The Repertory Theatre of St. Louis celebrates the season with “Cooking, Carols and Cocktails,” a four-episode web series showcasing food, music and community. Join beloved local personalities, tour some of St. Louis’ favorite restaurants, take a cooking class, toss in a coordinating cocktail and experience the best music The Lou has to offer – all from the comfort of your home.
“The opportunity to learn from the most talented culinary artists in St. Louis while enjoying an in-home concert by brilliant musical powerhouses is the perfect way to celebrate the holiday season,” said The Rep’s Augustin Family Artistic Director Hana S. Sharif. “We are thrilled to have created these bold, vibrant, virtual experiences that are quintessentially St. Louis.”
The four-episode web series features cooking lessons from the chefs of Turn at the .Zack in Midtown, kicking off the series with a brunch of panettone French toast, sausage and biscuits; Barcelona Tapas in Clayton, who will craft the perfect paella; Cathy’s Kitchen in Ferguson, spicing things up with seafood jambalaya and sweet and spicy chicken and Perfectly Pastry in Dutchtown, baking a St. Louis favorite: gooey butter cake. And Heather Sharpe joins each episode as veteran mixologist, with beverage sponsor Big O Ginger Liqueur.
Interspersed with the gastronomy lessons, an amazing lineup of musical performances will be featured in each episode, including Fresh Heir’s high-energy soul, funk and hip-hop blend; dynamic jazz from award-winning vocalist Joe Mancuso; rising soulful pop star Paige Alyssa and world-renowned, multicultural, genre-busting vocalist Tonina, whowas named one of NPR’s favorite new artists of 2018. Songs will include traditional holiday favorites as well as some of the musicians’ top originals.
These culinary and musical tours, with support from The Andrew W. Mellon Foundation, will be guided by Pascal, host of “The Pascal Show;” Karl Schmitz, founder of HOMS clothing brand; musical artist Tonina and Emmy-winning TV and radio personalityJulie Tristan. St. Louis-based production company Once Films takes the lead behind the camera.
Tickets are $15 per episode or $50 for the four-show series. Purchase online now at repstl.org or call The Rep Box Office at 314-968-4925. Rep subscribers may utilize their Flex Passes for the series. For more information, visit repstl.org.
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ABOUT THE REPERTORY THEATRE OF ST. LOUIS
The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. www.repstl.org
By Lynn Venhaus Adapted from the 2018 splashy big-hearted Broadway musical, “The Prom” pops with color and pizzazz (or, in the show’s parlance, “Zazz.”).
Vain Broadway stars Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) are slammed for their flop, “Eleanor!: The Eleanor Roosevelt Story.” With their careers suddenly flatlined, their chorus dancer pal Angie (Nicole Kidman) finds a cause they can get behind – in small-town Indiana, high school student Emma Nolan (Jo Ellen Pellman) wanted to go with her girlfriend Alyssa (Ariana DeBose) to the prom, so the PTA cancelled it. The insufferable divas race to the rescue in conservative Edgewater, along with Trent (Andrew Rannells) and Angie. Their involvement isn’t that helpful but gets people to see Emma for who she is and that’s OK.
Its potent message on tolerance and inclusivity is still intact, but the framing has lost some of its sincerity as director Ryan Murphy has stretched it into a bigger and flashier cinematic canvas.
The musical is based on concept by Jack Viertel, who had read about a teen lesbian denied attending her prom in Mississippi in 2010, which involved the ACLU and a decision on violating the First Amendment. It also was a magnet for celebrity activism, which gets a lot of dings in “The Prom.”
Murphy, who created and helmed six seasons of “Glee,” has ramped up the glitz and gone over-the-top at every opportunity. He knows his way around a show tune and aims for the heart. However, he pulls focus on his big-name stars so that the same-sex couple gets less attention.
Nevertheless, newcomer Jo Ellen Pellman is wonderful as Emma, who grows in confidence. Ariana DeBose, a veteran of “Hamilton” who will star as Anita in the upcoming remake of “West Side Story,” is a sensational talent and plays the closeted cheerleader.
Streep, at age 71, pulls off a self-centered star in the manner of Patti LuPone, and looks like she’s having a blast with Nicole Kidman, James Corden and Andrew Rannells. While they are fine, their lesser marquee counterparts were superior in the Broadway roles – Tony-nominated Beth Leavel as Dee Dee and Brooks Ashmanskas as Barry especially. Kidman shows off her abilities in a Fosse number, “Zazz,” only Murphy has chosen not to highlight the iconic total body moves. Hmmm….
