miller and starring Tilda Swinton and Idris Elba. It is rated R for some sexual content, graphic nudity, and brief violence and runs 1 hour, 48 minutes. It opens in theaters Aug. 26. Lynn’s Grade: B.
For an exhilarating third time, USDish is looking for one brave soul to participate in the third annual Stephen King Scream Job: Chapter 3! They are hiring a horror movie enthusiast to record their heart rate while they watch 13 of the most chilling Stephen King films for $1,300 and a Fitbit!
After all, all work and no play makes Jack a dull boy.
To apply, applicants must share why they want to be frightened this way in less than 200 words. For bonus points, they can include a video of why this is the scream job for them.
Why Chapter 3?
Since 2019 when we first launched this campaign, NPR and so many more have jumped on the opportunity to share this with their following and we have received over 600,000 applications.
Last year brought in many second-time applicants and we’re looking to give these adrenaline junkies another go to tell us which Stephen King villain is the scariest.
Last year’s winner, Ashley LaBossiere found that It (2017) was the scariest Stephen King movie followed by Misery (1990).
What Will the Heart Rate Analyst Get?
Whoever wins this scream job will not only get $1,300 to make up for all the nightmares, but will also receive a swag bag valued at $350 that includes the latest Fitbit. Movie tickets will also be provided to see the new Salem’s Lot, premiering in 2023. We’ve also prepared a Stephen King Watch Guide that any scaredy cat can follow.
Nine PBS will air the documentary, The Places Music Has Taken Me: An Unfinished Story of Sarah Bryan Miller, Sunday, Sept. 18, at 3:30 pm, and in primetime Saturday, September 24, at 7 pm. It will also be available to stream anytime on ninepbs.org and the PBS Video App.
Sarah Bryan Miller, or “Bryan” as she was known to friends and family, was the classical music critic for the St. Louis Post-Dispatch for more than 20 years until her untimely death in November 2020. Before her death, Bryan’s editor at the St. Louis Post-Dispatch asked that she write a final retrospective about her career which she planned to be entitled: “The Places Music Has Taken Me.”
Unfortunately, she was unable to complete her column but thanks to friend and local video documentarian Miran Halen, her legacy as a tough but fair-minded journalist and music critic is preserved in a film about her important role in the arts and the lives she touched.
Hosted by internationally acclaimed conductor Leonard Slatkin, artistic leaders, colleagues, and friends throughout the country pay tribute to Bryan and the importance of the role of classical music reviewer plays in cultural life, particularly today.
“I’d known Bryan for over two decades as a music critic for the St. Louis Post Dispatch,” says Halen. “When she was honored as a Media Persons of the Year by St. Louis Press Club in 2019, I was one of the honorary chairs and had the opportunity to work closely with her for six months. In doing so, I got to know more about her personal side and how much she truly loved the community.
“Prior to Bryan’s passing, I talked with Bryan about what a music critic is all about. To her, it was much more than covering one evening’s performance; it was about providing a public service by educating the public about the arts. She believed in this so strongly that even when her health was failing, she was still writing and finding ways to provide accurate information to her readers.”
Following Bryan’s death, Halen continued her research to create a retrospective about her legacy and overarching feelings about intergenerational connectivity that music provides to audiences.
The documentary promises to deliver on the goal to educate viewers on the important role a music critic plays in the arts. In addition to Bryan’s impressive accomplishments and legacy, she left generous gifts to a number of St. Louis community arts organizations, including the Saint Louis Symphony Orchestra, Opera Theatre Saint Louis, and the Men and Women’s Choir. The St. Louis Press Club established a scholarship fund in Sarah Bryan Miller’s name for students interested in pursuing a career in music-related communications.
Bryan was a member of the St. Louis Theater Circle, which annually awards excellence in regional professional theater and opera.
About Nine PBS
As an essential community institution, Nine PBS magnifies and deepens understanding of our community to help our region flourish. We tell stories that move us. We meet people where they are the most comfortable consuming content. Nine PBS’s platforms include four distinct broadcast channels (Nine PBS, Nine PBS KIDS®, Nine PBS World, and Nine PBS Create), ninepbs.org, social media, the free PBS Video App, streaming services, live and virtual events, and the Public Media Commons. Since 1954, Nine PBS has accepted the community’s invitation into their homes, schools, and businesses. Follow Nine PBS on Twitter, Facebook, Instagram, LinkedIn, and TikTok.
