Muny To Fill the House, No Social Distancing for Upcoming Season

Muny To Fill the House, No Social Distancing for Upcoming Season

 With the support of the City of St. Louis Health Department, The Muny announced today that the previously shared reduced capacity restrictions have been lifted for its 103rd season. The outdoor theatre will open at full capacity, utilizing each of its nearly 11,000 seats, including the 1,500 free seats offered nightly on a first come, first served basis.

The 2021 season lineup includes:

  • Smokey Joe’s Cafe | July 26 – Aug. 1
  • The Sound of Music | Aug. 3 – 9
  • Seven Brides for Seven Brothers | Aug. 12 – 18
  • On Your Feet! | Aug. 21 – 27
  • Chicago | Aug. 30 – Sept. 5

The two shows originally slated for the seven-show lineup that will move into the 2022 season are Sweeney Todd and Disney and Cameron Mackintosh’s Mary Poppins.

Current season ticket holders for the 2021 season will receive their season tickets later this month. New season subscriptions for the 2021 five-show season will be available beginning June 7, with single tickets becoming available July 12. Tickets can be purchased online at muny.org or by phone by calling (314) 361-1900 ext 1550. Currently, the box office in Forest Park is closed for walk-up service until July 5.

The previously announced sanitation guidelines, with the exception of social distancing, for The Muny’s 103rd season remain in place.

Muny Sanitation Guidelines

Patron Masking
Fully vaccinated patrons are not required to wear masks at The Muny. Patrons who are not yet fully vaccinated are strongly encouraged to wear masks at all times on campus, unless actively eating or drinking.

Staff Masking 
For the safety of our patrons and our employees, our event staff will wear masks.

Cashless Transactions
Concession stands, kiosks and other retail transactions made on The Muny campus will be cashless and only offer credit, debit or Muny gift card payment options.

Express Ingress
The Muny campus has deployed new, state-of-the-art metal detection scanners. These new devices will allow a continuous stream of physically-distanced patrons to pass through security checkpoints without the delays typically associated with bag checks and handheld metal detection devices (or “wands”).

Hand Sanitizer
For patron convenience, hand sanitizer dispensers will be widely available throughout the Muny campus.

Patron Communication, Online and On Campus
All Muny Patron Policies and Sanitation Guidelines will be available on The Muny website. Policies will also be communicated in preshow emails to patrons. Campus signage will be located at entrances and throughout public spaces to encourage proper hand sanitation, face covering policies (when necessary) and safety guidelines.

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.

Emerson is proud to be The Muny’s 2021 Season Sponsor.
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The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce world-class musicals each year and welcome over 350,000 theatregoers over our summer season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org

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‘Travel the World Through Film’ Virtual St. Louis Jewish Film Festival June 6-13

‘Travel the World Through Film’ Virtual St. Louis Jewish Film Festival June 6-13

The 26th Annual St. Louis Jewish Film Festival will be held virtually this summer, from June 6 through June 13. The Festival will present a selection of 13 documentary and feature films from around the world. While all films depict a piece of the Jewish experience, the themes are universal and meant to be appealing to all, regardless of faith.

Breaking Bread, Beth Hawk’s award-winning documentary about Jews & Arabs cooking together is the perfect recipe to satiate hungry film audiences.

Thought-provoking, and sometimes disturbing, Antisemitism delves deeply into the insidious origins of antisemitism in France from the Middle Ages to the 1894 Dreyfus Affair to the present day. 

Ma’aborat reveals the discrimination and harsh conditions which awaited Jewish refugees from the Middle East and North Africa when they came to Israel in the 1950s. 

More than just a sports film, Aulcie candidly tells the story of the rise and downfall of one of Israel’s greatest sports legends. 

Two documentaries, Love It Was Not and The Good Nazi, present somewhat different views of the typical Nazi officer. 

Lighter films that entertain include Kiss Me Kosher and Howie Mandel: But Enough About Me.  

In addition to these compelling films, the Festival offers discussions with filmmakers and others associated with the films. A complete list of films and discussions, go to www.stljewishfilmfestival.org.

Films will be available for viewing throughout the festival and screened virtually through the film platform, Eventive.  An all-access Festival pass can be purchased for $95. Individual films are $14 each. View the complete Film Festival schedule and buy tickets at stljewishfilmfestival.org starting April 9.

The 2021 Jewish Film Festival co-chairs are Marilyn K. Brown, Jeffrey Korn and Paula Sigel. The Jewish Film Festival is a program of the Jewish Community Center.

ABOUT THE J:
The J is an interactive, multi-generational gathering place that offers a variety of programs and services to both the St. Louis Jewish community, and the community at large. The Jewish Community Center provides educational, cultural, social, Jewish identity-building and recreational programming and offers two, state-of-the art fitness facilities, all designed to promote physical and spiritual growth. Everyone is welcome at the J.

Breaking Bread (Available June 6-8)

Trailer: https://youtu.be/qbxk3UhF34M

Israel | English and Hebrew with English subtitles

Director: Beth Elise Hawk

Documentary: 86 minutes

Availability: Viewable within Missouri and Illinois

Exotic cuisine with a side of politics…

Dr. Nof Atamna-Ismaeel was the first Israeli Muslim Arab to win the top prize in Israel’s MasterChef TV competition. She went on to found the A-sham Food Festival in Haifa, a celebration of Arab cuisine inspired by traditional dishes from the Levant food culture. A film about hope, synergy and mouthwatering fare, the film illustrates what happens when people focus on the person, rather than religion; on the public, rather than the politicians.

Film Conversation: Available On-Demand

Local, award-winning chef and restauranteur, Ben Poremba, interviewed by Ellen Futterman, editor of the St. Louis Jewish Light

Service to Man

Trailer: https://youtu.be/J3qIBvUJEyQ

USA | English

Directors: Aaron Greer and Seth Panitch

Feature: 92 minutes

How do we measure success?…

Inspired by a true story, it’s 1967, and Eli Rosenberg has a problem… only one medical school in the country will accept him: Meharry, a historically black medical school in Tennessee, a considerable distance from his life in Brooklyn. Michael Dubois has a problem… only one medical school will suffice for him: Meharry, his father’s alma mater. Eli and Michael have another problem: they are outsiders from different backgrounds inside the pressure cooker of medical school. They battle the mysteries of medicine, demanding professors and each other.

