Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

STAGES St. Louis Artistic Director and co-founder, Michael Hamilton, has announced that he will be retiring at the end of the 2021 Season.

“From our opening season in 1987 to our launch into the stunning new Kirkwood Performing Arts Center, every moment at STAGES has been an extraordinary one for me. As I explore and embrace the next chapter in my life, my heart will always remain at STAGES,” said Artistic Director Michael Hamilton. “It is truly a life legacy that I am incredibly proud of. But I am particularly proud and grateful of all the
extraordinary people that I met and worked with in my 35 years at STAGES. That is something I will be able
to keep in my heart for the rest of my life.”

A co-founder of STAGES St. Louis, Michael has directed over 100 productions in his 35-year STAGES history and has been the creative force behind the company’s most iconic productions that patrons have come to know and love. For his work at STAGES, Michael has been honored with multiple awards including the Art & Education Council’s 2019 Lifetime Achievement Award (with Jack Lane) and both Kevin Kline and St. Louis Theatre Circle Awards for Outstanding Director of a Musical. Michael’s list of award-winning productions
include FOOTLOOSE (2005); THE FULLY MONTY (2007); PROMISES, PROMISES (2010); ANYTHING GOES
(2015); and MAN OF LA MANCHA (2019).

Additionally, Michael’s acclaimed production of ALWAYS…PATSY CLINE (2013) was not only transferred to the Alabama Shakespeare Festival, but also played a record-breaking eight-month run at the Playhouse at Westport Plaza.

“When Michael and Jack asked me in my role as Kirkwood’s Director of Parks and Recreation to rent the Robert G. Reim Theatre for the first STAGES Season in 1987, I don’t think any of us imagined what would come of that meeting,” said STAGES Board President Dave White. “But Michael had a vision and knew what he could do with that stage at the Reim. Seeing the growth of the organization from that point is one of the proudest parts of my career. Under Michael’s direction, STAGES has absolutely raised the bar for
what theatre looks like in St. Louis.”

“As the saying goes, there will be very big shoes to fill with the departure of Michael Hamilton,” said Mosbacher Family Executive Producer Jack Lane. “But, I have no doubt that there is a future artistic leader of STAGES out there waiting for us. As we enter our new phase in the Kirkwood Performing Arts Center, STAGES is setting sail onto a national platform that no doubt will unfold in dynamic new ways and be embraced by both our loyal patrons and newcomers alike.”

Jack added, “We are also pleased to announce that we are establishing The Michael Hamilton Artistic Fund, where contributions will support the advancement of artistic needs at STAGES.”

The entire STAGES family wishes Michael the best in his well-deserved retirement and thanks him for his steadfast leadership and dedication to the mission of STAGES for 35 years. A national search has begun for the new Artistic Director role.

The organization looks forward to the curtain rising again with the return of Michael’s critically-acclaimed and audience-loved production of ALWAYS… PATSY CLINE (August 6-September 5) this upcoming season, followed by the STAGES premiere of JERSEY BOYS (September 24-October 24).

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

Michael Hamilton

In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new
home, the Kirkwood Performing Arts Center. STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the
only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences.

For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.
Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.

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Haunted House or Sociopathic Husband? ‘Things Heard & Seen’ Needs to Pick a Lane

Haunted House or Sociopathic Husband? ‘Things Heard & Seen’ Needs to Pick a Lane

By Lynn Venhaus

A poorly constructed storyline squanders a good cast in “Things Heard & Seen,” an unsatisfying adaptation of the bestselling novel “All Things Cease to Appear” by Elizabeth Brundage.

When George Claire (James Norton) accepts a teaching offer at a small liberal arts college in the Hudson Valley, he relocates his wife, Catherine (Amanda Seyfried), a Manhattan artist, and their 4-year-old daughter Franny (Ana Sophia Heger) to an old farmhouse. The home has a dark history and sinister things start happening.

Shari Springer Berman and Robert Pulcini seem to be odd choices to write and direct this multi-generational story that abandons that idea. They were Oscar-nominated for the screenplay of “American Splendor,” which they directed.

However, they can’t make up their mind whether to concentrate on being a paranormal activity horror film or a thriller about a sociopathic husband. Pick a lane, people – and neither is convincing.

James Norton, a British actor last seen as Meg’s husband in Greta Gerwig’s 2019 “Little Women,” is an implausible cad with a wandering eye – picking up chicks at the local library with his daughter in tow. He is built up as a golden boy, a hotshot art historian whose students worship him, but then turns deceitful on a dime.

Of course, he doesn’t believe his wife about her supernatural suspicions. A feeble Amanda Seyfried, whose character is bulimic, seems lost in this stale role. A controlling George thinks she’s losing it – no surprise there. And she is thoroughly in the dark about his duplicitous double life. When she starts suspecting a crack in his façade, the ghosts turn into sympathetic pals.