Some of the characters are exaggerated in such a way to render them superficial on film while on Broadway they were played by seasoned pros who sustained the campy fun the whole two acts. And maybe it’s because some of the original Broadway cast were Muny veterans, so their familiarity sold the warmth and joy.
I dearly loved the Broadway musical, nominated for seven Tony Awards and winner of the 2019 Drama Desk Award for Best Musical, which was produced by Stages St. Louis’ Jack Lane and other local theater people. Zippy and full of fizzy fun, “The Prom” had us laughing at the big-city elites, inside-showbiz jokes and mocking hicks in the sticks, but not in a mean way.
Only here the small town doesn’t look like a podunk village, but rather a larger city because it has a mall and a motel in the manner of a Hampton Inn.
For the original musical, Chad Beguelin of Centralia, Ill., nominated for six Tonys, wrote the lyrics and co-wrote the book with Bob Martin. Matthew Sklar wrote the music. Beguelin and Sklar, who did fun musical adaptations of “The Wedding Singer” and “Elf,” have a flair for writing hummable tunes with clever turns of phrase. “It’s Time to Dance” is a delightful number and “Unruly Heart” has the endearing sweetness for Emma to gain acceptance with a wider audience.
Andrew Rannells gets to shine – and dance through a shopping mall – in “Love Thy Neighbor,” a teachable moment to the town’s judgy teens.
Casey Nicholaw, who directed the stage show, did the choreography, and it’s as peppy and fun for the big movie ensemble as it was for the intimate cast at the Longacre Theatre. St. Louis native Jack Sippel, a Muny and Broadway veteran, was the film assistant choreographer/dance captain.
Costume designer Lou Eyrich never met a sequin he didn’t like and the flamboyant production design by Jamie Walker McCall has combined mid-century modern with bright lights.
The movie is padded, at 2 hours and 10 minutes, which doesn’t help the momentum. However, the exuberance of the work is the takeaway, and fortunately, the show will be on a national tour next year, spreading its cheerful message about acceptance.
It’s at local theatres but debuts on Netflix Dec. 11. To find out more about how you can support the Actors’ Fund and Broadway Cares, please visit BroadwayCares.org/TheProm.
“The Prom” is a musical comedy that runs 2 hours, 11 minutes. Directed by Ryan Murphy, it stars Meryl Streep, James Corden, Nicole Kidman, Andrew Rannells, Jo Ellen Pellman, Ariana DeBose, Kevin Chamberlin, Keegan Michael-Key, Sherry Washington and Mary Kay Place. It is rated PG-13 for thematic elements, some suggestive/sexual references and language. On Netflix.
By Alex McPherson Jeff Roda’s directorial debut, “18 to Party,” is a competent coming-of-age drama that needs more time to mature.
The year is 1984 in upstate New York. A squad of angsty eighth graders, many of whom have troubled home lives, wait outside a nightclub, hoping to attend a party later in the evening. The friends discuss art, politics, UFOs, school drama, and happenings around town in the nightclub’s backlot. As the party draws nearer, their interactions force them to confront their changing selves within a world that refuses to slow down for them.
Taking place in just a couple of locations, “18 to Party” presents appealing characters, but doesn’t give them all satisfying arcs, only breaching the surface of the topics it brings up. As a result, Roda’s film definitely has heart, but ends up feeling like the pilot installment of a larger, more impactful story.
In a stripped-back fashion, Roda allows viewers to connect with these characters simply by watching them hang out over the course of an afternoon. They have distinctive personalities — from the rebellious, Reagan-hating Kira (Ivy Miller) to the anxious, uptight Shel (Tanner Flood), who becomes the film’s de facto protagonist as the story progresses. It’s certainly entertaining watching them banter and engage in vicious trash-talking, with dialogue that feels authentic to kids of their age.
This minimalist style, however, prevents me from becoming fully immersed — failing to make the most of the medium’s potential. Nevertheless, I admire Roda’s decision to show these characters in a naturalistic way, helping to render them as actual human beings. The film’s attention to period detail in costuming and music choices is also worth noting, adequately helping to set the scene.
While the film’s conversational approach lends itself to comedic moments, “18 to Party” attempts to provide more than just laughs. The children discuss difficult, sometimes harrowing topics — including reckoning with the aftermath of several suicides in their town, as well as their own life challenges, often stemming from absentee parents. Indeed, the film frequently underlines their youthful innocence as they struggle to understand what it all means.
For example, when Lanky (James Freedson-Jackson), a classmate enrolled in a support group after his brother’s death, shows up, the group doesn’t know how to react — judging him without appreciating the circumstances that helped form his fractured mental state.