Film Conversation: Available On-Demand

Led by Marylen Mann, Chairman Emeritus at OASIS Institute, with Dr. Ira Kodner and Dr. Will Ross.

Love It Was Not

Trailer: https://youtu.be/QF0L6VkUZjM

Austria/Israel | English and German/Hebrew

with English subtitles

Director: Maya Sarfaty

Documentary: 82 minutes

Astonishing but true…

A Nazi officer falls in love with a Jewish concentration camp prisoner, a forbidden romance with decades-long repercussions. Beautiful Helena Citron is among the first inmates to confront the dehumanizing conditions of Auschwitz. There, she captures the attention of Franz Wunsch, a high-ranking SS officer smitten by her singing voice. Risking execution if caught, their forbidden liaison continues until Helena’s miraculous liberation. The pair don’t meet again until Helena is a witness at Wunsch’s war crimes trial 30 years later.

Film Conversation: Available On-Demand

Film Director, Maya Sarfaty, interviewed by Warren Rosenblum, PhD, History, Politics and International Relations at Webster University

Antisemitism

Trailer: https://youtu.be/RGiCIPVRR6c

Canada/France/Israel | French with English subtitles

Director: Ilan Ziv

Documentary: 80 minutes

A vitally important film covering a universal and unfortunately ongoing issue…

Tracing the insidious origins of antisemitism in France from the Middle Ages to the 1894 Dreyfus Affair to the present day, this film delves deeply and intellectually into the depiction of “the Jew” in society and how that image established an ideology of hate that eventually led to the Holocaust. In the aftermath of the war, a devastated France continued this ideology of antisemitism that set the stage for a modern wave of anti-Jewish sentiment and attacks.

Film Conversation: Available On-Demand

Led by Karen Aroesty, Director ADL Heartland, and Dr. Mara Cohen Ioannides, Missouri State University

Aulcie

Trailer: https://youtu.be/XgXzmadlFHM

USA/Israel | English/Hebrew with English subtitles

Director: Dani Menkin

Documentary: 72 minutes

The meteoric rise and fall of a legend…

One of Israel’s greatest athletes captures the spirit of a nation. Recruited from the basketball courts of Harlem, Aulcie Perry joined Maccabi Tel Aviv in 1976, established himself a leader, and helped defeat the heavily favored Soviets to give team Israel its first European Championship. He adopted a Hebrew name, converted to Judaism, and dated an Israeli model. But the dark side of fame led to a stunning downfall. Returning to Israel after time in prison, Aulcie shares his story of redemption. Featuring electrifying game footage and insightful interviews.

Film Conversation: Available On-Demand

Director Dani Menkin interviewed by Larry Levin, Executive Director of Ozark Land Trust and former Publisher & CEO of the St. Louis Jewish Light

Howie Mandel: But Enough About Me

Trailer: https://youtu.be/DgOFAP4yD3U

Canada | English

Director: Barry Avrich

Documentary: 88 minutes

Heartwarming, funny, candid…

A touching look at the life of wildly inventive comedian and actor, Howie Mandel…a man who uses humor to cope with a world that terrifies him. This intimate portrait examines one of the most beloved and complex comedians and his invulnerable spirit. Told through his own voice and using a wealth of behind-the-scenes clips, the film examines his extraordinary life and career as well as his painful struggles with mental illness and how he manages a relentless pace in his professional and private life.

Here We Are

Trailer: https://youtu.be/Qsl3zZi75Pc

Israel | Hebrew with English subtitles

Director: Nir Bergman

Feature: 94 minutes

Availability: Viewable within Missouri and Kansas

A stirring and uplifting tale of fatherly love…

Aharon has devoted his life to raising his son, Uri. They live together in a gentle routine, away from the real world. But Uri is autistic and now as a young adult, it might be time for him to live in a specialized home. While on their way to the institution, Aharon decides to run away with his son and hits the road, thinking that Uri is not ready for this separation. Or is it, in fact, his father who is not ready? A story about parental love, about change, and separation; about letting go and moving on.

Kiss Me Kosher

Trailer: https://youtu.be/gGGjxGYAWo8

Germany/Israel | English and Arabic/German/Hebrew with English subtitles

Director: Shirel Peleg

Feature: 105 minutes

Availability: Viewable within Missouri and Kansas

What happens with lovers who don’t fit but do belong together?…

Sparks fly when two families from different cultural backgrounds collide to plan a same-sex wedding. Israeli Shira is in love with Maria, a German. Berta, Shira’s grandmother who is a Holocaust survivor (and happens to secretly love a Palestinian!) vehemently opposes the match. While Shira’s brother eagerly documents the family chaos for a school video project, Shira and Maria discover the road to happiness is more a minefield, littered with booby traps that could detonate at any time.

The Good Nazi

Trailer: https://youtu.be/FTy7O6IVVbw

Canada/Israel | English and Hebrew/German with English subtitles

Directors: Yaron Niski and Ric Esther Bienstock

Docudrama: 52 minutes

The unknown tale of a Schindler-type German…

Nazi Major Karl Plagge arrived in Vilnius, Lithuania with the occupation force during WWII. The SS was determined to murder every Jew, but Plagge decided to save Jews instead. On the surface, he was commandant of the HKP forced labor camp; in reality, he was sheltering hundreds of Jewish families. With today’s government about to tear down the HKP site, scientists arrive to locate hiding places and identify mass graves. The film tracks the stories of a child survivor, an American physician whose mother was saved and Plagge himself.

