Mikey Madison Stuns in Sean Baker’s ‘Anora,’ One of 2024’s Best Films

Mikey Madison Stuns in Sean Baker’s ‘Anora,’ One of 2024’s Best Films

By Alex McPherson

An intense, darkly funny, and, ultimately, heartbreaking tribute to those striving to achieve the American Dream, featuring a magnificent performance from Mikey Madison, director Sean Baker’s “Anora” is a film that feels gloriously alive.

The story centers around Anora “Ani” Mikheeva (Madison), who works as a dancer and occasional escort in a high-class Manhattan strip club. She’s disarming, fierce, charismatic, and highly skilled in her lines of work. When we first meet Ani, she is gliding near-effortlessly from client to client, flashing her smile, showing off her body, and luring her clientele (often of the rich, older, White man variety) back to the club’s private rooms, for a manufactured fantasy that’s repeated night after night, under her control. 

But no matter how much fun she seems to be having in the moment, it’s just a job for Ani, and a taxing one at that, complete with co-worker rivalries, a demanding boss, and hours that leave her shuffling to a cramped house in Brighton Beach every morning for a few hours of shut-eye before doing it all over again.

Ani has a vulnerable, damaged soul behind her confident persona at work, trapped in an exhausting cycle to make ends meet doing what she knows. Should an “out” arise, she’s willing to seize it. On one fateful night, an opportunity finally presents itself.

Ivan “Vanya” Zakharov (Mark Eidelshtein), the unruly, childish son of a wealthy Russian oligarch, visits Ani’s club one night. He’s allegedly on a trip to America from Russia to “study.” Having some Russian heritage herself and being able to understand the language (if not fluently speak it), Ani is instructed by her boss to treat Vanya with a good time.

Before long, they hit it off, and Ani — drawn to Vanya’s carefree youthfulness and goofy charm — is hired as a private escort in Vanya’s father’s lavish mansion in Brooklyn. As their bond blossoms, Vanya offers Ani $15,000 to be his “super horny girlfriend” for a week, partying and partaking in various shenanigans around New York City, before flying on a private jet for more revelry in Las Vegas. 

Ani is swept off her feet by her Prince Charming, who seemingly presents her with a new life, leaving those “beneath them” to clean up their mess. When Vanya proposes to Ani, she can’t help but say yes, giving herself fully into the fantasy.

The only problem is, well, Vanya, who hopes to get a green card to stay in America. Once his parents in Russia get wind of the marriage, they rush to get it annulled. Vanya’s godfather, Toros (Karren Karagulian), and his unlucky goons Garnick (Vache Tovmasyan) and the surprisingly sensitive, observant Igor (Yura Borisov) are tasked with apprehending Vanya and Ani to move the annulment process along and bring Vanya back to Russia.

Challenges arise when Vanya runs away, leaving the group on a frantic search through New York City to find him, and sending Ani’s hopes and dreams crashing back to injustice-laden reality.

Like Sean Baker’s previous films, “Anora” is an involving experience that’s wholly empathetic to those living on the margins of society. It’s a fairy tale turned on its head — one where the allure of wealth and the illusion of consequence-free living comes crashing down, where the dehumanizing pull of money is on full display, and where genuine, non-transactional human connection is fleeting. It’s also a cinematic wonder whose highs remain long after the end credits roll.

In a star-making, effervescent turn, Madison delivers one of the year’s finest performances. Her Ani is a complex, feisty, and lovable character with depth and a history that Madison conveys with a tangible sense of lived experience. Without resorting to overacting or blatant exposition, and relying as much on delivery as on Baker’s excellent screenplay, Madison takes us on an emotional roller coaster— displaying the gradual thawing of Ani’s initial skepticism, the whirlwind of young love, the subtle-but-crushing realization of the future she’s envisioned falling apart, and her clinging to the shred of hope that remains (and is worth fighting for) amid the literal and emotional wreckage that ensues. Madison’s performance is made all the more stirring thanks to Baker’s direction, which mirrors Ani’s changing sense of self.

Baker’s characteristic attention-to-detail is in full swing from the film’s opening moments. He throws us into Ani’s world — depicting her work in nonjudgmental, matter-of-fact fashion that doesn’t linger in the male gaze. Drew Daniels’ cinematography and Baker’s editing are busy but precise, reflecting Ani in her element, before becoming free-flowing and loose during Ani and Vanya’s time together, and descending into “Uncut Gems”-level chaos in the back half, both farcical and distressing as everything spirals further and further out of control.

Baker’s screenplay — naturalistic yet wry, poignant, and always in service of developing character — rarely resorts to caricatures. The central characters contain layers beneath their initial impressions, brought to life by a consistently strong ensemble.

Everyone is mostly believable here, from the impulsive, trouble-making Vanya, to the handlers beholden to the demands of his father, to the workers they run into (and disrespect) during their scrounging for the flaky Russian Timothée Chalamet gone rogue. The situations are sometimes over-the-top, but Baker refuses to sand down his characters, never letting us forget what’s at stake.

The film’s tone, veering from darkly comedic to laugh-out-loud funny to serious to somewhere in between, threads the needle between “entertainment” and serious drama, sometimes within the same scene. Baker finds moments of humor and sensitive connection surrounding the (largely inevitable) narrative beats.

He counters moments of levity and occasional warmth with emotional gut-punches that leave a lasting sting. The outstanding, quietly shattering final moments, for example, come as a stylistic rebuke to the chaotic highs and lows that have come before. We’re left with a character that’s re-discovering herself and what matters to her, with the weight of her experiences bubbling to the surface.

Baker recognizes the power of fantasy, but also the perils of it, underlining the societal divide between who gets to indulge in it and who is relegated to being used, as well as highlighting someone persevering and trying to retain her dignity when the world is against her.

“Anora” is unique in how Baker involves us in Ani’s story, where each revelation and realization hits with force despite us knowing where it’s likely headed. Indeed, the craftsmanship makes it easy to become swept up in Ani’s feelings — establishing the kind of bond that makes the most of the film medium.

Baker’s latest is one of the year’s best films, without a shadow of doubt, only growing more powerful with further reflection. And Madison deserves all the awards.

“Anora” is a 2024 drama, comedy, romance written and directed by Sean Baker starring Mikey Madison, Mark Eidelshtein, Karren Karagulian, Vache Tovmasyan, and Yura Borisov. It is rated: R for strong sexual content throughout, graphic nudity, pervasive language, and drug use, and the runtime is 2 hours, 19 minutes. It opened in theatres Nov. 1. Alex’s Grade: A+

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Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

By Lynn Venhaus

Sometimes, adults need a playdate too. For a merry good time, head to The Repertory Theatre of St. Louis’s Emerson Studio to join in the fun of watching a pair of seasoned performers – two of St. Louis’ finest – beautifully bookend each other in a dark comedy on self-discovery, “The Roommate.”

