Don’t have tickets yet? Some seats remain for Arts For Life’s 22nd Best Performance Awards at 2 p.m. on Sunday, June 12, which will honor excellence in community musical theater and youth productions.

It will be the first time the annual event is live and in-person since 2019. Musical numbers from eight nominated musicals “Annie,” “Cabaret,” “Disney’s Beauty and the Beast,” “Fun Home,” “The Marvelous Wonderettes,” “Nunsense,” “Shrek,” and “Young Frankenstein” will be performed.

This year’s venue is the Clayton Ballroom at the Frontenac Hilton, 1335 S Lindbergh Blvd., St. Louis 63131. Seating will be general admission theater-style seating.

Formal attire is requested. Face masks are recommended. A cash bar and light snacks will be available for purchase.

Veteran performers and BPA winners Gerry and Kay Love are the co-hosts, and Kimmie Kidd-Booker, another BPA winner and AFL board member, will join the Loves for the opening number.

This year’s BPAs include nominees from the shortened 2020 and 2021 theater seasons. Winners will be announced in 30 categories.

The Gateway Center for the Performing Arts’ youth musicals “Annie” and “Cabaret” earned 25 nominations – 14 and 11 respectively, to lead all groups.

Goshen Theatre Project in Collinsville, Ill., received the most community theater nominations, 16, with 11 for “Disney’s The Beauty and the Beast” and five for “Nunsense.”

The Kirkwood Theatre Guild in Kirkwood, Mo., earned 12 for the musical adaptation of the fairy tale “Shrek,” while St. Louis’ Take Two Productions received 10 for their regional premiere of the Tony Award-winning musical “Fun Home.”

The Hawthorne Players in Florissant, Mo., received eight nominations for the jukebox musical comedy “The Marvelous Wonderettes” while Monroe Actors Stage Company of Waterloo, Ill., garnered seven for the Mel Brooks’ musical adaptation “Young Frankenstein.”

Charlie Wehde will receive a special youth musical recognition award. He was honored for the Best Youth Musical Performance for his portrayal of Jack in “Into the Woods” at DaySpring Academy.

AFL’s annual pair of talent scholarship recipients will be announced. Honorees must pursue an arts career in higher education.

The annual event was held virtually in 2020 but cancelled in 2021 because of the coronavirus pandemic.

“These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, president of Arts For Life.

Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it in the St. Louis metropolitan and metro-east Illinois region.

Nominations were announced Jan. 22 at the annual Trivia Night, which was a virtual event held during a surge in the Omicron variant cases of COVID-19 last winter. They are listed on the website at www.artsforlife.org.

Starting in mid-March 2020, productions were postponed and canceled during the coronavirus pandemic, and safety precautions have been a priority for performers and performances because of the public health crisis. Theaters are no longer dark, and judging resumed in 2021.

“While we did about half the usual number of shows in 2021, it did not diminish Arts for Life’s vision for a community recognition program,” McCreight said.

Prior to the pandemic, 15 theater groups and 10 youth-only groups participated in the BPAs As the region’s mitigations efforts were ongoing the past two years, only four youth-only groups and nine community theater organizations produced BPA-eligible musicals 2021.

BPA tickets are $25, They are available online with a service fee of $2 added: https://arts-for-life-2.square.site/ and can be picked up at the box office on event day.

For special seating needs or COVID-19 related concerns, contact afltrg@artsforlife.org. Handicapped seating is available

Groups participating in this year’s BPAs include Christ Memorial Productions, Dayspring Arts and Education, Gateway Center for the Performing Arts, Goshen Theatre Project, Hawthorne Players, Kirkwood Theatre Guild, KTK Productions, Looking Glass Playhouse, Monroe Actors Stage Company, O’Fallon Theatre Works, OverDue Theatre, and Spotlight Productions.

For more information, visit the website at www.artsforlife.org

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The Tesseract Theatre Company is moving to the Marcelle Theatre with two new plays by local playwrights. The St. Louis premieres of “The Length of a Pop Song” by Taylor Gruenloh and “All That Remains” by JM Chambers will open in July.

“The Length of a Pop Song,” directed by Karen Pierce and featuring the cast of Rhiannon Creighton, Donna Parrone, and Kelvin Urday, will run July 8 – 17.

“All That Remains,” directed by Brittanie Gunn and featuring the cast of Luis Aguilar, Melody Quinn, Morgan Maul-Smith, Nyx Kaine, Sherard Curry, and Victor Mendez will run July 22 – 31.

Performances will be Friday and Saturdays at 8 pm, Sundays at 4 pm.

The Length of a Pop Song by Taylor Gruenloh: Lex has no choice but to move back into her parent’s house after another incident of self-harm. Her mother wants to help prepare her for an upcoming trial against an adult website hosting non-consensual videos of Lex, but Lex can’t find a reason to look forward to tomorrow.

All That Remains by JM Chambers: Gary survives a school shooting and isn’t dealing with the trauma well. Gary’s wife Elaine is trying her best to hold it all together, take care of Gary, work, pay the bills, and deal with her own sadness. Gary and Elaine can’t go on living this way forever and soon they both reach a breaking point.

The Marcelle Theatre is located at: 3310 SAMUEL SHEPARD DRIVE, SAINT LOUIS, MISSOURI 63103

Tickets are available for both plays at MetroTix.com. $20 for general audience and $15 for students.

Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

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Winners to be Announced at Gala Ceremony June 12 at the Fairmont Century Plaza

The Fourth Annual Critics Choice Real TV Awards will recognize excellence in nonfiction, unscripted and reality programming across broadcast, cable and streaming platforms.

The annual event returns to an in-person ceremony and gala this year, taking place on June 12 at the Fairmont Century Plaza in Los Angeles. Bob Bain and Joey Berlin will serve as Executive Producers. Michelle Van Kempen also executive produces the show. 