The actors, across the board, effectively convey youthful energy and vulnerability. They have fantastic chemistry with one another, giving “18 to Party” a documentary-esque feel at times. The standout is Freedson-Jackson, who gives a striking performance as a peer struggling to reconnect with his friends after a traumatic experience.
Although I appreciate what Roda’s going for, there needs to be more resolution to the conflicts being brought up. All the elements of a classic are there, but “18 to Party” can’t stick the landing — leaving way too many subplots unresolved and failing to memorably articulate its themes.
Most of my problems stem from an overabundance of characters. Among the central group, consisting of seven individuals, only a couple receive any meaningful development by the conclusion. We watch some disagreements escalate into all-out fights, but don’t see the aftermath and what, if anything, the kids learn from them.
In fact, Shel is the only person that undergoes any true changes. His earnest, relatable journey towards self-acceptance and embracing life’s joys is engaging enough to watch, but doesn’t offer viewers much they haven’t likely seen before.
All that being said, “18 to Party” still has enough charm and poignancy to recommend, if only tentatively. The journey is far more compelling than the destination.
“18 to Party” (2019) is a comedy-drama written and directed by Jeff Roda and starring James Freedson-Jackson, Tanner Flood and Ivy Miller. Its runtime is 1 hr. 20 min. Alex’s Grade: B- The film is available video on demand.
By Lynn Venhaus A film of remarkable grace and wonder, “Nomadland” demonstrates power in stillness as a fiercely independent woman makes her way along the ribbon of highways through Arizona, the Dakotas, California and other places.
Fern (Frances McDormand) packs up her van and sets off on the road, finding work along the way, as she joins other modern-day nomads off-the-grid in the American West. It’s a transient life outside of conventional society, with freedom a trade-off. A widow, she lived in Empire, Nevada, but the company town collapsed when the sheet-rock facility closed in 2011, an economic victim in the Great Recession. This is Fern’s hard-fought middle-age journey.
In writer-director Chloe Zhao’s third film, she charts a third-act journey that is authentic in every possible way, making the impact even greater by using real-life people as Fern’s friends and mentors.
Linda May, Bob Wells and Charlene Swankie are memorable characters in this subculture. The only actor besides Frances McDormand is the superb character actor David Strathairn, who plays Dave, a park ranger she runs into on several occasions and develops a friendship with, and they later work together.
Based on journalist Jessica Bruder’s 2017 book, “Nomadland: Surviving America in the 21st Century,” Zhao draws on that experience, where Bruder documented itinerant Americans while living in a camper van for three years and traveling 15,000 miles.
As blue-collar Fern, McDormand delivers another lived-in performance that doesn’t have a false move. She fits in the landscape in a thoroughly believable way, her face a roadmap of a life lived on her terms.
Still grieving her husband, who died of cancer, and reducing her memories to a few boxes in the van she lives in, Fern shows strength in the roads not taken. She’s resourceful and resilient, not able to retire in a society that has marginalized her.
She depicts the dignity of hard work, whether it’s boxing up orders at an Amazon warehouse or working as a seasonal fry cook. She captures the essence of Fern, a restless soul who can no longer settle down. As opportunities for work and better conditions come along, we see her embrace the alone time.
When some former neighbors run into her, she refuses to be pitied. “I’m not homeless, I’m houseless.” There is a difference, she emphasizes.
With the stunning backdrop of the West’s natural beauty, we feel her loneliness but also the sense of community shared by other self-sufficient RV-living travelers. They learn from each other, show compassion in their humanity and maintain that connection: “See you down the road.”
Zhao also edited the film, and the way she frames shots is a beautiful thing. So is the camera work by cinematographer Joshua James Richards.
Composer Ludovico Einaudi has created a haunting piano score that beautifully captures the moods depicted.
“Nomadland” is one of the best films of the year and shows why McDormand is an uncommon talent full of enormous depth and sincerity. Every move she makes is reality-based, and we are the richer for her portrait, as we all try to understand the human condition ourselves.
“Nomadland” is a drama written and directed by Chloe Zhao, starring Frances McDormand, David Strathairn. Rated R for some full nudity, it is 1 hr. 48 min. long. Lynn’s Grade: A+
By Lynn Venhaus An unflinching look at the old studio system during the height of Hollywood’s Dream Factory persona, “Mank” is more than a backstory on “Citizen Kane,” pulling back the curtain on some unsavory wheeling-and-dealings of the era.