Jen Silverman’s sharp and funny character study, written in 2015, takes place in a big old house in Iowa City, Iowa. Under Rebekah Scallet’s concise and brisk direction, Kelley Weber and Nancy Bell breathe fresh life into contrasting personalities that are at crossroads.

Their odd-couple pairing is often the foundation for beloved television sitcoms, but in The Rep’s Studio space, it is an intimate journey molded by the playwright’s wit, technical brilliance, and the pitch-perfect comedic timing of the two lead actresses.

With a saucy wink and a broad smile, Scallet assuredly prepares us for the unexpected, timing out revelations for maximum effect, so that the audience is quickly invested in each unusual turn of events.

A never-better Weber plays sensible Sharon, recently divorced whose son lives away. She’s a chipper sort who has played it safe for most of her life, seemingly content with her rather traditional lifestyle. To help pay the bills and have some company, she advertises for a roommate.

Kelley Weber and Nancy Bell in “The Roommate.” Photo by Jon Gitchoff.

Enter luminous Nancy Bell as Robyn, a free spirit who wants to relocate from New York City. She’s very different from Sharon – she reveals she is gay, vegan, a smoker trying to quit, and grows pot. (Marijuana remains illegal in Iowa, although medical marijuana is allowed). Mysterious, she appears to have more secrets, and some of her murky past eventually comes out.

Bell, widely respected for her talents on stage and directing productions, portrays Robyn with a marvelous ease. She understands Robyn’s desire to create a new identity after a lifetime of mistakes and regrets.

Weber, who hasn’t been as visible in recent years but recently retired as an educator, goes beyond the stereotypical Midwest homemaker to depict a range of emotions — showing loneliness, frustration, desires, and vulnerability.

Bell and Weber are old friends in real life, and project an unmistakable bond on stage. As natural as two people can be slipping into the skin of another – Bell sporting a temporary snake tattoo on her arm – they are convincing as they transform because of each other’s influence.

Most jarring is Sharon’s embrace of things dark, dangerous and criminal. Weber’s zest for walking on the wild side is not only believable but hilarious, while Robyn’s more casual personality takes a back seat when she becomes a cautionary voice of reason.

Kelley Weber is Sharon in “The Roommate.” Jon Gitchoff photo.

Those differences are what propel the action in this 90-minute show without intermission. Some twists and turns take place that are unforeseen, and while Silverman boxes in the characters toward its awkward conclusion, you never feel that the actresses are disingenuous. Their performances are complete.

While the offbeat story is the centerpiece, the creative team has enhanced the atmosphere with splendid work. Noteworthy is Jayson M. Lawshee’s warm interior lighting design and Kareem Deanes’ crisp sound design (with astute music choices for effective needle drops).

Scenic designer Robert Mark Morgan’s cozy kitchen design speaks to the room’s importance as the hub, the heartbeat of the home. With its exterior porch, sitting area and upstairs bedrooms factoring into the action, the setting is functional and the actors’ movements fluid.

The lived-in look and summer season is reflected in Lou Bird’s costume design too – mostly capris and an assortment of colorful print blouses for Sharon and ordinary jeans and T-shirts for Robyn.

A triumph all the way around, “The Roommate” emphasizes that reinvention can happen any time in life – with obvious bumps in the road. It is a bright spot on the fall theater landscape and opens the Studio series with flair.

Nancy Bell as Robyn. Photo by Jon Gitchoff.

With all due respect to the renowned stars Mia Farrow and Patti LuPone currently performing in the Broadway production, our St. Louis dynamic duo gives confident, engaging, relatable performances that bristle with energy, indicative of their own star power commanding local stages. Bell and Weber for the win! (Special mention to former associate artistic director Becks Redman for her astute casting.)

“The Roommate” is also special for its significance in re-opening the studio performance space to inaugurate the Steve Woolf Studio series, named after the late artistic director who made his mark in that role for 33 years. He retired in 2019 and died at age 75 in 2021.

In the past, the Studio series presented adventurous productions on a smaller scale than the mainstage season and was known for showcasing a variety of voices. The Studio remained dark after the pandemic shutdown in 2020, although “Gruesome Playground Injuries” was presented at the Kirkwood Performing Arts’ Strauss black box theatre in 2022.

Sitting in the Loretto-Hilton Center’s Studio space Friday, being part of its return, felt like a warm group embrace. Fond memories were shared and that feeling of comfort and familiarity surfaced.

That feeling carried over in the goodwill and support for what the current Augustin Family Artistic Director Kate Bergstrom and Managing Director Danny Williams are trying to achieve since The Rep announced its struggle to remain open in fall 2023. They launched a successful “Rally for the Rep,” and the turnaround to date has been remarkable.

Live theater has taken on a feeling of coming home since its return from the global pandemic, and that reconnection is meaningful, especially that The Rep is beginning its 58th season.

Given The Rep’s challenges and its renaissance-in-progress, there is a new sense of belonging, that people are pulling together to help it succeed in its mission. “The Roommate” is one of the reasons to cheer.

Kelley Weber. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “The Roommate” Oct. 23 – Nov. 17 in the Emerson Studio, 130 Edgar Road, St. Louis. Subscriptions and single tickets are available online at repstl.org, over the phone 314-968-4925 or in person at the Loretto-Hilton Center Box Office Tuesdays – Thursdays from 10:30-5pm. Seating for the production is General Admission with subscribers given priority seating beginning 30 minutes prior to curtain.

Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. For more information, please visit repstl.org.

Post Show Discussions follow Saturday, Nov. 2 and 9 at 4 pm performances.

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Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

By Lynn Venhaus

Edgar Allan Poe’s tremendous body of work has impacted pop culture for generations – art, photography, music, movies and television. Now Stray Dog Theatre pays tribute to the distinguished 19th century American writer and poet by exploring his highs and lows in a stylized musical.

Mixing fact and fiction, and material from his mysterious writings and mostly miserable life, “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” features a passionate performance from lead Drew Mizell and others in a seven-person ensemble portraying a wide range of roles.

Mizell immerses himself fully as Poe, from his early years through his studies, and his plethora of adversities as an adult. The cast understood the assignment, with the insight of Sarajane Clark, who was the dramaturg.

As the maestro of this macabre musical, Director Justin Been has embellished this often gloomy story with superb atmospheric visual and aural flourishes. The strong technical work is superior to the unusual musical’s structure that seems repetitive and lacking oomph.

Granted, musical numbers expanding on the literary titan’s torment, and his heartbreaks, gut-wrenching tragedies, woeful bad luck and throes of addiction and family mental dysfunction don’t exactly instill confidence nor come across in a “Life’s a Happy Song” scenario.

Drew Mizell as Edgar Allan Poe. Photo by John Lamb.

Been, whose work creating effective sound design to punctuate his shows is often a high point, teamed up with Wade Staples, and the pair goes above and beyond here – an outstanding effort that is one of the most distinctive this year.

