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.
Sometimes, those who lose are more inspiring than those who win. Take Maurice Flitcroft, for example, who became known as the Worst Golfer in the World. He wound up having the last laugh, though.
That’s the takeaway from “The Phantom of the Open,” a kooky and charming real-life story that celebrates ordinary joes who never give up. During his well-documented remarkable life, Flitcroft achieved an unlikely more-than-15-minutes of fame.
A shipyards crane operator in Barrow-in-Furness in northern England, Flitcroft, at age 46, went after a dream with uncommon verve and an unfailing work ethic. In 1976, he managed to gain entry to The British Open Golf Championship Qualifying and subsequently shot the worst round in Open history, 121, but became a folk hero in the process.
While it did not pan out, people still remember his name. Imagine the mindset to take a risk like he did — an inexperienced golfer who played his first round ever in the 1976 British Open. He turned the stuffy pro establishment on its ear – and Rhys Ifans is hilariously condescending as gatekeeper Keith Mackenzie. The more horrified they are, the more this unrelenting optimist keeps plugging away.
Director Craig Roberts treats Flitcroft with utmost respect, even if those around him do not. The brilliant Mark Rylance anchors this film that’s populated with eccentric characters, and the ensemble is integral to winning us over.
Rylance is joined by fellow British treasure Sally Hawkins as his wife Jean, in yet another poignant role. They make a sweet couple, and Hawkins always delivers a nuanced take. She covers Jean’s heartaches well.
In fine support are Mark Lewis Jones as his best friend Cliff and Ash Tandon as a reporter who tells his story.
Even though their sons are more caricature-like here, Jake Davies is his embarrassed stepson Michael, and twins Christian and Jonah Lees are very funny as the hyper disco-dancing duo Gene and James. The retro ‘70s needle drops are terrific additions to the score.
A real actor’s actor, Rylance, Oscar winner for “Bridge of Spies” who has three Tony Awards and a couple BAFTAs, has a knack for disappearing into a role, and this is no exception. As the earnest Maurice, he will tug at your heartstrings and tickle your funny bone at the same time.
In adapting his own 2010 book, co-written with Scott Murray, screenwriter Simon Farnaby has brought out the quirky details to make the story amusing but never mocks Maurice, and gives it some emotional gravitas in the dramatic turns so that we care about the outcome at every juncture.
Farnaby, who wrote the screenplay for the beloved “Paddington 2,” knows how to mix humor and heart, and Roberts adds warmth. While parts of this story seem incredulous, we find out what seems the most outlandish is true.
Uplifting and sincere, “The Phantom of the Open” is a little gem that aims for the stars and glitters like diamonds in the sky.
Mark Rylance as Maurice Flitcroft
“The Phantom of the Open” is a 2021 comedy-drama that is directed by Craig Roberts and stars Mark Rylance, Sally Hawkins, Rhys Ifans, Jonah Lees, Christian Lees, Jake Davies, It is rated PG-13 for some strong language and smoking, and runs 105 minutes. It opened in select theaters earlier in 2022 and is now available on digital and will be on DVD Aug. 30. Lynn’s Grade: B+
Even an actor as good as Idris Elba can’t save this overblown and half-baked adventure-thriller.
When poachers slaughter a pride of lions, ticking off a big cat who goes rogue and becomes a killing machine, this coincides with a doctor’s visit taking his two daughters to their mother’s homeland in South Africa for a getaway safari. But their dream vacation turns into a nightmare instead in yet another movie called “Beast.”
Dr. Nate Samuels (Idris Elba) was separated from his wife at the time of her death from cancer, and this has led to friction with the oldest grieving daughter, Meredith “Mere” (Iyana Halley). They are staying with the mom’s childhood friend, Martin (Sharlto Copley), who oversees an animal preserve, protecting all the creatures on the savanna.
While it starts out promisingly enough, with stunning scenic backdrops and sweeping shots of galloping giraffes, “Beast” quickly falls apart when it becomes “Cujo” and the ticked off apex predator hunts down all humans in sight – except when he/she doesn’t.
The maulings are intense and gruesome, obviously – did they not ever heed ‘it’s not nice to fool Mother Nature?’ and the cast illogically puts themselves in harm’s way.
Characters make a series of decisions that go from bad to worse, so that they seem as dense as people in slasher films. The youngest daughter, Norah (Leah Jeffries), has a penchant for wandering at the worst times. (But is it ever a good thing in unfamiliar territory?).