Hosts are The Sklar Brothers (Randy and Jason Sklar), St Louis natives, are actors, comedians and television and podcast hosts. The brothers notably hosted and produced History Channel’s “United Stats of America” and created and starred in the ESPN cult hit series “Cheap Seats,” besides being guest hosts on “Jeff Ross Presents Roast Battle.” The Sklars can next be seen on “The Nose Bleeds,” a hilarious deep dive into UFC’s history that will launch this summer on UFC’s Fight Pass streaming service.

Presenters include Alan Tudyk, Amir Mathis, Carrie Ann Inaba, Chris Hardwick, Chrishell Stause, Chelsea Lazkani, Christine Chiu, Dashaun Wesley, Derek Hough, Garcelle Beauvais, Judge Mathis, Kandi Burruss, Kathy Griffin, Kevin Kreider, Linda Reese Mathis, Michelle Visage, Padma Lakshmi, Rob Riggle, Tracy Tutor, Tyler Henry, and many more special guests.

The Critics Choice Association and nonfiction producers’ organization NPACT unveiled the nominees on May 14 for the fourth annual Critics Choice Real TV Awards, which recognize excellence in nonfiction, unscripted and reality programming across broadcast, cable and streaming platforms.

The annual event returns to an in-person ceremony and gala this year, taking place on June 12 at the Fairmont Century Plaza in Los Angeles.

“Top Chef” leads this year’s nominations, earning nods in five categories including Best Competition Series, Best Culinary Show, and Best Ensemble Cast in an Unscripted Series, with Padma Lakshmi earning nominations for Best Show Host and Female Star of the Year. Netflix leads the networks, having projects recognized in 20 categories.

“Given its ongoing popularity across broadcast and cable networks, streaming services and other platforms, it’s clear that unscripted programming is deserving of special recognition by the Critics Choice Association,” said Ed Martin, President of the Critics Choice Association’s TV Branch. “The exciting programs and diverse personalities selected by our five nominating committees represent the best that this multi-faceted genre has to offer. The fourth annual Critics Choice Real TV Awards ceremony promises to be our most exciting yet.”

The Sklar Brothers

Said NPACT General Manager Michelle Van Kempen, “The amazing depth and quality of unscripted programming is evident in this year’s nominees, and we’re especially excited to be able to pay tribute to them and the entire unscripted community at an in-person gala, after two virtual years. It’s truly an honor to collaborate with the Critics Choice Association to celebrate the excellence and innovation of nonfiction content

The Critics Choice Real TV Awards were launched in 2019 as a large-scale awards platform to give the robust (and still growing) unscripted genre critical attention and support. The awards celebrate programming across platforms, and also recognize industry leaders with special awards highlighting career achievements.

The Critics Choice Association monitors all awards submissions and selects the nominees in all competitive categories. Blue-ribbon nominating committees made up of CCA members with expertise in nonfiction, unscripted and reality programming determine the nominees. Winners will be chosen by a vote of the CCA membership. NPACT leads the selection of non-competitive discretionary awards and awards for platforms and production companies.

About NPACT

NPACT is the trade association for nonfiction production companies doing business in the U.S. Its members are comprised of production companies of all sizes, as well as allied services companies. NPACT serves as the voice for the nonfiction creative community, providing a forum for producers as they navigate changes in media and tackle business issues. For more information visit NPACT.org.

NOMINATIONS FOR THE FOURTH ANNUAL CRITICS CHOICE REAL TV AWARDS

BEST COMPETITION SERIES

Chopped (Food Network)
Making It (NBC)
RuPaul’s Drag Race (VH1)
The Amazing Race (CBS)
Top Chef (Bravo)
The Great British Baking Show (Netflix)

BEST COMPETITION SERIES: TALENT/VARIETY

Dancing with the Stars (ABC)
Finding Magic Mike (HBO Max)
Legendary (HBO Max)
Lizzo’s Watch Out for the Big Grrrls (Prime Video)
Next Level Chef (Fox)
The Voice (NBC)

BEST UNSTRUCTURED SERIES

Couples Therapy (Showtime)
RuPaul’s Drag Race: Untucked (VH1)
The Kardashians (Hulu)
The Real Housewives of Beverly Hills (Bravo)
The Real World Homecoming: New Orleans (Paramount+)
We’re Here (HBO)

BEST STRUCTURED SERIES

Catfish: The TV Show (MTV)
Diners, Drive-Ins and Dives (Food Network)
Dr. Pimple Popper (TLC)
Gordon Ramsay: Uncharted (National Geographic)
How To with John Wilson (HBO)
Sketchbook (Disney+)

Is it Cake? S1. Mikey Day in episode 5 of Is it Cake? S1. Cr. Courtesy of Netflix © 2022

BEST CULINARY SHOW

Cooking with Paris (Netflix)
Crime Scene Kitchen (Fox)
Is It Cake? (Netflix)
Magnolia Table with Joanna Gaines (Magnolia)
The Great British Baking Show (Netflix)
Top Chef (Bravo)

BEST GAME SHOW

Family Game Fight! (NBC)
Holey Moley (ABC)
Jeopardy! (Syndicated)
Supermarket Sweep (ABC)
The Price Is Right (CBS)
Weakest Link (NBC)

BEST TRAVEL/ADVENTURE SHOW

Alone (History)
Family Dinner (Magnolia)
Somebody Feed Phil (Netflix)
The Amazing Race (CBS)
The World According to Jeff Goldblum (Disney+)
The World’s Most Amazing Vacation Rentals (Netflix)

BEST BUSINESS SHOW

American Greed (CNBC)
Bar Rescue (Paramount+)
Million Dollar Wheels (Discovery+) 
Restaurant: Impossible (Food Network)
Shark Tank (ABC)
Undercover Boss (CBS)

Crikey! It’s the Irwins

BEST ANIMAL/NATURE SHOW

Crikey! It’s the Irwins (Discovery)
Critter Fixers: Country Vets (National Geographic)
Eden: Untamed Planet (BBC America)
Growing Up Animal (Disney+)
Penguin Town (Netflix)
The Wizard of Paws (BYUtv)