Matthew Skopyk added spooky instrumental music that infiltrated the dark shadows while he also did orchestrations supplementing composer, lyricist and libretto Jonathan Christenson’s.

Been, who also designed the set and visual effects, employed a hazy shade of New England winter and an eerie and chilly demeanor, while ace lighting designer Tyler Duenow illuminated the creepiness perfectly. The Raven illusion is well-staged.

Been also collaborated with choreographer Maggie Nold for innovative steps, and she came through illustriously, for she wasn’t content with presenting the same old with this troupe.

Costume designer Sarah Gene Dowling fashioned a gothic tale in look and attitude. Dowling’s black-and-white endeavors are striking, as are her pops of deep reds and purple to break up the monochrome palette. She designed appropriate hair and makeup looks for each character that elegantly suited them.                                                                                                                                                                                                               

Been’s staging experimented more with images and swirling movements, weaving the seven players in and out of the spotlighted action.

Because the cast is so committed and vocally strong, they elevate Christenson’s very old-timey and very theatrical script and songs that are reminiscent of vintage melodramas and vaudeville olios.

Jennifer Buchheit is the music director but it’s Christenson’s recorded orchestrations that are used, not musicians off stage.

To his credit, Christenson sampled some of Poe’s most famous prose in his dialogue, lyrics and song titles.

Photo by John Lamb.

Because Poe’s anguished real life influenced his most famous creations, fans of his literary work will be able to hear some familiar and favorite references. Poe’s timeless works include “The Raven,” “Annabelle Lee,” “The Tell-Tale Heart,” “El Dorado,” “The Masque of the Red Death” and “The Fall of the House of Usher.”

The musical was first performed in 2009 in Canada and later produced off-Broadway in 2015. While the timing is appropriate for the Halloween season, the material isn’t in the same league to become a cult classic like “The Rocky Horror Show,” “Heathers the Musical” or “Evil Dead: The Musical,” and doesn’t have the staying power of Agatha Christie’s immortal dark thrillers. But fans of Poe seem enthralled with it.

Poe was a melancholic soul who went on to great acclaim posthumously. He was born in Boston, the second child of actors, on Jan. 19, 1809, and died under suspicious circumstances in Baltimore at age 40 on Oct. 7, 1849.

He grew up with an older brother Henry and a younger sister Rosalie, but their poverty and loss of parents at an early age doomed them to troubled lives and often long periods of separation. Stray Dog’s outstanding veterans Stephen Henley and Dawn Schmid emotionally deliver in their sibling portrayals.  

After enlisting in the Army in 1827, Poe published his first collection of poems. When he failed as an officer cadet at West Point, he decided to become a writer, and switched to prose. The play doesn’t include his military sidestep.

Photo by John Lamb.

He worked for literary journals and periodicals, and became known for his literary criticism, moving between Baltimore, Philadelphia and New York City. Finally, he garnered instant success in 1845 after publishing his poem “The Raven.”

His two lady loves tug at your heartstrings, as Sara Rae Womack sweetly plays “the one that got away” – Elmira, and Dawn Schmid is sunny as his cousin Virginia Clemm, whom he married at age 27. She died of tuberculosis in 1847.

Schmid also shifts gears as his kind foster mother Fanny and Kevin O’Brien, rocking some appropriate period facial hair, is his cold, cruel foster father John Allan, a tobacco merchant in Richmond, Virginia.

Heather Fehl is Poe’s very dramatic but sickly actress mother Eliza, displaying a supple singing voice, and Michael Cox is dastardly as his slimy publisher Rufus Griswold.

The drama calls for an old-style affectation that doesn’t lend itself to contemporary immersive storytelling, which is my preference, but I appreciate the concept. I didn’t find the songs particularly memorable, although the cast animatedly delivered them with everything they had, and were it not for their fervor, the musical numbers would have been mostly monotonous.

Poe once said, “All that we see or seem is but a dream within a dream,” and Been and company emphasized the ethereal, mystical quality of the material. They gilded this sad and sorrowful tale with their considerable skills to offer an interesting perspective.

Photo by John Lamb

Stray Dog Theatre presents “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” from Oct. 17 to Nov. 2. Performances are Thursday through Saturday at 8 p.m., with special shows on Sunday, Oct. 20, at 2 p.m., and on Halloween, Oct. 31, at 8 p.m. at Tower Grove Abbey, 2336 Tennessee Ave., St. Louis.

Tickets are general admission seating, and the box office/will call open 1 hour prior to showtime. For more information, contact 314-865-1995 or visit straydogtheatre.org

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Vivid ‘Emilia Perez’ is Bravura Filmmaking Featuring Electric Performances

Vivid ‘Emilia Perez’ is Bravura Filmmaking Featuring Electric Performances

By Lynn Venhaus

Fearless and unflinching, writer-director Jacques Audiard’s bold fever dream of a movie colors outside the genre lines. “Emilia Perez” is unlike any conventional cartel crime thriller that’s gone before.

Add that it’s a musical, in Spanish language, and France’s Oscar submission for Best International Feature, and you have a sui generis film that’s operatic in tone and organic in its delivery of songs and dance.

Set in Mexico City, Rita (Zoe Saldana), frustrated and in a rut after being unable to stop widespread corruption, gets an unexpected, lucrative offer from a cartel kingpin. He seeks her help in retiring and undergoing sex reassignment surgery. Manitas Del Monte (Karla Sofia Gascon) will be able to evade others and become Emilia, the woman he has dreamed of being.

Manitas’ wife Jessi (Selena Gomez) and their two sons are unaware of the gender affirmation plan. They are told he’s dead, and are whisked away to live in Switzerland. That is, until Emilia arranges a reunion (one-sided). Can someone escape their past completely?

Zoe Saldana as attorney Rita Moro Castro.

The performances are uniformly strong, with the passionate Gascon a revelation and Saldana in a career-best portrayal unlike anything she’s ever done.

Last year, Saldana became the first actress to star in four movies that grossed over $2 billion worldwide — “Avatar” and “Avatar: Way of Water” as Neytiri and “Avengers: Infinity War” and “Avengers: Endgame” as Gamora (as part of the MCU “Guardians of the Galaxy.”). Even though she is best known for roles in sci-fi and superhero blockbusters, her first part was as a ballet dancer in 2000’s “Center Stage” and she sang as Rosa in the animated musical “Vivo” in 2021. As Rita, she is a vibrant singer and dancer who commands the screen in her musical numbers.

Gomez, who comes from the world of pop, also surprises with her dramatic turn as the fiery wife with secrets of her own.

In fine support, Adriana Paz is the sympathetic ally Epifania, Edgar Ramirez is Jessi’s mysterious fiancé Gustavo, and Mark Ivanir as surgeon Dr. Wasserman.

The female ensemble collectively (and deservedly) won the Best Actress Award at the Cannes Film Festival, where the film also won the Jury Prize.

Karla Sofia Gascon and Adriana Paz.