“Mank” follows screenwriter Herman J. Mankiewicz’s tumultuous development of Orson Welles’ iconic masterpiece in 1941, with flashbacks to old Hollywood in the 1930s, including labor disputes, politics and the studio tycoons.
Director David Fincher, known for his obsessive control, has carefully crafted a portrait of the complicated screenwriter Herman J. Mankiewicz, who died of alcoholism at age 55 in 1953. Mank, a newspaperman from New York, was one of the well-known Algonquin Round Table writers who migrated to Hollywood. He joined such luminaries as playwright George S. Kaufman, humorist S.J. Perlman and Ben Hecht as screenwriters under contract.
While recovering from a broken leg, Mank is set up at a dusty, desolate ranch in Victorville, Calif., to write the screenplay with a 60-day deadline, free of distractions and surrounded by secrecy.
John Houseman, who is part of Orson Welles’ fabled Mercury Players, has been assigned to watch over him. Houseman, who really won Best Supporting Actor for “The Paper Chase” in 1974, didn’t seem to be particularly fussy, but Sam Troughton plays him that way. Wunderkind Welles (Tom Burke) will tussle with Mank, but it is their crowning achievement.
While best known for winning an Oscar for the screenplay of “Citizen Kane,’ which he reluctantly shared with Orson Welles – and was the only winner out of nine nominations, Mank also wrote “Dinner at Eight” and “The Pride of the Yankees,” among dozens of titles, and produced such Marx Brothers movies as “Duck Soup.”
The man himself was a prickly personality, an uncompromising writer with a sardonic wit and a wicked pen, disgruntled by the studio system and the guys who ran them. He did not suffer fools and was wary of those in power. Heavy drinking and gambling had sullied his reputation, but no one could deny his talent.
The cast is one of the finest assembled this year, helmed by Gary Oldman as the bruising wordsmith. It’s a towering portrayal—would we expect anything less from the Oscar winner? Oldman has affected an old-timey delivery for his epic battles with just about everyone but his long-suffering wife, dubbed “Poor Sara” (nicely portrayed by Tuppence Middleton).
The multi-layered story focuses on the ruthless movers-and-shakers – including a terrific Arliss Howard as cunning Louis B. Mayer at M-G-M and a steely Charles Dance as shrewd newspaper publishing magnate William Randolph Hearst.
At his castle in San Simeon, Hearst threw lavish dinner parties attended by the show business elite. One of his favorite guests, no matter how drunk or boorish he got, was Mank. The outspoken screenwriter was pals with Hearst’s mistress, actress Marion Davies, who is played by Amanda Seyfried in her best performance to date.
Other noteworthy performances include Ferdinand Kingsley as producer Irving Thalberg, Lily Collins as stenographer Rita Alexander, Jamie McShane as Shelly Metcalf and Ozark’s Tom Pelphrey as Joseph Mankiewicz, Herman’s brother who was also in the business (and wrote “All About Eve.”)
The score by Fincher’s go-to duo of Atticus Ross and Trent Reznor captures the period jazz and Big Band, and
While the meticulous production values are stunning, with its luxe black-and-white cinematography by Erik Messerschmidt, glamorous costume design by Trish Summerville and the grand production design by Donald Graham Burt, the dense plot of “Mank” is likely to keep some moviegoers at a distance.
As it sprawls beyond the studio gates, the filmd takes detours into the 1934 gubernatorial race in California and industry politics, convoluting an already verbose narrative.
If you are not familiar with the backstory about the making of “Citizen Kane” or the real people on whose lives the characters are based, this may be a problem in digesting “Mank,” a very inside look at Hollywood as an industry who aimed at a market devastated by the Depression.
The director ‘s late father, Jack Fincher, who died in 2003, wrote this screenplay in the 1990s, for the film originally was supposed to be made after “The Game” in 1997. Rumor has it that Eli Roth did some polishing, but whether that’s true, the original script must have had to be reworked at some point.
One thing is certain, Hollywood loves to make movies about the making of movies. Fincher’s lens creates a bigger picture while concentrating on a few key players.
Fascinating, infuriating and rich with details, “Mank” the film is like Mank the person – hard to pin down but worth the time.
“Mank” is a biography-drama directed by David Fincher and starring Gary Oldman, Charles Dance, Arliss Howard, Amanda Seyfried, Tuppence Middleton, Lily Collins and Tom Pelphrey. Rated R for language, “Mank” is 2 hours and 11 minutes’ long. Lynn’s Grade: B-
Joe Hanrahan of St. Louis’ Midnight Company will appear in THE COCKROACH OF BROADWAY by Hope Weiner, which will be part of New York City’s Rogue Theater Festival. The Festival, featuring 14 new plays, will run virtually from December 10-13, 2020. Weiner’s play will be broadcast on Sunday, December 13, at 1:30 pm (CST). Tickets are $9.00, and are now on sale here: https://www.showtix4u.com/events/17616/?event=40500&date=114473.
