‘MI:7’ Is Stunt Spectacular, Thorny Mission on Cruise Control

‘MI:7’ Is Stunt Spectacular, Thorny Mission on Cruise Control

By Lynn Venhaus

One thing about Tom Cruise: Love him or hate him, he is a consummate entertainer. And let’s face it, we’re sucked into Cruise’s World nearly every time he headlines an adventure trying to save the world.

If there is peril, he shows up. He knows how to throw himself to a rip-roaring yarn, as he has proven time and again. In yet another bold, brash move as Ethan Hunt, he pushed himself with death-defying stunts that are among the most dazzling in movie history in this seventh one, “Mission: Impossible – Dead Reckoning Part One.”

His Impossible Missions Force team must track down a dangerous weapon before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan’s past closing in, a deadly race around the globe begins.

Now 61, Cruise was 57 when filming initially started, so give him credit for stretching himself physically, a remarkable feat. For a glimpse of the risky business — Exhibit 1: Motorcycle stunt on the edge of a cliff. My jaw dropped and my stomach flip-flopped when he freefalls.

That might not top the helicopter chase in “Fallout” (MI:6), also filmed by now head cinematographer Fraser Taggart, but it’s a dandy and among several terrifying set pieces including an extensive pulse-pounding pursuit through the streets of Rome and fights on aboard and on top of a speeding train (and not just any train, but THE Orient Express).

While not as emotionally impactful as Cruise’s “Top Gun: Maverick,” last year’s sequel to a 1986 film that proved to be more successful than anyone thought – I mean, 36 years later? — “MI 7” played to his strengths.

Because he exceeded expectations for making the 2022 top-grossing film of the year ($718,732,821, to be exact), and was an Oscar nominee for Best Picture, there is a great deal of current goodwill. Some said he “saved Hollywood” by getting people into theaters post-pandemic. Let’s see if he repeats.

MI7 produces the thrills that define a crowd-pleasing blockbuster, but not the chills, and perhaps still will be a summer success after a few other tentpoles sputtered.

There is a sense of comfort in nostalgia. Like John Williams’ rousing Indiana Jones score, composer Lorne Balfe uses variations of Lalo Shifrin’s iconic TV series theme song to punctuate the action.

As with Harrison Ford returning as Indy, Cruise settles into another beloved familiar character, fearless American secret agent Ethan Hunt. Based on the Emmy-winning TV show (1966-1973) formula created by Bruce Geller, this covert Impossible Missions Force spans the globe fighting international terrorists in sophisticated ways.

After 27 years, we expect elaborate action and increasingly complicated high-tech plots. The first feature film directed by Brian De Palma was successful in 1996, its sequel stumbled in 2000 directed by John Woo, came back super-charged by director J.J. Abrams with Philip Seymour Hoffmann as a cunning villain in 2006, was even better in director Brad Bird’s “Ghost Protocol” in 2011, followed by what some say are the best ones in Christopher McQuarrie’s “Rogue Nation” in 2015 and “Fallout” in 2018. Now we have a long, dense follow-up in “Dead Reckoning,” a first part that is 2 hours and 43 minutes.

Hayley Atwell is the slippery Grace, Tom Cruise is Ethan Hunt, world savior.

McQuarrie, who directed and co-wrote the script with Erik Jendresen, has been a consistent collaborator with Cruise during the 21st century. They first worked together on “Valkyrie” in 2008, followed by “Jack Reacher,” which he directed, and “Edge of Tomorrow.” That led to writing and directing the fifth and sixth ones, the first repeat director.

McQuarrie won the Oscar for his original screenplay “The Usual Suspects” in 1995 and was nominated last year for the adapted screenplay of “Top Gun: Maverick.”

The man who created Keyser Soze knows his way around criminal masterminds, but there’s a less than compelling one in sinister Gabriel, played by Esai Morales. He somehow is connected to the evil algorithm “The Entity,” which is so advanced it manipulates reality and the truth to cause endless chaos.

The menace is never-ending, although the enigmatic plot is dull. However, four interesting actresses shine in strong-willed roles: Hayley Atwell, Pom Klementieff and Vanessa Kirby, while Rebecca Ferguson returns for round three as MI6 operative Ilsa Faust.

Even with his energy and intensity, Cruise needs strong support, which he gets from the unsung heroes Simon Pegg as tech turned field agent Benji Dunn and Ving Rhames as wingman Luther Stickell.

Foe-turned-frenemy Atwell distinguishes herself as the slippery Grace. Since 2011, she has played beloved Peggy Carter, Captain America’s one true love, in all things Avenger-related in the Marvel universe (TV and film).

 Oscar-nominated Kirby returns as the mysterious White Widow from “Fallout,” still sketchy, and a ferocious Klementieff, Mantis in the “Guardians of the Galaxy” films, is cold-blooded assassin Paris.

It’s a stacked cast. Cary Elwes is CIA’s Denlinger and Henry Czerny, from the first movie,  is back as Kittredge, while Shea Wigham and Greg Tarzan Davis are agents Briggs and Degas hot on the trail.

Czerny, with his ace delivery, has the best line: “Your days of fighting for the so-called greater good are over. This is our chance to control the truth. The concepts of right and wrong for everyone for centuries to come. You’re fighting to save an ideal that doesn’t exist. Never did. You need to pick a side.”

It’s a very different global playing field from when they first launched the feature film. They’ve all been high-octane state-of-the-art thrillers, but this one is hyper-speed. Stunts aside, their mission has always been against shadowy figures hell-bent on ruthless power. Noble, sure, but do we care?

My main beef is that it’s not so much a nail-biter as it is an exercise in endurance. The mumbo-jumbo about “The Entity” gets ridiculous.

Yet, the adrenaline rush takes over viewing. Think of it as a summer sojourn to Cruise World. We are all pulled into his orbit. We’ll see what he’s up to next June, as no. 8 is set for June 28, 2024.

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Hayley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Lynn’s Grade: B-.

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Unforgettable Action Sequences Elevate Solid ‘Mission: Impossible’ 7

Unforgettable Action Sequences Elevate Solid ‘Mission: Impossible’ 7

By Alex McPherson

Featuring incredible stunts, timely themes, and an engaging, though imperfect balance between goofiness and sincerity, director Christopher McQuarrie’s “Mission: Impossible – Dead Reckoning Part 1” is a reliably fun action-espionage blockbuster, if occasionally weighed down by inelegant plotting.

“Dead Reckoning,” the seventh installment in the “Mission” series, follows rebellious daredevil Ethan Hunt (Tom Cruise) and his loyal, idiosyncratic Impossible Mission Force comrades Benji Dunn (Simon Pegg), Luther Stickell (Ving Rhames), and love interest Ilsa Faust (Rebecca Ferguson), as they embark on yet another death-defying mission to save humanity from itself.