The old house is another character, with signs of ghosts that are often used in unimaginative genre films. The set-up early on is where someone should scream “Get out of the house now!” Naturally, the rambling homestead is a remote place, and set in 1980, there is no modern technology that could be used for rescues.

The supporting cast includes Oscar winner F. Murray Abraham as the erudite art department chair, Rhea Seehorn as a sassy weaver on the faculty, Karen Allen as the town realtor, Michael O’Keefe as her husband, also the town sheriff, and Natalia Dyer as a cynical coed. You’d expect that they would have more to do, but nope – rather wasted instead of serving the plot.

With a few genuine moments of suspense, you see where it had potential, but several teases of substantive developments go nowhere, leading to one of the more ridiculous endings in recent memory.

As the third act rushes to conclusion – and people wind up injured or dead after confronting the horrible husband about his misdeeds – one figures out that this has been a huge waste of time.

The only way to enjoy any part of this movie is to revel in the bad dialogue. If you go in realizing that this film is trash, you might have fun with it.

Otherwise, the lack of cohesiveness will be frustrating.

Amanda Seyfried

“Things Heard & Seen” is a 2021 horror-thriller directed by Shari Springer Berman and Robert Pulcini, starring Amanda Seyfried, James Norton, F. Murray Abraham, Rhea Seehorn, Natalia Dyer, Karen Allen, Michael O’Keefe. It runs 2 hours, 1 minute and is rated TV-MA. It is now streaming on Netflix. Lynn’s Grade: D-

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Union Avenue Opera Announces Summer Line-Up and Spring Garden Concert Series

Union Avenue Opera Announces Summer Line-Up and Spring Garden Concert Series

This July, Union Avenue Opera (UAO) will make its return to presenting live, in-person opera following a summer of cancellations due to the COVID-19 Pandemic. For the 2021Season, UAO will move its performances to The Big Top, in St Louis’ Grand Center district, for three exciting, socially distanced performances of both Offenbach’s Les contes d’Hoffmann and Rossini’s Il barbiere di Siviglia.

“I am beyond thrilled that we have found a way to safely bring opera back to the city of St. Louis this summer. It is an incredible opportunity for us to be creative and offer audiences something different for this one unique season,” said UAO founding Artistic Director and conductor Scott Schoonover.

This summer, audiences will have the opportunity to see two classic, beloved operas in one week – even on the same day, as UAO will offer two matinee performances for the first time in eight years.

“The operas will unfold, acted in front of our wonderful orchestra on The Big Top stage with costumes and lights, to delight socially distanced crowds in the large open-air tent. I can’t wait to see our patrons again and hope that new audience members will come out as well, in support of this effort to put St. Louis artists, orchestra members and technicians back to work after this difficult year,” said Schoonover.

Operated by the Kranzberg Arts Foundation, The Big Top is Missouri ArtSafe Certified and will employ rigorous COVID-19 mitigation policies for the benefit of all guests, staff, and artists in its 1,200-person tent which will have reduced capacity for 2021. The Big Top will also employ a contact-less ticketing and concession experience for opera goers and masks will be required.

“I know those who attend will be moved in a special way by hearing live singing and orchestra again, and by seeing wonderful portrayals of these complex and sometimes hilarious characters in person. It certainly gives us all something which we can look forward to in the upcoming months. Finally, I would like to assure our loyal supporters that UAO fully intends to be back in its home venue next season with a full, 3-opera lineup.”

Single tickets range from $25 to $55 and will be available exclusively through MetroTix beginning June 1, for members of the public. All tickets must be purchased in advance either online at www.metrotix.com or by calling 314-534-1111 or 800-293-5949. UAO will utilize tiered on-sale dates for past subscribers and donors prior to the public on-sale date – more information regarding tiered ticket on-sale dates can be found online at www.unionavenueopera.org.

Brooklyn Snow

Offenbach’s: LES CONTES D’HOFFMANN
Three Performances: July 21 and 24 at 7:30PM and July 23 at 2:00PM
Presented in French with projected English supertitles
Conducted by Scott Schoonover
Staging by Mark Freiman

Offenbach’s grand French opera follows the poet Hoffmann as he searches for true love in a magical tale
of thwarted love, art, and revenge! Best known for the Barcarolle “Belle nuit, ô nuit d’amour,” “Chanson
de Kleinzach,” and the ultimate showcase of coloratura soprano singing, Olympia’s “Doll aria.” Les
contes d’Hoffmann is a haunting tale of one man’s desire for the perfect woman. Hounded by his other-worldly nemesis and accompanied by Nicklausse, his ever-faithful friend, Hoffmann seems forever unlucky in love. Darkly playful and set against fantastical backdrops and stirring chorus formations, the opera renders the story of Hoffmann’s descent into madness and intoxication in faithful detail

Under the baton of Artistic Director Scott Schoonover, lyric tenor William Davenport will make his UAO debut in the title role. Soprano Brooklyn Snow, who received high praise for her portrayal of Cunegonde in 2019’s Candide returns to sing the three heroines as Jeremiah Sanders makes his UAO debut as the opera’s four villains. Anthony Webb (Enoch Snow, Carousel) returns to sing the roles of the four servants and Emma Sorenson (Hänsel, Hänsel und Gretel) as Hoffmann’s faithful companion, Nicklausse.

