The St. Louis Shakespeare Festival is pleased to welcome back audiences for a new season of free Shakespeare productions in 2021, beginning with the return to Shakespeare Glen in Forest Park with King Lear.
The Festival is committed to preserving the health of our staff, actors, and audience and will share complete safety precautions closer to performance dates in compliance with the guidelines of health officials.
The 21st season of outdoor performances starting with KING LEAR starring André De Shields in Shakespeare Glen, a new 24-stop touring production of OTHELLO and the return of Shakespeare in the Streets in the historic North St. Louis neighborhood of THE VILLE.
On May 3, the company of 18 talented (and fully vaccinated) actors will come together in St. Louis for the first rehearsal of King Lear under Director Carl Cofield. Get to know their names and faces.
This is the 2021 Shakespeare in the Park cast:
André De Shields (King Lear), Rayme Cornell (Goneril), J. Samuel Davis (Kent), Leland Fowler (Edmund) Allen Gilmore (Fool), Nicole King (Cordelia), Jason Little (Albany), Daniel Molina (Edgar), Carl Overly, Jr. (Cornwall), Michael Tran (Oswald/France), Jacqueline Thompson (Regan) and Brian Anthony Wilson (Gloucester). With support from Atum Jones and the St. Louis Black Rep Intern Company: Kentrell Jamison, Theorri London, Brian McKinley, Tyler White and Christina Yancy.
Reservations for King Lear will open on May 2! Stay tuned for more information on how to attend. The opening show of the 21st season will run June 2 – June 27.
KING LEAR
Shakespeare Glen, Forest Park June 2-27 Tony, Emmy and Grammy Award-winner André De Shields (Broadway: Hadestown, The Wiz) stars in Shakespeare’s greatest — and most modern — masterpiece.
Carl Cofield (Associate Artistic Director, Classical Theatre of Harlem) directs an all-BIPOC cast from New York, Chicago and St. Louis.
OTHELLO Aug. 3 -29
TourCo presents 24 performances in Missouri & Illinois Our new outdoor touring troupe visits public parks across the bi-state region. A Living Study Guide before each performance explores the themes and modern impact of Othello — Shakespeare’s gripping tragedy of jealousy, race and resentment.
SHAKESPEARE IN THE STREETS: THE VILLE Sept. 9-11
Annie Malone Children’s Home, 63133
After an extended storytelling residency, Shakespeare in the Streets returns with a new play based on Shakespeare and inspired by the Ville neighborhood, one of the most historically significant Black communities in America.
Coleman discusses upcoming 103rd season and the challenges ahead
By Lynn Venhaus Kwofe Coleman, who started at The Muny as a seasonal employee when he was 16, will become the theatre’s next president and CEO, succeeding Denny Reagan, who is retiring after 52 years.
Coleman begins the new position on Jan. 1, 2022. He is currently The Muny’s managing director, overseeing the organization, financial and business affairs. He will assume the role with more than a decade of extensive theatre management experience.
“I am honored and humbled by the opportunity to lead The Muny and serve a community that I love,” Coleman said. “The unparalleled history, remarkable resources and aspirational spirit that have yielded a century of success for The Muny are our foundation as we begin our second century.”
The Muny Board of Directors announced the decision Friday.
One of the premier musical theaters in the U.S., the 103-year-old St. Louis venue traditionally welcomes more than 350,000 patrons over its nine-week season in the nation’s largest and oldest outdoor theatre in Forest Park.
The opportunity to mold The Muny’s future is not one Coleman, 38, takes lightly.
“With great excitement, I look toward the future of a cultural institution that will take intentional steps to broaden and evolve our identity and relationships through both our art and our investment in this community,” he said.
He has been preparing for this opportunity for many years.
“It’s been a 22-year job interview,” he said. “The opportunities I have had to work in different departments and gain the necessary experience in a community I care about has motivated me to want to figure out our next chapter. ‘What else can I do?’ We have an opportunity to define what a cultural institution is. It’s an amazing opportunity.”
Coleman said he is eager to get to work.
“I have a lot of respect for what the people do here. I’m honored for this moment, and I’m so excited to do the work,” he said.
Coleman’s promotion has been met with local and national praise, with both the board chairman and retiring president describing it as a “perfect” choice.
“Thanks to Denny’s leadership, and the diligent stewarding of the selection process by the executive committee and full board, the perfect candidate has been chosen,” Muny Board Chairman James S. Turley said.
Reagan, who has been with The Muny since 1968, has served as president and CEO since 1991. He announced plans to retire in December.
He and Coleman have worked extensively alongside each other. In recent years, they have stood together near stage left, greeting patrons before each of the seven shows on summer evenings.
And like Reagan, Coleman started working at the Muny as a summer job when he was in high school. He was an usher, handing out programs and helping with patrons’ needs.
“Kwofe is a remarkably gifted leader who understands the institution at its core, and more importantly, its commitment to the St. Louis community,” Reagan said. “He will ensure The Muny’s future remains bright while offering a new perspective on how to lead our beloved theatre into its next century. Without question, he is the perfect choice.”