BEST CRIME/JUSTICE SHOW

911 Crisis Center (Oxygen)
Cold Justice (Oxygen)
Heist (Netflix)
Rich & Shameless (TNT)
Secrets of Playboy (A&E)
Trafficked with Mariana van Zeller (National Geographic)

BEST SPORTS SHOW

30 for 30 (ESPN)
Bad Sport (Netflix)
Cheer (Netflix)
Dallas Cowboys Cheerleaders: Making the Team (CMT)
Real Sports with Bryant Gumbel (HBO)
Top Class: The Life and Times of the Sierra Canyon Trailblazers (Prime Video)

Fixer Upper: Welcome Home

BEST RELATIONSHIP SHOW

90 Day Fiancé (TLC)
La Máscara del Amor (Estrella TV)
Love Is Blind (Netflix)
Love on the Spectrum (Netflix)
My Mom, Your Dad (HBO Max)
The Ultimatum: Marry or Move On (Netflix)

BEST LIFESTYLE: HOME/GARDEN SHOW

Celebrity IOU (HGTV)
Fixer Upper: Welcome Home (Magnolia)
Houses with History (HGTV)
Married to Real Estate (HGTV)
Million Dollar Listing Los Angeles (Bravo)
Rock the Block (HGTV)

BEST LIFESTYLE: FASHION/BEAUTY SHOW

Glow Up (Netflix)
Love, Kam (SurvivorNetTV)
Making the Cut (Prime Video)
My Unorthodox Life (Netflix)
Project Runway (Bravo)
The Hype (HBO Max)

BEST LIMITED SERIES

Abraham Lincoln (History)
Conversations with a Killer: The John Wayne Gacy Tapes (Netflix)
Crime Scene: The Times Square Killer (Netflix)
Sparking Joy with Marie Kondo (Netflix)
Theodore Roosevelt (History)
We Need to Talk About Cosby (Showtime)

BEST ENSEMBLE CAST IN AN UNSCRIPTED SERIES

Dancing with the Stars (ABC)
RuPaul’s Drag Race (VH1)
The Real Housewives of Beverly Hills (Bravo)
The Real World Homecoming: New Orleans (Paramount+)
The Voice (NBC)
Top Chef (Bravo)

Trevor Noah

BEST SHOW HOST

Mayim Bialik – Jeopardy! (Syndicated)
Daniel “Desus Nice” Baker and Joel “The Kid Mero” Martinez – Desus & Mero (Showtime)
Padma Lakshmi – Taste the Nation with Padma Lakshmi (Hulu); Top Chef (Bravo)
Trevor Noah – The Daily Show with Trevor Noah (Comedy Central)
John Oliver – Last Week Tonight with John Oliver (HBO)
RuPaul – RuPaul’s Drag Race (VH1)

MALE STAR OF THE YEAR

Jeff Goldblum – The World According to Jeff Goldblum (Disney+)
Robert Irvine – Restaurant: Impossible (Food Network)
Trevor Noah – The Daily Show with Trevor Noah (Comedy Central
Phil Rosenthal – Somebody Feed Phil (Netflix)
RuPaul – RuPaul’s Drag Race (VH1)
Stanley Tucci – Stanley Tucci: Searching for Italy (CNN)

FEMALE STAR OF THE YEAR

Samantha Bee – Full Frontal with Samantha Bee (TBS)
Kelly Clarkson – The Kelly Clarkson Show (Syndicated); The Voice (NBC); American Song Contest (NBC)
Joanna Gaines – Fixer Upper: Welcome Home (Magnolia); Magnolia Table with Joanna Gaines (Magnolia)
Selena Gomez – Selena + Chef (HBO Max)
Padma Lakshmi – Taste the Nation with Padma Lakshmi (Hulu); Top Chef (Bravo)
Sandra Lee – Dr. Pimple Popper (TLC)

OUTSTANDING ACHIEVEMENT IN NONFICTION PROGRAMMING BY A NETWORK OR STREAMING PLATFORM

Discovery+
HBO Max
Hulu
Netflix
TLC

OUTSTANDING ACHIEVEMENT IN NONFICTION PRODUCTION

Bunim/Murray Productions
The Intellectual Property Corporation (IPC)
Kinetic Content
Raw TV
Sharp Entertainment
World of Wonder

Jeff Goldblum
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The MTV Movie & TV Awards returned, with Vanessa Hudgens as host of the live ceremony and Tayshia Adams hosting the second part – Unscripted.

Jack Black was honored with the Comedic Genius Award, while Jennifer Lopez accepted the Generation Award. She delivered an emotional speech, in which she thanked her kids, the people who gave her joy and her manager Benny Medina, as well as “all the people who told me to my face or when I wasn’t in the room that I couldn’t do this.”

Tom Holland and Zendaya won separate awards and for their projects. Here’s the list of winners:

SCRIPTED CATEGORIES

BEST MOVIE
Spider-Man: No Way Home — WINNER!
Scream
The Batman
The Adam Project
Shang-Chi and the Legend of the Ten Rings
Dune

BEST SHOW
Euphoria — WINNER!
Inventing Anna
Loki
Squid Game
Ted Lasso
Yellowstone

BEST PERFORMANCE IN A MOVIE
Lady Gaga, House of Gucci
Robert Pattinson, The Batman
Sandra Bullock, The Lost City
Timothée Chalamet, Dune
Tom Holland, Spider-Man: No Way Home — WINNER!

BEST PERFORMANCE IN A SHOW
Amanda Seyfried, The Dropout
Kelly Reilly, Yellowstone
Lily James, Pam & Tommy
Sydney Sweeney, Euphoria
Zendaya, Euphoria — WINNER!

Ryan Reynolds as Guy in 20th Century Studios??? FREE GUY. Photo by Alan Markfield. ?? 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

BEST COMEDIC PERFORMANCE
Brett Goldstein, Ted Lasso
John Cena, Peacemaker
Johnny Knoxville, Jackass Forever
Megan Stalter, Hacks
Ryan Reynolds, Free Guy — WINNER!