Hoffmann – William Davenport*
Lindorf / Coppélius / Dappertutto / Dr. Miracle – Jeremiah Sanders*
Andrès / Spalanzani / Pittichinaccio / Frantz – Anthony Webb
Olympia / Giulietta / Antonia – Brooklyn Snow
Nicklausse – Emma Sorenson
Luther / Crespel – Joel Rogier
Hermann / Schlemil – Randell McGee
Nathanael / Cochenille – Anthony Heinemann
Voice of Antonia’s Mother – Liya Khaimova


Rossini’s: IL BARBIERE DI SIVIGLIA
Three Performances: July 22 and 23 at 7:30PM and July 24 at 2:00PM
Presented in Italian with projected English supertitles
Conducted by Stephen Hargreaves
Staged by Jon Truitt

Figaro! Figaro! Figaro! Only the clever barber Figaro can help the fair Rosina outwit her guardian, the aging Dr. Bartolo and live out her days in the arms of her true love, Count Almaviva. A grand plan is hatched, full of mischievous escapades and inventive antics sure to delight audiences of all ages. This Rossini Italian classic features one of the most well-known pieces of music in history, Figaro’s “Largo al factotum” along with Rosina’s dazzling “Una voce poco fa.” Full of laughter and beautiful music, see why Il barbiere di Siviglia has been an audience favorite for more than two centuries.

No stranger to his role, Pedro Barbosa will make his UAO debut as Conte d’ Almaviva as Robert Mellon makes his UAO and role debut as the barber Figaro, and Janara Kellerman (Mrs. Herring, Albert Herring) makes her role debut as Rosina. Also returning are Andy Papas (Ko-Ko, H.M.S. Pinafore) as Dr. Bartolo, Erin Haupt (Hebe, H.M.S. Pinafore) as Berta, Isaiah Musik-Ayala (Colline, La bohème) as Basilio, as Stephen Hargreaves (Nabucco) conducts.

Conte d’ Almaviva – Pedro Barbosa*
Figaro – Robert Mellon*
Rosina – Janara Kellerman
Dr. Bartolo – Andy Papas
Basilio – Isaiah Musik-Ayala
Berta – Erin Haupt
Fiorello – Ben Worley

In anticipation of its season, UAO will bring classic opera front and center in its 2021 Opera in the Garden – Garden Concert Series this spring featuring thrilling operatic performances. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor last fall for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic.

Sunday, May 16 at 6:00PM
Our series starts in the Ladue garden of Margaret Gilleo and Charles Guenther with performances by UAO artists Leann Schuering, Anthony Heinemann, and Randell McGee with Nancy Mayo on piano. The concert will feature operatic favorites including “Je veux vivre” Roméo et Juliette, “Kuda, kuda” Eugene Onegin, “Caro nome” Rigoletto, “Cosa sento!” Trio from Le nozze di Figaro, “Refrain, audacious tar” – Duet from H.M.S. Pinafore.

Saturday, June 5 at 7:00PM
Join us as we return to the Compton Heights garden of Dr. Kenneth and Marjorie Smith and welcome back Metropolitan Opera soprano Mary Dunleavy for a special Saturday night concert. Ms. Dunleavy will present a selection of arias from opera’s favorite courtesans (such as Violetta, Manon, Madama Butterfly) as well as art songs by American composer Amy Beach with pianist Gail Hintz.

Sunday, June 27 at 6:00PM
We conclude our series in the in Webster Groves garden of Jack and Mary LaBarge as we introduce our very own Figaro, Robert Mellon alongside 2021 season artists Erin Haupt and Liya Khaimova with Nancy Mayo on piano. Concert highlights include “Largo al factotum” Il barbiere di Siviglia, “Elle a fui, la tourterelle” Les Contes d’Hoffmann, “Che faro senza Euridice” Orfeo, “Evening Prayer” duet from Hansel
and Gretel, and “Soave il vento” trio from Così fan tutte.

Tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales)

About Union Avenue Opera – UAO was founded in 1994 to bring affordable, professional, originallanguage opera to St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The
company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri. In 2018 UAO became an OPERA American Professional Company Member. OPERA America is the national
membership organization for artists, administrators and audiences, dedicated to support the creation, presentation and enjoyment of opera.

Financial assistance has been provided by the Missouri Arts Council, a state agency, and with support
from the Regional Arts Commission, and funded in part by the Arts and Education Council.

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Stray Dog Theatre Announces Plans to Return to the Stage In August

Stray Dog Theatre Announces Plans to Return to the Stage In August

Artistic Director Gary F. Bell has announced that Stray Dog Theatre plans to return to live performances in late summer and get back to a full season in 2022.

“It has been so very long since we’ve been able to see you in person at the Tower Grove Abbey. I want to start off by thanking you all for supporting SDT’s Digital Series during this unusual time. Today, I am so happy to announce that Stray Dog Theatre has an exciting and vibrant plan for returning to live theatre! We have missed you all so much, and are beyond thrilled to share with you all of our wonderful upcoming offerings,” he said.

Stray Dog is starting with a 2021 Limited Series, which includes three plays in the last half of the year: ‘ART’ by Yasmina Reza, with adaptation by Christopher Hampton, premiering in August 2021; “Blue/Orange” by Joe Penhall in October 2021; “Who’s Holiday” by Matthew Lombardo in December 2021.

“A whole new season will premiere in 2022 and will offer a complete season of 6 plays and musicals just like in the past. We’re excited to announce more about this soon,” Bell said.

A new website will go live on July 1. Prior to July, you can purchase tickets for any of the 2021 Limited Series by calling the box office at (314) 865-1995.

“As always, all of us at Stray Dog Theatre are thinking of you and your safety as we plan our 2021 Limited Series and the brand new 2022 Season. We’re ready when you are!” Bell said.

TICKETS & SHOW GUIDELINES FOR THE 2021 LIMITED SERIES



As a return celebration, the 2021 Limited Series tickets will be $25 per person/per show* and are available by calling the box office at (314) 865-1995. Starting July 1, 2021, you may also purchase tickets by visiting www.straydogtheatre.org.

During the 2021 Limited Series, seating may be limited and offered in “pods” of 2 or 4 which will be physically distanced for maximum safety. If you have any questions please contact us at the box office at (314) 865-1995.

For your safety and ours, all actors, tech crew, and Stray Dog Theatre employees have been vaccinated.

We will be following all local and federal safety guidelines during each production.

*Season Subscriptions are not available for the 2021 Limited Series but will return for our 2022 Season. Ticket prices will return to normal for the 2022 Season.

ART

by Yasmina Rezawith adaptation by Christopher Hampton

Marc, Serge, and Yvan have been the best of friends for years. When Serge buys a very expensive piece of art, the intellectual and emotional arguments that ensue become less theoretical and more personal and threaten to destroy their friendships.

‘ART‘ will be presented under the stars on our gorgeous Tower Grove Abbey lawn.

8PM Thursdays thru Saturdays August 5, 6, 7, 12, 13, 14, 19, 20, 21.Additional performance Sunday, August 15 at 8PM. 

Blue/Orange

Blue/Orange
by Joe Penhall
The day before Christopher is due to be discharged from a psychiatric ward, his doctor has reservations and raises his concerns with a senior colleague. Blue/Orange is an incendiary tale of race, madness, and a Darwinian power struggle at the heart of a dying National Health Service.
BLUE/ORANGE will be presented inside the historic Tower Grove Abbey.
8PM Thursdays thru Saturdays October 7, 8, 9, 14, 15, 16, 21, 22, 23.Additional performance Sunday, October 17 at 2 PM.

Who’s Holiday

by Matthew Lombardo
You saw her last when she was just two
Celebrate the holidays with Cindy Lou Who
Pull up a seat and fill up your cup
‘Cause your favorite little Who is all grown up
A wildly funny and heartfelt adults-only comedy that explores the twisted tales after that fateful night when a certain Grinch tried to steal Christmas. For Mature Audiences.
WHO’S HOLIDAY will be presented inside the historic Tower Grove Abbey.
8PM Thursdays thru Saturdays December 2, 3, 9, 10, 11, 16, 17, 18.Additional performance Sunday, December 12 at 2 PM.

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‘The Human Factor’ Looks at Personalities Involved in Mid-East Peace Negotiations

‘The Human Factor’ Looks at Personalities Involved in Mid-East Peace Negotiations

By Lynn Venhaus
The complicated history of the Israel-Arab conflicts is explored in this thorough and engrossing documentary.

“The Human Factor” takes a deeper dive into the personalities involved and how that affected the persuasive efforts to change hearts and minds.

