Due to the continued and aggressive presence of the Coronavirus, The Midnight Company has rescheduled two of their planned productions.
NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND, originally scheduled for August 13 – 29, will now run July 8 – 23, 2021 at The Chapel. Midnight had also scheduled IT IS MAGIC by Mickle Maher October 29 – November 14 at The Kranzberg Black Box theatre. That production will now run October 21 – November 16, 2021 at the Kranzberg Black Box. Still on Midnight’s schedule, pending further notice, is “GIVE ‘EM HELL HARRY” September 17 – October 3 at the .ZACK Theatre, and another production to take the place of IT IS MAGIC in late October. That title will be announced shortly. Midnight’s Artistic Director, Joe Hanrahan, said “It was clear we couldn’t move forward with “NOW PLAYING…” at this time, and IT IS MAGIC has a cast of five. The restrictions of the virus have made that size of a production problematic. We’re hoping to possibly move forward with another one-person show in its place. The people at The Chapel and at The Kranzberg Arts Foundation have been wonderful, not only in their hard work and preparation for possible performances at their spaces, but in their understanding of postponements due to the virus.”
By Lynn Venhaus Ancient warriors look contemporary, but their secret is that they are immortal – well, sort of (you’ll see). This covert group of mercenaries has fought to save the world for centuries.
Action-packed, “The Old Guard” has a premise that propels you through caves, deserts, contemporary offices and centuries-old flashbacks. It’s quite the road less traveled.
The gang of four who make up this human shield of protection are: Charlize Theron as the leader Andy, who might be about 6,000 years old, give or take a few; Matthias Schoenaerts as her right-hand man Booker ; and Marwan Kenzari and Luca Marinelli as Joe and Nicky, a gay couple with fierce loyalty.
When they are recruited for an emergency mission, it’s a set-up and their extraordinary abilities are suddenly exposed. Big Pharma wants to monetize their power but can they avoid detection? The tight-knit four are joined by a new soldier (KiKi Layne). This story is based on the graphic novel by Greg Rucka, who wrote the screenplay, and illustrated by Leandro Fernandez.
Director Gina Prince-Bythewood displays her versatility, helming a massive blockbuster after more contemplative pieces “Love and Basketball” and “The Secret Life of Bees.”
Charlize has proven she is a formidable action star, in “Mad Max: Fury Road” and the highly underrated “Atomic Blonde.” And again, she is mesmerizing – long and lean, and a world of hurt and trouble etched on her face.
The quartet’s bond is special, and that sets this supernatural action movie apart – there is depth to the characters. After all, they have lived extraordinary lives.
They are joined by a reluctant Nile, a Marine stationed in Afghanistan. Kiki Layne, a rising star who was so good in “If Beale Street Could Talk,” holds her own here.
While the concept is intriguing, the dialogue is a letdown. It’s basic, even trite. The graphic novel author, Greg Rucka, adapted the screenplay, so it’s very by-the-book.
The film is also brutally violent, and the implement of choice is often assorted swords, so there is a great deal of slicing and dicing.
Blood-soaked and too long (2 hours, 5 minutes), “The Old Guard” isn’t perfect, but its selling points are good ones. And it sets itself up for a sequel. You know it’s coming.
Charlize Theron as fearless leader Andy in “The Old Guard”
“The Old Guard” is an action movie with supernatural elements — it is not a superhero movie. Directed by Gina Prince-Bythewood, it stars Charlize Theron, Kiki Layne, Marwan Kenzari, Luca Marinelli, Harry Melling, Matthias Schoenaerts and Chiwetel Ejiofor. It is rated R for sequences of graphic violence and language, and has a run-time of 2 hr. 5 min. Available on Netflix as of July 10. Lynn’s Grade: B. A version of this review is in the Times newspapers online.
Stray Dog Theatre (SDT) will stream “on demand” Lobby Hero through most web browsers between 12:01 a.m. on July 27 and 11:59 p.m. on July 31, 2020. Participation is limited to the first 750 reservations, and will be handled on a first-come, first-served basis.