Sharp and cynical with plenty on its mind, director Halina Reijn’s “Bodies Bodies Bodies” delivers an unpredictable, ruthless, and highly entertaining experience.
Taking place in today’s age of Twitter and TikTok, the film centers around a “hurricane party” that goes dreadfully wrong. Sophie (Amandla Stenberg), a recovering addict who doesn’t text much in the all-powerful group chat, brings along her new boo, Bee (Maria Bakalova), a soft-spoken immigrant who’s less financially well-off than the rest of the gang. They’re heading to a mansion owned by the parents of David (Pete Davidson), who is trying desperately to seem manly.
Also present are David’s insecure-actor-girlfriend, Emma (Chase Sui Wonders), gregarious and “woke” podcaster Alice (Rachel Sennott), Alice’s much-older boyfriend, Greg (Lee Pace), and the enigmatic Jordan (Myha’la Herrold), whose snide remarks invite suspicion early on. David, Emma, Alice, and Jordan — most with their own fraught history with Sophie — are weirded out that Sophie decided to show up to the party at all, setting the stage for plenty of tea to be spilled.
After most of the lot is sufficiently drunk and coked-up, the music blares, the storm rages, and Sophie suggests they play “Bodies Bodies Bodies.” First, everyone sits in a circle, takes a shot, and punches the person to their left — which, unsurprisingly, becomes emotionally charged, despite frequent reminders that they’re just doing it for funsies.
Then, they play a variation on the Murder in the Dark formula where a “killer” is selected, the lights go out, someone is tagged, and the players regroup to debate who did it. Unfortunately, the real bodies soon start piling up. With the wi-fi out, the Gen-Zers — plus 40-year-old Greg — revert to their dangerously self-absorbed tendencies, amplifying their petty conflicts into life-and-death stakes as they try to locate the true killer.
“Bodies Bodies Bodies” might not be for everyone, especially older folks, but Reijin’s suspenseful, layered, and memorable film expertly threads a needle where humor intertwines with tragedy. It doesn’t hurt that the entire cast absolutely nails their respective roles, bringing pathos to characters who often make narcissistic decisions to mask their insecurities.
Indeed, “Bodies Bodies Bodies” doesn’t paint flattering portraits of any of them, but portrays them as lost souls so wrapped up in privilege and self-centeredness that strong communication is thrown to the wayside. Their dialogue — pervasively deploying topical buzzwords like “woke,” “ally,” “triggered,” “gaslight,” and more — provides plenty of laughs, but operates on a deeper metaphorical level as well.
Their exaggerated personalities represent a distillation of social media’s anti-social repercussions and their shelteredness from the outside world. They lack the skills, willingness, and intelligence necessary to evaluate the situation rationally, at the same time twisting those aforementioned buzzwords to apply to themselves, zapping them from meaning, and blowing up their “drama” so much that it turns to downright animalism.
That the film is still often hilarious is an achievement in itself, thanks to Sarah DeLappe’s screenplay and the whole cast. Sennott, memorable in “Shiva Baby,” once again shows her knack for comedic timing in several tirades that are simultaneously eye-rolling, gut-bustingly funny, and concerning, as this pressure cooker of a film continues to gain steam.
Davidson brings his usual off-kilter shtick with some genuinely uncomfortable moments sprinkled in, exemplifying the film’s tonal shifts from ridiculous to shocking. Pace is also great as Greg, a Gen-Xer more separated from the others’ worldviews.
Bakalova, who was so good in “Borat Subsequent Moviefilm,” brings an air of mystery and maybe-innocence to the character of Bee, from whose perspective the film largely takes place. Bee, the odd one out, is essentially trapped with a bunch of crazy people, but has her own secrets nevertheless that paint a target on her back.
Wonders, as Emma, effectively conveys her cattiness and fragility. Stenberg gives a stellar performance, rendering Sophie one of the more multifaceted partygoers, her naivete creating more issues than solutions. Herrold is perhaps the standout of them all, lending a stern calculation to Jordan’s actions largely fueled by economic and romantic anxieties.