While I’m not skilled in the laws of the jungle, I’m pretty sure screenwriter Ryan Engle ignores most of them.
Engle takes a video game approach, just as he did in “Rampage” and run-of-the-mill Liam Neeson movies “Commuter” and “Non-Stop,” and the action doesn’t match the characters, who are poorly drawn in the broadest cliches. For a supposedly smart man, Elba’s Dr. Samuels has little common sense.
Then there are the standard tropes. We have the angry daughter lashing out at busy doctor dad who wasn’t around. Oh, that’s original. Scenes of unrealistic peril ensue, even for an animals-attack plot.
By the end, you just want everyone to be put out of their misery after what seems to be an interminable amount of pummeling. The film’s saving grace is its short runtime of 93 minutes — yet, the ending is ludicrous.
It’s not a good sign that the audience seemed to lose patience midway, and laughter grew. Would you willingly smash a walkie-talkie when that is your only lifeline?
As their friend Martin, Sharlto Copley does what he can with a role that mostly dispenses information as he gives them a tour, which goes horribly wrong. Copley, who showed so much promise in “District 9” in 2009, doesn’t have an opportunity here to stand out, and he’s better than the material..
Jeffries and Halley are natural enough as sisters. While paralyzed with fear, they still display survival skills and actually help dad when he needs it. Elba’s character owns up to his failings, so you expect the squabbles given the circumstances. But the end game is that they bond.
However, the characters are soon boxed in, and not just in the vehicle — and the conveniences become contrivances. Whatever goodwill we had for the characters evaporates and interest wanes, so that the conclusion seems anticlimactic.
Elba shows a physical side again, but this time as a flawed hero, not menacing like in “The Harder They Fall,” “Suicide Squad,” and his brief appearances in the Marvel Cinematic Universe as Heimdall. Dramatically, in film, he has yet to surpass his work in “Beasts of No Nation” in 2015, although he is best known for his television work in “Luther” and “The Wire.”
Director Baltasar Kormakur’s style is very busy, with quick cuts, and his longshots lack focus — especially as the characters’ overlapping dialogue becomes hard to understand, and it is more difficult than it should be to hear what the actors are saying.
While one can appreciate his intensity in man vs. nature conflicts, he fares better when it’s a war against the elements, unlike here, dealing with a hulking CGI beast of a lion. In “Adrift” in 2018, he gave a riveting account of Hurricane Raymond survivor Tami Oldman (Shailene Woodley) at sea, while in “Everest” he methodically delivered a procedural on the 1996 disaster on the world’s highest mountain that got bogged down with melodrama.
Still, “Beast” is a lot to unpack. Hampered by not only poor sound but also sloppy computer-generated graphic images that don’t seem realistic, the film becomes a merciless slog.
Disingenuous and dissatisfying, “Beast” is ultimately forgettable soon after exiting the theater.
Idris Elba, Sharlto Copley, Iyana Halley in “Beast”
“Beast” is an action-thriller directed by Baltasar Kormákur and stars Idris Elba, Sharlto Copley, Leah Jeffries and Iyana Halley. It’s rated R for violent content, bloody images and some language and run time is 1 hour, 33 minutes. It opens in theaters on Aug. 19. Lynn’s Grade: D.
STAGES St. Louis has announced that current Associate Producer, Andrew Kuhlman, will succeed Jack Lane as Executive Producer beginning January 2023.
“I cannot think of anyone more fully prepared to assume the position of Executive Producer of STAGES St. Louis. Andrew will no doubt continue to build upon the legacy of STAGES for many years to come,” Mosbacher Family Executive Producer Jack Lane said.
Kuhlman started with the organization as an intern in 2012, gradually attaining more responsibilities and eventually joining the three person leadership team that included founders Jack Lane and Michael Hamilton.
“It was very important that we choose an individual who will honor and respect the legacy of Jack and Michael while keeping STAGES St. Louis moving forward for the benefit of performing arts in the St. Louis region,” Board President David White said. “Andrew is professional, an excellent communicator, and a strategic thinker who, along with our new Artistic Director Gayle Seay, will continue to grow STAGES as an arts institution.”
Kuhlman will assume the Executive Producer role effective January 1, 2023. Lane will transition into a consulting role in the organization while also pursuing new projects in New York and beyond.