The Last Supper

Trailer: https://youtu.be/NzuxLdJvJ2Q

Germany | German with English subtitles

Director: Florian Frerichs

Feature: 80 minutes

Availability: Viewable within Missouri and Kansas

A warning letter to the world…

On the day Hitler comes to power, the German-Jewish family Glickstein has a family dinner. Most of them, however, (like so many other Germans at that time) don’t take the Nazis seriously. When young Leah reveals her plans to emigrate to Palestine, her family starts arguing. Her father can’t see any reason to leave Germany, the country of their ancestors and the country he risked his life for during WWI. But when Leah´s younger brother indicates that he is an ardent admirer of the Nazi movement, the family is on the brink of being torn apart.

The Starry Sky Above the Roman Ghetto

Trailer: https://youtu.be/3O9xSGXlYeg

Italy | Italian with English subtitles

Director: Giulio Base

Feature: 100 minutes

Availability: Viewable within Missouri and Kansas

Indelible memories that must not be erased…

The past intertwines with the present as the discovery of a mysterious, yellowed old photograph of a little girl leads Christian and Jewish students on a search for the truth…who is she? Trying to unravel the mystery behind the portrait, the teens embark on a journey retracing a night of horror: the raid on the Roman Ghetto during the Shoah. What they learn inspires them to take a  collective stance toward commitment in its many forms, because sometimes indifference is worse than hate.

The Crossing

Trailer: https://youtu.be/Dt-ccqi4Pys

Norway | Norwegian with English subtitles

Director: Johanne Helgeland

Feature: 96 minutes

Availability: Viewable within Missouri and Kansas

Uncompromising loyalty and great courage…

Set in Norway during WWII, this is the story of 10-year-old Gerda, an intrepid young girl with an adventurous spirit. When she and her more cautious older brother witness the arrest of their parents for their role in the Resistance, the event justifiably shakes the two. Then they meet two Jewish children who are hiding under Gerda’s parents’ protection. Gerda decides the four youngsters should venture into the Nazi-controlled countryside in an attempt to reunite their new friends with their parents.

Ma’abarot

Trailer: https://youtu.be/9Tm2J9l8O9U

Israel | Hebrew with English subtitles

Director: Dina Zvi-Riklis

Documentary: 84 minutes

Overlooked Israeli history…

Jewish refugees from the Middle East and North Africa reveal the discrimination and harsh conditions which awaited them when they came to 1950’s Israel. Arriving during a time of poverty and austerity, Jews seeking shelter in the Promised Land instead were forced into shantytowns known as ma’abarot. Thrown together from different cultures, already demoralized immigrants waited days for food, showers and toilets. The troubling testimony of camp refugees is illustrated with never-before-seen archival materials.

Bonus Film for All-Access Pass Holders

Egg Cream

USA | English

Directors: Nora Claire Miller and Peter Miller

Documentary: 15 minutes

Chocolate syrup + milk + seltzer = an egg cream…

A short film about the enduring meaning of a beloved chocolate soda drink born on the Jewish Lower East Side. The egg cream contains neither eggs nor cream – it was a product of necessity and hardship, but a source of joy and sweetness. Through a tour of egg cream establishments led by a filmmaker and his young daughter, exhaustively researched archival imagery, and even a song by Lou Reed, the film examines the Jewish experience in America and the mythology of a simpler time.

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The Black Rep to Present Virtual ‘Do I Move You?’

The Black Rep to Present Virtual ‘Do I Move You?’

The St. Louis Black Rep rounds up its season of virtual programming with a final mainstage production of an original work.  Do I Move You? –  based on a collection of poetry by Dr. Jonathan Smith, Vice President for Diversity and Inclusion Saint Louis University and President of The Black Rep Board of Directors – will stream on Vimeo June 15-30.

Smith’s collection of poetry, music, and dance pulls inspiration from Jazz, religion, love, family, and some of the greatest musicians of our time –  Donny Hathaway, Louis Jordan, and Marvin Gaye. Conceived by Producing Director Ron Himes, using devised theatre, Black Rep Director and Choreographer Heather Beal weaves a web of music, dance, and poetry. Themes of betrayal, identity, discovery, and love flow throughout the performance, culminating to answer one very important question, “Do I Move You?”

Produced at the Edison Theatre on the campus of Washington University in St. Louis, the production features the Black Rep’s Acting Intern Company Kentrell Jamison, Christian Kitchens, Theorri London, Brian McKinley, Tyler White, Jesmelia Williams, and Christina Yancy. Also featured are local Vocalist and Musical Director, Amber Rose, Dancer Samantha Madison, Percussionist Bernard Long Jr, Bass Player Jeffrey Anderson, and Lead Guitarist Dennis Brock. With scenic and projection design by Peter and Margery Spack, lighting design by Sean Savoie, costume design by Ellen Minch, sound engineering by Kareem Deanes, editing by Avatar Studios, and Kasey Dunaski as Stage Manager.

Tickets for Do I Move You? are available 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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‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

By Lynn Venhaus
A cheeky live-action prequel that delves into the down-and-out origins of one of Disney’s iconic villains, “Cruella” is a dark tale of dueling divas hell-bent on revenge.

That’s an unexpected underdog twist – and this glossy reimagining bursts with a bold, brassy attitude.

Estella de Vil (Emma Stone) wasn’t born to be bad, but she was a nonconformist at an early age.

Born with the unmistakable two-tone hair, Estella’s a creative but mischievous child (a spunky Tipper Seifert-Cleveland) who is a handful for her mother (Emily Beecham).

When she strikes out on her own on the streets, that begins her relationship with Jasper and Horace, who are rakishly played by character actors Joel Fry of “Yesterday” and Paul Walter Hauser of “Richard Jewell” as adults — good-hearted blokes. They survive as grifters.

But the future fashionista has a dream and is singled out by superstar designer The Baroness (Emma Thompson), who likes her style – and appropriates it for her collections. Haughty and vain, the Baroness has destroyed everyone in her way – but has she met her match in Cruella? The rebellious alter ego of Estella, Cruella’s punk rock outfits are redefining fashion in 1970s London, and it is game on!