BEST HERO
Daniel Craig, No Time to Die
Oscar Isaac, Moon Knight
Scarlett Johansson, Black Widow — WINNER!
Simu Liu, Shang-Chi and the Legend of the Ten Rings
Tom Holland, Spider-Man: No Way Home

BEST VILLAIN
Colin Farrell, The Batman
Daniel Radcliffe, The Lost City — WINNER!
James Jude Courtney, Halloween Kills
Victoria Pedretti, You
Willem Dafoe, Spider-Man: No Way Home

BEST KISS
Hunter Schafer and Dominic Fike, Euphoria
Lily Collins and Lucien Laviscount, Emily in Paris
Poopies and the snake, Jackass Forever — WINNER!
Robert Pattinson and Zoë Kravitz, The Batman
Tom Holland and Zendaya, Spider-Man: No Way Home

Ghostface and Jenna Ortega in Paramount Pictures and Spyglass Media Group’s “Scream.”

MOST FRIGHTENED PERFORMANCE
Jenna Ortega, Scream — WINNER!
Kyle Richards, Halloween Kills
Mia Goth, X
Millicent Simmonds, A Quiet Place Part II
Sadie Sink, Fear Street: Part Two 1978

BEST FIGHT
Black Widow vs. Widows, Black Widow
Cassie vs. Maddy, Euphoria — WINNER!
Guy vs. Dude, Free Guy
Shang-Chi bus fight, Shang-Chi and the Legend of the Ten Rings
Spider-Men end battle, Spider-Man: No Way Home

BEST BREAKTHROUGH PERFORMANCE
Alana Haim, Licorice Pizza
Ariana DeBose, West Side Story
Hannah Einbinder, Hacks
Jung Ho-yeon, Squid Game
Sophia Di Martino, Loki — WINNER!

BEST TEAM
Tom Hiddleston, Sophia Di Martino and Owen Wilson, Loki — WINNER!
Selena Gomez, Steve Martin and Martin Short, Only Murders in the Building
Tom Holland, Andrew Garfield and Tobey Maguire, Spider-Man: No Way Home
Ryan Reynolds and Walker Scobell, The Adam Project
Sandra Bullock, Channing Tatum and Brad Pitt, The Lost City

Best Kiss in “Jackass Forever”
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By C.B. Adams

As Stage Director Omer Ben Seadia writes of “The Magic Flute” in this season’s gorgeously designed program for Opera Theatre of St. Louis (OTSL), “We come back to ‘The Magic Flute’ in every generation, so that we too can look around and decide for ourselves what the world should look like and who we want to be in the world.”

And like its balletic counterpart cum cultural chestnut, “The Nutcracker,” Mozart’s opera is indeed wide, magical and appealing enough to invite interest, interpretation and relevance from generation to generation since it premiered in 1791. As Paul Simon more recently put it, “…every generation throws a hero up the pop charts /  Medicine is magical and magical is art…”

Jeni Houser as The Queen of the Night

It’s tempting to play the wonk and dwell on how and why this singspiel in two acts has enjoyed such a long run. But the more pressing question is whether OTSL’s 2022 production is up to the demanding challenge and delivers a Flute that is as relevant as it is magical and. The short answer is yes.

If you were at the May 28th performance and seek outside validation of why you and almost everyone else – across several generations – laughed, clapped and all-but sang along to the Queen of the Night’s famous aria (if only we were all coloratura sopranos), then consider yourself validated. 

A closer look, however, reveals a subtle, cerebral interpretation of this classic – one that takes some interesting risks and rewards the careful observer. As film director/writer/producer Alan Parker once said, “It’s just as hard to make a bad film as a good one…” The same holds true for opera productions.

The pros at OTSL faced a million decisions that coalesced into this take on a canonical opera. One would have loved to have listened to the discussions between Seadia, Set Designer Ryan Howell and Lighting Designer Christopher Akerlind as they explored how to create the set, which is deceptively simple.

It was anchored by the twisted trunk of a tree – shades of Keebler Elves – that served as the synecdoche for the entire enchanted forest. The tree was flanked by an elevated, wood-toned walkway and staircase that was so ordinary as to become essentially ubiquitous, if not invisible.

The set’s standout element is the busy-patterned, bi-color, batik-like back wall. At first glance, the wall seems more fitting for “The Lion King” than an enchanted forest. But cue the lights. Throughout the opera, the use of light brings some of the no-so-random shapes to life as owls, heads or all-seeing eyes.

Clever in the best sense of the world, and never so obvious as to detract from the overall performance. The use of suspended light bars in Act II was spectacularly effective, especially since this half of the opera relates to light relative to Act I’s focus on darkness.

Jessica Jahn, costume designer, and Tom Watson, wig and make-up designer, created costumes that hinted at a disparate variety of influences. The costume for Sarastro, the High Priest of the Sun, for instance, enveloped Adam Lau in a spectral cape that was part David Bowie in “The Man Who Fell To Earth” and part Balok from the “The Corbomite Maneuver” episode of “Star Trek.”

Johnathan McCullough and Angel Riley

It would have been easy to rely on a more traditional, Egyptian-theme for Sarastro. At Sarastro’s first entrance, his costume was slightly off-putting, but as Lau stiffly moves about, his costume’s next-generation pharaonic vibe makes sense. Again, this is a cerebral production of  the Flute.

The three Workers also sported spacey costumes that are a mash-up of brown Carhartt overalls and bowel-shaped hoods reminiscent of the Jawas in “Star Wars.” Not quite as effective was The Queen of the Night’s second act costume that included a lighted iconographic halo. Using lights to depict a character associated with darkness seems a bit gimmicky, but not overly detracting thanks to the powerful performance of Jeni Houser.

 The Flute’s story is simply silly by today’s standards. Its magic lies in the music by Mozart. And the magic in this production is the cast. With a smooth assist from the orchestra led by Rory Macdonald, they almost make the set, costumes and lighting superfluous.