While Audiard’s complex storytelling is vivid and riveting, just like his critically acclaimed “A Prophet” and “Rust and Bone,” his creative team has collaborated on a visual striking film that’s integral to the film’s overall power. Cinematographer Paul Guilhaume switches from harsh-lit teeming street scenes to the escape of a sweeter, affluent life.

Audiard loosely based the film on Boris Razon’s 2018 novel “Ecoute,” and he first wrote it as an opera libretto. It has the rhythms of traditional opera, thrilling in its construction, especially as the story careens to its explosive conclusion.

The original songs by Camille, original score by Clement Ducol, and choreography by Damien Jamet deepen the characters’ yearnings. The four women are seeking happiness on their own terms, and that’s a satisfying, unifying aspect. Gascon’s beautiful rendering of “Her” explains her happiness at becoming her true self.

Also of note are the costume designs by Anthony Vaccarello of the fashion house Yves Saint Laurent.

An exhilarating wild ride, “Emilia Perez” has romance, desire, redemption, humor, and a dark side all put into play. One of the most audacious films of the year, look for it to be on many shortlists for its bravura filmmaking and triumphant acting.

“Emilia Perez” is a 2024 crime thriller musical written and directed by Jacques Audiard and stars Karla Sofia Gascon, Zoe Saldana, Selena Gomez, Adriana Paz and Edgar Ramirez. It is 2 hours and 12 minutes long and it’s rated R for language, some violent content and sexual material
Set to open theatrically in the U.S. on Nov. 1, the film will begin streaming on Netflix Nov. 13. Lynn’s Grade: A-.

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Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

By Lynn Venhaus

Pondering a conundrum like destiny or free will is what the Spanish classic drama “Life is a Dream” aims to do.

Because the material is from a different era and country, a director’s key quest would be to cast the right people to re-energize a verse translation for a modern audience. And thoughtful chronicler Philip Boehm did just that – he gathered a dream team to fulfill his vision in a superbly produced Upstream Theater play.

They added the polish, he delivered the panache for this stimulating allegory about illusions vs. reality. Its broader appeal speaks to the blurred lines and political uncertainty of today.

The 1635 play by Pedro Calderon de la Barca, a legendary literary figure, comments on the Spanish Inquisition, and how it used the law to combat heresy. At issue was religious freedom and scientific truths vs fundamentalists and Biblical doctrine. This version was translated by G. J. Racz, a humanities professor, in a 2006 Penguin Classics publication.

Gary Glasgow and Reginald Pierre. Photo by ProPhotoSTL.

On a barren stage, with only a chair and a set of chains visible in a scenic design by Patrick Huber, a royal tale of birthright, palace intrigue, and political maneuvering unfolds in a precise, methodically composed way that emphasizes intricate motives and flawed humanity.

The setting is Poland and Russia plays part in the power-jockeying underway. That a 17th century work could captivate an audience 400 years later is a credit to the talent on stage but also the creative team behind the scenes.

Calderon, regarded as one of the most distinguished playwrights of his time, grappled with perceptions vs. what really happened, which is parallel to today’s acceptance of ‘alternative facts.’

Boehm uses that dichotomy to tell this story in the style of the Spanish Golden Age, a period also marked by Miguel de Cervantes’ “Don Quixote” in 1605, for reference. (If the framework reminds one of the Elizabethan era, that’s certainly valid, too).

Boehm, an astute student of history, has made Upstream’s focus, since 2005, one of bringing contemporary and classic world theater that “move you, and move you to think.” He is looking for a deeper connection here between the past and present concerning fate and reason.

And that assignment is understood by the nine performers – one of Upstream’s larger casts – who invigorate that space and command attention at every turn.

Jerry Vogel as the king. ProPhotoSTL photo.

Emerging from (semi) retirement to portray the resolute ruler King Basil, Jerry Vogel reminds us why he is considered one of St. Louis’ finest actors. In his 10th Upstream appearance, he convinces as a man of contradictions — a mathematician swayed by superstition and intent on preserving his power through a prophecy.

Paying heed to an oracle, he imprisoned his son, Segismund, at birth, so that he couldn’t become a threat, challenging his father’s authority – and even kill him.

It’s now 25 years later, and second thoughts have led him to free his son from captivity, basically unleashing a beast – but as a test, physically and psychologically – to see if he could turn over his kingdom to the prince.

In a fierce performance, Reginald Pierre lashes out as the incarcerated heir, confused by his freedom and struggling with decision-making. If given the chance to defy his fate, can he? Or will emotions rule from the heart and not the head?

Of course, he wreaks havoc at the palace, but the king has put a safeguard in place – if he feared his son’s actions, he’d jail him again, drug him, and say it was all a dream.

Jennifer Theby-Quinn and Mitch Henry-Eagles. ProPhotoSTL photo.

Then, he would abdicate so his niece and nephew could ascend to the throne. First cousins Astolf (Mitchell Henry-Eagles), Duke of Moscow, and Stella (A.J. Baldwin) are a pair not to be trusted.

Rosaura (Jennifer Theby-Quinn) enters the picture, a Russian noblewoman disguised as a man, so she can exact revenge on Astolf, who behaved very badly in the name of love. She and her servant Clarion (Alan Knoll) are in a jam. Their horses have run off, and they discover the secret tower where Segismund is chained.

The plot thickens as secrets are revealed. Clotaldo (Gary Glasgow), the king’s right-hand man and old nobleman, discovers that a secret he has kept for years, has now materialized with the sword Rosaura possesses. It is the one he left in Moscow that he intended for his child. Rosaura is unaware that he is her father.

As supporting players, Bryce A. Miller and Michael Pierce capably fill multiple roles as guards, servants and soldiers. Pierce was also the fight coordinator for the show.

Pierre’s dynamism is matched by the ensemble’s crisp delivery and spirited characterizations. Their understanding of the text speaks to the experience of the veterans in the cast, those who have performed in local Shakespeare and classic literature presentations.

Theby-Quinn, a three-time St. Louis Theater Circle Award winner, always brings a vitality that stands out on stage, even when the roles are as confined gender-wise, as a 17th century female fighting for her honor, would be. She’s as robust as Knoll is funny. His Clarion has fun playing the fool that he’s been pigeon-holed as, making him even more amusing.

Alan Knoll as Clarion. Photo by ProPhotoSTL.

Costume Designer Michele Friedman Siler’s use of various textures in royal attire is striking, as is Steve Carmichael’s lighting design, adding to the moody atmosphere. Philip Boehm and Sabria Bender’s sound design was flawless.

The creative team included Jane Paradise as assistant director, Patrick Siler as stage manager, Brian Macke technical director, and Emma Glose on props.

When rebels free the prince from the tower, Segismund has learned a great deal – and above all, lessons of love and forgiveness. The storytelling has a few surprises, so it’s not as easy to predict, but ends optimistically as honor is restored.