They’re after two halves of a key that could allow them to destroy a rogue artificial-intelligence algorithm generically called “The Entity,” which has the power to upend civilization as we know it. Any and all global powers (including the CIA, led by Henry Czerny’s Eugene Kittridge, previously featured in the first “Mission” film) want to harness it for their own militaristic ends.

Despite its eye-rolling name, The Entity is an eerily prescient antagonist for Ethan and company to square off against — essentially the ultimate spy, able to infiltrate our always-online existence to control the nature of truth itself, plus, most likely, all the world’s weapons. Nowhere is safe from the Entity’s grasp.

The team’s plans are complicated with the unexpected arrival of courageous thief Grace (Hayley Atwell), walking a thin tightrope between friend and foe, who must eventually join sides with Ethan, along with the Entity’s human envoy, Gabriel (Esai Morales), a villainous ghost from Ethan’s past that contributed to him joining the Impossible Missions Force in the first place.

Also joining the fray is the White Widow (Vanessa Kirby, both seductive and goofy) from “Fallout,” and two frustrated U.S. agents always one step behind (Shea Whigham and Greg Tarzan Davis), who might or might not eventually shift their morals.

As the team embarks on a globe-trotting adventure in locales such as Rome and Norway, everyone is put to the test, and Ethan must reckon with saving those he loves over succeeding in his goals, all the while dealing with an unpredictable adversary that can seemingly predict his every move and turn his own gadgets against him. It can’t quite account for human ingenuity, or Ethan’s/Cruise’s unwavering commitment to putting themselves at risk for viewers’ entertainment.

Indeed, “Dead Reckoning” is, at times, a glorious spectacle — the practical stunt work on display puts the recent “Indiana Jones and the Dial of Destiny” to shame. With McQuarrie’s energetic direction and solid performances across the board, from Cruise especially, the latest “Mission” film delivers on the action front, though the twisty narrative lacks the visceral punch of the thunderously memorable set pieces.

And lordy, are those sequences invigorating to behold — filmed with a clarity by cinematographer Fraser Taggart that lets all the practical stunt work shine; largely eschewing CGI to forefront athleticism, which lends a (relatively speaking) grounded feel to the proceedings.

Lorne Balfe’s blaring score adds additional oomph. The much-publicized motorcycle-to-base-jump off the steep Norwegian mountainside is suitably spectacular, but a frantic chase through Rome — with Ethan and Grace handcuffed to each other driving a Fiat while being pursued by authorities and a sadistic killer named Paris (a scene-stealing Pom Klementieff) — is possibly the standout set-piece: full of bombastic slapstick comedy and split-second decision making that feels dangerous and thrilling. 

And the train showdown, holy moly, does not disappoint in the slightest, featuring edge-of-your-seat filmmaking that consistently ups the ante moment-to-moment as gravity begs to differ. Add to that a considerable helping of bone-crunching hand-to-hand combat (one brawl taking place in a narrow alley), and all the gratuitous running from Cruise we’ve come to expect, “Dead Reckoning” is worth watching for these scenes alone, bolstered by the cast’s commitment to this self-aware, somewhat messy tech-paranoia plot.

Hayley Atwell, Tom Cruise

Cruise continues to shine as Hunt, an ”agent of chaos” (as one character calls him) who’s willing to throw himself into danger for the greater good, but being forced to make impossible decisions to protect his friends and loved ones. Cruise’s portrayal lacks the emotional weight of his efforts in last year’s “Top Gun: Maverick,” but he still excels, nimbly navigating the film’s ludicrous plot developments and comedic relief with comforting self-awareness.

Pegg and Rhames provide equal parts comedic relief and pathos (grappling with the Entity’s manipulation of their advanced technology, such as the Entity impersonating their voices), while feeling underused and relegated to the background for most of the runtime. Ferguson is badass as always, as is Atwell, who lends spunk to her character of Grace and has palpable chemistry with Cruise. Grace takes on a pretty standard backstory/arc, yet is always fun to watch thanks to Atwell’s energy and inherent likability.

Morales is solid but unmemorable as the Entity’s henchman (even though McQuarrie tries his darndest to make us care from some rushed flashback revelations), and Klementieff deserves more screen time as a scarily ruthless assassin. The ensemble is always enjoyable — fully committed to the screenplay’s occasionally screwball rhythms — when all we’re really waiting for is the next harrowing spectacle to unfold. 

“Dead Reckoning” isn’t an all-out action film, however, and McQuarrie’s just as focused on the espionage narrative, which can’t live up in comparison, and lacks the creativity of the set pieces. The Entity is certainly a timely antagonist, but it remains difficult to care about much in the “Mission” universe because of the screenplay’s need to over-explain and “tell rather than show” regarding its capabilities, barring a couple memorable situations.

Although the film’s exposition-dumping approach is a staple of the genre, it lacks much emotional impact; the frequent flashbacks similarly try (and only half-heartedly succeed) to churn up investment, and the film’s constant forward momentum leaves little time for reflection, or opportunities to meaningfully dig into the psyches of its characters — even with a nearly three-hour runtime. 

To the screenplay’s credit, in a meta-textual sense, Cruise has also been a fierce defender of the cinematic experience, so Hunt’s battle against an evil algorithm could extend to Cruise’s own defense of practical stunts, the “theater experience,” and the increasingly bloated streaming ecosystem. Looking at “Dead Reckoning” from this angle makes the labyrinthine plot a touch more meaningful.

Despite these shortcomings, what really stands out about “Dead Reckoning” is the chutzpah of its creators. By the end of its runtime, it leaves an indelible impression as an achievement in action filmmaking. Regardless of storytelling stumbles, this is a must-watch on the biggest screen you can find — let’s just hope “Part 2” can deliver more on the character front.

This image released by Paramount Pictures shows Simon Pegg, from left, Ving Rhames, Tom Cruise and Rebecca Ferguson in “Mission: Impossible Dead Reckoning – Part One.” (Christian Black/Paramount Pictures and Skydance via AP)

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Haley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Alex’s Grade: B+.

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Muny’s Gambit Showcases Virtuoso Talents in Stylish, Daring ‘Chess’

Muny’s Gambit Showcases Virtuoso Talents in Stylish, Daring ‘Chess’

By Lynn Venhaus

What was that?

A stunning showcase featuring some of the most passionate voices ever on a St. Louis stage, “Chess” is a love triangle, dramatic duel, a singular experience – and an extraordinary achievement for The Muny and its loyal audience.