As the chaos ensues, Jasper Wolf’s claustrophobic, handheld cinematography, with many scenes lit by glow-sticks and smartphone flashlights, fits the proceedings like a glove, underlining the long-held resentments between the “friends.” The electronic-sounding score, by Disasterpiece, is fittingly paranoid and jumpy, reflecting the digital sphere turning into a figurative warzone. The soundtrack, including a track by Charlie XCX, is laced with irony.
No spoilers here, but the final reveal is perfect, reframing everything that came before in new light that should benefit repeat viewings. Taken as a whole, “Bodies Bodies Bodies” is far more than a mere cringe-comedy or a seen-it-before slasher movie. Rather, this is a satire with real bite, demonstrating a thesis that resonates in our increasingly divided reality.
“Bodies Bodies Bodies” is a 2022 horror comedy thriller directed by Halina Reijin and starring Rachel Sennott, Maria Bakalova, Pete Davidson, Lee Pace, Myha’la Herrold, Amanda Stenberg and Chase Sui Wonders. Rated R for violence, bloody images, drug use, sexual references and pervasive language, its run time is 1 hour, 34 minutes. It opened in theaters Aug. 5. Alex’s Grade: A
By Lynn Venhaus Emphasizing romantic symbolism along with its operatic life and death themes, an unconventional production of Tennessee Williams’ “The Rose Tattoo” is cleverly staged inside a Big Top ring, re-imagined as an Italian circus — complete with aerialists, animals, singers, musicians, and clowns.
The 1951 play is this year’s centerpiece for the seventh annual Tennessee Williams Festival St. Louis, one of my favorite not-to-be-missed events since 2016.
The Mississippi-born playwright, who spent his formative years in St. Louis, came to prominence in the 1940s, and in the decades following, cemented his place as one of the most significant playwrights of the 20th century. The festival celebrates his influence and art through his enduring works and early writings.
Always a detailed retrospective with speakers, education components, readings, films, tours and more, the fest’s fresh looks have a way of bringing out further insights during its 10-day schedule.
A bold and risky move, the exaggerated flourishes — while cinematic and reminiscent of Fellini fantasies — aren’t necessary to convey the heart of the matter, which is love in a time of chaos and the push-pull of grief, desire, and hope.
While the amusing accoutrements add to the production’s overall uniqueness, Williams’ poetic flair remains at center stage.
The nimble ensemble slips into the colorful characters that are part of an Italian immigrant community on the Mississippi gulf coast.
Williams’ play, which premiered in Chicago in 1950, became his fourth New York produced piece in 1951 after “The Glass Menagerie,” “A Streetcar Named Desire” and “Summer and Smoke.” It is his only one to win a Tony Award for Best Play.
Williams adapted the three acts for the movie in 1955, perhaps best known as the vehicle for which Anna Magnani won an Academy Award. The film was nominated for eight Oscars, also winning for cinematography and art direction.
Magnani, once described as the “volcanic earth mother of Italian cinema,” was a friend of the playwright. He wrote the part for her, considered her “the most explosive emotional actress of her generation.” But, thinking her English wasn’t up for the stage, she declined – and four years later, it was her first English language film role.
The earthy Serafina Delle Rose is an indelible heroine – suffering but not silent. Maureen Stapleton originated the role on Broadway, and Maria Tucci (1966), Mercedes Ruehl (1995) and Marisa Tomei (2019) played the tempestuous widow in subsequent revivals.
Under the Big Top, professional actress and academic Rayme Cornell commands the space as the fiery Sicilian seamstress.
Let’s face it, as written, both she and love interest Alvaro could be construed as antiquated over-the-top ethnic stereotypes. Chalk it up to dated material from 70 years ago. So, she and Bradley J. Tejeda walk a tightrope in dialect delivery.
Serafina is a complicated woman. Williams knows how to set up pain and passion, that’s for sure. Happily married to virile truck driver Rosario, Serafina discloses she is pregnant with her second child and that a rose tattoo appeared on her breast the night of conception, albeit temporary.
We never see Rosario but learn he ran black-market cargo for the mob underneath bananas and cheated with the delectably-named Estelle Hohengarten (Rachael Fox, on horseback). His life ends badly – shot, then his 10-ton truck crashes and bursts into flames.