To borrow from that enlightened period, to dream an impossible dream – bear sorrows, right wrongs, and keep hope alive, is a noble endeavor that leads to more understanding. “Life Is a Dream” makes a case for living in the present, but also keeping dreams alive, and Upstream underlines that with exclamation points.

Jerry Vogel and AJ Baldwin. Photo by ProPhotoSTL.

Upstream Theater presents “Life is a Dream” Oct. 18 – Nov. 3 at The Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. Performances are Thursday through Saturday at 8 p.m. and Sunday at 2 p.m., with a special evening performance instead at 7 p.m. on Oct. 20. The play runs 2 hours and 20 minutes with an intermission.
Bohemian Thursday is Oct. 24, and all tickets are $15. For more information, visit www.upstreamtheatre.org

Theby-Quinn and Pierre. ProPhotoSTL.
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Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

By Lynn Venhaus

With its emotionally rich storytelling, “Lungs” demands much from Joel Moses and Nicole Angeli, who fearlessly tackle those challenges in their finely chiseled performances as M and W.

As a couple linked through many years, the pair have seamlessly plumbed the depths of human nature to expose raw nerves, painful truths and tender intimacy. They start out as young lovers – enlightened, independent thinkers — figuring out their life together and separately, then acquire experiences and perspective, increasingly uncertain of tomorrow.

Because of their fluent reactions to developing relationship situations, you hang on to every twist and hairpin turn of daily living in this offbeat, unconventional drama that is laced with humor – and just may elicit a tear or two.

Under director Ellie Schwetye’s shrewd guidance, the duo has created such a level of comfort that it appears to unfold spontaneously, in real time. Their mental acuity, verbal dexterity, and agile physicality is astonishing, as is Schwetye’s modulated pacing.

Angeli and Moses are on stage the entire time, being honest and open, overthinking their lives as developing people on a planet in crisis. They reveal their flaws as they personify their genders – as they interpret the assignment. She’s more neurotic, but also empowered; he’s more even keel, but willing to adjust and can jump in, then deal with consequences. And you never doubt their sincerity.  

Duncan Macmillan’s thoroughly relatable two-hander play confronts making grown-up decisions that change your life’s trajectory — the small moments and the big milestones, the planned and the unplanned.

A recurring theme concerns current global environmental and climate changes underway. With such issues as carbon footprints, depletion of natural resources, and overpopulation being real dilemmas, M and W debate bringing children into the modern world. Is it reckless, risky or responsible – and are they ready?

The setting is various locations in the south of England, over a period of many years. Macmillan’s not so much obsessed with pollution as he is focused on communication as citizens of the world and our place in it.

The sagacious Albion Theatre is closing out its second full season with this penetrating production after entering the regional professional theater scene in 2022. Its mission is to present British playwrights (with forays into other United Kingdom territories and Ireland), mainly highlighting social, political and cultural influences.

This is their most contemporary effort to date. A Gen X’er, Macmillan was born in England.

Photo by John Lamb

Schwetye has minimally staged this 105-minute play without intermission, using Erik Kuhn’s bare set design that features two sloping slabs and a stationary middle. Her crisp sound design and Tony Anselmo’s natural lighting design keep that aesthetic, as does one casual costume design each by Tracey Newcomb. CJ Langdon did double duty as assistant director and stage manager.

The actors, both St. Louis Theater Circle Award winners, color in the rest – their ages, places and times in the ebb and flow of their lives. W is a Ph.D. grad student; M is a musician when they’re introduced in a ‘queue’ at Ikea. The team seasoned the material well, emphasizing the beats of Macmillan’s on-the-nose prose for optimum effect.

Macmillan’s 2013 play, ‘Every Brilliant Thing,” is in the same lane as “Lungs,” examining the complexities of modern living. It’s been staged several times in St. Louis, including a production Schwetye directed for New Jewish Theatre in spring 2023. The playwright is exceptionally articulate about being human, fretful and striving for goodness.

This match-up feels like five sets of championship tennis on Wimbledon’s Centre Court. Surely the intensity would exhaust both actors, but they seem invigorated. By the time Angeli and Moses bittersweetly wrap up this story, the audience has been through a tsunami of ‘feels,’ and all earned.

“Lungs” is not injected with any artificial sweeteners or saturated fat, and the play’s lean, muscular style is riveting. You may not have figured these two people out by the conclusion, but you know them, and are in awe of the actors’ ability to just ‘be,’ no pretense.

With such an articulate, sharp-witted piece, I am reminded that, for all our modern worries, above all, we get to carry each other.

Albion Theatre presents “Lungs” Oct. 18 to Nov. 3, with performances Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis, MO 63103. For more information, visit www.albiontheatrestl.org.

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Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

By Lynn Venhaus
Looking at female agency through the prism of mothers, daughters and sisters, “Am I Dangerous?” is an earthy, sensual exploration written by a perceptive local playwright and performed by a quartet of instinctive actresses, directed by a shrewd Tress Kursym.

With such authentic credentials, the play’s perspective is set in the past, albeit a mythical framework, but resembles a modern coming-of-age tale.

Committed to fresh voices, Contraband Theatre presents this world premiere Wednesday through Sunday, Oct. 9 through Oct. 26, at The Chapel.

Playwright e.k. doolin asks: “If everything you knew burnt to the ground, what would you risk to discover who you are?”

It’s a thought-provoking entry into how females understand womanhood, whether based on observing behaviors or being schooled by elders on customs and culture – their wisdom hard-won.

The heroine’s journey begins with Philoten, 16, who appears to be a typical ‘good girl’ teenager trying hard not to be ‘dangerous.’ As played by Allison Sexton, she is a young woman trying to find her way. She’s been warned about those who are different and don’t follow the rules, those women who flaunt their bodies. But then, life – and death – happens, and chaos ensues.

Doolin has used a minor Shakespeare character in “Pericles, Prince of Tyre,” circa 1609, as her vessel to question patriarchy.

Zahria Moore and Jade Cash, with Allison Sexton in the background. Photo by Jennifer A. Lin

Dionyza (Zahria Moore) is her mother, who is also in charge of Pericles’s daughter, Marina (Jade Cash). They view each other more as enemies than friends. The fourth woman, Lychorida (Rachel Bailey), is a nurse who could be described as chief nurturer.

They share somewhat complicated connections and are not reticent in expressing their emotions. The focus is to confront and contrast facets of women at various stages. (They have all gone through some things!). Basically, they can run, but they can’t hide, no matter how they try to control their fates.

The dialogue appears to be a mixture of old and new styles, rooted in classic drama but with a contemporary edge. At times, the content seems like it’s translated from centuries-old text, while in other passages that establish characters’ motives, it appears to be modern musings.

Doolin has also incorporated the senses and the elements into her action, which adds an interesting texture. Kursym’s well-rehearsed ensemble are earnest in establishing their purpose, making sure they are heard as well as seen.