“Undoubtedly, Kwofe will ensure The Muny continues its commitment to accessibility, regardless of physical or socioeconomic limitations, while expanding the vital role we fill in our community,” said Turley, who is also the Second Century Campaign chairman.
Dave Steward, founder and chairman of World Wide Technology, the nation’s largest black-owned company, said Coleman was a national and local leader of rare passion and commitment for serving young people.
“His record reflects an accomplished innovator who is making education and training increasingly accessible for historically underserved communities through schools and the arts,” Steward said.
“From the Gospel of Mark we learn, ‘Whoever wants to be great among you must be your servant,’ and I am confident that Kwofe will lead with faith and humility. The Steward family, along with World Wide Technology, salute The Muny on choosing Kwofe as their next leader,” said Steward, a Muny board member.
World Wide Technology and the Steward Family Foundation became the first overall season sponsor in the history of The Muny in 2014. They were to be the 2020 Season Presenting Sponsor but instead continued as the online season presenting sponsor with a leadership gift.
Coleman is recognized both locally and nationally as a strong force in theatre operations and currently serves as the president-elect of the National Alliance for Musical Theatre.
Betsy King, NAMT executive director, noticed the symmetry of Reagan, a former president, passing the torch to Coleman.
“I can say with both excitement and confidence that Kwofe will be a charismatic, insightful leader for The Muny. He will respect the past while also moving the organization into a strong, vibrant future. The Muny is in excellent hands!” she said.
Coleman was a 2018 Fellowship advisor for the DeVos Institute of Arts Management at the University of Maryland.
“The Muny has enjoyed a remarkably stable and strong leadership that has allowed the organization to move from strength to strength. Appointing Kwofe Coleman as the new president and CEO ensures leadership continuity. Kwofe brings his own insights and talents to the position and will lead The Muny to even greater heights in the years to come,” said Michael Kaiser, DeVos Institute of Arts Management chairman and Kennedy Center president emeritus.
Photo in St. Louis American. Kwofe Coleman and Dennis Reagan backstage at The Muny
103rd Season
Because of the public health crisis due to the coronavirus pandemic, the 102nd season was cancelled, and the line-up was transferred to the 2021 season. Even though season ticket sales were announced in March, the current health landscape, best practices and all available information must indicate that a season is possible.
A final decision will be made next month, Coleman said.
“We’re eager to come back, to gather and have the shows, but we have to be safe and be cleared to do so by the health department and the labor unions,” he said. “We’re looking at every angle. We might have to have a slightly reduced season, a socially distanced scenario. We’ll do something. How we will do it has to be figured out.”
Coleman said meetings continue to take place, consulting with the city and medical experts on the COVID-19 regional numbers and mitigation efforts. He said they have watched what the St. Louis Cardinals, St. Louis Blues and other local institutions have done in their altered re-openings.
“We’ve had a lot of great conversations. We’re only going to be together again by working together,” he said.
The upcoming season, announced in December, is to start later in July and then run through September, a shift from the usual June to August schedule, “should conditions allow.”
The seven shows are: Seven Brides for Seven Brothers (July 5 – 11), Disney and Cameron Mackintosh’s Mary Poppins (July 14 – 22), Smokey Joe’s Cafe (July 25 – 31), The Sound of Music (August 3 – 9), Sweeney Todd (August 12 – 18), On Your Feet! (August 21 – 27) and Chicago (August 30 – September 5). Three – Sweeney Todd, Smokey Joe’s Café and On Your Feet – are Muny premieres.
In the meantime, the activities at #1 Muny Drive continue. The stage is being installed, construction is on track and preparations to return are underway.
The Muny is currently undergoing a multi-year major renovation project that was announced in October 2018. Phase 3 started in September, focused on backstage support spaces. The Muny’s aging 11.5-acre campus needs upkeep and maintenance.
The new Emerson Artists’ Building will house dressing rooms, the wig shop, hair and makeup departments and wardrobe. Renovations are planned for the costume shop, production and general offices, rehearsal space, craft and scenic room, painter and carpenter areas, and the sewer and plumbing infrastructure. The capital campaign has raised $85 million so far.
The first two phases focused on rebuilding the state-of-the-art James S. McDonnell stage
Summer of 2020
The Muny announced in May that a modified season of 5, not 7, shows would take place beginning in July only if local health experts and officials deemed it safe, but on June 8, the decision was made not to move forward.
After that sad news, the Muny pivoted to an online season, a first in its 102-year history. They aired the live Muny Magic concerts at The Sheldon, never before made available to the public, and created a new series, “The Muny 2020 Summer Variety Hour Live!” This one-of-a-kind, free online endeavor was packed with performances by Muny artists across the country and dancers performing outside on the grounds.
Because of the online season, The Muny was able to employ several members of its typical summer staff, including trades people, performers, artists and musicians.
With viewers from 22 countries, the total estimated attendance for the free 10-show summer season was 189,582. This number represented a record-breaking first in The Muny’s live-streaming history, and is an aggregated estimate based on YouTube analytics.