Please note: While you have the freedom to use your reservation at any point during the dates listed above, you will only have 72- hours to finish viewing the production once you begin streaming. Reservations and viewings for Lobby Hero are free, and available beginning at 12 noon on Saturday, July 18, 2020 by visiting, www.straydogtheatre.org. In this time of COVID-19, SDT understands how important having accessible art is for audiences and artists alike.
Jeremy Goldmeier in “Lobby Hero.” Photo by Justin Been
While SDT’s production of Lobby Hero is complimentary, a donation would be gratefully appreciated. Lobby Hero Synopsis: Loyalties are strained to the breaking point when a hapless security guard is drawn into a local murder investigation; a conscience-stricken supervisor is called to bear witness against his troubled brother; and a naive rookie cop must stand up to her formidable male partner. Truth becomes elusive and justice proves costly.
Stray Dog Theatre Artistic Director Gary F. Bell directs the cast featuring Eileen Engel, Jeremy Goldmeier, Stephen Peirick, and Abraham Shaw. By partnering with Surfcode and utilizing their platform PlayPlay.tv, audiences will be able to enjoy Lobby Hero, which was recorded live, on the SDT stage, in real-time, with each actor inside an individual custom built acting booth. Rehearsals for this production were held in compliance with both state and local ordinances, including temperature checks, required face coverings and social distancing.
This Audio & Video recording was produced by special arrangement with Dramatists Play Service and Kenneth Lonergan. All rights reserved. This performance is authorized for non-commercial use only. By accepting the Audio & Video recording, you agree not to authorize or permit the Audio & Video recording to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.
WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, Audio & Videotapes or Audio & Videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine.
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE, sponsored by the Jane M. & Bruce P. Robert Charitable Foundation, and produced by Cinema St. Louis (CSL) — celebrates St. Louis’ Gallic heritage and France’s extraordinary cinematic legacy.
Because of the Covid-19 health crisis, the fest will be presented virtually this year. CSL is partnering with Eventive, which also handles our ticketing, to present the Virtual Festival. Filmswill be available to view on demand anytime from July 17-23. Access to programs is limited to Missouri and Illinois. Once a ticket-holder begins watching a program, access to it remains available for 24 hours.
Regrettably, streaming rights to most of the films we planned to feature at the 2020 Robert Classic French Film Festival were not available to us. But CSL is pleased that we’re able to offer a trio of works from the original lineup: Marguerite Duras’ rarely seen “India Song”; a new restoration of Jacqueline Audry’s “Olivia”; and René Clément’s “Rider on the Rain,” which is part of our year-long Golden Anniversaries programming that features films from 1970. All films are in French with English subtitles.
Although the films will be presented virtually, the programs will still feature recorded introductions by and post-film discussions with film or French scholars and critics.
TV5MONDE serves as the fest’s presenting sponsor, and the Jane M. & Bruce P. Robert Charitable Foundation is the event’s title sponsor. The fest’s other sponsors are the Alliance Française de Saint Louis, American Association of Teachers of French,Arts & Education Council, Centre Francophone at Webster University, Les Amis, Missouri Arts Council, Regional Arts Commission, Washington University’s Film & Media Studies, and Webster University Film Series.
Films
Olivia 1951
Olivia
Jacqueline Audry, 1951, 96 min., B&W, new restoration
A remarkable work by Jacqueline Audry (1908-77), one of France’s groundbreaking female filmmakers, “Olivia” deserves rediscovery after being neglected for almost 70 years. Plunging the viewer — and the main character — into a true lion’s den, Audry depicts a 19th-century boarding school for young girls. The two mistresses of the house, Miss Julie (Edwige Feuillere) and Miss Cara (Simone Simon), are engaged in a turf war — and a war of the heart. Competing for the affections of their students, they rouse passion, hatred, and unexpected reversals of loyalties. Although “Olivia” does not address female homosexuality directly, the film sensitively explores the students’ discovery of love and attraction. With an introduction and post-film discussion by Cait Lore, film critic for Cinema St. Louis’ The Lens.