The story, long in the works, was first drafted by screenwriters Aline Brosh McKenna, Kelly Marcel and Steve Zissis. McKenna wrote “The Devil Wears Prada” and you see those fingerprints all over this latest chapter in the “101 Dalmatians” oeuvre by co-screenwriters Dana Fox and Tony McNamara.

This is where Emma Thompson takes over, commanding every frame she is in, with personality and pizzazz, as she forges Estella/Cruella’s identity.

A chance encounter with The Baroness von Hellman, the prima donna of haute couture, puts Estella on the path to realize a career as a designer. As played by Thompson, the wickedly evil Baroness is a despicable human and corrupt fashionista. As Cruella learns more, she stakes her claim as  “The Future” of fashion. She takes swinging London by storm.

This is when the movie explodes with fresh and fun outfits in a swirl of black, white and red — the notorious colors associated with all things Cruella. Jenny Beavan’s costume designs are marvelous, a big loud rebel yell of punk-inspired outfits and gorgeous evening garments perfect for dramatic entrances. Beavan’s won Oscars for “Mad Max: Fury Road” and “A Room with a View,” and her use of different fabrics and textures is stunning.

These costumes are worn with flair by two of our best actresses, Oscar winners Stone and Thompson, who have a ball with the campier aspects of their roles — but also vividly create their characters’ dead-serious nature.

As for the Dalmatians that first created the Disney franchise all the way back to 1961, three mean ones appear as the pets of the Baroness. Hence, Cruella’s aversion to the spotted creatures. Estella’s own pet dog is a beloved mutt named Buddy.

Stay past the credits to find more on Anita and Roger, a nod to Pongo and Perdita’s future family.

The source material for all of the successive movies, including the live-action “101 Dalmatians” in 1996 and the 2000 “102 Dalmatians” starring Glenn Close as the imperious villain, has been Dodie Smith’s 1956 novel.

She turned a character’s last name from Bram Stoker’s “Dracula,” Count de Ville, into this greedy villainess, driving a Rolls Royce and barking orders to her henchman, to fill her insatiable need for animal fur.

Where the franchise is headed after “Cruella” is anyone’s guess – because how would Stone’s character turn into the menacing de Vil that steals the dogs for their fur?

Well, that discussion is for another day, but it’s a logical question – where does it go from here after Cruella takes over Hell(man) Hall?

As for a stand-alone movie, “Cruella” is a vibrant creation with a banging period soundtrack and a game cast.

Just as he did with “I, Tonya,” director Craig Gillespie zigs when you expect him to zag.

The Baroness’ actions are too frightening for young children, so parents be aware. There is nothing remotely cute about this movie.

But as it is Disney, expect lots of merchandise, tie-ins and another one in the works. That’s about the only predictable element to this film.

“Cruella” is a 2020 comedy-drama directed by Craig Gillespie. Starring Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste and Mark Strong. Rated PG-13 for some violence and thematic elements and the run time is 2 hours, 14 minutes. It is available in theaters and on Disney Plus for a one-time premium access fee on May 28. Lynn’s Grade: B+

In theaters and on Disney Plus with Premier Access one-time additional fee May 28

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‘A Quiet Place Part II’ Ramps Up Terror in Satisfying Sequel

‘A Quiet Place Part II’ Ramps Up Terror in Satisfying Sequel

 By Lynn Venhaus
For a pulse-pounding 97 minutes, “A Quiet Place Part II” delivers a satisfying sequel that broadens the original story with clever moves and adds to its superb cast.

Writer-director John Krasinski, who directed and co-wrote the original, has built more tension-filled sequences and delivered well-timed jump scares. He maintains what made the 2018 film uniquely scary when any noise would attract the monsters.

The Abbotts – Evelyn, her children Regan, Marcus and infant, leave their home to try to find a safer haven in the outside world. With the creatures who hunt by sound still wreaking death and destruction, it is a precarious journey – and they discover these creepy aliens are not the only threats lurking on their post-apocalyptic path.

Now, after a 14-month delay because of the coronavirus pandemic, the film has eerie parallels to what we went through in quarantine – but had been completed for a March 2020 opening.

It may be the first movie to entice people back to the local multiplexes, kicking off the traditional summer movie season. It’s comforting to share the suspense with others in a communal setting, as we emerge from our isolation to be frightened by a vastly different world.

With masterful editing from Michael Shawver, the fear is palpable, and the importance of keen sound design magnified by what may be waiting for the humans if detected. Every snap, crackle and pop are excruciating.

For the first scene, we are taken back to the Before Times – an ordinary Saturday afternoon in the small town where kids and parents are on the local ball diamond, when the sky fills with a mysterious visual as something hurtles towards earth. Quickly, parents grab their children and attempt to head home when the invading aliens pounce. The danger escalates, which leads to the events of the first film. In this flashback, Krasinski returns briefly as Lee, trying to herd his family to safety.

Part II takes up at Day 474, when the surviving Abbotts venture from their farmhouse cocoon to explore the outside world, in hopes of finding people at bonfire encampments while not attracting the marauding predators.

While the first film was stingy in its reveal of the grotesque beasts, which are giant fast-moving spidery lizard-like forms whose lethal big bite is as sharp as knives, this time they are often shown up-close. Their ferociousness is on full display, which ratchets up the terror.

The smart and resourceful Abbotts get out of numerous jams but are never far from being dinner.

Daughter Regan (Millicent Simmonds), who is deaf, hatches a plan after suspecting Bobby Darin’s song, “Beyond the Sea,” heard repeatedly on a radio station, is a signal. She takes off to save her family – and humanity – while mom Evelyn (Emily Blunt) implores their former friend and neighbor Emmett (Cillian Murphy) to go after her.

The casting of the Irish actor is genius. Almost unrecognizable with a shaggy beard and blue-collar wardrobe, Murphy convincingly plays a grieving husband and father whose undercurrent of sadness provides an emotional depth, and his expressive eyes aid in the nonverbal acting.