“While this season was anything but ordinary, the support from our viewers has been nothing short of extraordinary,” Reagan said.
“My heart was transported back to so many magical summer nights past,” said Mike Isaacson, artistic director and executive producer of The Muny.
“I am so grateful to everyone in the Muny family who worked on and created these 10 streams,” Isaacson said. “It was a remarkable collaboration in so many ways, and in this really challenging time, these shows allowed us to create, to celebrate and to be together. We’re all very grateful.”
The Muny 2018. Photo by Lynn Venhaus
Coleman’s biography
Coleman joined The Muny full time in 2008 as a staff accountant, helping to manage the finances, accounting and payroll for its multimillion-dollar annual budget.
In the decade preceding it, he performed a variety of roles, including house manager.
In 2011, Coleman formed The Muny’s first digital communications department, reconstructing its internet presence and social media identity while also dramatically increasing the theatre’s internet sales stream, national presence and forming connections with nextgeneration audiences.
He was promoted to director of marketing and communications in 2014, where he managed branding and marketing efforts through its 2018 centennial season. During this time, Coleman was also key in the creation of both The Muny’s Second Century Strategic Plan and the $100 million Second Century Capital Campaign.
Following the 2018 season, Coleman was named The Muny’s managing director, responsible for managing the business functions while working with Isaacson, to embrace and articulate the artistic and institutional vision.
In St. Louis, he is an active contributor, serving on the St. Louis University High School Board of Trustees, Cor Jesu Academy Advisory Council, Common Circles Advisory Council and as a proud founding board member of Atlas School.
Coleman is an alumnus of St. Louis University High School, Class of 2001, and earned a bachelor’s degree in English from Emory University in Atlanta.
He is a first-generation American. His parents migrated here from the Republic of Ghana in the mid-1970s and settled in Bellefontaine Neighbors. He has two sisters, both doctors, who attended Harvard and Duke universities, and locally, Cor Jesu Academy. He said his parents prized education and his father worked side jobs to send his children to private schools.
Coleman said his parents appreciated the arts and culture, and that was handed down to their three children, to make sure they were well-rounded.
“Art was natural to me and I appreciated it,” Coleman said.
He also serves on the board of directors for the Saint Louis Club, as well as other various social service organizations. During the 2020 holiday season, Coleman served as executive producer for “A New Holiday,” a short film musical set in St. Louis created by LIFE Creative Group.
He is a 2015 recipient of the St. Louis American’s Salute to Young Leaders Award and was named to the 2020 St. Louis Business Journal 40 under 40.
For more information about The Muny, visit www.muny.org.
Season tickets can be purchased online at muny.org or by phone by calling (314) 361-1900. Currently, the box office in Forest Park is closed to the public.
By Lynn Venhaus The rare white Alba truffle demands top dollar on the international market, from hundreds of dollars to over a thousand. The golden tuber is known for its pungent aroma and earthy flavor, and diners enjoy it shaved over pasta, risotto, eggs and meat. It has a short growing season of only a few months a year, and the forests of Italy are the premier location for hunting this delicacy.
Nowadays, there is an art to foraging for them, as the truffle has resisted modern science’s effort at cultivation. Expertly trained dogs join a rare breed – aging truffle hunters whose
Their secret culture is the subject of a fascinating documentary.
The elusive white truffle’s journey from the forest to the table is an interesting subject in the unusual Italian documentary “The Truffle Hunters.”
Eccentric elderly men, often in their 70s and 80s, are obsessed with the lucrative truffle hunt — so much so that they are unwilling to share the tricks of the trade, passed down from generations, with younger men who want to follow in their footsteps. Therefore, these Italian professionals are a dying breed.
Directors Michael Dweck and Gregory Kershaw provide vivid portraits of four of these men — Carlo, Aurelio, Sergio and Angelo, characters all — and their beloved dogs living a simple life in Piedmont, Italy. It may look like something out of the Brothers Grimm, but these gruff, competitive men are not fairy tale characters.
Nor do they assimilate in the 21st century with tech-savvy knowledge.And some would just prefer to be left alone, with the trusty companion, nevertheless.
While truffle hunting is a way of life they have mastered, it is not without its challenges. Climate change and deforestation have caused problems with a decreased supply at harvest time.
Dweck and Kershaw, who recently won the Directors Guild of America award for directing a feature documentary, bring out all the quirkiness of these hunters and show the affectionate bond between the men and their dogs.
The cinematography is another outstanding element, and Dweck and Kershaw won the American Society of Cinematographers award for best documentary.
If you are a dog lover, this movie needs to go on your watch list. If you are like me and enjoy learning about something you never paid much attention to, “The Truffle Hunters” is worth 90 minutes of your time as a snappy homage to these guys who take obvious pride in their work.
At only an hour and 24 minutes, this film is a snappy homage to these guys who take obvious pride in their work. “The Truffle Hunters” is an international feature documentary, in Italian with subtitles, directed by Michael Dweck and Gregory Kershaw. It’s rated PG-13 for strong language and runs 1 hour, 24 minutes. In theatres. Locally, at the Hi-Pointe Back Lot on April 23. Lynn’s Grade: A-.