“I consider myself equal parts lucky and honored to take on the role of Executive Producer at STAGES St. Louis following in the incredible footsteps of Jack Lane. I believe in STAGES, its mission and programs, and most importantly the amazing people that make the work of this organization possible,” Kuhlman said.
“I am looking forward to leading STAGES into this new era with Gayle as we ensure that this wonderful company continues to play an integral role in the St. Louis and national arts communities.”
In 2022, STAGES St. Louis proudly presented the Pre-Broadway World Premiere of THE KARATE KID – The Musical and is currently presenting Lin-Manuel Miranda’s Tony Award-Winning Best Musical, IN THE HEIGHTS. Beginning September 9, the grand finale of the STAGES 2022 Season, A CHORUS LINE, will begin performances.
The 2023 Season is expected to be announced in early September.
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STAGES St. Louis performs in The Ross Family Theatre at the Kirkwood Performing Arts Center. Tickets are on sale now online at StagesStLouis.org or by phone at 314.821.2407. For more information, please follow STAGES on Facebook and Instagram or visit StagesStLouis.org.
By Lynn Venhaus As frothy as a cappuccino and sweet as cotton candy, “Joseph and the Amazing Technicolor Dreamcoat” took hold of The Muny stage as a swirling kaleidoscope of color, a glittery burst of cheer from a youthful ensemble that brings it home.
In the first full season after the challenging post-pandemic years 2020-2021, The Muny wraps up a groundbreaking summer with this beloved big, splashy musical that has been here six times. Last produced in 2012, the show first arrived in 1986 and returned in 1997, 2002 and 2007.
With its technical razzle-dazzle matched by the effervescent Muny Kids and Teens in the youth ensemble and children’s choir, the entire company looked like they were at the happiest place on earth.
That engaged the crowd, and the charismatic principals Jason Gotay as golden child Joseph, Jessica Vosk as the regal Narrator, and Mykal Kilgore as the swaggering Pharoah elevated the wispy material, delivering knock-out performances.
Narrator and Potiphar. Photo by Phillip Hamer.
However, the show is not without heartache and adversity – with a turnaround because of strength, perseverance, and blessings, for it is based on the Old Testament Book of Genesis tale of Jacob, his favorite son Joseph, his 11 other sons, and that famous coat of many colors.
After Joseph’s jealous brothers sell him into slavery, he impresses the Egyptian noble Potiphar, but then rejects his wife’s amorous advances, and is thrown in jail. While locked up, Joseph’s talent for interpreting dreams is put to good use. He ingratiates himself with the Pharoah because he offers a solution to the country’s famine, and that stroke of fortune results in Joseph becoming the Pharoah’s right-hand man. He is eventually reunited with his family.
In the stylized re-imagining by composer Andrew Lloyd Webber and lyricist Tim Rice, the story is told through song and dance.
Considered innovative in the 1970s, the musical comedy has expanded over time, and is now regarded as a family-friendly favorite staged by thousands of schools and groups in the U.S. and across the pond.
The EGOT duo began this journey collaborating for the second time in 1968. Commissioned by a music teacher who was a family friend of Webber’s, their 15-minute pop cantata was performed at the Colet Court School in London. After more tinkering, it was recorded by Decca Records in 1969.
When their next piece, the rock opera “Jesus Christ Superstar,” skyrocketed them to fame in 1971, the earlier musical was stretched to 35 minutes for the Edinburgh International Festival the next year. More modifications followed, and the modern format was staged in 1974. It was mounted on Broadway in 1982 and nominated for seven Tony Awards. Revivals, tours and a 1999 direct-to-video film starred Donny Osmond followed.
Like the other pop Biblical musical of that era, Stephen Schwartz’s “Godspell,” it is re-interpreted for every presentation. Consider this the theme park ride version, with the youngsters displaying as much energy as those attending summer cheerleading camps.
Photo by Phillip Hamer.
It’s a swell dance party, briskly performed in several celebratory scenes and elaborate pastiches – including countrified “One More Angel in Heaven/Hoedown,” the French-inspired lament “Those Canaan Days,” island-flavored “Benjamin Calypso” and the grandmaster flashy finale “Megamix.”
The pleasant pop-py tunes “Any Dream Will Do” and “Go, Go, Go Joseph.” are certain to be hummable on your way home.