The actresses quickly convey their characters’ distinct personality traits. Sexton seamlessly conveys her doubts and anxieties as she questions if she is a danger because of how she views her life. Feeling like an outsider, she challenges the old-guard ways, which Dionyza is resistant to – and wants to control.

It is Sexton’s St. Louis professional acting debut, and she’s impressive. The other accomplished actresses are equally compelling.

Moore adds a haughtiness to the imperial-acting Dionyza, content to wait for the men to return home and steer their lives. She may smile, but there are motives behind the grin.

Allison Sexton and Jade Cash. Photo by Jennifer A. Lin

Marina and Philoten are oil and water, chafe at association, and accuse each other like they are teenagers grumpily thrown together. Cash is a live wire as the spunkier, more impetuous and sexually active young woman.

Bailey is convincing as a quintessential Earth Mother, and as always, commands the stage in whatever role she plays.

Three of the women are in dual roles as the gods that guard the Temple of the Sacred Sky, Sea and Earth, aka “The Watchers.”  They are tasked with judgment. Then we view flashbacks to see how the four women interact – relating joys, sorrows, desires and wistful memories.

The ancient setting, blending fantasy and reality, is imagined through astute atmospheric lighting design from Theresa Comstock, De’Janna Hand’s intriguing expressive sound design that has an ethereal quality. Erik Kuhn’s illustrates a simple coastal tableau in scenic design suited for the small stage, and director Tress Kursym’s costume design reflects the ages and status of the characters.

The play runs 90 minutes without an intermission.

Doolin has used the past to explore the present and raise concern about the future. It’s a topic worthy of continued conversations. Providing new perspectives and creating fem-tagonist opportunities is refreshing, and certainly welcome here.

Jade Cash, Rachel Bailey and Allison Sexton. Photo by Jennifer A. Lin

Note: On Thursday, Oct. 17, a post-show discussion on “Stealing from Shakespeare” will feature guest panelists Bryn McLaughlin, an independent director and scholar, and Hannah Baartman, a St. Louis theatre educator and performer with a deep well of inspiration in Shakespeare.

Part of the St. Louis theater community, they have performed on such local stages as The Muny, Metro Theater Company, St. Louis Shakespeare Festival, St. Louis Actors’ Studio and New Jewish Theatre. They will discuss the connection between the source text of “Pericles” and e.k. doolin’s script.

Contraband Theatre presents “Am I Dangerous?” Wednesday through Saturday at The Chapel, 6238 Alexander Drive, St. Louis. Performances are at 7:30 p.m. For more information, visit: https: contrabandtheatre.org

All tickets are pay-what-you-wish, from $0 to $30. Reserve your spot at https://events.humanitix.com/am-i-dangerous

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Saint Louis Dance Theatre Opens Season with a Gift to the Community

Saint Louis Dance Theatre Opens Season with a Gift to the Community

(RE)Imagine 2024-2025 Launches with Free Tickets for St. Louis Youth, World Premieres, and a Dazzling Movers & Shakers Ball

Saint Louis Dance Theatre (STLDT) is thrilled to unveil its highly anticipated 2024-2025 season, (RE)Imagine, marking a bold new era for the company and a celebration of the vibrant spirit of St. Louis. As part of its commitment to accessibility and community engagement, STLDT is proud to launch a pilot community outreach program, in collaboration with the City of St. Louis and the Youth Development Collaborative, a Mayor Jones initiative, by offering complimentary tickets to the season opening (RE)Claim fall concert series to St. Louis City youth. Up to 100 tickets per eligible performance will be distributed to youth-serving programs.

“We must champion world-class art experiences for our youth. These encounters ignite creativity, fuel innovation, and ultimately build a brighter future for our city,” said Lakesha Robinson, Senior Advisor for Children, Youth, and Families for the city of St. Louis.

“Through this pilot program, we aim to inspire St. Louisans to believe that world-class dance is not only possible in our city but accessible to all,” said Erin Warner Prange, Executive Director of STLDT. “Through movement, we tell the diverse stories that shape us—no history lesson or training required. It’s a universal language that builds a more welcoming and vibrant St. Louis for everyone to call home and visit, no matter their experience with concert dance.”

The season kicks off with a spectacular opening weekend of unique performances each night, beginning with the (RE)Claim fall concert from October 24-27 at COCA’s Catherine B. Berges Theatre. The festivities peak at the glamorous Movers and Shakers Ball on Saturday, October 26th, a dazzling evening of dining, dancing, and celebration at 560 Music Center and COCA, including tickets to the evening performance as part of the Ball. The final performance of the weekend on October 27, culminates a triumphant weekend of dance.

(RE)Claim showcases a captivating blend of world premieres, company premieres, and iconic works that illuminate the human experience through movement. Acclaimed guest artist Jamar Roberts, known for his “uncommon force and originality” (Dance Magazine), contributes a world premiere alongside the world premiere, For Love’s Sake, by STLDT Artistic Director Kirven Douthit-Boyd.

The weekend program also features the company premiere of Robert Battle’s poignant duet Unfold, José Limón’s timeless solo Chaconne performed with live music by a St. Louis Symphony Orchestra soloist, and Come…The sun doesn’t wait by Omar Román De Jesús, showcasing the company’s versatility and dedication to preserving dance legacies while also supporting emerging voices. This diverse repertoire, featuring artists from varied backgrounds and generations, underscores STLDT’s ambition to become the most diverse and inclusive dance company in the Midwest.

The remainder of the (RE)Imagine season continues this celebration of inclusive artistry, featuring the Ellington/Strayhorn Nutcracker in December, the (RE)Build winter concert in February, the Tour de Dance progressive dining and dancing showcase in March, and the (RE)Fine spring concert in May.

“This season is a testament to the transformative power of dance, and our belief that when there is more representation in the room, more art is possible,” said Kirven Douthit-Boyd, Artistic Director. “Audiences will witness the brilliance that emerges when diverse voices and experiences converge on stage. We are committed to providing world-class dance to St. Louis by pushing boundaries, pursuing artistic excellence, and ensuring that more of our community feels represented and inspired by the stories we tell through movement.”

About Saint Louis Dance Theatre 

Saint Louis Dance Theatre is a premier professional dance company blazing new trails by interweaving the Gateway City’s storied legacy into boundary-pushing contemporary performances. Combining world-class artistry with a bold vision, Saint Louis Dance Theatre champions inclusivity, collaboration, and artistic excellence. This fusion of purpose and passion positions Saint Louis Dance Theatre as a beacon for the spirit of St. Louis in every performance.

With a grand vision of elevating St. Louis as a nationally recognized arts destination, Saint Louis Dance Theatre aims to deepen connections locally while showcasing the region’s pioneering creative force on a national scale. For more information, visit stldancetheatre.org.