It’s easy to emphasize Johnathan McCollough’s Papageno because the character has all the best, funniest lines and he gets to romp through his scenes – so much Falstaffian id mucking about with all the other Flutian egos. The world of opera could use more laughter like this. McCollough plays his Papageno as a well-rounded, hedonistic nature boy. Angel Riley was the perfect counterpoint and foil with her Papagena as his devilish, spunky love-interest.

Balancing Papageno’s comic antics is the more serious, eyes-on-the-prize prince, Tamino, sung by tenor Joshua Blue. As the central character, Blue’s performance was silky, entrancing and believable.

Equally strong was Houser as The Queen of the Night – part Borg Queen and part Wicked Stepmother (lighted headdress notwithstanding.) Houser’s coloratura “Vengeance Aria” is a show-stopper, as it is intended to be.  

Erica Petrocelli sings Pamina, the Queen’s daughter. Pamina is both vulnerable in a girl-tied-on-the-tracks sort of way and fiercely strong-willed like Elsa in “Frozen.” Petrocelli pulls off that balance with a performance equal to, if not surpassing, her queen mum.

The basso Lau convincingly and captivatingly sings Sarastro. Lau’s coldly controlled presence paired with his deep, resonate, voice imbues Sarastro with gravitas and other-worldliness.

The art of opera is a gestalt, composed of all of the theatrical arts, and especially music and voice. Magical is art. OTSL’s 2022 production of “The Magic Flute” joins the ongoing lineage of productions that precede it. And if anyone of this generation questions the need for another, borrow the title from the second volume of Elvis’s gold hits and say, “50,000,000 Flute Fans Can’t Be Wrong.”

Erica Petrocelli and Joshua Blue

“The Magic Flute” is presented in repertory by Opera Theatre of St. Louis June 8-26 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. It is performed in English with projected English subtitles and runs 2 hours, 30 minutes. Members of the St. Louis Symphony Orchestra accompany the performance. For dates, tickets and more information, visit: https://opera-stl.org/whats-on/the-magic-flute/

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By Lynn Venhaus
An uneasy feeling of dread grows and intensifies during the creepy “Watcher,” a competent thriller whose elements, while not exactly original, come together as a believable modern-day psychological horror show.

When her husband Francis (Karl Glusman) gets a job promotion that requires a move to Romania, Julia (Maika Monroe) accompanies him on the adventure – and plans to be supportive. A former actress, she walks around the streets of Bucharest, a stranger in a strange land, and attempts to keep busy to relieve her crushing boredom.

Only she has this uneasy feeling that she is being watched. There’s a guy (Burn Gorman) peeking outside nightly from an adjacent building. Is she imaging things or is she being stalked?

Shades of Hitchcock’s “Rear Window” and the proverbial female protagonist doubting herself – while men wonder if it’s her imagination or other stress triggers causing the hysteria.

Those condescending, patronizing looks that women know all too well.

Watcher with Maika Monroe

But we wouldn’t have 95 tension-filled minutes if everyone believed her, right? Maika Monroe, who effortlessly slips into the horror-genre as the pretty and smart blonde, toggles the fine line of sanity. We feel her nagging ‘What is wrong with me?’ just as we experience the unsettling surroundings from her point of view.

As an odd, lonely janitor named Weber, the versatile character actor Burn Gorman is able to project both sadness and strangeness at the same time. He does more with the thinly drawn part than likely was on paper.

In a stereotypical preoccupied husband role, Karl Glusman is nondescript as Francis, going through the motions of becoming increasingly perplexed, and alarmed, by Julia’s behavior.

It doesn’t help that the nightly news features a grisly neighborhood murder that may be the work of a serial killer. Nor that Julia doesn’t understand the language – she is taking lessons but feels even more lost when she’s surrounded by natives blithely chatting away. It all adds up to a few heebie-jeebies moments.

An interesting turn by Madalina Anea as the alluring, sophisticated neighbor Irina is a terrific addition to the claustrophobic setting.

Director Chloe Okuno, who wrote the story for the screen based on Zack Ford’s screenplay, gives a stylish, contemporary female spin on a classic old-school thriller, and it gets under your skin with her methodical approach.

Okuno employs a steady, deliberate pace and wisely chooses to play up the shadows and vary the lighting to make Julia’s solitary moments even more unsettling. Along with cinematographer Benjamin Kirk Nielsen, they frame the angular hallways, windows, staircases, and doors to build an eerie tone.

Shrewd editing by Michael Block provides well-earned jump scares and some jolting surprises just in case you were lulled into a ‘nothing’s wrong here’ feeling. Composer Nathan Halpern capitalizes and effectively adds to the spooky vibe with his memorable score.

Costume designer Claudia Bunea has made smart choices, especially for Julia, whom we can see change through her fashion choices as her misery grows. The walls seem to close in on her, and production designer Nora Dumitrescu’s selections help that with a drab Old-World setting.

But it all rests on Monroe’s shoulders to convince us of her out-of-kilter life, trying to adapt to a foreign country but feeling more isolated and alone than ever, and she splendidly comes through.

A nominee for the Grand Jury Prize at the 2022 Sundance Film Festival, “Watcher” takes a story with familiar beats and with fresh eyes, collaborators made it their own. Above all, it delivers what it promises – and is frightening in the process.

Maika Monroe

“Watcher” is a 2022 horror-thriller directed by Chloe Okuno and starring Maika Monroe, Karl Glusman, Burn Gorman, Madalina Anea. It is rated R for some bloody violence, language and some sexual material/nudity, and runs 1 hour, 31 minutes. It is in local theaters on June 3 and available for rental on June 21. Lynn’s Grade: B+

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By Alex McPherson

Director Joseph Kosinski’s “Top Gun: Maverick” surpasses the 1986 original to soar among 2022’s most satisfying efforts thus far.

Taking place over three decades later, viewers are reunited with Navy aviator Pete “Maverick” Mitchell, who has since avoided promotion to keep flying as a test pilot. Continuing to mourn and feel guilt over the death of his best friend, Goose (Anthony Edwards), there’s an air of melancholy surrounding Maverick, but his penchant for rebelliousness continues in full force.