By Lynn Venhaus When husband-and-wife collaborators Ben Falcone and Melissa McCarthy work together on screen, a low bar has been set, for their previous four movies together had little to redeem them. Yet “Thunder Force,” while just barely a cut above the others, has its moments.
And only a few, for “Thunder Force” is a hodge-podge of tone, temperament and style that squanders opportunities to boost its likability. The strongest aspect is the cast, who looks like they are having fun indulging in all the silliness.
And there is plenty of that, along with slapstick and repetitive gags. Maybe the jokes don’t all land, but let’s keep hammering them again and again just in case people will finally ‘get’ them.
In a world terrorized by super villains, scientist Emily Stanton (Octavia Spencer) has developed a way to give regular people superpowers. That happens to her estranged best friend Lydia Berman (Melissa McCarthy), who is injected with super strength, when she is poking around. Emily can become invisible. These powers, to be used for good, can protect their city from evil. But can Thunder Force save Chicago from these Miscreants?
After the disappointing “Tammy” in 2014 and the unwatchable “Life of the Party” in 2018, (I skipped “The Boss” in 2016), one wonders why writer-director Falcone still gets to helm projects with his Oscar-nominated wife McCarthy but in November, they presented another lackluster high concept “Superintelligence” on HBOMax and now the forced “Thunder Force” on Netflix.
McCarthy is playing the same character that she has milked for laughs since her breakout role in “Bridesmaids” in 2011 – an uncouth loudmouth slob who beats to her own drummer. The common thread there, along with “The Heat,” “Spy” and “Ghostbusters,” is director Paul Feig, who knows how to reign in her penchant for absurd riffs.
Feig’s direction is disciplined, unlike her husband of 16 years, who lets her go on and on and on – singing random pop songs, doing goofy impressions and just making a good punchline less amusing by not knowing when to stop.
Why does she stay in her comfort zone when we know she is capable of much more — the Oscar-nominated “Can You Forgive Me?” and an Emmy as host of “Saturday Night Live” in 2017 (and that hilarious Sean Spicer impression)?
The Falcones met doing improvisational sketch comedy at The Groundlings in L.A., and I think their strength is humor in short doses. This movie is like a “SNL” sketch that has gone on far too long.
Apparently, McCarthy and Spencer met during that time, and have been real-life BFFs since then. But you would not know of their connection by the way the relationship is framed in the film.
Emily is a brain who devotes all her time to her work, with little time for frivolity. Lydia is a lonely hard-drinking forklift operator. Neither of them are endearing as good friends, thrown together in school as misfits, but neither is the loyal true-blue friend they should be.
So, they magically team up again after years of estrangement?
The plot holes don’t help. The Miscreants are former borderline sociopaths empowered by interstellar rays in the early ‘80s into super-villains who wreak havoc on the streets of Chicago.
Laser, played by “The Guardians of Galaxy” breakout Pom Klementieff dressed as a dominatrix, hurls blue bolts for destruction.
The thug-boss mayor, played over-the-top by – of course – Bobby Cannavale, referred to as “The King,” and is straight out of Gotham City’s playbook, appearing like a cartoon buffoon in “Batman Returns.”
Falcone also plays one of his henchmen, and after unfortunate skin tasering, has a running gag on how the unsightly scabs appear on his face. Once was enough but the fact it’s repeated is indicative of this hot mess.
And Oscar winner Melissa Leo is totally wasted in a tough-lady operative role.
Now, for the good parts. Jason Bateman, who worked with McCarthy in “Identity Thief” in 2013, is a half-creant, with crab pincer claws as arms. Inexplicably, The Crab and Lydia are drawn to each other (and there is a foreplay scene with drawn butter and Old Bay seasoning). You can tell he’s just slumming, and that’s OK because he knows how to deliver one-liners in a deadpan way. and has a gift for comic timing.
This film, however, belongs to the younger ladies. In flashback, McCarthy’s daughter Vivian Falcone plays her in middle school – and is terrific – and Bria Danielle Singleton is strong as young Emily. They could have had a whole movie developed around them, and that would have been OK, preferable to the middle-age edition.
That said, the jokes about hefty middle-age women in spandex suits and entering and exiting a sports car are funny and relatable.
Taylor Mosby is winning as Emily’s daughter Tracy.
The fact that this movie wasn’t as bad as I thought it was going to be isn’t exactly a ringing endorsement, but it was enjoyable in spurts.
“Thunder Force” is an action comedy directed and written by Ben Falcone. It stars Melissa McCarthy, Octavia Spencer, Bobby Cannavale, Jason Bateman, Taylor Mosby. Melissa Leo and Pom Klementieff. Rated PG-13 for some action/violence, language and mild suggestive material, the run time is: 1 hour, 46 minutes. The film is available on Netflix beginning April 9. Lynn’s Grade: D+
With shallow characterization and underwhelming action sequences, George Gallo’s new film, “Vanquish,” winds up being decidedly average.