Music director Charlie Alterman, who won last year’s St Louis Theater Circle Award for “Chicago,” is adept at lively shows with many moving parts and his orchestras are a treat to listen to — and he’s aware of the Muny’s pit challenges this season.
Of course, a show directed and choreographed by Josh Rhodes would seize the day. Rhodes, who is known for his athletic and acrobatic dances, returns after successes helming “Jersey Boys,” “Paint Your Wagon” and that stunning tap number to “Putting on the Ritz” in 2016’s “Young Frankenstein.”
This is a show that requires a special set of skills, and Rhodes’ crisp and snappy choreography is flat-out fun. He was aided by associate choreographer Lee Wilkins and dance captain Emilie Renier.
In its last national tour in 2014, the ingenious three-time Tony Award winner Andy Blankenbuehler directed and choreographed a fresh interpretation that ran at the Fox Theatre that spring. That show featured American Idol finalist Ace Young as Joseph and his wife, fellow finalist Diana DeGarmo, as the Narrator.
The role of Joseph is often filled by a pop star – and teen heartthrobs David Cassidy, Andy Gibb and Donny Osmond have played the lead before. (And first American Idol runner-up Justin Guarini, who has played various roles at the Muny, was Joseph in 2012.)
At the Muny, Jason Gotay has won over hearts as a charming leading man, appearing as Prince Eric in “The Little Mermaid,” Prince Topher in “Rodgers + Hammerstein’s Cinderella” and as Jack in “Into the Woods.”
His strong velvety vocals emphasize he is no lightweight, heart-tugging in “Close Every Door.” He commands the stage confidently, capably leading the large cast in the group numbers.
Mykal Kilgore as the Pharoah. Photo by Phillip Hamer.
However, the showstopper in this production is Mykal Kilgore.
One of my favorites since I saw him at the Muny Magic concert at the Sheldon in 2017, the affable Kilgore slays as the megawatt Pharoah. It’s as if James Brown and Little Richard had a baby.
In a departure from the previous Elvis-like personas, Kilgore reaches back to his R&B roots for “Song of the King,” bringing the house down. The Pharoah’s stage time is brief, but his impact is mighty.
Jessica Vosk makes her Muny debut, playing a hands-on narrator who just doesn’t just observe the action from the sidelines, but propels it along. Here, she is a surrogate mother hen to the youngsters as she tells the tale.
Vosk has the powerful pipes to fill an arena and is well-suited for this grand production. She has played the role before, in the 50th anniversary show at the Lincoln Center, and is remarkably assured while the action bubbles up around her.
Other noteworthy debuts are multi-hyphenate Eric Jordan Young in the dual role of well-meaning Jacob and flamboyant Potiphar, and Darron Hayes as playful Judah, who takes the lead in “Benjamin Calypso.”
The adult choir is chock-full of Muny regulars, and some familiar castmates are playing brothers. Dynamic Harris Milgrim, a standout as Benjamin in last year’s “Seven Brides for Seven Brothers,” is again as Reuben in “One More Angel.”
Sean Ewing, in his third season at the Muny, is second son Simeon, amusing in “Old Canaan Days.”
Not all the hijinks work, for the mashups often are silly, and the gaudy pageantry can easily slide into trivial frivolity, but that’s the problem with the show itself. As the years ago on, they keep gilding the lily, adding more to an already over-the-top show. But it remains a huge crowd-pleaser.
And the joyous look on those kids’ faces on stage said it all. (I counted 40 in the youth ensemble and 14 in the children’s choir, in addition to the 19 in ensemble, not to mention principals.)
Photo by Phillip Hamer.
Edward E. Haynes Jr., the award-winning scenic designer for “Smokey Joe’s Café” last year, combines glitz, a Skittles rainbow of bold colors, and Egyptian symbols for the second act, in a whimsical set reminiscent of Tim Burton and the Marvel superheroes’ cinematic universe.
In a stunning backdrop, he references King Tutankhamen’s gold headdress in a giant piece anchoring a fancy staircase with neon piping..
Video designer Greg Emetaz is in sync with Haynes’ vision, and an extension of the gold-plated theme uniting the looks is on the LED screens.
Costume designer Leon Dobkowski references Vegas showgirls, exotic images and B.C. looks to create sparkly outfits and a sunny vibe. His elaborate headdresses are something special to see. The different gold fabrics stand out in garments, and kudos to wig designer Kelly Jordan for the Pharoah’s massive ‘do.