Emmett has made a solitary fortress in an old steel mill that he reluctantly shares with the Abbotts. Haunted by losing his family, he spends his days drawing photos of his little boy and protecting his turf. He has a pessimistic view of civilization.

As Regan’s protector on their journey to find an oasis, Emmett is challenged as well – but fights like hell to survive as his strength builds. When the pair reach a coastal island, Djimon Hounsou – in a small but pivotal role — plays a helpful resident.

Because of widening the scope, Krasinski has less for Blunt to do, but she is effective as the panic-stricken mother trying to protect her children at all costs.

The child actors stand out, particularly Millicent Simmonds as the deaf girl who is very intuitive. Her lack of hearing is crucial to the story, as in the first, and so is her cochlear implant.

While you can be cynical about that plot device, and think the film resembles M. Night Shyamalan’s “Signs” from 2002 because of another plot twist, I think the characters are worth following. Original co-screenwriters Scott Beck and Bryan Woods had helped create memorable characters that we cared about and still engage three years’ later.

Krasinski counts on moviegoers to remember key elements of the first film without too much rehashing and gives a few hints. He keeps the film moving at a good clip.

The film leaves us wanting more and is set up for a third installment. What happens in that bubble could still intrigue because of the ensemble’s outstanding work.

“A Quiet Place Part II” is even more unsettling than the first as we can really feel the uncertainty based on our own COVID-19 experiences.



“A Quiet Place Part II” is a 2020 sci-fi, horror film directed John Krasinski, starring Emily Blunt, Cillian Murphy, Noah Jupe, Millcent Simmonds and Djimon Hounsou. Rated PG-13 for terror, violence and bloody/disturbing images, the run time is 1 hour, 37 minutes. Only in theaters May 28. Lynn’s Grade: A.

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‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

By Lynn Venhaus
The movie shows its cards right away: “This story does not in any way claim to be the truth,” we read on the screen. “Nonetheless, it is inspired by actual events.”

Washington D.C. social climber Ulrich Mott (Christoph Waltz) has conned his way into the upper echelons of politics and society, including marrying wealthy and much-older widow Elsa Brecht (Vanessa Redgrave). When she is found dead one evening after a triumphant dinner party, her daughter Amanda (Annette Bening) suspects foul play. The police investigation will uncover a large web of deception.

As we’re immersed into D.C.’s political maneuvering, we see the slick grifter Mott ingratiating himself with movers and shakers. The charming Mott is being hailed as “Lawrence of Arabia with a Blackberry,” regaling stories of his diplomatic exploits to the doyens of society.

Remarkably, his schtick works – until it doesn’t, but he can sure spin whoppers. In a truth is stranger than fiction way, “Georgetown” looks at the power plays in Washington D.C., where an ambitious German-born swindler can bamboozle the smart and important. And it’s a remarkable story how he got as far as he did – if we are to believe it all.

Based on the 2012 New York Times article, “The Worst Marriage in Georgetown,” by Franklin Foer, the film shows how Albrecht Gero Muth took advantage of Viola Herms Drath, a journalist, author, advisor to public figures and a wealthy widow. Although their names have been changed, the story is a tragic and bizarre true-crime headline.

Playwright David Auburn, who won a Tony Award and Pulitzer Prize for “Proof,” has adapted the sordid events into a dark comedy but the tone isn’t consistent, and there is little insight into the odd flim-flam man’s schemes and backstory.

In real life, Muth was 44 years younger than Drath and was convicted of her murder in 2014. You can dig deeper into that case on your own if you want more reality context.

As for the marriage, the movie offers a ‘familiarity breeds contempt’ scenario – a couple’s close relationship that disintegrates as more of Muth’s deceit is revealed.

Waltz, winner of two Oscars, and Redgrave, winner of one, delectably tango when she’s done with his charade and he’s not pretending to be devoted. They can make a three-course meal out of scenery chewing – and it’s fun to watch. Waltz also directed.

Not so fortunate is Annette Bening, whose Harvard law professor daughter character is underdrawn and is reduced to glaring at Mott with total disdain every time she’s on screen which isn’t much.

Because Redgrave, now 84, is playing a 91-year-old journalist, we see her sharp mind at work. The legendary actress might have slowed down but she’s still one of the best.

With such a lauded cast, you expect the outcome to be better but the film runs out of gas – maybe it’s because Mott is such an odd, pathetic character. It’s the kind of role that gave Waltz a film career, and he’s good at playing a schuyster. But even this guy can’t drum up any sympathy.

It is funny, however, when he’s donning an eye patch, claiming of service in the French Foreign Legion and as a brigadier general in the Iraqi Special Forces.

The attorneys are practically rolling their eyes over his antics — one of them being the exceptional Corey Hawkins, frustrated by Muth’s grandiosity and his clear-cut motives.

The movie was made in 2018, premiered at the 2019 Tribeca Film Festival, and is finally out now. Not sure what that all means, and while it has its flaws, the story is intriguing  – and just to see Redgrave and Waltz tussle is worth it.

“Georgetown” is a 2019 true crime drama directed by Christoph Waltz and starring Waltz, Vanessa Redgrave and Annette Bening. Rated R for language and brief sexual material, with a runtime of 1 hour, 39 minutes. It was available Video on Demand beginning May 18.
Lynn’s Take: B-

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That Uppity Theatre Company to Co-Produce ‘Pride in Progress’ at NYC Queer Playback Theatre

That Uppity Theatre Company to Co-Produce ‘Pride in Progress’ at NYC Queer Playback Theatre

In their first collaboration, That Uppity Theatre Company and Alight Theater Guild will co-produce NYC Queer Playback Theater with “Pride in Progress” on Sunday, June 13, at 7 p.m. CDT/8 p.m. EDT in a virtual interactive playback performance to honor Pride. This event is open to all ages and orientations and will run approximately 90 minutes, and is sponsored by St Louis Pride, St Louis Black Pride, #Boom Magazine and the Missouri Arts Council.