Plunged into mourning, miscarriage, and misery, Cornell glowers, wails, and rages. In a well-worn pink slip, she deteriorates as a bitter recluse, refusing to face reality. A shrine to the Blessed Virgin Mary gives her sustenance.
You can’t tell by intermission, but “The Rose Tattoo” is a departure from Williams’ signature dramas. Considered more light-hearted, it still has his emotional whiplash.
Deep sorrow eventually yields to comedic interplay when a chance flirtatious encounter is life-changing.
That’s when the charming Tejeda swoops in as Alvaro Mangiacavallo, a buffoonish truck driver, and the play blossoms in his presence.
Tejeda, a New York-based actor and Yale School of Drama alum, has made his mark on local stages – first at St. Louis Shakespeare Festival in “Love’s Labour’s Lost” in 2019 and then the radio plays when the festival pivoted in 2020.
Last year, he brought both a sweetness and restlessness to Tom Wingfield, an extraordinary performance in the triumphant production of “The Glass Menagerie” outside at the Central West End apartment where Williams once lived.
Bradley J Tejeda as Alvaro. Photo by Suzy Gorman.
As Alvaro, he demonstrates his prowess in physical comedy, channeling Charlie Chaplin in looks and expressions, acrobatic in slapstick and darting around the set. It’s a splendid performance, injecting the play with a needed boost of vitality.
He easily won over the audience, especially when he joked that his last name Mangiacavallo means “eat a horse.”
“It’s a comical name, I know. Maybe two thousand and seventy years ago one of my grandfathers got so hungry that he ate up a horse. That ain’t my fault,” he said, eliciting laughter.
Serafina describes him as having a clown’s face on her late husband’s body. Even with their skilled performances, Cornell and Tejeda do not spark any sensuality.
But the young couple revealing an attraction that blooms into love does. Valentina Silva, memorable in Metro Theater Company’s “Last Stop on Market Street” last winter, plays Serafina’s smart, sheltered, and neglected 15-year-old daughter, Rosa Delle Rose, with youthful elan.
Stifled by her mother during the three years since her father’s accident, Rosa rebels, wanting to go out and have some fun. You feel her yearning for freedom, eager to take flight.
She is infatuated with a wholesome sailor, Jack Hunter, who was immediately smitten with the vivacious teen at a school dance. Oliver Bacus, who is quickly making a name for himself on local stages, seen last month in The Midnight Company’s seismic “Rodney’s Wife,” eloquently delivers Williams’ distinct dialogue.
Their innocent love story is a catalyst for Serafina to change, to let go, and that is illustrated by aerialists Annika Capellupo, Natalie Bednarski, Sage McGhee and Maggie McGinness of On the Fly Productions, with choreography by owner Jason Whicker. It is a lovely, graceful sight — but does this illuminate or distract?
The aerialists use satiny scarlet ribbons of fabric, which is the shade of a shirt Serafina is sewing, requested by her husband’s mistress to give her “wild like a gypsy” beau on their one-year anniversary, which is the last day he’s alive.
So much of Williams’ writing deals with symbols – consider the rose itself, with red buds a sign of romance, love, beauty, and courage. Here, it is a symbol of new beginnings too.
Understanding Williams’ dreams and desires has always been part of the fest, and the focus on Italy explores how visiting the country, soon after his first wave of success, was restorative to his psyche.
Giddy with fleeting joy and discovery of his new happy place, Williams dedicated his “love-play to the world” to his partner, Frank Merlo, an Italian American from New Jersey who served in the U.S. Navy during World War II: “To Frankie in Return for Sicily.” They met in 1948 in Provincetown, Mass., and spent 15 years together. Merlo died of lung cancer at age 43 in 1963 while Williams lived to age 71, passing in 1983.
The supporting cast captures the local flavor, and the quirky people he immortalized on paper.
Assunta, Serafina’s friend with psychic abilities, is played by Carmen Garcia with an air of mystery. She senses that “something wild is in the air.” Holly Maffitt is the “Strega,” considered a traditional witch, because the fates are part of this narrative.
Tyler White, a lively presence whenever on The Black Rep’s stage, is delightful as part of the neighborhood’s gossipy hens, as is Julia Crump as perky busybody Bessie.
Harry Weber is both teacher Miss Yorke and Father De Leo, the community’s strict moral gatekeeper.