India Song 1975
India Song
Marguerite Duras, 1975, 120 min., color
Associated with both the nouveau roman literary and the Left Bank film movements, Marguerite Duras was a versatile polymath who worked as a novelist, playwright, essayist, short-story writer, screenwriter, and film director. From a cinematic perspective, Duras’ best-known work is her screenplay for Alain Resnais’ “Hiroshima, mon amour,” but she also directed more than a dozen of her own features. Because Duras’ films remain difficult to access in the U.S., the Classic French Film Festival is especially pleased to offer what many consider her masterpiece, “India Song.” Based on an unproduced play that adapted her novel “Le Vice-consul,” the film chronicles the discontent of the wife (Delphine Seyrig) of the French ambassador in 1930s India. Bored with her oppressive lifestyle, she compulsively sleeps with a series of men but refuses the advances of the entranced vice-consul of Lahore (Michael Lonsdale). With an introduction and post-film discussion by Jean-Louis Pautrot, professor of French and international studies at Saint Louis University.
Rider on the Rain 1970
Rider on the Rain/La Passager de La Pluie
René Clément, 1970, 118 min., color
René Clément — the legendary director of “Forbidden Games” and “Purple Noon” — delivers a stylish thriller starring screen legend Charles Bronson. When a beautiful young woman (Marlène Jobert) in the South of France is stalked and then assaulted by a mysterious masked assailant, she kills the man in self-defense and, in a moment of misjudgment, dumps his corpse over a cliff into the sea instead of calling the police. Trying to return to her life before the attack, her world is turned upside down when an American investigator (Bronson) shows up and, to her horror, seems to know everything about what she has done. “Rider on the Rain” is presented in the 118-minute French-language cut. With an introduction and post-film discussion by Tom Stockman, editor of the We Are Movie Geeks website.
Cinema St. Louis and St. Louis Public Radio are proud to co-present Best of Shorts, a virtual screening of a selection of the award-winning short films from the 2019 Whitaker St. Louis International Film Festival (SLIFF) and 2019 Whitaker St. Louis Filmmakers Showcase. In addition to the films, the event will feature an interview with Marshall Curry, director of “The Neighbor’s Window,” which won this year’s Academy Award for Best Live Action Short.
The program will be streamed for free at 7 pm Friday, July 31, on St. Louis Public Radio’s Twitch channel. Register for the event at stlpublicradio.org/events/.
Twitch is a live-stream video platform owned by Amazon. It’s like YouTube, but all the videos are live, so the experience is different at any given time. Twitch’s popularity started with video gamers and e-sports players, but many people join Twitch to chat or to live stream events.
The Academy of Motion Picture Arts and Sciences has long sanctioned SLIFF’s shorts competition as a pre-screening event for the Academy Awards. The winners in four categories of SLIFF’s juried shorts programming (Best of Fest, Best Animation, Best Live Action, and Best Documentary) are eligible to submit their films directly to the Academy for Oscar consideration.
St. Louis Public Radio is an award-winning news organization and NPR member station, providing in-depth news, insightful discussion, and entertaining programs to more than a half-million people per month on-air and online. With a large, St. Louis-based newsroom and reporters stationed in Jefferson City and Rolla, Mo., and Belleville, Ill., the station’s journalists find and tell important stories about communities across the region and help people to become deeply informed about the issues that affect their lives. Broadcasting on 90.7 KWMU FM in St. Louis, 90.3 WQUB in Quincy, Ill., 88.5 KMST in Rolla, and 96.3 K242AN in Lebanon, Mo., and sharing news and music online at stlpublicradio.org, St. Louis Public Radio is a member-supported service of the University of Missouri-St. Louis.
The following short films will be screened during this event:
A dreamy portrait of photographer Shoog McDaniel, a self-described queer fat freak, whose work with fat bodies in nature transgresses reality. Best Documentary Less Than 20 Minutes at the 2019 Showcase.
Charon
Cullen Parr, U.S., 2019, 12 min., documentary
A profile of Myron Dyal, a California artist with temporal-lobe epilepsy who creates striking paintings, drawings, and sculptures inspired by the visions he has during his seizures. Best Documentary Short at the 2019 SLIFF.
Grab My Hand: A Letter to My Dad
Camrus Johnson & Pedro Piccinini, U.S., 2019, 5 min., animated narrative
A touching and personal exploration of the relationship between the filmmaker’s father and his best friend. Best Short Short at the 2019 SLIFF.