Artistic Director Kirven Douthit-Boyd

(RE)Claim Fall Concert Details

  • Dates: October 24-27, 2024
  • Venue: COCA’s Catherine B. Berges Theatre, 6880 Washington Avenue St. Louis, MO 63131
  • Program A (Oct 24-25):
  • Movers & Shakers Ball Program (Oct 26):
    • For Love’s Sake by Kirven Douthit-Boyd (Excerpt)
    • Unfold by Robert Battle (Company Premiere)
    • World Premiere by Jamar Roberts
  • Program B (Oct 27):
    • Come…The sun doesn’t wait by Omar Román de Jesús
    • Unfold by Robert Battle
    • For Love’s Sake by Kirven Douthit-Boyd (World Premiere)
    • World Premiere by Jamar Roberts
  • Tickets: Available at https://www.stldancetheatre.org/reclaim-fall-concert

Pilot Community Outreach Program Details: 

  • Participating youth-serving programs can receive up to 25 complimentary tickets on a first-come first-served basis for the (Re)claim Fall Concert series performances:
    • Thursday, October 24th – 7:30 p.m.
    • Friday, October 25th – 7:30 p.m.
    • Sunday, October 27th – 2:00 p.m.
    • Sunday, October 27th – 7:30 p.m.
  • All performances will take place at COCA’s Catherine B. Berges Theatre, 6880 Washington Avenue St. Louis, MO 63131
  • Up to 100 tickets per evening will be available to youth-serving programs within the city of St. Louis.
  • To request tickets, please email [email protected].
  • Tickets are valid only for the specific performance for which they are redeemed and cannot be exchanged or transferred.
  • Ticket availability is subject to capacity and cannot be guaranteed.

Movers and Shakers Ball Details:

  • Date: October 26, 2024
  • Locations: 560 Music Center & COCA
  • Time: 5:00 pm – 10:15 pm
  • Co-chairs:
    • Rhonda and Carlton Adams
    • Francesca DeStefane
  • Host Committee:
    • Shereen Fischer
    • Andrea Slavik
    • Denise Thimes
    • Tyeler Hood

Tickets and Information: https://www.stldancetheatre.org/movers-and-shakers-ball

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‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

By Alex McPherson

Frenetic, scattershot, and thoroughly self-absorbed, director Jason Reitman’s “Saturday Night” might satisfy those nostalgic for the early days of “SNL,” but fails to make a name for itself on its own merits.

Presenting itself as a fictionalized version of the stressful 90 minutes leading up to the original “Saturday Night Live” (originally called “Saturday Night”) broadcast in October 1975 at Studio 8H, Reitman’s film revolves around Lorne Michaels (Gabriel LaBelle), the show’s executive producer and ringleader. Michaels remains insistent on the show’s potential while having little idea as to what it actually is.

Co-creator Dick Ebersol (Cooper Hoffman) is increasingly worried about how things will pan out, trying to reason with the ever-resistant Michaels as the cramped, claustrophobic halls of Studio 8H buzz with both excitement and growing fears of potentially spectacular failure. There’s also a llama, for some reason.

All the while, a group of unruly, up-and-coming comedians — including the arrogant yet charismatic Chevy Chase (Cory Michael Smith), Dan Aykroyd (Dylan O’Brien), Garrett Morris (Lamorne Morris, no relation), John Belushi (Matt Wood), plus several talented women such as Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), and Jane Curtin (Kim Matula) that the film mostly treats as afterthoughts — prepare to go on-air, confronting their own mini-crises and doubts as the clock ticks, ticks, ticks toward showtime, and the history books.

Tempers run hot (the pretentious Belushi and Chase butt heads, and Belushi hasn’t even signed his contract yet), people are stoned out of their minds, lights are falling on-stage, the sound system’s busted, head writer Michael O’Donoghue (Tommy Dewey) is spewing acerbic barbs at anyone and everyone questioning his scripts, and rival late-night host Milton Berle (J.K. Simmons, typically strong) is, quite literally, waving his dong around.

Gabrielle LaBelle, Kaia Gerber and Cory Michael Smith.

NBC executive Dave Tebet (Willem Dafoe) is observing the whole production from afar, egging on Lorne with smug anticipation of his passion project’s downfall, as the whole endeavor is a pawn in NBC’s contract dispute with Johnny Carson.

Suffice to say, the stakes are high, at least in the context of these characters, who don’t yet know that SNL will wildly succeed and become a cultural institution. Watching as a casual fan of the iconic program, though, “Saturday Night” is curiously devoid of surprise, or insight, or, even, laughs. There’s way too much smugness in Reitman’s retelling of this “revolution in comedy.” The film appeals to mainstream cinema’s obsession with callbacks at the expense of telling a story worth investing in.

Still, despite its emptiness, “Saturday Night” features dynamic performances from an ensemble doing an at-times-scarily convincing job at portraying their real-life counterparts. LaBelle brings a nervous, stubborn energy that’s simultaneously inspiring and pathetic, barely tamping down Michaels’ anxiety over his passion project’s success (or downfall, but we already know it’s going to be a success).

Hoffman is typically excellent as Ebersol, channeling his father’s capacity for emotional release during a pivotal scene in the latter half of the film.

Cory Michael Smith is an obvious standout as Chase, conveying the man’s arrogance and insecurity (and hilarity) in a way that demands attention, whether we like it or not. O’Brien makes a mark with his brief screen time as Aykroyd. Morris brings some much-needed pathos as his character questions his purpose and reason for being there as the only Black cast member. Wood does what he can with Belushi, with Reitman and co writer Gil Kenan highlighting his drug use and fickleness (mostly as a punchline) — making Belushi’s will-he-won’t-he arc both semi-poignant and weirdly uncomfortable, given Belushi’s later tragedy.

Gabriel LaBelle as Lorne Michaels.

The rest of the cast — including the ever-reliable Rachel Sennott as Michaels’ then-wife, Rosie Shuster, Jon Batiste in a small-yet-memorable appearance as Billy Preston, and seemingly a million other recognizable faces playing various recognizable faces, with Nicholas Braun doing double duty as punchline-ready interpretations of Andy Kaufman and Jim Henson — are perfectly adequate, but not exactly given much to sink their teeth into narratively with their limited screen time.

Indeed, “Saturday Night” ultimately reveals itself to be little more than a carnival ride of memories and irritating dialogue that — when it’s not replicating famous jokes and sketches — takes advantage of 20/20 hindsight to constantly pat itself on the back.

Reitman and co-writer Gil Kenan’s script takes an Aaron-Sorkin-esque approach in its witticisms, fast pace, and at-times blatant sentimentality as it literally clicks down the moments until showtime, incorporating as many famous gags as possible that loyal viewers are expected to get excited about. Some barbs and vignettes amid the chaos are amusing, and “Saturday Night” is never less than watchable, if usually superficial.

Cory Michael Smith as Chevy Chase.

Eric Steelberg’s textured, 16mm cinematography weaves throughout the studio’s sweaty interiors, faithfully recreated with attention to period detail in sets and costuming, making plentiful use of long takes and whip-pans.