For those not familiar with the show, either in concert or as musical theater, you are not alone. Those in-the-know cool kids had often waxed rhapsodic about the rock-symphonic score – and now we know why.

The 1986 rarely seen/performed pop opera, with music by Benny Andersson and Björn Ulvaeus of ABBA, and lyrics by Tim Rice (“Jesus Christ, Superstar” and “Evita”), concerns a clash of world powers at an international chess tournament.

Set during the highly charged ‘80s political atmosphere of the Cold War, the mind games between rivals Soviet Union and the United States escalate. Tensions are high, and so are the stakes. And then a fight develops over a woman that further complicates matters.

Most people know “Chess” only for its catchy pop hit, “One Night in Bangkok,” which was an MTV staple and now heard on classic radio stations (and fun fact, sung by Murray Head, the original Judas in “Jesus Christ Superstar.”) Its checkered history has become grist to the backstage mill, especially concerning the troubled book.

Principal characters of “Chess” Photo by Philip Hamer

Initially a concept album in 1984, it opened as a theatrical piece in London two years later to much acclaim, and ran for three years. With an altered book, moved to Broadway in 1988, where it flopped (ran only for two months). A revival was staged in London’s West End in 2018, and now the Muny is doing what has been described as “mostly the London version” after other revisions over the years.

It is risky to bring something so different and uncommon to St. Louis audiences and mount it on the 102-foot-wide outdoor stage, where generations have delighted in the civic traditions and traditional productions for 105 years.

That, in itself, is a challenge, and the amount of care to create a compelling piece was evident in the collaboration between director and choreographer Josh Rhodes, music director Jason DeBord and the design dream team of Edward E. Haynes Jr. (scenic), Emily Rebholz (costumes), Rob Denton (lighting) and Alex Basco Koch (video).

Because this introduction was handled in such a spellbinding way, we all won. I still don’t know any more about chess than when I took my seat, but that’s OK. That’s not the point. And you don’t need to know anything either to marvel at the stylized look, the silky vocals, and the creative team’s bold choices.

This is not your mom’s “South Pacific” or even Andersson-Ulvaeus’ “Mamma Mia!” And from the reaction of the crowd, people were fine with that. The audience seemed genuinely excited to see something new to them, and they leaned in, responding with ovations that swelled more with each musical number.

Photo by Phillip Hamer

All around me, people were rapt – captivated by the political intrigue, the global playing field, the thorny romance – in other words, epic gamesmanship. When the boom opened to reveal an expansive, inventive set design, people applauded, and it grew from there.

The complex storyline isn’t the easiest to follow, and sometimes, the context is lost because of the ‘80s being the state of play. If you don’t understand the root of the hostilities, then it can appear to have a whiff of pretention.. (If you think about it, does mirror the decade!). It’s very helpful to read a synopsis ahead of time.

But what made this production something special were the leads – gifted with world-class talent, their powerful vocals soared into the night sky, and they hit the emotional beats to make the action matter.

John Riddle, a Muny veteran recently seen as Raoul in “The Phantom of the Opera” on Broadway, is sensational as the Russian grandmaster Anatoly Sergievsky. Among his many moments, he induced chills in the one-act finale solo, “Anthem,” giving his head vs. heart country dilemma depth.

When he falls in love with the Hungarian-born Florence, the remarkable Jessica Vosk reaches new heights. She wowed as Elphaba in “Wicked” on Broadway and as the Narrator in The Muny’s “Joseph and the Amazing Technicolor Dreamcoat” last year and has an exceptional voice.

John Riddle as Anatoly Sergievsky. Photo by Phillip Hamer

Their duet, “You and I” is simply gorgeous, and along with Jarrod Spector, as the flashy American grandmaster Frederick Trumper, their “Mountain Duet” is when the games really begin.

Vosk also wows in an intense “Nobody’s Side” with the ensemble, and in the conflicted “Heaven Help My Heart.”

In his second show this summer, Spector is quickly becoming a fan favorite. He was last seen in the season opener “Beautiful: The Carole King Musical” as Barry Mann, for which he was nominated for a Tony. He is well-cast as the brash, arrogant American whose cockiness and hot temper provoke controversy, and delivers a strong “One Night in Bangkok” ensemble number as well as his solo, “Pity the Child.”

Speaking of fan favorites, Tony nominee Taylor Louderman, who grew up in Bourbon, Mo., and has graced the Muny stage multiple times throughout her young life, isn’t seen until the second act. She plays the pivotal role of Anatoly’s wife, Svetlana, and history has its eyes on her. Looking fabulous in a beautiful white dress, she owns the stage in “Someone Else’s Story,” and is heartbreaking, along with Vosk, in “I Know Him So Well.”

Experienced Muny performer Phillip Johnson Richardson as The Arbiter (president of the International Chess Federation) is a formidable presence while Rodney Hicks, as Freddie’s financial administrator/secret CIA agent Walter De Courcey, and Tally Sessions, as part of Anatoly’s team and a KGB agent Alexander Molokov, stir up trouble and orchestrate double-crosses.

At Thursday night’s performance, unruffled associate music director Michael Horsley smoothly conducted the orchestra with a firm hand.

The design team’s concepts are striking, giving the show a certain look and attitude. Edward E. Haynes Jr., who won a St. Louis Theater Circle Award for his Gaslight Square inspired set of “Smokey Joe’s Café,” has created eye-catching geometric grids and continues a checkerboard theme throughout the pomp and circumstance of the European and Asian settings (Merano, Italy, and Bangkok, Thailand specifically).Video designer Alex Basco Koch’s work is integral here, with multimedia incorporated into the presentation.

With its dramatically operatic arc, moments of levity are few, but plunging back into ‘80s fashions is fun, especially spotting power suits and shoulder pads. Costume designer Emily Rebholz has made members of the ensemble look like they stepped out of Robert Palmer’s “Addicted to Love” music video, with their belted black mini dresses adorned with white collars.

Taylor Louderman, center. Photo by Phillip Hamer.

It was a smart move for The Muny to partner with the Saint Louis Chess Club and World Chess Hall of Fame for this presentation – after all, St. Louis was the site of the first official world championship in 1886 and home to many devotees. (Stop by their Central West End location for free exhibits and tours).

Although the characters are fictional, supposedly the American is loosely based on champ Bobby Fischer while the Russian is a composite of Viktor Korchnoi and Anatoly Karnov. Book writer and lyricist Tim Rice had a Cold War musical for awhile on his radar, fascinated by the 1972 “Match of the Century” between Fischer and Boris Spassky, and that adds context too.

For those who remember the Cold War, “Chess” taps into the two world powers trying to manipulate to gain the upper hand, and in the Reagan years, when the U.S.’s strong anti-communist agenda swelled after the Iran Hostage Crisis and other international trouble spots.