A transwoman mechanic runs her family’s auto shop during the day and expresses her femininity at night, but an unforeseen event threatens the balance of her compartmentalized life. Best Live Action Short at the 2019 SLIFF.
The Neighbors’ Window Oscar winner for Best Live Action Short
A middle-aged woman with small children has her life shaken up when two free-spirited twentysomethings move in across the street. Academy Award winner as Best Live Action Short and Best of Fest Short at 2019 SLIFF.
A profile of Bruce Franks Jr., the 34-year-old battle rapper, Ferguson activist, and former Missouri state representative. Academy Award nominee as Best Documentary Short and Best Local Short at 2019 SLIFF.
By Lynn Venhaus One of the best surprises of the current year in film, “Palm Springs” is an inventive, genial romantic comedy with an edge. (Warning frank sexual dialogue and content).
Nyles (Andy Samberg) is with his girlfriend at a wedding in Palm Springs when he meets Sarah (Cristin Milioti), the reluctant maid of honor forced to be at her sister’s wedding. She’s the family black sheep and a skeptic when it comes to true romance but is drawn to Nyles’ wacky sense of humor and darkly comic nihilism.
Like “Groundhog Day,” Nyles is sucked into a surreal time-space continuum, repeating this same date. He warned her not to follow him into a cave…
Written and directed by first-timers – a remarkable combination of director Max Barbakow and writer Andy Siara, it builds on the time-travel concept in a manner like “Groundhog Day” but does not follow the same trajectory.
The wedding setting is inspired and fertile ground for comedy – what with family dynamics, quirky relatives, young adults with a lot of baggage already and always people with secrets, combined with the time-honored rituals of American nuptials and receptions. I mean, it is comedy gold, and you have someone who is a zen master at it, Andy Samberg.
Christin Milioti and Andy Samberg in “Palm Springs”
I always enjoyed the goofy Samberg as an off-kilter presence on “Saturday Night Live” from 2005 to 2012, his digital shorts and his clever work with Lonely Island. Although the 2016 comedy “Pop Star: Never Stop Never Stopping” is highly underrated, I never considered his acting on the same level as breakouts Bill Hader and Kate McKinnon, but he is terrific here. He is just the right blend of world-weary and devil-may-care. He also proves to be a suitable romantic lead – who knew? – and his offbeat pairing with Cristin Milioti, also not your typical romantic interest — even though she was the “Mother” in “How I Met Your Mother” (Spoiler alert for a TV show that ended in 2014), energizes the movie.
Samberg’s wacky charm is his strength, so you go with the premise, even when all time-travel segments have plot holes – but don’t dwell on that. Just enjoy.
Milioti, a Tony nominee as the immigrant who falls for the broke Irish musician in “Once” the Broadway musical, is such a good actress, capable of expressing the gamut of emotions her character goes through. You root for this couple, who have such a blast together dealing with the gimmick.
Look for the movie, which debuted at the Sundance Film Festival in January, to be considered for this season’s awards — it’s that sharp and witty.
It also benefits from such pros as Peter Gallagher as father of the bride, J.K. Simmons as a wedding guest, Tyler Hoechlin as the compromised groom and a brief appearance by June Squibb as Nana, always delightful.
Fresh and fun, “Palm Springs” is a tidy 90-minute ride full of humor, unexpected turns and sweetness.
“Palm Springs” is a romantic comedy not rated that is 90 minutes long. It is directed by Max Barbakow, written by Andy Siara, and stars Andy Samberg, Cristin Milioti, J.K. Simmons, Tyler Hoechlin and June Squibb. It is streaming on Hulu, beginning July 10.
The movie “Hamilton” meets the moment! Creator Lin-Manuel Miranda’s game-changer remains a vibrant experience five years after opening on Broadway. Its brilliance shines brightest with the original cast, and its synergy is a thing of beauty.
The cultural phenomenon “Hamilton,” the most nominated musical ever on Broadway and winner of the 2016 Pulitzer Prize for Drama, had two performances recorded on June 25-26, 2016, at the Richard Rodgers Theatre in New York City. This is after the musical won 11 Tony Awards, one shy of the record, and while the original cast was still intact. Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming. It also includes Hamilton’s family and romantic drama, based on Ron Chernow’s biography.