The always fun to watch Mitchell Henry-Eagles enlivens the proceedings as an accordion-playing salesman and a doctor. Tony Viviano occasionally pops up to sing.
They serve as a Greek chorus of sorts, observing, moving in and out. Director David Kaplan likes to keep the players in motion, engaging the audience, and breaking the fourth wall.
Kaplan is well-versed in Williams’ aesthetic as one of the preeminent interpreters of his works. He is the curator and co-founder of the Provincetown Tennessee Williams Festival, now in its 17th year.
St. Louis experienced his perceptive vision in the dynamic “The Rooming House Plays,” four short plays he staged in the Stockton House, a local Victorian mansion, for the 2016 inaugural fest.
Williams’ works on longing and loss always move me more when we are in close quarters or exposed to a different canvas, so that I can feel the lyricism, make a specific connection. So, the cavernous Big Top was a challenge, but the cast’s immersion helped considerably.
James Wolk’s innovative set brought out an entirely new dimension, using multiple frames and shutters to stand in for doors and windows. The versatility punctuated the scenes, and the cast, adept at quick changes, did not lose a beat. Obviously, well-rehearsed, and efficient work by all.
The sound, however, had some issues Friday but was worked out. Designer Nick Hime engineered the sound and operated the board.
Jess Alford’s lighting design made use of dusky twilight in the early evening. Michele Friedman Siler’s thoughtful costume design differentiated the characters, and she effectively mixed textures.
This daring production has many moving parts, including four goats and a horse, which is difficult to pull off smoothly, and the esprit de corps is apparent. Stage Manager J.M. Bock and assistant stage manager J. Myles Hesse kept it flowing smoothly.
Williams was fascinated by the ebb and flow of time, which is a major component here. Between 1948 and 1959, he had seven plays produced on Broadway. This early one, however, is one of the few happy endings – because they found love in a hopeless place.
The Tennessee Williams Festival St. Louis presents “The Rose Tattoo” Thursdays through Saturdays at 7:30 p.m. and Sundays at 3 p.m. through Aug. 28 at The Big Top in Grand Center, 3401 Washington Avenue. For more information and tickets, visit www.twstl.org, and for a complete schedule of events.
The schedule includes a free showing of “The Roman Spring of Mrs. Stone,” based on Williams’ novel which he adapted for the screen in 1961, starring Vivien Leigh and Warren Beatty. It will take place at 8 p.m. on Wednesday, Aug. 24, at St. Ambrose Church on the Hill, 5130 Wilson Avenue.
A Bocce Tournament starts at noon on Saturday, Aug. 27, at the Italia-America Bocce Club, 2210 Marconi Avenue.
It’s been a bit of a “Sondheim Summer” here in St. Louis, bookended by Far North Theatricals’ “Assassins,” The Muny’s “Sweeney Todd” and Union Avenue Opera’s festival-ending “A Little Night Music,” with performances remaining Aug. 26-27. Extending that bookend will be Stray Dog Theatre’s production of “A Little Night Music” this October.
There seems to be more Sondheim in the air since his death last November, and these local stagings have provided an interesting juxtaposition considering that “Sweeney Todd” is generally considered the more operatic and “Night Music” as more operatta-ish.
No matter. As soon as the off-stage chorus, the Quintet, projected their voices onto the sumptuous Union Avenue Act I set, such nomenclatures were rendered unnecessary…and perhaps irrelevant. Afterall, the first three revivals of “Night Music” in New York were all operatic rather than theatrical, so this production is a good fit for Union Avenue’s strengths and direction.
James Stevens, Leann Scheuring, Eric J. McConnell, Jordan Wolk, Teresa Doggett. Photo by Dan Donovan
Isn’t It Bliss?
If there are still tickets left for the final performances of “A Little Night Music,” reserve your seats. That’s the quick review of this production. Don’t miss it. It is indeed bliss.
Hal Prince, producer of this musical’s debut in 1973, called it “whipped cream with knives.” If Prince meant knives as in sharp knives out, then Annamaria Pileggi’s direction has softened it to butter knives out. It’s a pleasure and perhaps a much-needed respite to engage so fully into this nuanced romantic farce based on Ingmar Bergman’s 1955 film “Smiles of a Summer Night.”