Jason Lyons’ lighting design capitalizes on the wonder and magical parts, and smartly ascertains between the dreamy sequences and the dark times.
It’s fitting that The Muny focused on home, family, relying on each other and connection for the last show of the 104th season, particularly after what they endured from mid-June to now with the double-whammy of back-to-back floods, extreme heat – even by St. Louis standards (oh you layered Edwardian Londoners in “Mary Poppins”!), and a new strain of COVID-19 on the rise in the region (but thanks to understudies and swings, the shows went on).
In his annual farewell address, Mike Isaacson, executive producer and artistic director since 2011, joked that the season was ‘biblical,’ and who could argue?
Known for its fizzy fun, “Joseph” delivered a spectacle to end the season on a high-spirited note.
If you think of the Muny in terms of a summer vacation, “Chicago” was nightlife fun, “Camelot” was a Renaissance Faire, “Mary Poppins” was a trip to the Magic House, “Legally Blonde” was a class reunion, “Sweeney Todd” was visiting the Louvre, “The Color Purple” was the Smithsonian and “Joseph and the Amazing Technicolor Dreamcoat” was a trip to Disneyland.
Until we meet again under the stars in Forest Park, here’s raising a glass to a summer tradition that I am grateful for, and will never ever take for granted.
Cast of ‘Joseph.’ Photo by Phillip Hamer.
The Muny presents the musical “Joseph and The Amazing Technicolor Dreamcoat” Aug.13-18 at 8:15 pm. Performances take place on the outdoor stage in Forest Park. For more information, visit www. muny.org.
By Lynn Venhaus When the U.S. Department of Justice sounded the alarm bells this week, after having no choice but to act on such egregious disregard for national security by seizing 11 sets of classified documents from Mar-a-Lago, information trickled out, each revelation more concerning than the day before regarding what was found at the former president’s residence.
But those initial knee-jerk reactions by far-right extremists, propaganda media and dog-whistling GOP elected officials caused a great deal of harm.
Without knowing what transpired, they shouted to “Defund the FBI” and claimed Nazi tactics. Really? Without any supporting facts and taking the word of a pathological liar, their rush to judgment was disturbing. They continued to rile up the partisan divide that seems irreparable at this point. so irresponsible. If no one listens to logic, we are a long way from public leaders using common sense.
Isn’t there any moderate who is willing to go on record with “Maybe there is something very wrong here, and lives are at jeopardy?” But when no one cares about anything but power and winning, this is where we are in 2022.
The talking points fueling conspiracy theories were nonsense. How fast their violent rhetoric escalated lies and misinformation, damaging the foundations of our judicial institutions. And this is just accepted behavior. Fan the flames because they can?
And to what end? Defending abuse of the rule of law because they think any investigation into #45 is unjust and uncalled for? Blind support for his unsubstantiated claims that he was the victim, it is a “witch hunt” and “nothing to see here,” which has been debunked, is troubling. Surely you can’t support someone’s abuse of the law, no matter what party you are affiliated with? That is not being a patriot.
TFG is not above the law. Why is it so hard to understand?
Why can’t more citizens admit they were wrong and distance themselves from a man who clearly continues to be a danger to democracy?
While more will come out, of course, so many laws appear to be willfully broken. Time will tell just how serious these charges are, if it comes to that. And there is such rampant speculation, so the sooner we know the truth, the better.
But the national security experts are shocked at the blatant disregard for national security and how at-risk the lives of government intelligence employees are — and it is beyond the pale.
The mind is blown because these laws and procedures are to protect the safety of not only our country’s military, but our allies as well.
No excuse makes this OK. No amount of blaming others makes it legal.
The twice-impeached former president will knock the investigation to further distract people, but this is serious. While he has committed so many other infractions and seemingly isn’t punished – yet, these questions remain a concern.
1. Why have this stuff? 2. Why lie about having it? 3. Why disregard a subpoena?
This isn’t ‘he said, she said,’ but rather based on written evidence, surveillance videos and irrefutable behavior. Interrogations will follow.
I have long wondered what would be the tipping point for those die-hard devotees to realize what an actual liability Trump is, a morally bankrupt demagogue whose mob-boss tactics and long history of corruption has led us to this very scary point. And how the political parties move forward. When will accountability matter?