Rear Admiral Chester “Hammer” Cain (a scenery-chewing Ed Harris) informs Maverick that drones will soon replace flesh-and-blood pilots. Maverick, trying to once again prove himself and save his program, pushes a prototype jet beyond Mach-10, becoming the fastest man alive before plummeting back to the land of mere mortals in a violent fireball. Somehow he emerges to live, and fly, another day.

Admiral Tom “Iceman” Kazansky (Val Kilmer, truly impactful in his short screen-time) saves Maverick from being permanently grounded and requests his return to the Top Gun school in San Diego to train a new batch of aviators for a “New Hope”-esque bombing run against an unnamed foreign enemy.

The group, mostly simple characterizations, includes a badass woman pilot “Phoenix” (Monica Barbaro), a soft-spoken lad with the call sign “Bob” (Lewis Pullman), and a macho show-off named “Hangman” (Glen Powell), echoing a young “Iceman,” among others. Maverick is constantly watched over by Admiral Beau “Cyclone” Simpson (Jon Hamm), who’s none too pleased with Maverick’s unconventional methods. 

Miles Teller

Crucially, however, Goose’s son, “Rooster” (Miles Teller, with a mustache channeling Goose’s), joins the team, carrying palpable resentment towards Maverick, whom he deems responsible for his father’s untimely demise. Maverick reunites with a long-ago lover, the beautiful Penny (Jennifer Connelly) — with nary a mention of Kelly McGillis’s Charlie — and gradually begins to recognize the appeal of leading a more “normal” existence. Tensions are high, the stakes are real, and Maverick must confront the ghosts of his past to make it out alive and reach some semblance of inner peace before he signs off for good.

Quite unexpectedly, there’s far more thematic meat to chew in “Top Gun: Maverick” than viewers might expect. But those looking for a pure shot of cinematic adrenaline won’t be disappointed either. Kosinski achieves a near-perfect balance between tongue-in-cheek popcorn thrills, nostalgic callbacks, and deeper nuance — extending beyond Maverick to comment on Cruise’s own acting career, as well the state of big-budget filmmaking today.

“Top Gun: Maverick” features one of Cruise’s all-time best performances, capturing both the character’s courageousness and newfound fearfulness at his position in the world and with the treacherous mission he’s preparing to guide. The way he carries himself throughout his old hunting grounds lacks the upbeat bounce it used to — replaced by an awareness of his own age and mortality, the sense that this once-invincible daredevil can’t be around forever. Indeed, neither can Cruise as an actor: one of the last movie stars who literally risks his life for our enjoyment.

His conversations with Penny and Iceman, especially the latter, reveal a vulnerable soul unable to forgive himself and fully accept the passage of time — an unexpected narrative choice for a character originally drenched in macho masculinity. He’s still charming and capable of copious one-liners, but the added depth is much welcomed.

Val Kilmer as Admiral Thomas “Iceman” Kazansky

Maverick’s conflict with Rooster also hangs over the film, as Maverick deeply fears losing him to the same fate as his father. Teller’s performance conveys Rooster’s stubbornness, contempt, and own self-doubt. His arc, while predictable, hits home with force in the film’s absolutely electrifying final act.

Speaking of which, “Top Gun: Maverick” features some of the most mind-blowing set-pieces I’ve ever witnessed. Reportedly filmed in real planes with minimal VFX, cinematographer Claudio Miranda puts viewers right in the cockpit with the pilots, immersing us into all the high-flying maneuvers to staggering effect.

At one point, as Cruise flies straight upwards, we practically feel the G-forces along with him, our ears bombarded by thunderous engines. I cannot overstate just how incredible these sequences are, and how impressive it is that they’re filmed coherently. Whether or not stunt work like this can ever be recreated again — if we ever get away from CGI-infested superhero flicks — the craziness on display makes “Top Gun: Maverick” a spectacle that must be viewed on the big screen, preferably in IMAX. Similarly, the score by Lorne Balfe, Harold Faltermeyer, Hans Zimmer, and Lady Gaga deserves to be blared as loudly as possible.

Yes, Kosinski’s film certainly has its cheesy, soap-opera-esque flourishes — it is a sequel to “Top Gun” after all — and the film’s militarism remains blatant, albeit neutered this time around. Where things wrap up isn’t exactly surprising, and the sweaty, crimson-hued world seems (intentionally) separated from gritty reality.

Regardless, this is a pure, balls-to-the-wall action film that contains thought-provoking undercurrents beneath its crowd-pleasing sheen. It’s an experience that I’ll be revisiting frequently and one that reminds me of the power of the summer blockbuster.

“Top Gun: Maverick” is a 2022 action-adventure directed by Joseph Kosinski and starring Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Ed Harris, Glen Powell, Lewis Pullman, Monica Barbero and Val Kilmer. It is rated PG-13 for sequences of intense action, and some strong language, and runs 2 hours, 10 minutes. The movie was released in theaters and IMAX on May 27. Alex’s Grade: A-.

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By Lynn Venhaus

Bright before me the signs implore me
To help the needy and show them the way
Human kindness is overflowing
And I think it’s going to rain today

  • Randy Newman, “I Think It’s Going to Rain Today,” 1968

As the gap between the haves and the have-nots keeps widening in America, August Wilson’s “Jitney,” the first play of his 10-play cycle in 10 decades of history, couldn’t be timelier.

The play, which is set in the 1970s in Pittsburgh’s Hill District, has lost none of its bite, and in the loving hands of The Black Rep, it is spellbinding. A richly textured tale of economic struggles, racial tensions, fathers, sons, hope, dreams, loss, strength, and the need for and meaning of community.

A jitney refers to an independently owned unlicensed car for hire. Because regular cab drivers did not service the Hill District, Wilson presented this urban renewal scenario for a makeshift gypsy cab service.

The city has decided to condemn the building, which threatens to eliminate Becker’s Car Service, and the owner frets about finances as the other characters have worries of their own. This lyrical production is powerful storytelling at its finest.