Sixty years after I learned to ‘duck and cover’ during the Cuban Missile Crisis, Russia is a constant thorn in the U.S. side and is at war with Ukraine. The more things change, the more they remain the same.

As a commentary on strategizing geopolitics and propaganda, “Chess” is interesting, but as a bittersweet love story, has more emotional heft. Already in the record books as the largest production of a “Chess” revival, the chief pleasure in The Muny’s grand, inspired staging is the powerhouse vocals.

In sports terms that we can all identify with, The Muny knocked it out of the park, giving us a dandy night to remember.

The ensemble of “Chess.” Photo by Phillip Hamer.

The Muny presents the musical “Chess” July 5-11 at 8:15 p.m. on the outdoor stage in Forest Park. For more information: muny.org.

Photos by Phillip Hamer

“One Night in Bangkok.” Photo by Phillip Hamer.
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Encore! Theater Presents Hard-Hitting August Wilson’s ‘The Piano Lesson’

Encore! Theater Presents Hard-Hitting August Wilson’s ‘The Piano Lesson’

By Lynn Venhaus

August Wilson’s powerful, haunting “The Piano Lesson” is an ambitious kick-off for an emerging theater company’s inaugural production in their new home at South Side Spaces.

The Encore Theater Group may lack resources, as a low-budget scenic design in a church basement indicates, but they are not short on effort and drive.

Wilson’s drama, his fourth play of the Pittsburgh, or Century, Cycle, is set in the Hill District in 1936, after the Great Depression, and focuses on themes of legacy, identity, and healing.

The renowned Wilson wrote a series of 10 plays chronicling the black experience in 20th century America, and each one is set in a different decade, with nine of them in the same Pittsburgh neighborhood where Wilson grew up. For this play, he won the Pulitzer Prize for Drama in 1990, and it was originally produced on Broadway in 1987.

In the Doaker Charles household, a battle is brewing between strong-willed siblings. At the center is the family’s prized piano, an heirloom because carvings of enslaved relatives are in the design.

Entrepreneur-ish sharecropper Boy Willie (Zachary Clark) wants to sell it to build the family fortune and has just arrived from Mississippi with a truck full of watermelons. His sister Berniece (understudy Angel Carter stepped in for Atiera “Tarrah” Currie) plans to go to any length to keep it and preserve their family history, for the images of their great-grandfather’s wife and son are on it. Their uncle (Don McClendon) stands in between, acting as the family storyteller, and the ghosts of the past resurface, for apparently, their home is haunted.

Wilson’s themes are universal, and Encore! director Jason J. Little concentrates on the family dynamics to present an intimate view of the African American experience — reflecting progress and change (or not).

Clark excels as the impulsive Boy Willie, who makes a strong case for using the money to buy the land where their ancestors worked as slaves. That way, they can honor them by taking back what their ancestors couldn’t own in their lifetime. But his family will be the voice of reason, talking about the importance of legacy and learning from the past.

The core male actors click when together on stage. Dennis Jethroe II is notable as comical Wining Boy, the elder brother of Doaker, who is a smooth-talking piano player and a gambler. He has a funny scene slickly selling shy Lymon spiffy clothes to go out on the town in, and often provides comic relief.

Alexander “Smoogie” Christian is a charmer as the well-meaning Lymon, who is trying to find his way in the world.  Larry Green is genuine in his portrayal of the good-natured, sensible preacher Avery, who is sweet on Berniece. Don McClendon, a St. Louis stalwart with a lengthy stage and screen resume, lends gravitas as the head of household, trying to impart the wisdom of experience.

Their characters’ struggle to reconcile the past with their ancestral heritage needs to make a potent connection because Wilson had a lot to say here. Overall, more character-building would have helped to understand the conflicts and gradually feel the rationale of their choices and behaviors.

The supporting cast included Arriel Cummings as a lively gal pal Grace and Jada Little as Berniece’s dutiful but frightened 11-year-old daughter Maretha.

As the understudy, Angel Clark had to do the heavy lifting on opening night, and it is not easy to slip into such a demanding role. At first, she yells a lot at her brother, so you know there is underlying tension, things not spoken, and it’s crucial to understand their complicated relationship. She blames him for her husband Crawley’s death three years earlier.

Understanding the depth of the backstories is important to bring out the emotions, and confronting the ghosts of slavery makes for a hard-hitting show.

On opening night, just before curtain, a noisy thunderstorm unleashed a torrential downpour, and the thunder rolled and lightning struck outside for several hours, which could be heard, and somewhat hampered sound. That additional challenge could have affected the action on stage.

Pacing was an issue, as a planned runtime of 2 hours, 20 minutes took well over 3 and a half hours to complete (not counting late start because of storm). With a less-than-perfect first night under their belt, it is hoped that the rest of the run was less bumpy.

I saw this play during its second go-round by the Black Repertory Theatre of St. Louis in 2013, and it has stayed with me ever since that night in the Grandel. The Black Rep famously completed the Century Cycle – only the third company in the U.S. to do so – from 1988 to 2003 and has been repeating it. Their first production of “The Piano Lesson” was in 1992.

In their mission to bring another round of the American Century Cycle to St. Louis, they’ve earned St. Louis Theater Circle awards for outstanding production of a drama with “Two Trains Running” in 2022 and “Jitney” in 2023, and they’ve presented “Seven Guitars” in 2017 and “Fences” in 2018. The Clayton Community Theatre has also performed Wilson’s works, most recently “Ma Rainey’s Black Bottom” in 2021. They have been my introduction into the celebrated playwright’s works, and much appreciated.

Any opportunity to bring Wilson to St. Louis audience in today’s political climate is a good one, but the technical aspects need to be crisp, especially sound and lighting. The company’s executive director Effrem Grettenberger’s specialized lighting design and Jay B. Saffold’s sound design to mimic the supernatural happenings are effective, but there were some technical issues with cues and hard-to-hear dialogue at other times.

Currie, the company’s artistic director, assembled the modest scenic design and handled the costume design with flair, creating character statements through bold color choices and vintage wear. The hats were terrific.

Encore! is well-intentioned about art nourishing the soul, and offering a sense of community, inclusion, and diversity. Their next production is “Cuentame,” in which people will share their personal stories, in November.

Just FYI: To explore “The Piano Lesson” further, Netflix will stream a filmed production of the recent Broadway revival starring Samuel L. Jackson as Doaker and John David Washington as Boy Willie, produced by Denzel Washington, sometime either later this year or early in 2024.