This inexplicable grip he has is being tested, and while his radicalized supporters become increasingly violent and threats are up, what happens next will be very revealing.
Attorney General Merrick Garland
Now would be a good time to drop the cult-like devotion, say “Enough!” aloud, and understand that supporting a traitor means you are in favor of treason.
When people learn they are on the wrong side of history is a day I hope they must deal with the consequences. But most of all, right the ship. Start over from Day 1 for the betterment of all of us.
I fear if people do not de-program the craven acolytes, we are at a grave juncture.
Every day seems like authoritarianism is imminent because so many people are unwilling to stand up, do their duty and uphold the US Constitution.
And for what? Be afraid, be very afraid. I know I am.
Presidential Historian Michael Beschloss: “Rule of law. Protect our institutions of democracy. Defend our national security. There should be nothing partisan about any of this.”
God bless America, my country ’tis of thee, sweet land of liberty. Let freedom ring.
To read the complete document: https://www.npr.org/2022/08/12/1117277865/read-the-full-warrant-documents-from-fbi-search-of-trumps-mar-a-lago-home
By Lynn Venhaus “She’s a fighter like nobody else I know,” states Mark Kelly about the woman he married in 2007, in the new documentary, “Gabby Giffords Won’t Back Down.”
For 95 minutes, that description is confirmed in numerous instances. Kelly, former U.S. Navy captain and Space Shuttle commander, was elected to the U.S. Senate in 2020, and continues to work with his wife on reforming gun laws. It is truly astonishing that she is even alive, let alone fighting for causes, after an assassination attempt in 2011.
Just as they did with their exceptional documentary “RBG,” directors Julie Cohen and Betsy West provide a passionate portrait of the former Congresswoman, depicting her courageous and remarkable recovery from a gunshot to the head, her advocacy regarding gun violence prevention, and her strong marriage to Kelly.
While it seemed like she had a charmed life as an all-American girl growing up, a voracious reader who earned a master’s degree in regional planning at Cornell University and earned a Fulbright Scholarship in Mexico, Giffords has had her battles – and has met many challenges with energy and persistence throughout her business and political career.
Giffords, who changed her party affiliation from Republican to Democrat in 2000, maintained that she was a centrist. “A good idea is a good idea. It doesn’t matter if it’s from a Democrat or a Republican,” you hear her say in the film.
Colleagues discussed how she won people over, and someone coined the phrase “Gabbified.” You’ll see why.
Third-generation owner of the tire business her grandfather started, Giffords ran for a seat in the state legislature at age 30. She served in the Arizona House 2001-2003 and the state Senate 2003-2005 before being elected as a U.S. Representative. She had just been elected to her third term when she was meeting with constituents at a Safeway grocery store in a suburb of Tucson, Casa Adobes.
It was a Saturday morning, Jan. 8, 2011. Shots rang out, 19 people were struck, including Gifford, and six people died.
Jared Lee Loughner ran up, shooting into the crowd gathered for “Congress on Your Corner” with a 9 mm pistol that had a 33-round magazine. The crowd detained him, and the next day, he was charged with killing federal government employees, attempting to assassinate a member of Congress, and attempting to kill federal employees. He pleaded guilty to 19 of the 50 charges in a plea bargain where he avoided the death sentence.
The rising political star’s near-death experience obviously changed her life, and now she tirelessly works as an activist for gun violence prevention.
While Giffords was in the hospital, Kelly asked a friend to videotape Gabby’s progress, thinking she might want to see it someday.
These home videos are gut-wrenching, and show how her brain was affected, and what she had to re-learn. They provide a realism that words can’t match, although hearing from a neurosurgeon, her speech pathologist and music therapists add insight to what trauma gunshots triggered.
She remains affected by aphasia, a language impairment, and her right arm is partially paralyzed.
In January 2013, Giffords and her husband started a political action committee called Americans for Responsible Solutions. Its mission is to promote gun-control legislation with elected officials and the public. They repeatedly advocate for keeping guns out of the hands of dangerous people like criminals, terrorists, and the mentally ill. They have proposed limiting the sale of certain magazines and assault weapons and stopping gun trafficking.
Her heart-tugging journey, of course, is inspiring, and well-told by the filmmakers, with sharp editing by Ilya Chaiken and strong camera work by Dyanna Taylor. Miriam Cutler’s score and well-chosen pop-rock songs enhance the story.