During the performance the audience will be invited to tell stories from their lives, then the story will be “played back” with facilitation, improvisational forms, and music by an ensemble, all around the theme of “Pride in Progress.” As we reflect on Pride in the midst of a pandemic and a racial reckoning, “Pride in Progress” hopes to ask what we are proud of individually and collectively, and what
progress is left to be gained?
 
“I am thrilled to be partnering with NYC Queer Playback to share their stories and that of our communities in a live event. Although we may miss gathering in more traditional physical spaces, virtual events like this provide more access for both artists and
audiences,“ said Joan Lipkin, the producing artistic director of That Uppity Theatre Company and Playback Now! St Louis. “NYC Queer Playback is one of the only LGBTQ+ specific playback companies in the US, and ideally suited to help explore our theme of Pride in Progress.”

NYC Queer Playback Theater aims to forge connection in the LGBTQ+ communities, whether participants identify within the community or as an ally, by creating a safe and diverse space for personal growth through Playback. Co-founder Jamie Roach said he
is excited to collaborate. 

“The LGBTQ+ community is hugely diverse, which is one of its biggest assets,” he said. “Playback allows its participants to reach across differences of sexual orientation, gender identity and expression, race, age, country of origin, language, and ability/disability by providing a rare and rich chance to be vulnerable with each other’s stories while learning the true feelings and experiences of this dynamic community. As the many perspectives and identities are better understood, the ever-evolving Queer community is strengthened.”

For tickets, please register at: https://www.eventbrite.com/e/nyc-queer-playback-theaters-pride-in-progress-june-13-at-8pm-edt-registration-156443162711, and an event zoom link will be sent out on the day of the performance.

Tickets are priced at $12, with a pay-what-you-like option, including a free ticket choice. We invite all people, those from the LGBTQ+ community and allies, to reflect on our lives within our community, our nation and globally in the space that we are creating to
encourage openness, acceptance, respect, and equality regardless of one’s gender identity, sexual orientation, body size, ability, or status. Personal sharing is encouraged and entirely voluntary. Feel free to tell a story or to enjoy the stories of others.

About Playback
Practiced in over 60 countries, Playback Theatre is an original form of improvisational theater developed by Jonathan Fox and Jo Salas in which audience or group members tell stories from their lives and watch them enacted on the spot. Used in a variety of settings, Playback Theater provides highly enjoyable theater and promotes dialogue between different voices as audience members have the opportunity to speak and see their stories embodied on the stage. We discover who we are by telling our stories and,
as others bear witness and tell their own stories in response, a deep and empathy- building conversation is created through the collective stories brought to the stage.

About Playback Now! St Louis
Founded and directed by Joan Lipkin, Playback Now! St. Louis creates work based on the highly developed improvisational principles established by Jonathan Fox and Jo Salas that are practiced in over 60 countries to assist in individual storytelling for collective well-being.

The ensemble has performed at the Missouri History Museum, Monsanto, Webster University, Grand Center, the Monocle, Boeing, Edward Jones, St Louis Zoo, Missouri Botanical Garden, the Theater Communications Group Conference, the Grand Center Theatre Crawl and more as well as private settings.

About NYC Queer Playback
Founded in 2016, NYC Queer Playback Theater serves the LGBTQ+ community through open, monthly rehearsals, and since 2020, as a performing, Core Ensemble. Founded by Rick Sanford and Jamie Roach, under the mentorship of Mountaine Jonas,
NYC QPT values creating a safe and brave space for belonging and sharing stories about the layers and intersections within the Queer community. They’ve performed in NYC with SAGE (LGBTQ+ Elders) and in collaboration with Village Playback Theater, and have now found a strong connection through virtual programming. They are excited and grateful to collaborate with Playback Now! St. Louis.

Joan Lipkin

About Joan Lipkin


  1. She was commissioned by Luna Stage to write a piece about getting vaccinated. This is available online at https://www.lunastage.org/vaccine.
  1.  She is dramaturging and writing the script for “Environmental Injustice”, a dance concert by Ashleyliane Dance Company that will also feature the story of Hazel Johnson, the mother of environmental justice. Joan has written the text about Hazel Johnson. This is a  hybrid performance event with two optional parts:  Program A on Saturday, June 5 is taped and virtual. Program B on Sunday, June 6 is a live event at the Grandel Theatre in Grand Center with different material and also includes the piece about Hazel Johnson.
  1. 3. She is contributing to the script for A Call 2 Conscience’s “Celebration of Survival” featuring the real-life stories of St Louisans around COVID and the pandemic that is scheduled for live presentation Aug. 28-29.
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‘Army of the Dead’ Is Zombie-Bashing Goodness

‘Army of the Dead’ Is Zombie-Bashing Goodness

By Alex McPherson

Zack Snyder’s “Army of the Dead” is a hugely enjoyable jaunt into undead splatterville.

After a military convoy transporting cargo from Area 51 collides with a distracted driver, a bloodthirsty brain-muncher is unleashed upon the population of Las Vegas. All hell breaks loose — visualized in an over-the-top montage involving strippers, Elvis impersonators and others being overpowered in slow motion while “Viva Las Vegas” plays on the soundtrack. Oh, there’s also a zombie tiger and two smarter “alpha” zombies leading a, well, army of the dead. 

The U.S. military tries to rescue as many survivors as possible, assisted by mercenaries Scott Ward (Dave Bautista), Maria Cruz (Ana de la Reguera), and Vanderohe (Omari Hardwick), a lover of buzzsaws and existential ponderings. They eventually contain the zombies within the city’s borders. The government establishes a ramshackle refugee camp immediately outside, and the President announces a plan to deploy a tactical nuke to eliminate the infected once and for all. 