This generic thriller stars Ruby Rose as Vicky, a former courier for Russian drug dealers, who’s become a caretaker for Damon (Morgan Freeman), a retired police commissioner in cahoots with crooked cops. When the operation Damon’s team is working on is nearly jeopardized, he decides to take matters into his own hands. Vicky can’t afford to pay medical bills for her young daughter, so Damon offers funds in exchange for her embarking on a dangerous task — completing five money pickups from criminals around town. When Vicky refuses, Damon takes Lily hostage and won’t release her until the job is completed. Vicky must utilize her particular set of skills to survive the night and rescue her child.
With a style reminiscent of the “John Wick” franchise, Gallo’s film neglects to make the most of its lead actors and only provides sporadic moments of enjoyment throughout.
Even with low expectations going in, I hoped “Vanquish” would provide a campy, suspenseful experience that didn’t take itself too seriously. Unfortunately, for such a simple premise, the film seems unfocused. In too often switching attention from Vicky to the larger drug-smuggling operations behind the scenes, the pacing suffers, and the film abandons its strengths in favor of bland storytelling with predictable outcomes.
There are faint glimmers of intrigue here and there, however, particularly involving the visuals. Employing thick contrast and color grading in practically every shot, “Vanquish” aims for the appearance of a comic book and is often striking to behold, if sometimes overbearingly so. One scene early on, for example, is bathed in green hues and features a camera angle from the perspective of a scurrying rat — an oddball decision, to say the least. More often than not, though, this threatening atmosphere is undone by hyperactive editing that muddles the intensity. The camera rarely slows down, constantly cutting between shots without precision or purpose. I see what Gallo was attempting in trying to create a hazy, sensory feel at certain points, but “Vanquish” needed a more restrained approach overall.
This surface-level quality extends to Vicky herself. Her backstory is relegated to clunky exposition dumps and rushed flashbacks that lack emotional impact. Rose does a passable job with dialogue that chugs along without nuance. We’re not given many opportunities to spend time with her outside of her immediate objectives — rather, we spend a lot of time with Damon and the slimy cops he manages. Portrayed with uneven acting, the officers come across as infinitely less interesting than Vicky.
The film’s video-game-esque skirmishes aren’t especially memorable, despite some impressive gore effects. Except for one moment of cocaine-induced gun fu and a slick motorcycle stunt, they fail to stand out — they’re sometimes downright difficult to follow due to the aforementioned editing.
Side characters don’t fare much better. Damon has an engaging history, but “Vanquish” sends him down a familiar arc as events unfold. Confined to a wheelchair for the entire duration, Freeman doesn’t deliver Damon’s lines with much emotion. Admittedly, this creates some amusing moments of deadpan humor, but Gallo misses an opportunity to give Damon a soul beneath his shady actions — Freeman’s presence is where the primary entertainment comes from. Cynical, calculating, and emotionally distanced from the carnage happening around him, Damon is an over-the-top character that deserves a more over-the-top depiction.
Failing to embrace its B-movie potential, “Vanquish” isn’t the worst option for an action film, but viewers could certainly do better elsewhere.
“Vanquish” is a 2021 action crime thriller directed by George Gallo and starring Morgan Freeman and Ruby Rose. It is rated R for bloody violence, language, some sexual material and drug use, and run time is 1 hour, 36 minutes. It opens in theatres April 16. Alex’s Rating: C
Prism seeks submissions from women playwrights for “Spotlight on… Women Writing: Prism’s Festival of New Works”
The mission of St. Louis’ newest professional performing arts organization, Prism Theatre Company, is to promote the work of women and emerging artists, on stage and off, through the lens of theatre for the new world. We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques.
To that end, Prism is currently seeking submissions for new plays by women playwrights based in Missouri or Illinois for “Spotlight on… Women Writing: Prism’s Festival of New Works.” Prism is accepting non-musical plays of any length that feature 2 – 15 characters. All submissions must be received by 11:59 p.m. CST on Tuesday, June 1, 2021. Visit prismtheatrecompany.org for full submission guidelines.
Prism’s search for the most talented playwrights in our region will culminate with the inaugural season of a series of staged readings this summer (dates TBA), featuring some of St. Louis’ favorite actors and exciting, emerging artists. COVID safety guidelines will be strictly followed for in-person readings, and a virtual option will also be offered. Details on the festival are available on Prism’s website, Instagram, and Facebook page.
Prism Theatre Company is the brainchild of Trish Brown and Joy Addler, St. Louis-based theatre-makers and longtime collaborators.
Trish Brown, a professional director, actress, and theatre educator, has directed regionally, as well as in Canada. She is a proud associate member of SDC, the Stage Directors and Choreographers Society.
She holds an MFA in Directing from the Chicago College of Performing Arts at Roosevelt University and worked professionally in Chicago for a number of years before returning to the St. Louis area.
A process-based, ensemble director, Trish is trained in and utilizes a number of acting methods in her work while specializing in the Michael Chekhov technique.