After the Cold War ended in 1991, the U.S. stayed the biggest global superpower and turned attention to negotiating peace in the Middle East. Director Dror Moreh takes a behind-the-scenes look at three decades of negotiations between Israel and its Arab neighbors by interviewing six mediators and uses archival footage for the historical details.

By interviewing go-between Dennis Ross – who worked under four presidential administrations, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller, we get different perspectives that add depth to the historical records. All accomplished diplomats, they shed light on the process that helps us to understand where and why things go wrong.

Moreh, an Oscar nominated Israeli film director for “The Gatekeepers” (2012), co-wrote the script with Oron Adar. They start out with Secretary of State James Baker, under President George H. W. Bush, and mainly concentrate on the impact of the Bill Clinton years. After the botched deal at Camp David in 2000, they wrap up the next 20 years in a montage rundown.

The U.S. has been so close, but today, it seems like peace between the countries seems more impossible than ever. And the former diplomats candidly share their frustrations.

What we thought was a breakthrough turned out not be what everyone assumed at the Oslo Accords in 1993.That agreement between Yasser Arafat, chairman of the Palestinian Liberation Organization from 1969 to 2004, and Israel Prime Minister Yitzhak Rabin (’74-’77 and ’92-95), lead to a Nobel Peace Prize in 1994, and then signed in 1995. But it did not result in peace. Rabin was assassinated two months later on Nov. 4, 1995.

Since then, five different men have served as prime minister of Israel: Shimon Peres, Benjamin Netanyahu, Ehud Barak, Ariel Sharon and Ehud Olmert. and attempts to reach peace have failed.

The men in the rooms where it happened point out the missed opportunities, what happened with Syria and the PLO, and the complexities involved because of the region’s intricate history.

They could still be talking now, but the film smartly ends at 1 hour, 48 minutes, and is a story well-told. Moreh has gathered copious amounts of archival footage for the historical details.

A history, geography, political science and psychology class all at once, “The Human Factor” shows why there is no easy solution for sustainable peace in the Middle East.

FILE – President Bill Clinton, center, Israeli Prime Minister Ehud Barak, left, and Palestinian leader Yasser Arafat walk on the grounds of Camp David, Md., at the start of the Mideast summit on July 11, 2000. The documentary “The Human Factor” shows the behind-the-scenes story of the U.S.’s effort to secure peace in the Middle East. (AP Photo/Ron Edmonds, File)

“The Human Factor” is a 2019 documentary directed by Dror Moreh starring Dennis Ross, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller. It is rated PG-13 for some violence/bloody images and has a run time of 1 hour, 48 minutes. In opened in theaters May 7. Lynn’s Grade: B+

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‘The Unthinkable’ Bleak Doomsday Thriller

‘The Unthinkable’ Bleak Doomsday Thriller

By Lynn Venhaus
A dysfunctional family relationship drama starts out this bleak doomsday terror attack that keeps everybody guessing about the bad guys and what’s at stake.

It’s the Midsummer national holiday that celebrates the summer solstice and Sweden wakes up to a state of emergency. They are under attack, but no one knows who is behind it or why. Internet, TV and phone networks are down – and the chaos keeps coming.

A shy, lonely teenager, Alex (Christoffer Nordenrot) has an abusive father that propels him to leave one day, and eventually becomes a heralded professional pianist. He returns home for his mother’s funeral when he runs into his childhood crush Anna (Lisa Henni), whom he has been pining away for, and his conspiracy theorist dad Bjorn (Jesper Barkeslius), who remains unapologetic.

They reunite when they need each other most, so of course that brings up flashbacks amid the central theme of trying to survive. It’s an easy crutch for plot purposes while chemical rain falls from the sky.

The low budget film must have spent most of its Kickstarter money on explosions and fiery crashes. The danger is real, even if we don’t know what is happening, just like the confused citizenry, thus keeping us off-guard.

The movie starts off glum, then proceeds to get grimmer. Time is running out while they sprint across country roads and fields in their village as bullets are sprayed at the innocent.

The thinly drawn characters aren’t specific enough to get invested in their plight. The unapologetic dad is such a miserable man that we don’t care whether he makes it.

 And the platonic reuniting of Alex and Anna is through a contrived circumstance, which is awkward, no matter how much we want to root for them.

By virtue of its basic construction, the plot is too manipulative and the characters lack sincerity because of it.

The lead actor, Christoffer Nordenrot, is also a co-writer, along with director Victor Danell. Their collective, Crazy Pictures, is used to making short films. Perhaps elongating this tale was too big of a task.

By combining a mediocre soap-opera family drama with a murky suspense-thriller, we do not get a satisfying result for either. “The Unthinkable” lacked a spark that could have gone a long way in building up suspense.

If you do sit through all 2 hours and 9 minutes of the film, stay for the credits – they post photos that indicate what might have happened, leading to 800,000 deaths.