About THE COCKROACH OF BROADWAY, Ms. Weiner said “Arguably, if one wanted to make law school fun one could dedicate the full three years to studying Harvey Weinstein’s recent fall from grace and come out with an amazing understanding of the current American legal system. Given that so much of the law is determined by “community standards” his case really asks us to deep dive into what our standards are. Furthermore we are also asked to deep dive into our belief in the potential for rehabilitation. As for the title, well Jesse Green made me laugh in 2018 when he reviewed the Donna Summer Musical but at the time I felt that even more so than the scourge of jukebox musicals, this title belonged to Harvey Weinstein. So at last musings on Mr. Weinstein and other men of questionable repute.” She also described the play as “…definitely a think piece. The purpose is to really invite people to take a step back and evaluate situations for themselves. It is an invitation to bring back reason.”
In the play, Hanrahan will portray Harvey Weinstein and Alan Dershowitz, while Ms. Weiner will portray the character Shadchan, a professional Jewish matchmaker or marriage broker.
In the past year, Hanrahan has appeared (pre-pandemic) in Metro Theater’s GHOST and in SATE’s APHRA BEHN FESTIVAL, and since has been seen in the virtual Arts United StL effort to help local artists and in a Zoom production of SEINFELD: A QUARANTINE EPISODE by Michael Long, and wrote COME TOGETHER, a Zoom play for St. Louis Shakespeare. And most recently he performed Eric Bogosian’s SEX, DRUGS, ROCK & ROLL for Midnight, which was the first (and still only) live theatre production during the shutdown.
Director Gabe Polsky’s new documentary, “Red Penguins,” is a memorable tale of cross-cultural friendship, misunderstanding, greed, betrayal, societal unrest, and good, old-fashioned hockey.
Soon after the fall of the Soviet Union, two owners of the Pittsburgh Penguins and an idiosyncratic marketing executive — Tom Ruta, Howard Baldwin, and Steven Warshaw, respectively — helped manage Russia’s national hockey team, which was fading into obscurity. Working with the general managers Valery Gushin and Victor Tikhonov, they attempted to revive the team and its brand — taking advantage of Russia’s new market and attempting to set an example for the rest of the world.
In order to attract the attention of the Russian populace, free alcohol was provided (served by live bears at one point, resulting in a player losing half a finger), strippers were hired to perform on the ice rink, and everything was generally ratcheted up a notch, a true spectacle to behold.
Thanks to this approach, the team, eventually referred to as the Red Penguins, became internationally popular, even catching the eye of Michael Eisner, then-Chairman of the Walt Disney Company. Set against the backdrop of the 1993 Russian Constitutional Crisis, however, violent tensions ran high. Ego, greed, opportunism, and ignorance among all parties also infected this Russian-American partnership, but rendered it ripe for cinematic portrayal.
And good grief, what a wild ride it was, especially when told through Polsky’s lens. Less about hockey than about Post-Soviet Russia more broadly, “Red Penguins” works on multiple levels — as an emotional roller coaster swerving between hilarity and dead seriousness, as a Russian history lesson, and as a testament to the importance of effective intercultural communication.
Polsky takes a brisk, fast-paced approach to the material, finding a near-perfect balance between humor and horror. The story itself, told by the people, American and Russian alike, who lived it, is undeniably compelling, featuring several outlandish moments that I won’t dare spoil here. Even so, “Red Penguins” spends equally as much time providing context, describing a Post-Soviet Russia permeated with social unrest. With rising crime rates, economic struggles, and the ever-powerful influence of the mafia among authority figures, the atmosphere is tense. One montage, for example, juxtaposes the rambunctious fun of the hockey games with graphic footage of police clashes outdoors in the streets, to chilling effect.
Indeed, the film’s humorous, happy-go-lucky tone early on quickly gives way to dread about what’s to come later. Nationalism and pure, unadulterated foolishness rule the day, creating a nervous atmosphere throughout that pervades even the film’s most absurd moments. This feeling, in a sense, emulates how the initial mindsets of Warshaw and company were replaced with fear when they realized the situation they put themselves in.