Wilson introduces us to the men who make a living driving these cabs as they sit around a dingy office waiting for the phone to ring – as well as the relatives and passengers who stop by.

The era vibrantly portrayed is after the Civil Rights Amendment, but segregation still exists, and the characters deal with those issues. Could home ownership even be possible? The soldiers who fought in Vietnam returned home (or not) with their own stories to tell.

These passionate souls have bonded – or avoided it – through their lives’ triumphs and travails. No one’s had it easy, and the world-weariness shows. But the hope for second chances is palpable.

Featuring a superb ensemble of actors who bring out distinctive characteristics that you won’t soon forget, “Jitney” is a powder-keg of emotions and the evergreen need for connection and kindness in a cold, cruel world.

As the former mill worker who has his share of problems, Kevin Brown gives a powerhouse performance, equal parts fire and compassion.

Becker is grappling with his shame over his son’s prison time for murder. Clarence “Booster” Becker was convicted for killing a white college girlfriend, who had accused him of rape after her father found out about their relationship. As the wayward son, Phillip Dixon offers a complex performance as he seeks to patch up his rift with his dad and a fresh start.

Another standout young actor, Olajuwon Davis, plays Vietnam veteran Darnell Williams, aka Youngblood, and you can feel his desire to realize the American Dream for his family as he works two jobs.

Alex Jay is memorable as Rena, his spunky pregnant girlfriend, and brings out the yearning to be part of middle-class society as they’re starting out, their lives in front of them, dreaming of bright futures.

The cast is enlivened by the dynamic of ace performers J. Samuel Davis, who plays Fielding, and Ron Himes, the director who was called to fill in as Turnbo a few days before the show began its run. Both titans in the local theater community, they are multiple winners and nominees of the St. Louis Theater Circle Awards, and their ease slipping into these roles is one of the joys of seeing them at work.

Fielding is a driver whose life has been marred by alcoholism and Turnbo, a cranky guy who knows it all, likes to stir up trouble.

Another bright spot is Edward Hill as Doub, a Korean War veteran who keeps it all together at the service.

Rounding out the cast is Robert A. Mitchell as Shealy, a local bookie who does not drive but spends his time there using the pay phone to run his numbers game, and Richard Harris as Philmore, as a hotel doorman who gets rides from the guys.

Director Himes capitalizes on Wilson’s ability to draw us into his world that is so vivid. The production is enhanced by spot-on music choices reflecting that era, an impeccably designed set by Harlan D. Penn, the always exquisite lighting design of Joseph W. Clapper and sharp sound design from Justin Schmitz. Jamie Bullins’ costume design shrewdly reflects the characters.

As Wilson chronicled African American life during the 20th century, we learned about specific journeys in a way that resonated universally. Call them ordinary people, but on stage, they create a stunning portrait of America – and they make a beautiful noise. All but one of his 10 plays are set in his hometown.

Because of the Black Rep’s unwavering commitment to Wilson’s plays, we St. Louisans have been fortunate to experience his Pittsburgh plays, or Century Cycle, in the highest quality possible.

These productions, now in the company’s second go-round, have enriched not only my theater-going but also my understanding of humanity. I look forward to the rest I have not seen.

Whether you have seen any or none, engage a ride with “Jitney” May 4-May 29.

The Black Repertory Theatre of St. Louis presents August Wilson’s “Jitney” May through May 29 at the Edison Theatre on the campus of Washington University in St. Louis. For tickets, visit
For more information, visit
www.theblackrep.org

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By Lynn Venhaus
No parent should have to bury a child.

The anguish of these Uvalde parents is heartbreaking and we must do whatever we can to support them. We can’t let it be other people’s problems.

Columbine, Buffalo, Sandy Hook, Parkland, Virginia Tech, Las Vegas, the church in southern California and Texas and Charleston and Jewish synagogues, the high school kid in Michigan whose parents did nothing, and on and on…where is the next “it couldn’t happen here”?

The pain of the Uvalde parents and community at large is palpable. We can feel it? What parent hasn’t had a chill go down their spine? How many parents slept with their youngsters last night? Holding them close, however, does not protect them from evil.

The 21 victims’ parents are now in the same club I am in – and no one wants to be in this club.

The day you bury your son or daughter is the saddest day of your life. Everything is before and after. Nothing is the same Nor will it ever be. The depth of sorrow is unfathomable. The only thing that helps get you through it is the outpouring of kindness and comfort from others.

We can only imagine what it is like to drop your kids off at school and then they don’t come home.

Waiting…and waiting for word if they are safe. A community is shattered and a nation mourns. Why aren’t our kids or our loved ones safe? We should use this anger and grief to unite for change.

I have seen during the past couple weeks joyous photos on Facebook of parents celebrating their school children’s achievements and graduations. Happy, smiling families. Can you imagine if a gunman intruded on your special day? Something so innocent marred forever by tragedy.

Malls, grocery stores, concerts, movie theatres, schools, churches — why are we not safe?

Those who think firearms are not an issue? I would like to see the amount of money lawmakers receive from NRA and gun lobbyists.

Arm teachers? Make harsher laws on crimes involving guns AFTER people are dead while doing nothing to tighten how people get these weapons?

And you bear no responsibility? What about preventative measures.

Action. Stand up. No time to sit back and shrug our shoulders. Sure, I feel helpless and hopeless because NOTHING changes by legislators who let the gun lobby rule their conscience. No 18 year old needs an assault rifle.

Guns are now the number one cause of children’s deaths, surpassing car accidents.

Most of America is outraged and agree on assault weapons, background checks, etc. but we need to hold feet to the fire — to those speaking hollow condolences without any kind of reform. Ruled by partisan gridlock, when will we see change in Washington DC? You do not need an AR-15 to hunt deer.

You can’t deflect to mental health – you hold some responsibility by your cowardice to not do what is right regarding reform.

The second amendment was written in 1791 and wasn’t meant to be blanket permission for citizens to own weapons of war. What kind of sport is that exactly? Why does an 18 need nearly $4,000 worth of gums and ammunition.