“The Unthinkable” is a suspense sci-fi thriller, directed by Victor Danell, and stars Christoffer Nordenrot, Lisa Henni and Jesper Barkselius. It is in Swedish, with English subtitles and is not rated. The run time is 2 hours, 9 minutes, and it is in theaters and video on demand May 7. Lynn’s Grade: C.

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Warm-Hearted ‘The Paper Tigers’ Recalls ’90s-era Martial Arts Movies

Warm-Hearted ‘The Paper Tigers’ Recalls ’90s-era Martial Arts Movies

By Lynn Venhaus
A crisp throwback to the ‘90s era of martial arts movies, “The Paper Tigers” is a warm-hearted exercise in reconnecting friendships and rekindling your purpose.

Once known as the Kung Fu prodigies “The Three Tigers,” the trio of martial artists are now middle-aged men one kick away from a pulled muscle. Their master teacher, Sifu Cheung (Roger Yuan), is murdered, which springs them into action. The childhood friends reunite to avenge him, as they juggle dead-end jobs, dad duties and old grudges.

First-time director Quoc Bao Tran, who also wrote the screenplay, has assembled a trio of likable actors whose chemistry is palpable for this action comedy: Alain Uy as Danny, a divorced dad who works in insurance; Ron Yuan as Hing, out-of-shape trash talker who used to work in hotel security; and Mykel Shannon Jenkins as Jim, who has been estranged from Danny.

Tran benefits from first-rate work by the fight choreographer Ken Quitugua in this low-budget labor of love.

He is banking on the nostalgic appeal of this story to genre fans and those who grew up in the 1990s watching the Teenage Mutant Ninja Turtles and the Mighty Morphin Power Rangers, along martial arts action movies from Jackie Chan, Jean- Claude Van Damme and Steven Seagal,

The resurgence of “The Karate Kid” variations and the Netflix hit series “Cobra Kai” will no doubt boost the interest too. One of the actors in those series, Yuji Okumoto, has a small role in this 2020 film.

This movie is best at emphasizing those time-honored traditional themes: Discipline, Honor, Focus, Purpose.

Like the three heroes, the movie takes awhile to find its rhythm. Of course, the old guys will gain the respect of the punk kids they face. Naturally, their childhood rival Carter (Matthew Page of “Enter the Dojo”), even though he’s running Sifu’s school, is still a jerk.

The story is a standard whodunit with little suspense, so all the energy is focused on the three pals gaining strength through their 30-year-old bond. The movie effectively uses flashbacks to show how eager they were as pupils to defend the weak, be loyal and righteous.

The men keep taking lickings and their quips keep ticking. The sound mixing is good at capturing the aches, pains and pummeling.

The film, shot in Seattle, has a resourceful team and their desire to tell this story is obvious. The amiable small film aims for the heart and succeeds.

“The Paper Tigers” is a 2020 action-comedy directed by Quoc Bao Tran and starring Alain Uy, Ron Yuan, Mykel Shannon Jenkins and Matt Page. Rated PG-13 for some strong language, offensive slurs, and violence, the movie run time is 1 hour, 48 minutes. It is in theaters and on digital May 7. Lynn’s Grade: B

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Max & Louie Productions Announces 2021 Season

Max & Louie Productions Announces 2021 Season

‘Tiny Beautiful Things’ and an Encore of ‘Songs for Nobodies’ to be Staged

Max & Louie Productions joyfully announces its “Comeback” with the St. Louis premiere of “Tiny Beautiful Things” based on the New York Times bestseller, “Tiny Beautiful Things: Advice on Love and Life from Dear Sugar” by Cheryl Strayed and adapted for the stage by Oscar nominee, Nia Vardalos, playing at The Grandel Theatre July 29-August 8,2021.

“We are so pleased to reopen safely, and welcome back St. Louis audiences with a powerful, dynamic, and empathetic play about words and the power of words to connect with one another. It’s the kind of connection that we have had to be extremely grateful for this past year,” said Stellie Siteman, Producing Artistic Director of Max & Louie Productions.

When life is hard, turn to Sugar.  “Tiny Beautiful Things” follows Sugar, an online advice columnist who uses her personal experiences to help the real-life readers who pour their hearts out to her. Rich with humor, insight, compassion and absolute honesty, “Tiny Beautiful Things” is a play about reaching when you’re stuck, healing when you’re broken, and finding the courage to take on the questions that have no answers.

The cast includes Michelle Hand as “Sugar”, Greg Johnston as Letter Writer #1, Wendy Renee Greenwood as Letter Writer#2, and Abraham Shaw as Letter Writer #3.  Sydnie Grosberg Ronga directs.