Encore Theatre Group presents August Wilson’s “The Piano Lesson” June 30 – July 9, with Friday and Saturday performances at 8 p.m. and Sunday matinees at 2:30 p.m. at 2607 Potomac in south St. Louis (South Side Spaces). For more information: www.encorestl.org. You can learn more about the cast and crew here:. https://our.show/pianolesson

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Ninth Annual LaBute New Theater Festival Celebrates Emerging Writers

Ninth Annual LaBute New Theater Festival Celebrates Emerging Writers

St. Louis Actors’ Studio (STLAS) is pleased to present its ninth annual LaBute New Theater Festival celebrating new works by emerging professional and high school playwrights July 7-23 at The Gaslight Theater. STLAS received hundreds of submissions worldwide and selected four to be produced on the stage at The Gaslight Theater, along with a brand new piece by esteemed film director, screenwriter and playwright Neil LaBute, for whom the festival and is named and who serves on its creative team. This year’s productions include the following works/playwrights:

§  The Mockingbird’s Nest by Craig Bailey of Vermont

§  One Night in the Many Deaths of Sonny Liston by JB Heaps of New York

§  Da Vinci’s Cockroach by Amy Tofte of California

§  The Blind Hem by Bryn McLaughlin of Oregon

§  Safe Space by Neil LaBute

“We are pleased to once again share the works of some of the country’s best emerging playwrights, as well as Neil LaBute,“ said William Roth, founder and artistic director of St. Louis Actors Studio. 

Shows will be performed on Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $30 each plus fees, $25 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email [email protected].

John Pierson, Neil LaBute, William Roth. Photo by Russ Rowland.

About St. Louis Actors’ Studio

St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression.

St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.

Nancy Bell and Chauncy Thomas in Carter Lewis’ “Percentage America,” which won Best New Play from the St Louis Theater Circle in 2018. Photo by Patrick Huber.

COVER PHOTO of Jane Paradise and Reginald Pierre in Neil LaBute’s “Safe Space” by Patrick Huber

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Arts For Life to Host 23rd Best Performance Awards on July 2

Arts For Life to Host 23rd Best Performance Awards on July 2

Tickets Still Available; Chris Moore to emcee

Performances from nominated musicals “A Chorus Line” by Hawthorne Players, “Bonnie and Clyde” and “Something Rotten!” by Gateway Center for the Performing Arts, “Bright Star” and “The Pajama Game” by Monroe Actors Stage Company, “Joseph and the Amazing Technicolor Dreamcoat” by Christ Memorial Productions, “The Addams Family” by Spotlight Productions and “The Lightning Thief: The Percy Jackson Musical” by Goshen Theater Project will be showcased at Arts For Life’s 23rd Best Performance Awards.

Tickets are still available for the presentation on Sunday, July 2, at 2 p.m. at the Florissant Performing Arts Center, 1 James J. Eagan Drive, Florissant, Mo. 63033.

Awards will be presented in 30 categories. The BPAs have honored musical theater in community and youth productions beginning a year after the nonprofit organization AFL was founded in 1999.

“Arts For Life provides a community recognition program to spotlight the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.

Local singer-actor-dancer-director Chris Moore will be the master of ceremonies.

Nominations are listed on the website, www.artsforlife.org.

Event Tickets
Lobby and house doors open at 1 p.m. All tickets are reserved seating.

Formal attire/black tie is requested.

A cash bar with beer and wine will be available, as will soft drinks, water, and snacks.

BPA tickets are available online at $30 with a service fee of $2 added, which can be purchased at: https://arts-for-life-2.square.site/.

Tickets will be available for pickup/purchase in the theatre lobby from 11 a.m. to 1:30 p.m. on Saturday, July 1, and starting at 1 p.m. on Sunday, July 2. AFL accepts cash or credit/debit cards.

Contact us at [email protected] if you have any special seating needs or questions.

A “Red Carpet” banner will be available as a backdrop for photos, which you can share on social media using the hash tag #AFLBPA2023.  

Be aware of construction and traffic in the area, so plan accordingly.

Nancy Bortosky to Receive Lifetime Achievement Award

Nancy Bortosky, executive director of DaySpring Arts and Education, will receive the Lifetime Achievement Award. She founded DaySpring in 1993 as a daytime arts program for homeschoolers and an after-school arts program for the community; she retired this year.

Under her direction the past 29 years, DaySpring has grown into a community organization offering dance, musical theatre, drama, fine arts, and music classes and performances, as well as offering an accredited Pre-K through 12th grade hybrid model Academy.

This year DaySpring will have produced five musicals, a mixed-bill ballet, a drama, numerous instrumental and vocal music recitals, and end-of-the-year drama, musical theatre, and dance recitals. Nancy has been instrumental in growing these programs.

About Chris Moore
Last year’s winner for the Best Actor in a Comedic Role Award for playing the Donkey in “Shrek,” which was produced by the Kirkwood Theatre Guild.

He directed “Godspell” for Take Two Productions this spring and recently played Hysterium in New Line Theatre’s “A Funny Thing Happened on the Way to the Forum.” Other recent theatrical credits include Cutler in “Ma Rainey’s Black Bottom” at Clayton Community Theatre; in the ensemble of New Line Theatre’s “Urinetown” and “Head Over Heels,” and as a minstrel and Peter Quince in “Something Rotten!”; “Dreamgirls,” “Guys and Dolls,” and in the Polar Express event at Union Station.

Award Nominations

Four youth musicals presented by Gateway Center for the Performing Arts — “13” (8), “Bonnie and Clyde” (10), “A Christmas Story” (2), and “Something Rotten!” (13) — combined for 35 nominations, the most of any community theater or youth group.

Monroe Actors Stage Company in Waterloo, Ill., led all St. Louis area – metro-east Illinois community theater groups, with 25 — 14 for the classic musical “The Pajama Game” and 11 for the Steve Martin-Edie Brickel musical “Bright Star.”

Christ Memorial Productions received 13 nominations for “Joseph and the Amazing Technicolor Dreamcoat.” Goshen Theatre Project in Collinsville, Ill., earned 12 – 11 nominations for “Percy Jackson: Lightning Thief” and 1 for “Meet Me in St. Louis.” Spotlight Productions had 12 nominations for “The Addams Family.”

The Kirkwood Theatre Guild had nine BPA nominations for “Little Shop of Horrors,” as did Hawthorne Players in Florissant for “A Chorus Line.”

Act Two in St. Peters had eight BPA nominations for “The Full Monty.”

Other groups receiving nominations included Looking Glass Players, 6; Over Due Theatre, 6; Curtain’s Up Theater, 2; DaySpring Arts and Education, 2; and Young People’s Theatre, 1.

Arts For Life is dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.