Scott, reeling from a decision that fractured his relationship with his daughter, Kate (Ella Purnell), is relegated to flipping burgers at a bar outside Vegas, despite having received the Medal of Freedom for saving the Secretary of Defense. Soon enough, a sketchy businessman named Bly Tanaka (Hiroyuki Sanada) offers Scott an assignment to venture back inside Vegas to retrieve the contents of his casino’s safe, with the potential to get rich. Scott then recruits Maria, Vanderohe, a socially awkward safecracker named Dieter (Matthias Schweighöfer), a viral zombie-killing sensation named Mikey Guzman (Raúl Castillo), and a sardonic helicopter pilot named Marianne Peters (Tig Notaro, digitally replacing Chris D’Elia).

They are joined by Guzman’s pal, Chambers (Samantha Win), Bly’s crony, Martin (Garret Dillahunt), and “The Coyote,” (Nora Arnezeder), a badass individual who knows how to navigate the zombified horde. To complicate matters, Kate insists on rescuing her friend Geeta (Huma Qureshi), who entered Vegas to find funds to buy her escape from the refugee camp. Last and certainly least, an abusive security guard named Burt Cummings (Theo Rossi) tags along. Over-the-top fun ensues as the group attempts to grab the cash before they’re disemboweled or blown to smithereens.

Tig Notaro

Loud, unrestrained, and packed with cliches, “Army of the Dead” is perfectly satisfying as a summer action film, albeit one that shouldn’t be analyzed too closely. Indeed, for the most part, Snyder’s film embraces its goofiness — going all in on the gore and bombastic set pieces that any reasonable viewer should expect, while delivering the occasionally effective character moment and feeling about an hour too long.

Sure, “Army of the Dead” might not be doing anything particularly “new” for the genre, but the few additions Snyder adds are welcome, especially the aforementioned zombie hierarchy and intimidating feline. There’s little to criticize in the outrageously gory action sequences with on-the-nose musical accompaniments. During these moments, Snyder’s indulgent style absolutely shines, creating a symphony of carnage that’s glorious to behold.

The quieter scenes are less successful, but there’s still a few surprises to be found. “Army of the Dead” takes a while to get going, mostly due to the excess of characters of varying quality. Besides Scott, they’re each given barebones backstories that render them more as cartoonish caricatures than real people, and maybe that’s acceptable in this instance. I certainly wouldn’t want the film to be any longer — it’s two-and-a-half hours, for god’s sake — but having fewer characters could have strengthened the film’s pacing and given us more time to grow attached before they’re fighting for their lives. 

The film’s screenplay does elevate their charm, though, especially regarding the unlikely bond between Vanderohe and Dieter. Hardwick and Schweighöfer have excellent comedic chemistry, creating several amusing moments.  There’s plenty of cringeworthy lines scattered throughout, but the script has enough personality for me to care about (most) of the characters by the intense finale, overlooking some abrupt tonal shifts.

Only Scott is given much depth, but Bautista’s performance carries the film’s heart, lending the proceedings a human edge amid the bloodshed. Although I wish he was given more screen time and his storyline took more risks, there’s enough thematic meat to chew on. Bautista proves that he can deliver emotional lines with skill, as well as demolish ghoulish baddies with gusto.

All things considered, “Army of the Dead” is a messy, but nevertheless thrilling blockbuster. My criticisms don’t detract much from how entertained I was, and as a balm for our depressing times, it’s a meal worth feasting on.

“Army of the Dead” is a 2021 horror-action movie directed by Zack Snyder and starring Dave Bautista, Ella Purnell, . Rated R for strong bloody violence, gore and language throughout, some sexual content and brief nudity/graphic nudity, the film’s run time is 2 hours and 28 minutes. The movie is currently available in theaters and streaming on Netflix. Alex’s Rating: B 

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‘The Dry’ Is Riveting Murder Mystery Set in Australian Outback

‘The Dry’ Is Riveting Murder Mystery Set in Australian Outback

By Lynn Venhaus
The air is heavy with a sense of dread, for not only what Mother Nature has done to the land but also what man-made messes are haunting the townsfolk in fictional Kiewarra in “The Dry.”

When a childhood friend is found dead, Aaron Falk (Eric Bana) returns to his hometown for the funeral. It has been 20 years, and apparently, there is unfinished business. During their teen years, Aaron and his pal Luke were friends with a girl whose drowning death in 1991 was suspicious. His presence conjures up unpleasant memories for the flinty locals, who have their own secrets.

Aaron is still an outsider but sticks around to see if there would have been any motive for Luke and his family to be murdered. After all, in Melbourne, he is a federal police officer. This small farm town has been ravaged by a drought, and rain hasn’t fallen for 324 days, which adds to the distress.

The devastation has taken a toll on the town – and the conditions are a tinderbox waiting to happen in the dusty Australian outback. Their predicament has created a moody, unsettling atmosphere, with exceptional camera work from cinematographer Stefan Duscio, who did brilliant work in “The Invisible Man.”

The parched landscape and the isolated town are important to the story. Aaron teams up with young police sergeant Greg Raco, a fine Keir O’Donnell, whose dogged determination helps reveal clues as they figure out if the cases, 20 years apart, are connected.

The story unfolds methodically, and is based on a bestselling whodunit from Jane Harper, her debut novel in 2016. It’s a solid story, building tension as more people are put under the harsh interrogation glare.

Director Robert Connolly, who also helped write the adaptation, along with Harry Cripps, uses copious amounts of flashbacks of Aaron, Luke, Gretchen and Ellie at age 17. Samantha Strauss contributed additional writing.

The characters are well-drawn, and the supporting ensemble serve the story to create suspicion and doubt about certain townsfolk until the film’s dramatic climax. Noteworthy are John Polson as the school principal, Renee Lim as his wife Sandra, William Zappa as Ellie’s dad Mal Deacon and Rita Tapsell as the police officer’s pregnant and outspoken wife.

Eric Bana, who hasn’t been in a heroic leading man role for a while, displays the gravitas needed as a conflicted man confronting his past. As his friend, Genevieve O’Reilly gives a nuanced portrait of Gretchen, another one hiding details about their tragic losses.