She is a founding member of The Moving Dock Theatre Company, a Chicago-based company dedicated to the actor’s creative process through the use of the Chekhov technique. Theatre education is also a passion of Trish’s and she has taught in regional arts programs such as COCA in St. Louis and Hinsdale Center for the Arts in Chicago. She is now a Professor of Theatre at Principia College. Her educational productions have won numerous recognitions, including two Best Production for the State of Illinois awards from the Kennedy Center American College Theatre Festival. Trish also loves directing film and coaching actors for stage and screen.
Joy Addler
Joy Addler is a St. Louis area stage manager, company manager, and nonprofit professional. A proud graduate of The Conservatory of Theatre Arts at Webster University, Joy has a BFA in Stage Management and is currently pursuing her Master’s degree in Nonprofit Management. She is also a member of the Actor’s Equity Association. Currently, Joy works as the Performing Arts Manager for Variety the Children’s Charity, overseeing their inclusive chorus and dance programs throughout the year, as well as serving as the Company Manager and Production Stage Manager for their annual Variety Theatre production. In addition to her work at Variety, Joy works as a freelance AEA stage manager throughout the St. Louis area.
Addler and Brown began work on Prism Theatre Company over 18 months ago in a pre-pandemic world. The company was a long-time dream of these partners who wanted to provide a home for artists from all walks of life to shine, especially women. “As members of the St. Louis theatre community, and in talking to our friends in the community, we noticed a gap in the opportunities for women to really be at the forefront,” says Joy Addler, Prism’s Managing Director. “We want to provide a safe space for the voices of women to really shine and take center stage.” Though the company’s mission puts women at the forefront, men are also an important part of Prism’s work. “We love all artists and welcome men into Prism, as actors, technicians, directors, designers, and Board members. Nothing at Prism is exclusionary,” says Trish Brown, Prism’s Artistic Director.
Trish Brown
Prism is also designed as a home for new and emerging artists. “Because I’m passionate about theatre education, fostering new and emerging artists was an important aspect of Prism,” says Brown. “I remember graduating from college with my BA in Theatre and wondering, ‘OK, what now’? It was difficult to break into the theatre scene in a meaningful way. Few companies were open to mentoring young artists at that time. We want Prism Theatre Company to be a place where emerging artists can work with kind, collaborative, seasoned professionals so they can learn, grow, build their resumes, and make connections.”
Theatre artists who are interested in joining Prism’s Board of Directors or Company may contact Prism at prismtheatrecompany@gmail.com. Prism invites actors to like us on Facebook for access to audition details for the festival and for future productions. Women playwrights interested in submitting their unproduced scripts for consideration to “Spotlight on… Women Writing: Prism’s Festival of New Works” can find full details on Prism’s website.
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ABOUT PRISM THEATRE COMPANY
Prism Theatre Company seeks to champion the voices and stories of women from all walks of life, giving emerging artists a platform to showcase their work with seasoned professionals. We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques. Learn more about Prism on our website, Instagram, and Facebook.
The Black Rep continues its season of virtual programming with a mainstage production of Home, a moving love story by American playwright and screenwriter Samm-Art Williams, streaming on Vimeo beginning on April 15 and running through April 25. Nominated for a Tony Award and a Drama Desk Award, the play moved from the Negro Ensemble Company to the Cort Theatre on Broadway in 1980.
Directed by Producing Director Ron Himes, Home tells the story of farm boy Cephus Miles who has inherited the family farm. He is content working the land until the girl he loves leaves for college and marries someone else. After a stint in prison for his opposition to the Vietnam War, he moves to the big city where he enjoys the fast-paced city life. His return to North Carolina, the farm, and the girl, reveals the true meaning of Home.
Produced at the Edison Theatre on the campus of Washington University, the production features members of the Black Rep’s Acting Intern Company with Brian McKinley (Spell #7, Milk Like Sugar) portraying Cephus Miles, Christina Yancy (Spell #7) as Woman One/Pattie Mae Wells, and Tyler White (Spell #7, Don’t Bother Me, I Can’t Cope) as Woman Two; with scenic and projection design by Peter and Margery Spack, lighting design by Joe Clapper, costume design by Ellen Minch, and Kasey Dunaski as stage manager.
Home is supported in part by The Nebraska Rep #realchange. Tickets for Home are available at The Black Rep website at theblackrep.org or by calling our Box Office at 314-534-3807. Streaming free on demand, a suggested donation of $25 will directly help support the theatre company and its artists.
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Founded in 1976 by Producing Director Ron Himes, The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American professional performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and African Diaspora playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.
By Lynn Venhaus In yet another exploration on how humans are wired and the inevitable devil inside, “Voyagers” is ultimately a stale old story, yet spruced up with fancy technology and a diverse crop of young actors.
Thinking ahead, because Earth has climate issues, scientists raise a group of children, bred for intelligence and obedience, to embark on an expedition in 2063 to colonize a distant planet and save the human race. Cut to 10 years later. Now young adults, they rebel against the mission’s constraints. As their primitive natures, fears and hunger for power come out in the group dynamic, they descend into chaos. Written and directed by Neil Burger, who uses some slick techniques from his cautionary designer drug science fiction thriller “Limitless” and borrows from the youth friction examples in his first “Divergent” movie. However, the narrative tropes and trappings are too generic and sterile for a different kind of space odyssey.