The film careens from one easter egg to another — complete with its own pseudo laugh track of characters cracking up; the film desperately begs us to laugh along with them. Batiste’s percussion-laden score, combined with Nathan Orloff and Shane Reid’s editing, helps create a fittingly frantic, albeit artificial, sense of paranoia that highlights the film’s construction as an allegedly off-the-rails roller coaster that’s never truly allowed to chart its own path.

It’s fine: There’s just not much there beyond the film playing to viewers’ nostalgia. And maybe that’s acceptable for those who’d like to coast on the associated dopamine rush. Myself, however, not so much. “Saturday Night” is never bad (far from it), but it never ascends beyond average — a self-congratulatory tribute to the groundbreaking show in a puzzlingly vanilla framework.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Corey Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Alex’s Grade: C

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Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

By Lynn Venhaus

The unpredictable Not Ready for Prime Time Players would go on to become household names. A shaggy group of irreverent writers would ignite a counterculture revolution with their parodies of contemporary culture and sharp political satire. And a young and scrappy Canadian would lead the inspired chaos of a late-night live sketch comedy show into showbiz history when “Saturday Night” premiered on Oct. 11, 1975.

With “Saturday Night Live” about to celebrate 50 years on television, it’s the right time to revisit the show’s frenetic start in NBC’s Studio 8H in Rockefeller Plaza. Writer-director Jason Reitman’s dramatic comedy finds the beating heart in this runaway train ride depicted in the 90 minutes leading up to the inaugural broadcast.

Along with co-writer Gil Kenan, their “based on a true story” captures the frenetic pace and the backstage lunacy that forever changed late-night comedy. It was a “big bang” that redefined the television landscape, and while a mini-series could do the origin story justice, this focused narrative framework succeeds in pulling back the curtain.

In a kinetic snapshot of what happened that fateful wild and crazy night, Gabriel LaBelle anchors the best ensemble cast of the year as the confident producer Lorne Michaels.

LaBelle, who was impressive as young Steven Spielberg in “The Fabelmans” two years ago, plays the driven big dreamer who believes in his instincts and the largely unknown cast’s talents. He’s the calm circus ringleader in the eye of the storm amidst the gusty winds threatening to blow it all down.

Gabriel LaBelle, center, as Lorne Michaels

From the start, Michaels has produced all but five years of the show, leaving in 1980 when Jane Curtin, Garrett Morris, Laraine Newman and Gilda Radner were the last original cast members to depart, and returning for the 1985-86 season.

He started out as a comedy writer whose credits included “Rowan & Martin’s Laugh-In” and now oversees a vast empire of last-night television and feature films. Michaels’ first wife, Rosie Shuster, is portrayed by a sharp Rachel Sennott as an integral force, both as a writer and someone putting fires out.

As the clock counts down to the live launch, there isn’t time for in-depth character portrayals; instead, we get snippets of familiar personality traits from those emerging stars Dan Aykroyd (Dylan O’Brien), Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), Jane Curtin (Kim Matula) and Garrett Morris (Lamorne Morris, no relation), with Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood)’s well-documented egos and clashes getting more screen time.

The seven actors quickly convey their quirks and foreshadow the stars they would become. Standouts here include O’Brien as a minutiae devotee and big flirt Aykroyd, Emmy-winning Morris as the underused Morris — a multi-hyphenate perplexed at his inclusion, and Smith as quick-witted, arrogant and self-absorbed Chase, the show’s first break-out movie star.

The women, understandably, are trying to find their place in the boys’ club, which is representative of those early years.

The nostalgia factor is big here for longtime fans of the show, especially those of us who watched the first episode in real time (My college roommates and I tuned in, presumably because we were big George Carlin fans, for we did not recognize the others, except for Billy Preston because he played with The Beatles). A film by Albert Brooks? Jim Henson and his Muppets?

Now, fans of the National Lampoon Radio Hour (1973 – 1974) were familiar with cast members Chevy, Belushi and Gilda. Its creator, Michael O’Donoghue, a jaded, cynical anarchist, went on to be SNL’s cutting-edge head writer for three years. His tussles with the network censors’ red pens must have been headache-inducing.

Reitman’s condensed depiction of legendary writers Al Franken, Tom Davis, Alan Zweibel, and Herb Sargent (Tracy Letts!) is noteworthy. While not all sketch development is accurate timeline-wise, the inclusion of Aykroyd’s Julia Child parody where she gushes blood from a cut artery during a taping of “The French Chef” is a good one to mention – and so is the construction workers’ gender reversal cat calls with Aykroyd as the objectified — even though both were on later shows.

Reitman’s reverence for all things SNL is admirable – and understandable, for it continues to be a force in the cultural zeitgeist. His father, Ivan, directed Aykroyd and Bill Murray in 1984’s biggest box-office hit “Ghostbusters” and other movies featuring alumni.

Jason Reitman’s previous comedies “Juno” and “Up in the Air” showed much potential, so it’s nice to see him navigate this incredible moment in time and do so with a clear-cut vision and savvy casting choices.

Fellow nepo baby (in a good way) Cooper Hoffman, Philip Seymour Hoffman’s son, is a perfect foil as ambitious Dick Ebersol, rocking the polyester suits as the late-night director of programming. (He’d later go on to produce SNL after Michaels’ left.)

Portraying the old guard is Willem Dafoe as humorless network vice president of talent relations Bob Tebet, who’d be happy to run another Johnny Carson “Tonight Show” re-run instead.

Nicholas Braun as Andy Kaufman

In small but essential roles, musical wunderkind Jon Batiste plays musical guest Billy Preston and Nicholas Braun (Emmy-nominated Cousin Greg on “Succession”) astutely characterizes up-and-coming Andy Kaufman’s brilliant schtick and as a naïve but talented puppeteer Jim Henson, clearly ahead of his time.

Matthew Rhys, Emmy winner for “The Americans,” is a snarling George Carlin who does not want to play nice with others in sketches.JK Simmons swoops in to steal his scenes as cantankerous old-guard comic Milton Berle, representing a different generational style.

Batiste also composed the propulsive original music score, which adds to the fast-paced freewheeling vibe. Reitman’s go-to cinematographer Eric Steelberg offers insight into the adrenaline rush while Jess Gonchor’s production design overstuffs Studio 8H plausibly.

An engaging whirlwind representing a collaborative creative process that sparked a comedic revolution, “Saturday Night” takes us back to an extraordinary leap of faith that resonates today. No need to give us a roadmap of the past half-century because we know the rest of its remarkable history.

Lamorne Morris as Garrett Morris.

Notes: To learn more, “Live from New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests,” first published in 2002, is a definitive oral history by James Andrew Miller and Tom Shales.

Two documentaries on the short, brilliant and troubled lives of two of the show’s biggest stars, “Belushi” (2020) and “Love, Gilda” (2018) are available to watch on subscription streaming services, and for digital rental.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Cory Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Lynn’s Grade: A-.

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