Florissant Performing Arts Center.
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Indiana Jones Is Back in Grand But Bumpy Globe-Trotting Finale

Indiana Jones Is Back in Grand But Bumpy Globe-Trotting Finale

By Lynn Venhaus

The man, the myths, and the legend are back, and there’s both a rueful twinge and wave of nostalgia at the sight of the brown fedora and 80-year-old Harrison Ford trying so hard to be swashbuckling in “Indiana Jones and the Dial of Destiny.”

Ford, whose laconic delivery and devil-may-care charm secured his place in cinematic history long ago, has played his share of men of action, giving us two cultural icons in Han Solo of the “Star Wars” franchise and archeological adventurer Dr. Henry Jones in the Raiders/Indiana Jones series.

In this fifth installment, the famous archeologist races against time to retrieve a legendary artifact that can change the course of history.

As Indy, Ford puts the whip in whip-smart, and it’s a treat to see him return to heroic form. And how sentimental is seeing a reunion with Karen Allen as Marion, his one true love?

However, she’s but a blip in this new universe. What is generally regarded as the final installment in the venerable 42-year-old series is an overstuffed globe-trotting adventure involving Archimedes, the Antikythera, Apollo 11, the U.S.- Soviet Union space race, World War II, Nazis, and the Vietnam War. And changing times and technology. And time travel. Whew.

It’s both overwhelming and underwhelming – a whole lot of whelm, or lack thereof, in 2 hours, 34 minutes, as they continent-hop in planes, trains, and automobiles — and there’s even a horse to ride in New York City.

The production’s artisans are masters at establishing an atmosphere, from academia’s dusty bookshelves to scary ancient caves where peril’s an instant away. Oscar-winning production designer Adam Stockhausen, for “The Grand Budapest Hotel” in 2015, and cinematographer Phedon Papamichael, Oscar nominee for “The Trial of the Chicago 7” and “Nebraska,” smoothly move between years, wars, conflicts and high-speed chases.

(Clockwise from right): Colonel Weber (Thomas Kretschmann) and Doctor Jürgen Voller (Mads Mikkelsen) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

Indy’s now being pulled in a direction he thought he was done with, but he finds himself battling against not-dormant foes – very present Nazis, tying Third Reich masterminds to 1960s NASA scientists.

And by default, linking his life’s work studying the Siege of Syracuse in Sicily (213-212 B.C.) with the evil he’s facing at present, and coming face to face with Archimedes. Yes, Archimedes – the Greek mathematician, physicist, engineer, astronomer, and inventor. His dial becomes a hot potato, an artifact that propels this chapter. You may want to brush up beforehand on antiquity.

As Indy, Ford retreats into a loner role, hiding from the world, grieving the loss of his son and marriage, retiring as a professor, and trying to adapt to a different time..

Nevertheless, his past as a heroic Allied Forces intelligence officer, comes rip-roaring back into focus when Voller shows up, a character partly inspired by German engineer Wernher von Braun. Mads Mikkelsen, always a formidable screen presence, excels as a power-hungry villain (the best kind), ready to lead a new world order when authoritarians are in charge.

You may recall the original film featured Nazis as the villains, set in 1936. So, cut to 33 years later and Indy is a little ambivalent about his enemy helping in the space mission.

The sprawling cast represents a bridge to the past, with John Rhys-Davies returning as Sallah, Toby Jones as fellow archeologist Basil Shaw, and Antonio Banderas briefly as Indy’s old friend, sailor and diver Renaldo. Phoebe Waller-Bridge brings a modern edge as Basil’s sassy, smart daughter Helena, Indy’s goddaughter.

Noteworthy supporting roles include Boyd Holbrook as Voller’s nihilistic trigger-happy henchman Klabor, and young Ethann Isidore as Helena’s handy street-smart helper.

James Mangold knows how to direct crowd-pleasing fare – he’s helmed “Ford v. Ferrari,” “Logan,” “Walk the Line” and “3:10 to Yuma,” to name a few. He starts off strong, capturing thrilling derring-do in wartime espionage action as a flashback, with a de-aged Harrison Ford for 24 minutes, followed by a zippy chaotic chase scene through crowded Manhattan streets during the ticker-tape parade honoring the Apollo 11 astronauts, all the while establishing Indy’s resourcefulness then and now.

However, the movie gets bogged down by its exposition. The dense screenplay, written by Jez Butterworth, John-Henry Butterworth, and David Koeppe (Crystal Skull), all veterans behind major movies, focuses on the precious dial mechanism, but must throw in obstacles that stretch the story beyond believability.

To keep us invested, we need to sort out why it’s sought after, what happens in the wrong hands, and what are the consequences either way. If you just want to see Indy save one world, never mind what happened in the past or is ahead in the future, settle in for a bumpy ride.

Phoebe Waller-Bridge as Indy’s goddaughter Helena.

Hence, herein lies the problem. While interesting in spurts, “Dial of Destiny” is a bridge too far — noble in thought but too tangled in execution.

Steven Spielberg and George Lucas are executive producers, but this is the first one Spielberg hasn’t directed. Lucas was the catalyst for the first story, conceived in the early 1970s and meant to be a homage to action-packed early 20th century serials. Philip Kaufman helped develop it, Spielberg came aboard, and ‘80s hotshot Lawrence Kasdan, who wrote “The Empire Strikes Back,” was brought in to write the script.

In the prequel ‘Temple of Doom,’ set in 1935, Indy is hired to find a gem and rescue a village’s children from a cult leader.

In ‘Last Crusade,’ a sequel to Raiders (set in ’36, this is ’38), Indy is searching for his kidnapped father, played by Sean Connery, and hoping to find the Holy Grail before the Nazis do.

Set in 1957, ‘Crystal Skull’ was meant to be a tribute to sci-fi B-movies of that era, with Soviet villains also searching in Peru for a telepathic crystal skull, and Indy reuniting with Marion, who introduces their son, Mutt Williams (Shia LeBeouf).

If ranking the series, the instant classic “Raiders of the Lost Ark” (1981) would be at the top, followed by “Indiana Jones and the Last Crusade” (1989). “Indiana Jones and the Temple of Doom” (1984) and “Indiana Jones and the Kingdom of the Crystal Skull” (2008) are my least favorite, putting this one in the middle.

That’s what we have to factor in to how we enjoy this fifth film – our response to the previous four. When you hear that magnificent theme written by John Williams, who has scored each Indy adventure since the original, you are swept away again.

We can base this new adventure on our appreciation for the rip-roaring escapism, Ford as one of our national treasures, and the visionary minds that brought this classic throwback into our lives.

“Indiana Jones and the Dial of Destiny” can’t stand on its own merit without the others, but will have to suffice as a pleasant waltz down memory lane. And Ford reminds us of his famous line in ‘81: “It’s not the years, it’s the mileage.”