Case in point, Warshaw, the film’s most endearing presence, is a cocky individual willing to go to cartoonish lengths to ensure the team’s success — regardless of his personal safety or Russian cultural norms. This creates obvious problems down the road with the authority figures he claims to have befriended.
The consequences are potentially life and death, and Polsky adds another fearful layer by showing the interviewee’s differing interpretations of the events at hand and letting them reveal their true selves to the camera. When Valery Gushin, also interviewed for the film, laughs heartily about “teaching [Warshaw] a lesson,” a chill ran down my spine.
By its conclusion, “Red Penguins,” is ultimately a sobering, disturbing story of societal change and dangerous misunderstandings. This film is, at its essence, an ode to understanding the Other, told via a stranger-than-fiction story that deserves to be known.
“Red Penguins,” a 2019 documentary written and directed by Gabe Polsky, is rated PG-13 for violence/bloody images, sexual material/nudity, some strong language and a drug reference/ Runtime is 80 minutes. The film was released Aug.4 in U.S. and available video on demand. Alex’s Grade: A.
By Alex McPherson Colin Thompson’s coming-of-age tale, “Light Years,” is an enjoyable romp down memory lane that can’t quite reach the emotional heights it aspires to.
The film centers on Kevin (Thompson) a thirty-something man taking magic mushrooms and embarking on a vision quest to visit Briggs (Russell Posner), his deceased friend who’s based on someone Thompson knew in real life.
Kevin is transported back to a rambunctious night from his high school years — featuring an uncomfortable house party, family drama, and, you guessed it, a fair amount of ‘shrooms. In a psychedelic twist, Young Kevin (Christopher Gray) becomes Adult Kevin, and nearly everyone in his drug-induced flashback (with the exception of Briggs and Kevin’s sister, Em (Makenzie Leigh)) is played by Thompson himself. Whoa, dude, far out!
While “Light Years” fumbles a balance between silliness and heartfelt sentimentality, the film satisfies as light entertainment. There’s definitely some fun to be had in watching these characters engage in juvenile shenanigans, especially when so many of them are played by the same actor.
Indeed, Thompson has ample opportunity to flex his acting chops as he embodies several different characters, most of whom have their own distinctive personality. Although the novelty eventually wears off, his efforts are commendable. This stylistic choice even holds metaphorical weight, with Briggs being one of the only characters not played by Thompson.
Light Years also simulates the effects of ‘shrooms through several cinematic techniques, including eye-popping stop-motion animation and time manipulation. While I’ve never taken ‘shrooms, the film certainly succeeds in visualizing the zonked-out head spaces of the central characters.
The humor itself is hit or miss, however, and assumes that viewers find this sort of drug use humorous. Lacking nuance, it grows tiresome by the end of the film’s 81-minute runtime — too often reverting to immaturity over actual intelligence.
Luckily, Light Years has more on its mind than depicting characters out-of-their-mind. In the vein of films like Superbad and Booksmart, Thompson’s film ultimately revolves around Kevin and Briggs’ friendship, and the life lessons they learn from each other.
They depend on one another to stay afloat and maintain a positive outlook on life. At the time of the flashback, Kevin is having a quarter-life crisis, unsure of his future and reeling emotionally from his parents’ divorce. He finds solace in hanging out with friends — especially Briggs, whose spastic personality ensures there’s rarely a dull moment, particularly when under the influence. Thompson and Posner have great chemistry, and their back-and-forth dialogue at times reminds me of Steve Coogan and Rob Brydon in The Trip, as they indulge in over-the-top impressions and play off each other with chuckle-worthy results.
Unfortunately, Kevin and Briggs need more depth to add weight to the tragedy down the road. Thompson’s small-scale approach works to the story’s detriment as a result, spending too much time with side characters lacking development and oversimplifying potentially impactful subject matter in favor of providing comedy. Kevin’s arc would have benefited from expanding the timeline to show how the lessons learned in his vision quest impact his present-day life. Additionally, the film neglects to make a clear, meaningful statement on addiction and drug use, coming to ambiguous conclusions. Yes, a more dramatic approach would have mellowed the film’s laid back atmosphere, but as a memorial to a lost friend, it feels odd to omit these details in favor of accessible entertainment value.
At the end of the day, Light Years is a watchable stoner comedy that features some clever cinematic tricks and an endearing central duo, but fails to truly stand out from the pack.
“Light Years” (2019), written and directed by Colin Thompson, is adventure with a TV-14 designation. It runs 1 hr. 21 minutes and is available video on demandon Nov. 17.Alex’s Grade: B-
War criminal or war hero? Man of mystery artist and art dealer Han van Meegeren became a man of infamy after World War II. But his true story has been mostly forgotten until “The Last Vermeer,” which recounts this notorious case in a melodramatic and twisty narrative.