Miranda’s masterpiece is a hopeful reflection on the ‘unfinished symphony’ that is America – he presents a history lesson, inside view on the messy political process and an amalgam of modern and Broadway styles of music in a grand and glorious way.
Miranda, who wrote the book, music and lyrics, also stars in the
title role. He cast black, Latino and Asian-Americans as the characters – “it
is about America then as told by America now.” This ensemble is the gold
standard – particularly Tony Award winners Leslie Odom Jr. as Aaron Burr, who
resents the ambitious Hamilton’s easy climb; Daveed Diggs as loyal Lafayette in
the first act and cocky Thomas Jefferson in the second; and Renee Elise
Goldsberry as fiery Angelica Schuyler, whose sweet sister Eliza marries
Hamilton; plus nominees Christopher Jackson as an imposing George Washington,
Phillipa Soo as the kind-hearted wife Eliza and Jonathan Groff, who makes the
most of his nine minutes as the snooty and catty King George.
Hamilton’s a fascinating human, and his journey keeps us riveted
through his personal evolution and the birth of our nation. His rivalry with
Burr adds a complexity – their flaws, fears, desires and regrets fuel the
story. Odom has some of the show’s best songs – “Wait for It,” and “Non-Stop,”
and his introduction “Talk Less” is memorable.
Featuring a score that blends hip-hop, jazz, R&B, pop and traditional
Broadway show tunes, “Hamilton” is a revolutionary moment in theatre,
and you won’t be able to get those songs out of your head: “My Shot,” The Story
of Tonight,” “The Room Where It Happened,” “Who Lives, Who Dies, Who Tells Our
Story,” “History Has Its Eyes on You” and “The World Turned Upside Down.” The
Cabinet Battles are comical and thought-provoking at the same time.
The Schuyler Sisters have a sensational introduction – and Peggy
(Jasmine Cephas Jones), and the songs “Helpless,” “Satisfied,” “Burn” have real
depth from a female point of view. “It’s Quiet Uptown” will tug on your
heartstrings.
Already, the staged musical has had profound impact on culture, politics and education, and you will see why, as Hamilton the movie transports the audience inside the Broadway show in an intimate way. (I spontaneously broke into applause a few times).
As for the ‘film’ part, we might not be in the room where it happened (Richard Rodgers Theatre) but what it lacks in the palpable energy only live theater produces, it trades for the emotions you connect with in the close-ups.
Declan Quinn’s cinematography and Jonah Moran’s editing gives us
a crisp perspective. And the skill of that team — Thomas Kail’s seamless
direction, Alex Lacamoire’s exquisite orchestrations and conducting, Andy Blankenbuehler’s
fluid and innovative choreography and Manuel’s smart and clever words and music
— are a swirling mix of craft, art and talent.
With use of steady-cam, crane and dolly, the multiple cameras
create a view you would not have seen – even if you been fortunate enough in
the first couple of rows. We also benefit from it being performed before a live
audience – their reactions give ours some vitality. Lafayette’s line:
“Immigrants – we get the job done!” produces the loudest applause.
I saw the musical once two years ago, on its first national tour
at the Fox Theatre in St. Louis, and even with its cavernous 4500 seats, was
gobsmacked. It was among the best theatrical experience ever – and lived up to
the hype.
This view has new opportunities for discovery, to marvel at
Manuel’s attention to detail and his nimble storytelling. The recurring themes
and repetitive nature of the score add texture to the rhythms and harmonies,
and the cast’s enunciation and verbal dexterity is remarkable.
In 2009, Miranda was invited to the White House to share what he
was working on during a night of poetry-inspired entertainment. President
Barack and Michelle Obama were a little taken aback by his concept – a hip-hop
concert album about the founding father who is on the $10 bill. OK. Well, the
rest, as they say, is history.
And Manuel has made history. An Emmy, Tony and Grammy Award
winner, among his theatrical accomplishments — he wrote and starred in the Tony-winning
2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and
Amanda Green for “Bring It On!” in 2011 (produced by Mike Isaacson-led Fox
Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and
lyrics for the 2009 Broadway revival of “West Side Story.”