Harrison Ford in Indiana Jones 5.

“”Indiana Jones and the Dial of Destiny” is a 2023 action-adventure directed by James Mangold and starring Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Karen Allen, Antonio Banderas and Boyd Holbrook. It is Rated PG-13 for sequences of violence and action, language and smoking and runs 2 hours, 34 minutes. It opens in theaters June 30. Lynn’s Grade: B-.

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Harrison Ford Delivers in Uneven ‘Indiana Jones 5’ Finale

Harrison Ford Delivers in Uneven ‘Indiana Jones 5’ Finale

By Alex McPherson

With Harrison Ford lending emotional grandeur to an otherwise middling adventure, director James Mangold’s “Indiana Jones and the Dial of Destiny” provides an acceptable finale for the iconic character.

Indy’s latest outing begins in the mid-1940s, with the end of World War II in sight, as a heavily de-aged Indy (always looking “off”) and his trusty academic pal Basil Shaw (Toby Jones) attempt to recover stolen artifacts from Nazis. After Indy escapes capture due a conveniently deployed airplane bomb and KOs plenty of the monstrous chaps, he races onto a train (after a dimly lit, CGI-reliant car/motorcycle chase) containing the Lance of Longinus — a blade supposedly containing traces of the blood of Christ — and an also-captured Basil. 

Among the evildoers is Nazi physicist Jürgen Voller (Mads Mikkelson), a nefarious soul aboard the train who’s in possession of one half of the Antikythera — a dial created by Archimedes that supposedly allows for time travel should both halves be combined. Bloodlessly bombastic violence ensues, concluding with a battle atop the train that results in Voller thwacking his head on a pole and Indy and Basil jumping into a lake below, Antikythera in hand.

Flash forward to 1969, and our titular hero is in dire straits. Grumbling around his messy New York City apartment after having recently separated from his wife, Marion (Karen Allen), and with his son, Mutt (Shia LaBeouf) out of the picture, Jones is a shell of his former self, lacking purpose and direction as he prepares to retire from teaching archaeology at Hunter College. The Apollo 11 astronauts have just returned home, and society is looking to the future, rather than the past that Jones has devoted his life to. He’s become a curmudgeon, lacking the adventurous spirit he once had, both due to his age and regrets that torment his psyche.

Fortunately, or unfortunately, he soon runs into Basil’s daughter, Helena (Phoebe Waller-Bridge), who’s after the Antikythera and wants to continue Basil’s life’s work of finding the missing half (or so she initially claims: she’s a hardcore capitalist eager to make a buck). After tricking Indy, she runs off with the artifact, while also being pursued by the returning Voller and his cronies, including Shaunette Renée Wilson as a crooked CIA agent and Boyd Holbrook as a take-no-prisoners killer. 

Thus begins a globe-trotting romp from New York to Tangiers to Athens to Sicily, as Indy, Helena, and Helena’s youthful sidekick Teddy (Ethann Isidore) attempt to find the remaining half of the Antikythera before the Nazis get their hands on it and change the war’s outcome. Indy’s back for another go around, just like old times, with plenty of returning faces and fantastical shenanigans at play.

Indeed, “Dial of Destiny,” the franchise’s first installment without Steven Spielberg at the helm, leans hard into nostalgia at the expense of dramatic punch — although copious literal punches are thrown. Mangold’s film (at nearly 2.5 hours) is a strange beast: at once comforting in its embrace of old-fashioned thrills, but averse to taking any real risks with Indy himself. Ford’s soulful performance is still able to overcome the screenplay’s frustrating lack of focus, buoying what is otherwise a slightly-above-average experience featuring lackluster set-pieces and formulaic plotting.

A de-aged Harrison Ford as Indiana Jones.

With his iconic whip, fedora, and witty remarks, Ford continues to excel in the role — conveying a wide range of emotions with lived-in gravitas. His portrayal deserves a stronger film to support it; we can see his sadness, guilt, and mournful reflection in pivotal scenes, along with his mischievous, daring old self bubbling back to the surface. Most everything between Indy’s scenes of introspection is fairly by-the-numbers — with little that stands out beyond a ludicrous conclusion, which, without spoiling anything, goes down a zany rabbit hole. It remains great to see Ford back in the saddle nevertheless.

While “Dial of Destiny” attempts to recapture the old-school thrill and “feel” of the series’ previous installments (complete with cameos, visual motifs, and eels taking the place of snakes), Mangold’s approach robs time from developing Indy as a character. Mangold’s reliance on nostalgia may well be the point, but reminding viewers (and Indy himself) of the series’ former glory shifts focus from the here-and-now: the antics in search of the dial (which could, theoretically, permit Indy to rectify wrongs in his own sad life) resort to familiar tropes and payoffs, neglecting to innovate on tradition to tell a consequential story about Indy’s place in the world today.

The film seemingly emphasizes the importance of not living in the past, but using remembrance as a means of personal growth. This might be meaningful to Indy, but the plot stemming from that idea is a workmanlike imitation on what’s come before — far from bad, but not making a lasting impact. 

Waller-Bridge, at least, shines as a brash, sarcastic, independent woman whose allegiances are often in question. She’s after the dial not only in the hopes of one day selling it for a boatload of cash, but also by a sense of wanting to continue her father’s lifelong work; the need to explore passed down from one generation to the next. By the end, her arc is a bit muddled, given her internal tug-of-war between cynicism and earnestness, but she’s still a worthy companion, and holds her own in the copious CGI-laden action sequences. Mikkelson’s Voller doesn’t stand out as particularly interesting, at no fault of the performance: he’s just a standard, franchise-typical baddie, accompanied by likewise generically sadistic goons.   

Speaking of action, the 80-year-old Ford obviously can’t do much stunt work nowadays, requiring computer wizardry to do the heavy lifting. It’s too bad the majority of sequences are so cartoonishly over-the-top and confusingly framed. Despite all the carnage on display (including during the intro, a horse chase through an NYC parade, and a frantic tuk-tuk pursuit through a Tangiers market), they’re often weightless, chaotic, and lacking the rhythm that Spielberg’s direction lent them, barring some amusing visual gags that remain a series staple. Yet again, “Dial of Destiny” tries to live in the past, altering reality to present scenarios that would likely have worked better in the animation medium altogether.

It’s a testament to Mangold’s competency and Indy’s sheer likability that “Dial of Destiny” is still an enjoyable watch regardless of issues. John Williams’ score delivers the goods (as always), and Mangold’s stylistic tributes to Spielberg give the film energy even when the story comes up short. Combined with Ford’s exceptional performance and fan service callbacks, “Dial of Destiny” is worth watching, if not something that significantly adds to the adventurer’s legacy.