The time is 1945 and the place is Holland. The found painting is “Christ and the Adulteress” by Dutch Master Johannes Vermeer of the 17th century baroque period.
van Meegeren (Guy Pearce) is suspected of selling stolen Dutch art treasures to Hermann Goering and other upper echelon Nazis during World War II. Now that the war is over, Joseph Piller (Claes Bang), a Dutch Jew, becomes an investigator assigned to identify and redistribute the paintings. Van Meegeren is accused of collaboration, which is a crime punishable by death. Piller and his assistant (Vicky Krieps) are convinced he’s innocent – despite mounting evidence – and will fight to save his life.
The procedural screenplay, written by Mark Fergus and Hawk Ostby, is based on an adaptation of Jonathan Lopez’s, “The Man Who Made Vermeers,” and gets considerable mileage from Guy Pearce as the flamboyant van Meegeren.
The role gives theb Australian actor plenty of scenery to chew, for the art dealer was a smooth operator. After the Germans occupied the Netherlands, he threw lavish parties and showed no signs of a moral compass.
Pearce, who disappears into every role he’s in, from “L.A. Confidential” and “Memento” to “Priscilla, Queen of the Desert” and “Iron Man 3,” digs in and is quite saucy about the secrets he’s hiding.
All that hedonism rubs stoic soldier Joseph Piller the wrong way, although he’s not above resorting to shenanigans to keep the government stooges out of his way. As colorful as van Meegeren is, Piller is lacking in flavor. Bang, so good in “The Square” and “The Burnt Orange Heresy,” both movies dealing with art, is rather dull and stiff here.
The women characters are underserved and the supporting cast plays standard characters all in service to the story, which leads us to a climactic court scene full of fireworks. Van Meegeren’s argument is that he defrauded the Nazis, no collaboration.
The movie’s a tad clumsy under the first-time direction by Dan Friedkin but redeems itself in the final third.
With “The Last Vermeer,” there seems to be an endless stream of World War II characters whose story is enough to build a film around, like “Resistance” earlier this year.
The film’s courtroom drama outshines its thriller elements. It serves a purpose as both a history lesson and an art tutorial.
“The Last Vermeer” is a drama, directed by Dan Friedkin and stars Guy Pearce, Claes Bang and Vicky Krieps. Rated R for some language, violence and nudity, the run-time is 1 hr. 58 minutes. Lynn’s Grade:: B-. The film opened in theatres on Nov. 20,
It’s one thing to see a play; it’s another thing just to
listen. A whole new world opens in your imagination, and the cultural icon
Tennessee Williams is perfectly suited for such an experience.
To make its three remarkable radio presentations accessible,
the Tennessee Williams Festival St. Louis has been extended through Nov.21-22,
and you will be captivated by these three works anew. They are free to listen
to at www.1073.org and www.twstl.org.
Williams has such a distinctive voice, and you hear his
words interpreted with devotion and insight. The performances by the all-star cast
assembled this year brings the works to a new level.
Through this fresh and innovative way, the festival
continues to pay homage to St. Louis’ greatest playwright, who lived here
during his formative years and was greatly influenced by this region.
All three works are richly rewarding aural and theatrical
experiences:
Bradley James Tejeda
“The Glass Menagerie,” a beautifully rendered two-hour
production of Williams’ most personal play and one of his greatest and most
famous, now through Nov. 22.
“You Lied to Me About Centralia,” a delightful one-act by
playwright John Guare, who imagines what took place after The Gentleman Caller
left the Wingfields to meet his fiancé, Betty, now through Nov. 21.
“Glass,” an intriguing new play by Michael Aman that
imagines the actress playing Amanda Wingfield in “The Glass Menagerie” clashing
with Tennessee when it opens in Chicago before it heads to Broadway, now
through Nov. 21.
As always, stay after for a few moments to listen to Williams’
scholar-in-residence Tom Mitchell for his insight into each work. It’s
interesting and informative, and really adds to the festival’s mission. They
want us to know Williams intimately, and it shows. You can also take an audio
tour of Williams’ St. Louis and hear education panels on his work.
The fifth annual Tennessee Williams Festival St. Louis was
going to take us to Italy this spring, showcasing “The Rose Tattoo” and other
nuggets from Williams, who was happy soaking up European la dolce vita in a
good stretch of his chaotic life.