“Hamilton; An American Musical” opened at the Public Theatre on
Jan. 20, 2015 and moved to Broadway that August. Because of the demand for
tickets, he created the “Ham4Ham” lottery ($10 tickets for first couple of rows),
but those who couldn’t get to Broadway or afford the sky-high ticket prices, can
see the next best thing. The unforgettable theatrical experience has been made
accessible for an even wider audience to appreciate.
The lighting design, by Howell Binkley (Tonys for both
“Hamilton” and “Jersey Boys”), is effective on screen. Paul Tazewell’s costumes
and David Korins’ deceptively simple brick-lined set designs of scaffolds,
catwalks and staircases add to the show’s signature style and cohesiveness.
The film was slated for an October 2021 theatrical release, but
the decision was made to stream through Disney Plus ($6.99 a month subscription
or $69 for the year).
What a wonderful way to celebrate the birth of our nation and
see its impact today, after a grave period of uncertainty, unprecedented
pandemic and level civil unrest not seen in 50 years. It feels more urgent as a
call to action, to keep this great American experiment a righteous one.
The care and skill that went into this production is obvious. “Hamilton” deserves a standing ovation in every living room across this great country of ours. The musical makes America more beautiful this Independence Day weekend.
“Hamilton” is a filmed musical directed by Thomas Kail, starring Lin-Manuel Miranda, Leslie Odom Jr., Daveed Diggs, Renee Elise Goldsberry, Phillipa Soo, Christopher Jackson and Jonathan Groff. Rated: PG-13 for language and some suggestive material, it runs 2 hours 40 minutes with 1-minute intermission. Lynn’s Grade: A Streaming on Disney Plus beginning July 3.
By Lynn Venhaus Sharp as a tack and a needed gut punch, “Irresistible” is a savage political satire that aims at both major political parties and the media. It is a wake-up call about how money-influenced political campaigns are run these days and how crazy it all is. And if you are cynical, writer-director Jon Stewart explains why.
The story centers on a Democratic political consultant who helps a retired Marine colonel run for mayor in a small Wisconsin town, and soon the national spotlight is on rural Deerlaken, for its ‘authenticity.’
It might not sound entertaining, and the big city slickers coming to small-town America is a well-worn trope, but “Irresistible” is clever and for the most part, amusing. It zips along, contrasting caring, connected life in rural America with the go-go-go sophistication of New York as a media and liberal center, and the cutthroat political scene in Washington D.C.
The performances are first-rate. Former Daily Show correspondent Steve Carell is in his wheelhouse as Gary Zimmer, a driven Democratic strategist who puts all his muscle and know-how into winning elections. His new pet project is more about his redemption and finding someone who can take the next step to the national arena.
Oscar winner Chris
Cooper, the Kansas City-born actor who consistently depicts integrity, is
perfect as Jack Hastings, a widower and retired Marine, who has the right
demeanor for electability and the wisdom to size up what’s happening in this
super-charged environment. No fool, he knows how he is being presented as a
candidate, and, used. Cooper, who majored in acting and agriculture at
University of Missouri-Columbia, embodies the role with a genuine gravitas.
As his grown daughter
Diana, Mackenzie Davis, last seen in “Terminator: Dark Fate,” is another high
mark, conveying her concerns regarding her dad, being protective and wary of
the spectacle.
Acting as Gary’s archrival Faith Brewster, Rose Byrne’s GOP political operative
is abrasive and crude, and in that regard, annoying. Of course, that’s the
point, but ick.
The supporting cast
is having fun – including Topher Grace and Natasha Lyonne as slick national
pollsters, Will Sasso and Will McLaughlin as the “Two Mikes,” Brent Sexton as
Mayor Braun and Blair Sams as the local baker Ann.
During this election
year in the middle of the pandemic, people may have developed fatigue about the
news and how campaigns are covered, but this is on the mark. It bites and
stings, as evidenced by the talking heads and the insatiable need to make
predictions and blow things out of proportion.
Stewart, who spent 16 years on “The Daily Show,” knows his material and
personalities, and treats the small-town hicks with respect, while depicting
the easy way they are patronized.