Gabby Giffords
No matter what political party you are affiliated with, you can’t help but admire the woman and her compelling life story.
“Gabby Giffords Won’t Back Down” is a 2022 documentary directed by Julie Cohen and Betsy West. It is rated PG-13 for thematic material involving gun violence and some disturbing images and runs 95 minutes. It is currently available on Premium Video on Demand. Lynn’s Grade: A.
Director Ron Howard knows how to tug on the heartstrings, and with its life-or-death scenario, “Thirteen Lives” is ready-made for an agonizing Hollywood adaptation – with a happy ending, of course.
In 2018, a rescue mission is assembled in Northern Thailand where a group of young boys and their soccer coach are trapped in a system of underground caves that are flooding. Based on true events.
Like he did in “Apollo 13,” Howard creates a suspenseful narrative out of a historical account where we know the outcome, but he keeps us enthralled, using William Nicholson’s gripping screenplay to build the against-the-odds story with palpable emotional heft.
The daring rescue of 12 boys and their soccer coach captured the headlines in 2018 – dubbed the “Miracle in the Cave” by the global news media — and the world’s hearts.
If you are fuzzy on the particulars, the soccer players, after practice, went on an outing to explore a nearby elaborate system of caves called Tham Luang. During a storm, they became trapped. The Thai Navy, U.S. Navy Seals, and well-known cave divers combined their know-how for a daring rescue. The Thai government and international leaders take part in the plans.
Howard, Oscar winner for “A Beautiful Mind” and nominee for “Frost/Nixon,” has many moving parts here depicting the dangers of cave diving. It’s a remarkable physical feat working with those unstable natural elements – and the underwater scenes are genuinely harrowing.
Last year, in the inspiring documentary, “The Rescue,” filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi chronicled the story, using never-before-seen material and exclusive interviews.
They also conveyed the enormous outpouring of caring and compassion from the international community, which is necessary to show the scope.
Howard uses those same elements – survival, determination, and ingenuity, as portrayed by the actors. Viggo Mortensen is Rick Stanton and Colin Farrell is John Volanthen, the divers who were the first ones to spot the boys after 10 days.
They were joined by many people to help save the boys, and Joel Edgerton plays Dr. Harry Harris, the Australian diver and anesthesiologist who came up with a risky plan. His reaction to the news that all the boys are fine will choke you up – such relief.
The actors make us feel the peril, and the claustrophobia ia seems overwhelming. Special mention to Tom Bateman as Chris Jewell as part of the British Cave Rescue Council and Paul Gleeson as Jason Mallinson, another diver flown in to help.
The danger mounts, the clock is ticking, and we hope the anguished parents have a good outcome before monsoon season arrives.
A large international cast, including many Thai characters, help with the realistic approach. Some subtitles are used for the families and government official characters.
Howard, who has been equally at home in comedy and drama since his first film in 1978, has helmed several outstanding documentaries during the past decade, including the Beatles’ “Eight Days a Week,” “Pavarotti,” “Rebuilding Paradise” about California wildfires destroying a community, and most recently, the Emmy-nominated “We Feed People” about Jose Andres’ efforts through the World Central Kitchen.
So, giving this drama a documentary feel is natural. The tension ramps up with a thoughtful score by Benjamin Wallfisch, a frequent collaborator with Howard, who takes a pared down approach.
The cinematography of Sayombhu Mukdeeprom is a marvel, and between the rising waters of the caves and the torrential rain, stunning craftsmanship.
If you’ve seen the documentary, you do feel like you’ve seen this before, but “Thirteen Lives” is a respectable exercise.
This film is another one of those compelling accounts that shows how people come together to overcome adversity. The real people of the “Miracle in the Cave,” are true heroes, and it’s impossible not to be moved.
“Thirteen Lives” is a 2022 action-drama based on true events and directed by Ron Howard. It stars Viggo Mortensen, Colin Farrell, Joel Edgerton, Paul Gleeson and Tom Bateman. Rated PG-13 for some strong language and unsettling images, it runs 2 hours, 27 minutes. It opened in selected theaters on July 29, and began streaming on Amazon Prime beginning Aug. 5. Lynn’s Grade: B
Director Dan Trachtenberg’s “Prey” is a lean, primal, nerve-wracking, and vividly shot underdog story smeared in glistening blood, featuring an expert performance from Amber Midthunder.