Debby Lennon as Desiree. Photo by Dan Donovan
Isn’t It Rich?
Of Union Avenue’s three productions in this year’s festival, the sets of “Night Music” by C. Otis Sweezey are the best, especially in Act I. The back set consisted of three columnar structures that conveyed the frets of a stringed instrument entwined with swan-like figures and backed with the richest of burgundies.
These elements avoid flaunting their presence and instead provide the right sense of place and privilege of the genteel characters.
During the intermission, as Act II’s back set of trees were moved onto the stage, their colors seemed out of place for the “Weekend In the Country,” presaged by that song at the end of Act I.
But those colors were transformed by the lighting choices of Patrick Huber. Thanks to lighting, fluorescent outlines became comfortable, dusky accents for the rest of the musical.
Peter Kendall Clark and Brooklyn Snow. Photo by Dan Donovan.
Are We A Pair?
At the risk of being unfair to a overall strong cast from the leads to the Quintet, the center of this rueful, bittersweet, Ibsenish tale from Sondheim and playwright Hugh Wheeler is the pair of Fredrik Egerman, sung powerfully by Peter Kendall Clark and Desirée Armfeldt, sung by Debby Lennon. There are multiple, circuitous story lines, but they all dodge and weave around and toward the ultimate (re)union of Fredrik and Desirée.
And at the center of their relationship is (a now-standard) “Send in the Clowns.” As a hit song by Judy Collins back in the day and as rendered into near-Muzak ubiquity, “Send in the Clowns” needs the context of the surrounding story in the musical itself to reach its fullest, layered, exquisitely painful sense of yearning. It also needs the skills and talents of Lennon to ensure it is the show-stopper it was composed to be. Lennon gave the song its due – and more. You couldn’t hear a pin drop during her performance – to use a cliché.
The other extra-noteworthy “pair” in Union Avenue’s production was Count Carl-Magnus Malcolm and grande dame Madame Armfeldt. Both are broad characters that require a careful interpretation to avoid becoming cartoonish foils. Teresa Doggett performed the wheelchair-bound Madame with a delicious – and sometimes hilarious – imperiousness that evolves into a touching sagacity. As sung by Eric J. McConnell, the peacocky Count Carl-Magus fared less well and often crossed into buffoonery.
James Stevens, Arielle Pedersen. Photo by Dan Donovan.
But Where Are the Clowns?
To borrow a line attributed to the showman’s showman P. T. Barnum, Union Avenue’s choice of “Night Music” to conclude their 2022 festival, was the perfect choice to “always leave ‘em wanting more.” Given the rich experience provided by this production, “Night Music” will leave us wanting more…well, maybe next year? The only clowns therefore are those who didn’t reserve a ticket this year.
Union Avenue Opera Union presents “A Little Night Music” August 19, 20, 26, 27 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org
Leann Scheuring, Kay Love, Eric J. McConnell. Photo by Dan Donovan.Joel Rogier, Sarah Price, Phil Touchette, Gracy Yukiko Fisher and Gina Malone. Photo by Dan Donovan
A strong ensemble cast acts naturally in an unnatural setting in “Locked Ward,” a world premiere mystery-drama by Chicago-based playwright Amy Crider.
Now in its 19th season specializing in producing new works, First Run Theatre effectively realizes Crider’s play, which was inspired by her own journey with bipolar disorder, with sensitivity and compassion.
Crider’s care and concern regarding her characters, which were based on people she met while hospitalized in 1993, is obvious. And director Phil Gill follows through by ensuring a human face has been placed on the internal and external conflicts.
Crider has been on effective medication since 1994, and has been almost entirely in remission ever since, she wrote in the program notes. Her large body of work includes the topic of mental illness, and reflects not only her personal experience, but her desire to educate and make people aware of disorders.
“Locked Ward” is first and foremost a passion project, and it succeeds on its earnestness. While it has humorous elements to lighten interaction, it is serious in its intentions. Do not think of this as “One Flew Over the Cuckoo’s Nest” light.
As Crider does, Gill strives to address the stigma hanging over those living with mental illness. And that is an important aspect of this presentation. In his program notes, he said he hopes it “encourages you all as our audience to see through the labels and instead see the humans that exist” behind the diagnosis.