Sadly, as much as I liked this premise, think about it — scientific experiments rarely seem to work out well in using the allure of the final frontier. We should know by now from previous far-flung film forays and “Voyagers” fails to set itself apart.
Thus, this coed hormones-gone-crazy outer space version of “The Lord of the Flies” winds up dour and depressing.
Colin Farrell is Richard, the benevolent caretaker of these test-tube kids raised in isolation. On the ship, he is a dutiful mentor, but some of the boys discover that the blue liquid they drink daily is toxic. Richard knows it keeps them docile robot-like minions for a reason. But oh, they want none of that – so they stop taking it in the name of freedom. Bad idea. ‘Let’s do whatever we want!’ doesn’t turn out so well and behavior goes downhill from there.
Now that they think Richard has betrayed them, Zac (Fionn Whitehead) becomes a monster. Angry that he is passed over as the leader after a horrible accident – or is it? – he gaslights the impressionable youth and targets the chosen leader Christopher (Tye Sheridan) as the one to distrust.
The pragmatic Sela (Lily-Rose Depp) sees through Zac and is loyal to Christopher, forming an alliance with a small group. It gets downright ugly and bloody – and tedious. Zac has also convinced his allies that there is an alien on board. So, there is that. Their dialogue goes from bad to worse, and there is no way to rescue these kids from this lackluster script.
Now, the stark setting of white corridors gets as monotonous as the characters, clad in uniform black t-shirts and pants, as they run around the ship. The monochromatic scheme is dull, even with all the bells and whistles of a spaceship prepped for an 86-year journey.
As the action descends into chaos, tension does build, but you know what the climactic battle will be. After all that, we see a montage of the next 76 years, which seems to be an easy way out (but no escape from all the cliches).
Cinematographer Enrique Chediak is fond of racing shots as the kids run through the halls either in flight or fight mode.
The ominous score by Trevor Gureckis does add to the creepiness of the claustrophobic setting.
Because the characters are destined to be conformists, the ensemble is rather bland – lacking spark and something to make them memorable. Only a handful distinguish themselves, including the principal triangle of Christopher, Zac and Sela.
Sheridan, who played Cyclops in the X-Men prequels and the lead in “Ready Player One,” is capable as a natural leader aboard the ship while Whitehead’s intensity deepens his sinister vibe as the boy –surprise! – who goes rogue. He was Tommy in “Dunkirk,” but as in that film you couldn’t tell the young soldiers apart either. He does stand out here.
Johnny Depp’s daughter Lily-Rose is just starting out, but this is not really a breakthrough role, although she is sympathetic and the link to Richard’s past life on earth.
“Voyagers” was an opportunity for a fresh look at a futuristic solution to our planet’s plight of drought and disease, but came up short. “Voyagers” is a science-fiction thriller written and directed by Neil Burger. It stars Tye Sheridan, Lily-Rose Depp and Fionn Whitehead. Run time is 1 hour, 48 minutes and it is rated PG-13 for violence, some strong sexuality, bloody images, a sexual assault and brief strong language. In theaters on April 9. Lynn’s Grade: C.
Acclaimed French director François Ozon’s newest work, “Summer of 85,” is a nostalgic coming-of-age story that lacks focus and subtlety.
Based on the novel “Dance on My Grave” by Aidan Chambers, the film takes place off the sun-drenched coast of Normandy and follows a reserved, working-class teenager named Alex (Félix Lefebvre), who happens to be fascinated with death. After his boat capsizes, Alex is rescued by the thrill-seeking David (Benjamin Voisin), and the two boys become infatuated with one another. Like most queer love stories in cinema, though, tragedy strikes. Switching back and forth between two separate timelines — one in which Alex is under investigation for a crime; the other presented as a flashback — viewers experience the exhilaration of Alex’s first love, as he recounts the events of those formative weeks.
Despite expert performances, vivid cinematography, and a dreamlike flow, “Summer of 85” remains disappointingly sappy, especially during its latter half. There’s much to appreciate about Ozon’s film, however, and there are specific powerful scenes peppered throughout. This is largely thanks to the chemistry of the two leads, as well as the ways their characters reflect and contrast each other.
16-year-old Alex is unsure whether to remain in school or join the workforce. He’s soft-spoken and, in 18-year-old David’s eyes, failing to capitalize on the exuberance of his youth. Lefebvre convincingly portrays his obsession, childishness, and turbulent emotions in a manner that feels understandable for a boy his age — including a climactic dance sequence that’s fittingly over-the-top.
David, on the other hand, is constantly seeking excitement in his life and grieves the death of his recently passed father. Voisin gives David a flamboyant swagger that’s simultaneously alluring and insecure, conveying a character with additional layers beneath his outgoing demeanor.