Then the pandemic hit. The coronavirus public health crisis
forced our regional theaters to cancel. Instead, Artistic Director Carrie Houk
pivoted with two different sets of programming on radio, partnering with
Classic 107.3 FM.
First, this summer, a divine series of Williams’ richly
textured one-acts that showcased his yearning and his desire to fit in, all in
his distinctive word play. The images of his characters with their fanciful
stories were vivid, as were the Southern locations. The attention to detail was
strong and the acting talent sublime.
All those engaging qualities have returned with “En Evant!”
which means “forward.” We’re moving on, and Houk has discussed the fragility accompanying
this year strengthening us in different ways. Williams was a fragile soul, but
he also had a strength about him, so necessary to survive in his personal world.
A previous season was built around “The Magic of Others,” and this year’s fest
also has that aspect – the outsider, the guy not like the others.
In the memory play “The Glass Menagerie,” precious Laura,
who is based on Tom’s fragile sister Rose, has too many self-doubts and anxieties
to fit in, although she tries. Her inner world is soothed by glass figurines.
Glass – who knew 70 some years later this family’s themes
of wanting to be normal, wanting to feel something, and not wanting to be mired
in the past, in the fanciful world their mother has clung to all these years, would
take on more significance throughout the decades
Elizabeth Teeter
The remarkably poised Elizabeth Teeter, showing her
emotional range, will break your heart as Rose.
Brenda Curran is a sympathetic Amanda, although truly a
pathetic maternal figure in the pantheon of great mother roles.
She contrasts well with Teeter and Bradley James Tejeda as the protective Tom (Tennessee’s alter-ego).
Tejeda, who is also in “Glass” and was in several of the one-acts this summer, is pitch-perfect in his Williams’ roles. He’s the MVP of 2020. It is a perfect match, like Olivier and Shakespeare, and his vocal work is outstanding. I could listen to him read the phone book.
But that just-right comfortable Southern drawl enhances the
character’s development as he draws us in to what Tom is going through – or in “Glass,”
what Tennessee is. He’s bursting to get out of town to begin the life he
imagines for himself.
He smoothly presents these lived-in characters so we can
identify right away. And Williams, ultimately a tragic figure in his own life,
is so transparent about his thoughts and feelings that we have an instant
attachment.
Chaunery Kingsford, who was in the stunning “A Streetcar
Named Desire” in 2018, plays the Gentleman Caller with the right mix of concern
and confusion.
Directed by Brian Hohlfeld, a St. Louis native who knows
how creative passions will take someone away for their journey, understands the
Wingfields. His version is a tidy two hours and hits all the feelings,
emphasizing what isn’t said is as potent as what is.
This play takes on new meaning every time I dig in, and it’s
never the same experience. If you haven’t read it since high school, listen
here – it’s transformative.
Chauncy Thomas
Home, that running Williams’ theme, is used by Guare in “You
Lied to Me About Centralia,” featuring the tremendous power of Chauncy Thomas
as Jim and Julia Crump as Betty. Julia, who played this part when the TWFest
produced it for the Grand Center Theatre Crawl several years ago, is well-suited
to play Williams’ roles. She’s convincing as driven Betty, who is immediately
defensive for taking a trip to Granite City to see an uncle. She has ulterior
motives, which she spills during her conversation with Jim. Chauncy, one of the
most powerful actors on stage during his years in St. Louis, exercises a new
muscle here – only his voice, and it’s no less effective.
Julia Crump
Directed by Rayme Cornell, this play illuminates the themes
of “The Glass Menagerie” in a fascinating way. Just think about how a step or
two in another direction could change your life.
“Glass” is interesting in its exploration of personalities and artistic temperament. With Kari Ely playing the diva Laurette Taylor taking on the role of Amanda Wingfield, you can picture her condescending looks and withering stares. And then Tejeda gets in the skin of burgeoning artist Tennessee Williams. This duet is directed by Gary Wayne Barker, a solid veteran on the St. Louis scene.
Ely, an accomplished actress in St. Louis, is flamboyant as a near-has been who wants to be famous again. Will playing Amanda produce the results she seeks? Will Williams get what he wants with his first feature-length play? All conjecture, of course, but Ely and Tejeda are convincing playing these desperate people – one on the way up and one on the way down. This one-act is 90 minutes.
Kari Ely
The vocal work here lulls us into a comfortable place. It’s
fun to hear these journeys as these performers create pictures in our minds.
One of the most soothing voices is contributed by Ken Page,
who is a masterful speaker. He is the festival’s host and introduces each show
with his silky vocals.
So, tune in, turn up the volume, and let the magic of theater take you to new (and old) places.