The quartet portraying the four central characters as teens are key to this film working, and they excel at showing the pent-up energy of youths with hopes and dreams bigger than their environment (and those raging hormones). Joe Klocek as Aaron, Sam Corlett as Luke, Claude Scott Mitchell as Gretchen and BeBe Bettencourt as the troubled Ellie are memorable in those roles.

Bettencourt also sings a haunting version of “Under the Milky Way,” a 1988 hit for the Australian alternative rock band The Church. Her superb rendition also plays over the credits.

A score by Peter Rayburn punctuates the growing sinister tone, and is not overdone.

By the film’s conclusion, most loose ends are effectively resolved. The film’s strong sense of time and place, grounded acting, and captivating yarn make this murder mystery a cut above.

“The Dry” is an Australian film directed by Robert Connolly and adapted from Jane Harper’s 2016 debut novel. Starring Eric Bana, Genevieve O’Reilly, Keir O’Donnell and John Polson, this 2020 murder mystery is Rated R for violence and language throughout, and runtime is 1 hour, 57 minutes. It is in theaters and Video on Demand as of May 21. Lynn’s Grade: A-

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St Louis Actors’ Studio to Restart 14th Season in September

St Louis Actors’ Studio to Restart 14th Season in September

:September 2021 will mark the restart of St. Louis Actors’ Studio’s Fourteenth season themed “The Lost Episodes”.The world is finally returning to normalcy and with that, STLAS is excited to get back at it. Producing word-class, thought-provoking entertainment at our intimate Gaslight Theater. We cannot wait to see you in the fall! Season subscriptions are the best way to experience St. Louis Actors’ Studio–you get a discount and no-hassle ticket exchanges and reserved seat signage. Let’s come back strong – get a group together this season and make a year of it!Our 2021-22 season, “The Lost Episodes.”

“The Zoo Story/The Dumb Waiter”
by Edward Albee/Harold Pinter
Directed by Wayne Salomon, Starring William Roth*
September 17 – October 3, 2021
Classic early one act plays by two giants of the theatre.  Edward Albee and Harold Pinter.
THE ZOO STORY – A man sits peacefully reading in the sunlight in Central Park. There enters a second man. He is a young, unkempt and undisciplined vagrant where the first is neat, ordered, well-to-do and conventional. The vagrant is a soul in torture and rebellion. He longs to communicate so fiercely that he frightens and repels his listener. He is a man drained of all hope who, in his passion for company, seeks to drain his companion. With provocative humor and unrelenting suspense, the young savage slowly, but relentlessly, brings his victim down to his own atavistic level as he relates a story about his visit to the zoo.

“Edward Albee is a voice unparalleled in American theater.” —NY Times.
“The dialogue crackles and the tension runs high.” —Associated Press.
“Darkly comic and thrilling.” —Time Out NY

THE DUMB WAITER: As the New York World-Telegram & Sun describes: “In the basement of a long-abandoned restaurant, two hired killers nervously await their next assignment. Barred from daylight and living public contact by the nature of their work, they expend their waiting time in bickering. So eerie is the situation that everything becomes comic, or grotesque, or both. Ben re-reading a newspaper and exclaiming in disbelief over the news items, Gus fussing with an offstage stove and offstage plumbing. Ben bludgeoning Gus into silence if he as much as mentions their work. Gus worrying that someone had slept in his bed. So then the ancient dumbwaiter comes to life, the suspense becomes almost unbearable—that expertly has Pinter put the nerves of his characters and audience on edge.

“A distinguished gift for sheer, old-fashioned theatrical effectiveness, including the use of melodramatic suspense and the hint of sinister forces lying in ambush.” —NY Post Statesman

“Comfort”
By Neil LaBute
Directed by Associate Artistic Director, Annamaria Pileggi,
Starring Kari Ely* and Spencer Sickmann*
December 3 – December 19, 2021
A new play by STLAS friend and associate Neil LaBute in which a successful author and her son meet after some time apart and revisit their troubled relationship. What’s at stake? Whether or not the instinctive bond between mother and child can survive not just the past, but also two new book deals.

“Mr. LaBute is writing some of the freshest and most illuminating American dialogue to be heard anywhere these days.” —NY Times.

“No contemporary writer has more astutely captured the brutality in everyday conversation and behavior: That kind of insight requires sensitivity and soul-searching.” —USA Today
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“It is tight, tense and emotionally true, and it portrays characters who actually seem part of the world that the rest of us live in.” —Time.

“Hand To God” by Robert Askins
Directed by Associate Artistic Director, John Pierson
Starring Eric Dean White* and Colleen Backer
February 18- March 6, 2022
After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas. Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own. HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind us.

“The fearsome critter [Tyrone], who takes possession of a troubled teenager’s left arm in Robert Askins’ darkly delightful play really inspires goose bumps as he unleashes a reign of terror…But he’s also flat-out hilarious, spewing forth acid comedy that will turn those goose bumps into guffaws.” —The New York Times.

“Furiously funny…Askins’ most impressive talent is his ability to make us laugh while juggling those big themes that make life so terrifying: death, depression, alcoholism, sexual guilt, emotional repression, religious hypocrisy and the eternal battle between your good puppet and your bad puppet.” —Variety.

“A scabrously funny scenario that steadily darkens into suspense and Grand Guignol horror, this fiery clash of the id, ego and superego is also an audacious commentary on the uses of faith, both to comfort and control us.” —The Hollywood Reporter.

“I don’t know which I want to do more: Sing Hallelujah—or wash its dirty little mouth out with soap. …Clearly a singular vision is at work here, with playwright Robert Askins venturing successfully into territory—satire—rich with potholes.” —Deadline.

“HAND TO GOD is so ridiculously raunchy, irreverent and funny it’s bound to leave you sore from laughing. Ah, hurts so good.” —New York Daily News.

9th Annual LaBute New Theater Festival
July 8-31, 2022
A Celebrated month-long festival of world premiere one-act plays.

*Member Actors’ Equity Association

Click Here to download the order form! 

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