While the barbs don’t always land well, and the sarcasm can get tedious, “Irresistible” presents a case for campaign finance reform. And you might just crave some warm, fresh-baked streusel coffeecake. Required viewing is all the way through the credits.
“Irresistible” is a contemporary comedy-drama directed by Jon Stewart, and starring Steve Carell, Chris Cooper, Rose Byrne, Mackenzie Davis, Topher Grace and Natasha Lyonne. Run time is: 1 hr. 41 min. and rated R for language including sexual references. Lynn’s Grade: B+. Available on Video on Demand June 26.
A version of this review appeared in the Webster-Kirkwood Times
A Late Summer Night’s Stroll: An Interactive Walk Experience in Forest ParkWill Be Offered Aug. 12 – Sept. 6
Producing Artistic Director Tom Ridgely has officially announced the postponement of St. Louis Shakespeare Festival’s “Much Ado About Nothing,” its 20th Anniversary Shakespeare in the Park production, as well as “Shakespeare in the Streets: The Ville” in the wake of the COVID-19 pandemic.
Much Ado About Nothing, directed by Bruce Longworth, has been rescheduled for the 2022 summer season, and “Shakespeare in the Streets: The Ville”, written by Mariah Richardson and directed by Thomasina Clarke, will take place in September 2021. Final dates will be announced at a later time.
“In the end, it boiled down to the safety of the artists,” Ridgely said in a statement. “The actors’ union hired a very well-qualified epidemiologist to assess the situation, and their determination was that it just wouldn’t be safe to return to work this summer. We wish it could be otherwise, but we have to trust the experts and not take any chances when it comes to people’s health and well-being. We’ll be back though, and we’re already looking forward to how good it will feel when we can all be together again.”
The Festival will spend the additional time investing in The Ville, working closely with 4the Ville and Young Friends of the Ville, its partner organizations on Shakespeare in the Streets.
Mariah Richardson
“I am saddened about the delay but excited about the extra time and opportunity to really learn about the residents of the Ville. Their story is rooted in the earliest history of our city. And a story crying out to be heard,” said playwright Mariah Richardson.
The Festival is continuing to collect stories from current and past residents of the neighborhood and encourage anyone with a connection to submit via mail, email or phone. Details and questions are available at stlshakes.org/theville.
“A Late Summer Night’s Stroll”
In lieu of the original scheduled 20th-anniversary production of Shakespeare in the Park, the Festival is offering a new socially-distant walking experience in Forest Park. A LATE SUMMER NIGHT’S STROLL, loosely inspired by Shakespeare’s A Midsummer Night’s Dream, will take guests on a 90-minute walk through some of the park’s most iconic spots and hidden gems.
The STROLL will use music, dance and visual art to offer a new and surprising way of experiencing both the story and the park. “Midsummer is one of the most magical and beloved plays in all of world drama. It follows the flight of four lovers into the woods and the night of lyrical transformations that drive them apart and back together again – capped by the famous and hilarious “play-within-a-play” put on by local tradesmen,” says Ridgely.
“This experience will put the walkers at the center of the story.” A LATE SUMMER NIGHT’S STROLL run evenings, Tuesday-Sunday, August 12 to September 6. Groups will be limited to 10 and under with scheduled start times to maintain social distance. The walk is free, but registration is required and will open to the public on Monday, July 13. Suggested donations are $20, and post-walk picnics will be available at an additional charge. “In this time when safe, fun, out-of-home experiences have been almost impossible to come by, we hope to create an activity that allows the people of St. Louis to reconnect with the city and each other in an act of engagement and shared pleasure,” concludes Ridgely.
More information will be available online at www.stlshakes.org/stroll. Leadership support for 2020’s Shakespeare in the Park programming is provided by The Whitaker Foundation, Emerson, The Bellwether Foundation, Edward Jones, Enterprise Holdings Foundations, The Strive Fund, the Missouri Arts Council, The Trio Foundation of St. Louis, Buckingham Asset Management, and the Regional Arts Commission.