Critic’s Pick! “Tiny Beautiful Things” is about the endangered art of listening to-and really hearing and responding to-other people… it works beautifully as a sustained theatrical exercise in empathy.”

The New York Times

“…a show that aims to open our eyes to the tiny moments when the world surprises us with care.”

New York Magazine 

“Heart-tugging and emotionally rewarding.”

The Huffington Post

“… a theatrical hug in turbulent times”

Variety

“Tiny Beautiful Things” will run at the Grandel Theatre, 3610 Grandel Square, St. Louis, Missouri 63108. The dates of the production are July 29-August 8,2021. Tickets will go on sale Monday, June 14th 2021 at metrotix.com or by phone at (314) 534-1111. Online Socially Distanced Reserved Seating will be restricted to groups of 2 and 4 consecutive seats. Booth seating is available for a group of 4 or 6 persons. Tickets are priced from $35-$55.

**Max & Louie Productions has received its Missouri ArtSafe certification. To ensure that we may create safely, present safely, and attend safely we pledge to Covid-19 safe protocols which patrons are encouraged to view at Max & Louie Productions’ website at www.maxandlouie.com.

The 2021 season concludes with the Max & Louie Productions’ hit revival of “Songs for Nobodies” written by Joanna Murray-Smith and presented at the Grandel Theatre December 2-12th 2021.

This one-woman powerhouse performance, starring Debby Lennon, weaves the music of legendary divas Judy Garland, Patsy Cline, Billie Holiday, Edith Piaf, and Maria Callas throughout a mosaic of stories told by the everyday women who had unexpected life-changing encounters with these musical icons.

Featuring such favorites as “Come Rain or Come Shine,” “Crazy,” “Non, Je Ne Regrette Rien,” “Lady Sings the Blues,” and “Vissi d’ arte,” “Songs for Nobodies” illuminates the power of song to share a story, heal a heartbreak, and inspire a dream.

“It’s a perfectly marvelous show to kick off the holidays”, exclaimed Stellie Siteman, Artistic Director.

Critic’s Pick! “Max & Louie’s ‘Songs for Nobodies’ is an intimate triumph.”

-Calvin Wilson St. Louis Post Dispatch

“Dazzling work from Debby Lennon and lots of bang for the audiences buck in this little jewel from Max & Louie Productions.”

-Ann Pollack St. Louis Eats and Drinks

“… Lennon’s range is astonishing. Her performance as an actor who portrays five, ordinary, utterly individual women is at least as impressive as her singing.”

-Judy Newmark Judy Act Two

Ten women, all played by one extraordinary actress, in “Songs for Nobodies” is directed by Pamela Hunt and runs at the Grandel Theatre, 3610 Grandel Square, St. Louis, Missouri 63108. The dates of the production are December 2-12th,2021. Tickets go on sale at metrotix.com or by phone (314) 534-1111 on October 11th,2021. Tickets are priced from $35-$60 Booth seating is available for a group of 4-6 persons.

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Offbeat Refugee Drama ‘Limbo’ Tinged with Dry British Humor

Offbeat Refugee Drama ‘Limbo’ Tinged with Dry British Humor

By Lynn Venhaus
An offbeat refugee drama with bits of dry British humor, “Limbo” is another look at the “stranger in a strange land” theme.

A young Syrian musician is stuck on a remote Scottish island where he and other refugees wait to find out if they have been approved for asylum.

Set in a desolate landscape with drab sparsely furnished living quarters adding to the dreariness, the four migrants sharing the place must make do. They are single men without financial means and given a bare-minimum allowance, for they can’t work yet.

They are trying to survive the waiting game in harsh weather conditions, learning English by watching “Friends” and picking up cast-off items at a community thrift center to help their lives.

Omar (Amir El-Masry) has sad eyes and a glum expression. He talks to his Mom on an outside pay phone, homesick for Syria but knows he can’t return, or he’ll be killed like so many others in the civil uprising. His brother’s fighting in the Army but his parents are in Istanbul. You can feel his fear, anger and desperation.

His roommate, Farhad, played by Vikash Bhai, is a talkative, cheerful Afghan who shares his dreams and goals. The other two staying there are bickering brothers from Africa – one dreams of playing professional soccer while the other has more modest aspirations. Kwabena Ansah is Abedi and Ola Orebiyir is Wasef, both delivering heartfelt performances.

The wintry winds are cruel and melancholy settles over these young men as they await their fate. Omar plays the oud, a heritage string instrument in the manner of a guitar and carries it everywhere.

The storyline gets very bleak, so this shouldn’t be classified as a comedy. However, there are a few funny bits. The guys attend a group assimilation session where two locals, Boris (Kenneth Collard) and Helga (Sidse Babett Knudsen), teach them the best practices in social situations. These lessons are a hoot.