“Summer of 85” showcases their bond while bluntly illuminating larger themes, such as the perils of fantasization. The beginning of their relationship, for example, is depicted in a jubilant fashion — the scenery is breathtaking, and the sense of adventure is palpable. These breezy sequences evoke the sense that David and Alex have been literally swept off their feet by each other, throwing their frets to the wayside. There’s a distinctive energy pulsing through these moments, particularly when Rod Stewart’s “Sailing” blares on the soundtrack as David and Alex chart a new course in their lives.
When extreme melodrama comes to the forefront around the halfway point, the previously brisk pacing sags, and “Summer of 85” proves too forceful for its own good. Combined with distracting comedic elements, side characters that are well-acted but underdeveloped, excessive narration, and a conclusion that feels thoroughly Hollywoodized — “Summer of 85” doesn’t quite know what to do with itself.
Indeed, the film’s disjointed narrative structure ultimately detracts from the suspense Ozon tries to create, breaking from the story’s interiority regarding Alex. If “Summer of 85” insists on portraying the highs and lows of Alex’s passion, then why shouldn’t we experience those feelings along with him without knowledge of the future?
A flawed but consistently watchable effort, “Summer of 85” plays to convention when it could have become unforgettable.
“Summer of 85” is a 2020 French film directed by Francois Ozon and starring Felix Lefebvre and Benjamin Voison. Its runtime is 1 hour, 30 minutes, and not rated. This film is a selection in Cinema St. Louis’ annual QFest from April 16 to 25. Alex’s Rating: B-.
Director Caleb Michael Johnson’s new film, “The Carnivores,” is a lurid and disturbing psychological thriller that actually prompted nausea at one point, which is no small feat.
This bizarre story follows Alice (Tallie Medel) and Bret (Lindsay Burdge), an amiable yet stressed couple contending with several unaddressed issues. They each work dead-end jobs and can hardly afford to pay vet expenses for their dog, Harvie, who suffers from a terminal illness.
Alice is particularly jealous of Harvie, who receives more attention from Bret than she does. Hungry for intimacy and sleepwalking on a regular basis, Alice barely maintains her sanity. She develops a newfound fascination with meat, having been a vegan previously. When Harvie disappears, Bret becomes increasingly paranoid, and their relationship encounters a veritable smorgasbord of challenges. What follows is a deadpan, sometimes shocking film about the all-consuming pull of passion and the lengths that some will go to satiate it.
With hints of David Lynch and the off-kilter humor of Lorgos Lanthimos sprinkled throughout, “The Carnivores” definitely won’t be for all tastes. Like it or not, Johnson’s vision is undeniably striking — providing richly conceived visuals, devoted performances, and a genre mashup that’s difficult to look away from, even if you want to.
Indeed, “The Carnivores” is a refreshingly unpredictable experience, with slow-burn pacing and a tone that swerves noticeably from one moment to the next. I’m kept in nervous discomfort, never quite sure how to feel about the craziness unfurling before my eyes.
Alice is a perfect vessel for the film’s absurdist leanings. Although “The Carnivores” begins with her already in a state of mental anguish, Johnson’s film does an exceptional job at establishing her malaise with her day-to-day life. Despite her character’s potential for violence, Medel’s performance and the script’s blackly comic dialogue generate empathy and occasional amusement from her situation.
“The Carnivores” excels at a particular kind of droll comedy that befits this twisted tale perfectly, creating an uneasy atmosphere that simultaneously prompts laughter and grimaces. It’s a tricky balancing act, and Johnson more or less pulls it off effectively, especially in scenes involving Alice’s chatterbox boss and her obsessive preoccupation with slabs of meat.
Bret’s character doesn’t receive nearly as much development, but Burdge still gives her a raw edge beneath her compassionate personality. Watching her take matters into her own hands, as Alice’s life seemingly slips away from her, is upsetting but grimly compelling — not always making much sense, but building towards a suitably ravenous climax.
Of course, much of the film’s strengths lie in its cinematography and score, which constantly keep viewers on edge as to whether or not scenes are taking place in reality, or merely within Alice’s mind. Sensual, vivid imagery of her yearnings and obsessions — including a particularly memorable shot of Alice and Bret making out from either side of a shower door — have a mesmerizing quality that, while sometimes too overt for their own good, are admirable in their confidence.
Unfortunately, however, this tonal mishmash ultimately lessens the film’s emotional impact. “The Carnivores” held my interest throughout, but there are some plot beats that don’t ring as poignantly as they could have, especially near an ending that feels oddly cut and dry.
The premise is also inherently difficult to buy into, and I couldn’t become much involved in the proceedings due to its blunt, in-your-face imagery, especially in the latter half. Perhaps I will grow to appreciate “The Carnivores” more upon repeat viewings, but I couldn’t help but feel slightly distanced from the characters and the peculiar journey we’re taken on.
An acquired taste, “The Carnivores” bites off slightly more than it can chew, but remains satisfyingly well done nevertheless.
“The Carnivores” is a 2020 comedy-drama-thriller directed by Caleb Michael Johnson and part of the 2021 Cinema St Louis Q Fest April 16-25. Starring Tallie Medel and Lindsay Burdge, it is not rated and runs 1 hour, 17 minutes. Alex’s Rating: B.