The St. Louis Shakespeare Festival presents Shakespeare and works inspired by his legacy of storytelling. Since 2001, the festival has grown from producing a single production of Shakespeare in the Park to a year-round season of impactful theater in exciting and accessible venues throughout the St. Louis community. The festival’s artistic and education programs reached over 50,000 patrons and students during the 2018 season and have reached over one million since 2001. In 2019, the Festival received a “What’s Right with the Region” award from Focus St. Louis
The Whitaker St. Louis Filmmakers Showcase, an annual presentation of the nonprofit Cinema St. Louis (CSL), serves as the area’s primary venue for films made by local artists. The Showcase screens works that were shot in the St. Louis region or were written, directed, or produced by St. Louis-area residents or by filmmakers with strong local ties who are now working elsewhere.
Because of the Covid-19 health crisis, the Showcase will be presented virtually in 2020. CSL is partnering with Eventive, which also handles our ticketing, to present the Virtual Festival. Films will be available to view on demand anytime from July 10-19. There are no geographic limits on accessing the programs. Once a ticket-holder begins watching a program, access remains available for 48 hours.
The Showcase’s 15 film programs range from full-length fiction features and documentaries to multi-film compilations of fiction and documentary shorts. Most programs will feature recorded Q&As with filmmakers, which will also be available on CSL’s YouTube channel.
In addition to the film programs, which will be available for streaming anytime during the July 10-19 run of the Showcase, this year’s event features a series of free master classes focused on key aspects of making and marketing an independent narrative feature. These will be offered as live streams at specific times/dates during the Showcase, but recordings of the presentations will also be archived and available on the CSL YouTube channel. A free live stream on the evening of July 19 will present the Showcase jury awards — including a $500 prize to the Best Showcase Film — and announce the films that will move on to the Whitaker St. Louis International Film Festival in November.
This year’s Showcase includes the following:
America’s Last Little Italy: The Hill: A documentary feature by Joseph Puleo that explores the deep historic roots of the Hill, St. Louis’ iconic Italian neighborhood.
The Ballad of John Henry: A documentary feature by Matthew Rice that analyzes how an ex-slave became one of America’s greatest tall-tale heroes: John Henry.
College Bound: A documentary feature by Jenna Gandolfo that chronicles a diverse group of Ritenour High School students as they overcome an array of obstacles to be accepted into some of the top universities in the country.
Doc Shorts Programs: The first of the two programs focuses on food, wine, and nature, and the second is anchored by Post-Dispatch columnist Aisha Sultan’s “33 and Counting,” a true-crime story about a 70-year-old grandmother serving a life sentence for a murder she says her rapist committed.
Easy-Bake: A narrative feature by writer-director-star Zoë Kennison — a Webster U. grad — in which a 22-year-old college student is informed by her doctor that she is on an unexpected biological clock: Because of a medical issue, she has only one year to conceive a child.
Master Classes: A series of four free master classes — featuring filmmakers and industry professionals — focused on key aspects of making an independent narrative feature: Finding Financing (July 11), Developing a Budget (July 12), Casting (July 18), and Securing Distribution (July 19).
My Ireland: A documentary feature by Anthony Monaghan, a working-class immigrant now living in St. Louis, that takes a hard look at the rampant emigration, mass evictions, and homeless crisis that plague his homeland of Ireland today.
Narrative Shorts Programs: The 56 films in the six programs include comedies, dramas, thrillers, and experimental works.
Resolution: A narrative feature by former St. Louisan Jacob T. Martin in which a tight-knit group of friends gathered for a New Year’s Eve party have their night of celebration descend into chaos when the host couple breaks up.
Wake Up: A documentary feature by Nate Townsend that weaves together stories from four different frontlines of suicide prevention across the country. The film premiered at We Are One: A Global Film Festival.
The Whitaker Foundation again serves as the Showcase’s title sponsor. The foundation’s twofold mission is to encourage the preservation and use of parks and to enrich lives through the arts. The Chellappa-Vedavalli Foundation is underwriting both the Showcase’s master classes and the $500 prize for the Best Showcase Film.
The event’s other sponsors include the Arts & Education Council, Grizzell & Co., Missouri Arts Council, Missouri Film Office, Regional Arts Commission, St. Louis Public Radio, and Washington University Film & Media Studies.