Farhad, a Freddy Mercury fan, bonds with a barnyard chicken. Frustrated by the system but resigned to his plight, Omar has little patience for lighter moments.

In his feature film debut, writer-director Ben Sharrock brings out genuine observational moments. An eye for the quirky, he is particularly good at staging shots for optimum effectiveness, although he is very deliberate in pacing.

Sharrock was nominated for two BAFTA awards – Outstanding British Film of the Year and Best Debut by a British Writer, Director or Producer.

Sharrock was inspired by the personal stories of people he met while working for refugee camps in southern Algeria and living in Damascus before the outbreak of the Syrian Civil War in 2009.

This is a thoughtful piece on homelands and borders. The best part is how the humanity ultimately shows through, and there is a glimmer of hope to sustain us.


“Limbo” is a 2020 drama written and directed by Ben Sharrock. It starts Amir El-Masry, Vikash Bhai, Kwabena Ansah, Ola Orebiyir, Kenneth Collard and Sidse Babett Knudsen. Rated R for language, it runs 1 hour, 44 minutes. In theaters. Lynn’s Grade: B

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Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

By Alex McPherson

“Without Remorse,” roughly based on Tom Clancy’s 1993 novel, is a serviceable yet forgettable action film elevated by a committed performance from Michael B. Jordan.

We follow John Kelly (Jordan), a Navy SEAL chief who finds himself immersed in an international conspiracy with a gargantuan body count. After rescuing a CIA operative in Aleppo, Syria, and unexpectedly encountering Russian military forces, all hell breaks loose. Three months later, Russian FSB operatives brutally murder two SEAL team members who participated in the mission. They also execute Kelly’s wife, Pam (Lauren London), and unborn child. While Kelly is able to kill three of the operatives at his house, one escapes.

Mean-spirited CIA officer Ritter (Jamie Bell) and Defense Secretary Clay (Guy Pearce) want to brush the situation under the rug for fear of starting an international incident, but Kelly takes matters into his own hands. Thanks to the help of his superior officer, Lt. Commander Greer (Jodie Turner-Smith), Kelly gets the intel necessary to exact revenge without, well, much remorse or self preservation. After being arrested and branded a felon for his vengeful acts, he’s placed on a black ops team to eliminate those responsible once and for all. Copious bloodshed ensues, and Kelly eventually acquires the last name of “Clark.”

Worth watching if only for Jordan’s acting chops, “Without Remorse” ends up feeling predictable, dated, and shallow by the end credits — squandering an opportunity to give Kelly much depth, or present a storyline that isn’t swamped in clichés. That’s not to say there isn’t some entertainment value to be found here, however, as Jordan’s performance remains consistently engaging, and director Stefano Sollima knows how to stage punchy, visceral set pieces.

Indeed, even though “Without Remorse” fails to delve into Kelly’s psychology beyond the surface level, Jordan’s portrayal lends him a damaged, unhinged quality. Jordan convincingly sells the fact that Kelly has nothing left to lose and is ready to die for retribution over his family’s killing. He’s always a gripping presence onscreen, and we can infer deeper tensions from his body language alone, even if Taylor Sheridan’s script avoids any kind of real complexity in his character or the larger plot he’s embroiled in. 

Similarly, side characters, particularly Turner-Smith, turn in decent performances, but they end up feeling quite plain. There’s little to latch onto emotionally across the board, and “Without Remorse” fails to make any kind of meaningful social commentary. The plot twists are easy to foresee, ending with patriotic sentiments that caused me to roll my eyes.    

If only Sollima’s film had given us more time to grow attached to Pam before she’s unceremoniously riddled with bullets, or provided any unique spin on the “America vs. Russia” trope, then perhaps “Without Remorse” could have stood out from its military-obsessed competition. Alas, for all the film’s thematic failings, it still remains enjoyable, due to the slickly choreographed shoot-em-up sequences peppered throughout.

Jordan, ripped as ever, absolutely shines in these scenes. A brutal interrogation within a burning car, an underwater escape from a downed airplane, and a claustrophobic punch out in a jail cell stand out in particular. It’s too bad the final-act skirmishes feel repetitive and too video gamey to impress. They’re sometimes dimly lit and, reflective of other elements, feel generic.

As a precursor to more Tom Clancy films down the road, “Without Remorse” carries out its mission dutifully, but uncreatively. Jordan, holding the whole ordeal together with his jacked arms, deserves better. 

“Tom Clancy’s Without Remorse” is a 2021 action thriller directed by Stefano Sollima and starring Michael B. Jordan, Guy Pearce, Jamie Bell, Jodie Turner-Smith, Colman Domingo and Lauren London. Rated R for violence, the movie runs 1 hr. 49 minutes. Streaming on Amazon Prime beginning April 30. Alex’s Rating: B-

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