While it could be heavy-handed in conveying the playwright’s noble intentions, First Run does not lecture, but lets the actors believably develop their familiar characters. The cast makes sure we feel their connections while shading the disparate personalities in an identifiable way.
In life, Crider may crusade, but on the page, she doesn’t preach. She has incorporated information within the framework of a murder mystery, which is a surprising component.
The story takes place in 2003 in a psychiatric ward. When the body of a nurse is found on the floor in the ‘locked ward,’ patients become amateur sleuths, united in their shock and grief. That helps them bond, but also shows their limits as their own personal issues come to the forefront.
For instance, the sweet Eleanor, affectingly portrayed by Uche Ijei, has a manic episode while the group is preparing dinner. Her escalating paranoia puts others at risk when she wields a knife (used to cut vegetables) and must be put in restraints. They smoothly diffuse the situation.
Because the actors demonstrate skill in bringing their characters to life, we get to know them beyond their ‘types’ throughout the two acts.
Duncan Phillips is impressive as Franklin, the rigid obsessive-compulsive whose daily routine of “Star Trek” episodes and the evening news is disrupted when the floor’s television set is removed. You know that character. Smart, sincere, and awkward, Phillips grabs onto solving the mystery like a lifeboat.
In a heartfelt performance, Ethan Isaac is Glen, a troubled ex-cop dealing with post-traumatic stress syndrome, who must work through a tragedy. He also provides investigative know-how as the group ascertains how their floor nurse died.
Jalani “Tamia” Hale is sympathetic as Jill, whose memory is erased with her electric shock therapy. She is heartbreaking as she walks around in a zombie-like state sometimes and has grown an unrealistic attachment to the doctor treating her.
As Vladimir, a rebel-rousing dissident who doesn’t play by the rules, Stephen Thompson maintains a convincing Russian accent. An intelligent guy that sometimes condescends, Vlad’s hostility softens as he works together with the group on a common cause.
Treating these patients is Dr. Blumenthal, and Jaz Tucker keeps us guessing about this guy – is he trustworthy or is he hiding secrets? He does a good job giving the benevolent doctor some layers.
Because of COVID-19, Lillie Weber could not play the health care professional Linda, who takes over from the ‘victim’ the patients were attached to. But stage manager Gwynneth Rausch capably filled in. Because they must adjust anyway to an ‘outsider,’ her insertion worked well as a latecomer, not missing a beat. She also provided some context to the deceased nurse’s private life.
Scenic designer Brad Slavik’s use of weathered second-hand furniture and distinct institutional props fitting such a locale’s layout adds to the production’s lived-in quality. Tony Anselmo’s lighting design enhances the moods and the characters’ emotional states, and technical director Jenn Ciavarella’s sound design is efficient and fluid.
The play is well-staged in the Kranzberg black box theatre so that each character has their moment to shine.
Without simple solutions, the play zigs when you think it will zag, so you are kept somewhat off-guard, avoiding predictability.
While the conclusion seems anticlimactic, and the path towards the resolution gets a little clunky in its exposition, the ensemble’s likability smooths the rough edges.
Overall, the actors’ grow as they share their stories, bridging some of the hurdles perceived in mental health.
Crider does not offer quick fixes, and it would be irresponsible to do so anyway. Because of the way the character’s progress, in the end, the message lands on how much more insight we need on mental illness.
Through First Run, this fiction can be a starting point to learn more.
The St. Louis chapter of the National Alliance on Mental Illness, which serves St. Louis city and county plus the counties of St. Charles, Lincoln, Warren and Jefferson, has provided the company with resources that they have placed in the lobby of the Kranzberg Arts Center. NAMI is an organization of families, friends and individuals whose lives have been affected by mental illness
Crider has also written a mystery novel about her experience with mental illness, “Disorder,” which is available from bookstores, Kindle, and audio.
Crider wrote the play, “Charlie Johnson Reads All of Proust,” that the Midnight Company presented here in May 2019.
You can follow her career, including winning the Tennessee Williams One Act Play contest, on www.amycrider.com.
Jaz Tucker, Ethan Isaac
First Run Theatre presents “Locked Ward” Aug. 12-14 and 19-21 at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis. For tickets and information, visit www.firstruntheatre.org.