Trachtenberg’s film, unfolding prior to the events of 1987’s classic “Predator,” takes place 300 years ago in the Great Plains, focusing on Naru (Midthunder), a member of the Comanche Nation and warrior-in-training who is determined to prove herself. She’s frequently underestimated by men in her tribe, including by her brother, a skilled hunter named Taabe (Dakota Beavers). One day, however, Naru spots a bizarre object in the sky: a spaceship that just happens to transport the Predator (Dane DiLiegro) on its first visit to planet Earth. Believing this to be a divine sign to complete a warrior rite of passage, Naru insists on joining a team with her brother to kill a mountain lion that’s slain one of their tribesmen.
Before long, however, Naru is certain that something else is afoot. And she’d be correct. A formidable presence, complete with sharp tusks, chiseled abs, and numerous sci-fi murder contraptions, is able to brutalize any creature with ease, often cloaked in invisibility and emitting ominous click-clacking sounds that blend in amid the hissing wind and creaking branches. Continuing to be doubted, Naru and her trusty canine companion, Sarii (a true legend), venture out into the wilderness to protect her community and realize her potential that’s long been repressed by tradition. Battling the elements, colonizers, and the iconic spine-extractor itself, she must use her ingenuity and perseverance to survive, as the hunter becomes the hunted.
While “Prey” has plot beats that could have used more time to breathe, Trachtenberg has crafted a hardcore adventure tale that conveys a grand sense of scale with a protagonist who’s easy to root for.
Indeed, it’s unfortunate that “Prey” isn’t releasing theatrically — this film definitely deserves the big screen. Jeff Cutter’s cinematography is utterly spectacular at times, pulling back the camera to showcase vast rolling hills and gushing rivers bordered by dense forests untouched by technology, as Naru and Sarii bravely journey onwards, fending for themselves in an environment both liberating and fearsome. Complemented by Sarah Schachner’s pounding, percussive score, we feel like we’re on an epic adventure, the specter of death ever-present.
The film’s expansive setting isn’t just used as eye candy, though, as “Prey” calls back to a more classical form of storytelling, where dialogue is largely minimal, and Naru’s battles with Mother Nature and the Predator take center stage. Like her, viewers stay in-the-moment, which aids immersion but also limits how much we learn about Naru as a person. Thanks to Midthunder’s commanding, star-making performance, we see her will to live through her fierce gaze and body language alone, but our emotional attachment to both her and Taabe is limited due to the film’s uneven pacing, especially in the latter half. This isn’t helped by dialogue that occasionally leans clumsily blunt when subtlety could have added more texture to characters’ motivations.
That’s not to say the action isn’t spectacular, though. From barely escaping quicksand with her makeshift tomahawk-boomerang, to a close encounter with a bear, and going toe-to-toe with the Predator itself, “Prey” delivers set piece after set piece with aplomb, clearly framing the carnage to maximize suspense, bloodletting, and skin-of-your-teeth victories. One sequence late in the film within a burnt forest drenched in fog is pure cinematic bliss — the Predator vanquishing foes with cutthroat brutality, seemingly self-aware of its badassery, to both menacing and comedic effect.
Of course, the Predator itself delivers the grisly entertainment any reasonable viewer expects, with a few new gadgets thrown in that I won’t spoil. Although the creature’s fear factor is lessened due to its appearances early on — in several scenes showing the natural order derailed — the juxtaposition between its high-tech weaponry and the Comanche Nation’s comparatively low-tech, but nonetheless lethal tactics emphasize the fact that pure brawn doesn’t guarantee success. Rather, Naru’s ingenuity, upending of expectations, and skillset forged through her tribe’s teachings and personal experiences render the film a satisfying story of empowerment and cultural representation, without talking down to viewers.
Slightly ham-strung by its economical approach to narrative, “Prey” still thrills with beautiful cinematography, harrowing scenarios, and a memorable performance from Midthunder that places it right alongside the original. It’s high concept sci-fi that remains top of the food chain.
“Prey” is a 2022 action-drama directed by Dan Trachtenberg and stars Amber Midthunder, Dakota Beavers and Dane DiLiegro. It is rated Rated R for strong bloody violence and runs 1 hour, 39 minutes. It began streaming on Hulu on Aug. 5. Alex’s Grade: B+