We must demand change. Vote. Keep the conversation going. Do not let it fade away…and then the next time.

I thought things would change after kids were killed in the high profile cases. Apparently not.

What will it take? What is the tipping point? Why are we letting these things go on?

How many more parents have to suffer until something is done?

Aren’t we tired of these repeated scenarios?

Do more, America.

And PS Texas Deputy Governor Dan Patrick is a horrible human being.

Where to Help?

Uvalde Strong Relief Fund

The Community Foundation of Texas Hill Country, a nonprofit just northwest of San Antonio, started a relief fund for Uvalde victims and their families, as well as others affected by the shooting.

Crowdfunding platform GoFundMe set up a page with verified fundraisers put together by family members of shooting victims and nonprofit organizations.

The Uvalde Consolidated Independent School District created a bank account at First State Bank of Uvalde where people can send funds directly to shooting victims and their families. Funds can be sent electronically through Zelle using the email robbschoolmemorialfund@gmail.com or through the mail at the address 200 East Nopal St., Uvalde, Texas 78801. Make checks payable to the “Robb School Memorial Fund.”


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By Alex McPherson

Flawed and deeply unsettling, director Alex Garland’s “Men” emerges as one of 2022’s most thought-provoking films thus far — at once ambiguous and graphically blunt, absurd yet grounded in very real truths baked into society’s fabric.

The film centers around Harper (Jessie Buckley), who experiences the traumatic loss of her ex-husband, James (Paapa Essiedu), that may or may not have been suicide. She travels to the bucolic Cotswolds countryside to heal and process her grief in relative peace. The context around James’ death is left vague; further information is doled out periodically via flashbacks to that fateful day, but Harper remains plagued by the belief that she, in some way, is responsible for his death.

Upon arriving at the spacious cottage owned by Geoffrey (Rory Kinnear) — a quirky, slyly patronizing chap with huge teeth — she initially enjoys the town’s calming atmosphere and lush, verdant surroundings, but serious issues arise, and her emotional vulnerability is preyed upon by malevolent forces that stretch back throughout human history.

While out on a quiet walk in the forest, Harper is stalked by a naked man, who then tries to enter the house, only to be apprehended by the police and released soon afterwards. Townsfolk accuse Harper of overreacting. Unable to stop thinking about James and their last moments together, she visits a church and bears her soul to the vicar, who then gaslights her and blames her for James’ death.

To make matters even worse, all of the men Harper encounters have the same face (all portrayed by Kinnear with impressive range and technique), insidiously exploiting her tragic past to exert control over her body and personhood.

As the plot progresses further and further into bloody horror carnage, “Men” can’t wrangle its numerous elements into a fully cohesive whole, but Garland’s film is packed with so much craft — acting, cinematography, score, editing, gross-out body horror effects — that it’s difficult not to appreciate the effort behind it all.

The film’s points on toxic masculinity and the power structures that support it aren’t exactly “novel,” but Garland’s go-for-broke approach to the material renders it damn near impossible to forget, for better and worse.

Indeed, “Men” is a challenging film to review. From a stylistic perspective, the atmosphere Garland creates is transfixing, recalling folk-horror classics like “The Wicker Man,” preventing viewers from having a clear picture of what’s actually going on. The English countryside bursts with eye-popping hues that create a sense of heightened reality, of tranquility disturbed.

Despite the beautiful scenery, there’s always something off about Harper’s environment, whether a mysterious ripple in a pond or a lacerated figure lurking just off-screen. Similarly, flashbacks are bathed in red lighting, reflecting Harper and James’ raw, turbulent emotions. The editing — opting for patient long takes and dreamlike rhythms that weave together Harper’s present with memories she cannot stop reliving — is mesmerizing, accompanied by an off-putting, choral-inflected score that furthers the uneasy atmosphere.

Rory Kinnear in “Men”

Buckley and Kinnear are outstanding, although the latter is ironically given more to do than the former. Harper is a sadly passive presence acted upon by outside forces for much of the runtime, and we never learn much about her backstory except for her fraught relationship with James. Buckley’s passionate performance endears us to Harper from the get-go, but “Men” could have delved even deeper into her psyche, as it eventually eschews focus on her specifically to target larger societal issues.

Kinnear, chewing scenery to a pulp, inhabits each of his 10 characters with distinctive quirks and levels of menace, from a schoolboy with an awkwardly transplanted CGI face to a casually dismissive policeman. Whether or not all these men are, in fact, the same person remains up to interpretation, and it’s admirable how “Men” refuses to answer this question definitively.

What really matters, though, is that each of Kinnear’s characters emphasizes different facets of misogyny, entitlement, and insecurity — different sides of the same coin, coming together to form a monstrous whole. 

As the terror ramps up, the ideas “Men” presents are more compelling than the execution, which — for all its swing-for-the-fences gusto — undermines the more sobering points Garland’s trying to make, and becomes difficult to take seriously in the blood-soaked finale. Biblical and literary allusions abound — most glaringly, the Garden of Eden — along with blunt historical references to such figures as The Green Man, representing the cycle of life, death, and rebirth.

“Men” seems to be emphasizing the deep-rooted power dynamics running back millennia, but Garland’s conveyance of the idea is blunt, visceral, and difficult to take fully seriously. This is especially true regarding the ludicrously unforgettable ending set-piece, a sequence so over-the-top and drawn-out that it distracts from Garland’s serious, otherwise intriguing commentary.

“Men” is ultimately a mixed bag, with plenty to relish and critique in equal measure. Garland has created a work that will certainly get viewers talking, however, and at least spark some reflection on harmful gender dynamics that persist to this day.

Jessie Buckley in “Men”

“Men” is a 2022 horror-science fiction drama directed by Alex Garland and starring Jessie Buckley, Rory Kinnear and Paapa Essiedu. It is Rated R for disturbing and violent content, graphic nudity, grisly images and language.and runs 1 hour, 40 minutes. It is available in theaters beginning May 13. Alex’s Grade B. 

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