“”Indiana Jones and the Dial of Destiny” is a 2023 action-adventure directed by James Mangold and starring Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelson, Karen Allen, Antonio Banderas and Boyd Holbrook. It is Rated PG-13 for sequences of violence and action, language and smoking and runs 2 hours, 34 minutes. It opens in theaters June 30. Alex’s Grade: B-.

  

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‘Disney’s Beauty and the Beast’: Believe in Muny Magic

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

By Lynn Venhaus

The fourth time is indeed the charm. Infused with extra Muny Magic, this “Disney’s Beauty and the Beast” makes you believe in happily ever after.

Under the brilliant direction of John Tartaglia, this imaginatively staged, and elegantly crafted musical will make you laugh out loud and shed a tear, for it grabs your heart in the opening number “Belle” and never loosens its grip on your emotions until the final bow.

This beloved romantic fantasy has endured since the 18th century, first as a French fairy tale, then as a 1946 film by Jeanne Cocteau where an arrogant prince is cursed to spend his days as a hideous monster but has a chance to regain his humanity by earning a young woman’s love.

In 1991, modern audiences fell in love with Disney’s 30th animated feature that went on to make history as the first animated feature to be Oscar-nominated for Best Picture. With its Academy Award-winning original score and touching title song, the script was tailor-made to be adapted into a stage musical, which happened in 1994, and played on Broadway for 13 more years. Screenplay writer Linda Woolverton is credited with the book and Tim Rice wrote additional lyrics, and the stage version has become a global sensation.

A bona fide classic with its iconic characters, lush score and engaging blend of romance, comedy, and drama, Muny audiences have enjoyed presentations in 2005 (the attendance record holder for nearly five years), 2010, and an outstanding one in 2015.

Because it’s a perennial family favorite, honestly this production didn’t have to be as good as it is – because we’d be enchanted anyway, and all those little girls who showed up in yellow gowns wouldn’t be disappointed.

Photo by Phillip Hamer

Yet, this is an extraordinary effort. The best one to date under the stars is inspired because Tartaglia knows how to spark joy. An expert at finessing humorous moments with a flair for the dramatic, Tartaglia showcases his versatile talents as a director and his experience as a musical comedy performer. After all, he joined the Broadway company as Lumiere in 2006.

A true visionary, Tartaglia has brought out the whimsy, charm, sense of family, and genuine feelings in this Disney classic. On this stage before, he’s directed “Shrek,” “Matilda,” “Annie,” Disney’s “Tarzan,” “Wizard of Oz” and last year’s “Mary Poppins.”

A puppeteer and “Sesame Street” alumni, he’s best known as a creative and Tony-nominated star of the original Broadway cast of “Avenue Q.” He’s played memorable roles at The Muny, including the Genie in the pre-Broadway tryout of “Aladdin” in 2012, The Cat in the Hat in “Seussical” in 2014 and won the St. Louis Theater Circle Award as Outstanding Supporting Actor in a Musical as Hysterium in “A Funny Thing Happened on the Way to the Forum” in 2017.

He loves the Muny and the Muny loves him, and we are the richer for this mutual admiration society. His ability to create one-of-a-kind storytelling outdoors shines through, from the pep in the step of the ensemble to his dazzling use of pyrotechnics.

Incorporating a cast of 85 in super-sized renditions of the showstopper “Be Our Guest” and an amusing, rousing “Gaston,” the creative team is in sync and up to the challenge. Choreographer Patrick O’Neill and associate choreographer Bryan Thomas Hunt go for big and bold, and music director Ben Whiteley, who has held the Muny baton for all four “Beauty and the Beast” shows, brings out all the textures in the timeless songs by Alan Menken and Howard Ashman.

The performers have put their heart and soul into this show, from an acrobatic Tommy Bracco cavorting as buffoonish LeFou to Debby Lennon’s virtuoso vocals as excitable diva Madame de la Grande Bouche.

Ashley Blanchet as Belle. Photo by Phillip Hamer.

Ashley Blanchet is the epitome of a Disney Princess. As the lovable independent Belle, she is a savvy combination of sweet and spunky, heart-tugging in a glorious “Home” and the hopeful “A Change in Me.” The way she stands up for herself is refreshing.

As the imposing, bitter Beast, Ben Crawford’s rich, robust voice is one of the evening’s most pleasant surprises, and he brings a depth of yearning and regret to the role that’s palpable. Even under his involved make-up, you feel his change from a sullen prince cursed for being cavalier and haughty to someone trying to change for the better. His powerful “If I Can’t Love Her” brought down the house to close the first act.

Crawford has portrayed the legendary Phantom on Broadway, but his last role at the Muny hardly tipped us off to his capabilities, for he played the cruel and cocky Chuck in “Footloose” four years ago. He and Blanchet have a believable chemistry, carrying off the opposites attract tension and tenderness with touching sincerity.

The castle’s support staff provided crowd-pleasing antics, with the delightful duo of Kelvin Moon Lo as kind-hearted candelabra Lumiere and Eric Jordan Young as fussy butler-turned-mantel clock Cogsworth leading the pack.

While good-natured Ann Harada has the comedic chops and warmth to play motherly cook Mrs. Potts, her rendition of the Oscar-winning title song is shriller than satisfying as a major moment.

Michael Hobin is an adorable Chip, and Holly Ann Butler has fun as the saucy Babette. The group’s rendition of “Human Again” is a wistful beauty.

Blanchet, Claybourne Elder. Phillip Hamer photo.

Broadway veteran Claybourne Elder is a standout as swaggering narcissist Gaston, emphasizing the blowhard’s ridiculous vanity while eventually turning into a spiteful, vicious bully, first targeting Belle’s eccentric dad Maurice (Harrison White). When Belle slapped him, the crowd erupted in applause.

A highly skilled visual design team has crafted a stunning castle and quaint Old-World village, with Belleville, Ill., native Ann Beyersdorfer’s opulent scenic design, Greg Emetaz’s expressive video design and Jason Lyons’ effective lighting design. The only thing that felt out of place was a jarring depiction of Gaston losing his footing in the climactic fight scene on screen.

Accenting the characters are Robin McGee’s luxurious and intricately embellished costume designs and Ashley Rae Callahan’s period wig designs. McGee, who grew up in Highland, Ill., designed the 2015 show, but didn’t rely on any previous outfits this time, and elevated the looks here with an accomplished team of seamstresses working overtime in the costume shop. Belle’s pillowy, shimmering ballgown is jaw-dropping.

Noteworthy are the puppet designs by Dorothy James and Andy Manjuck, especially in making the scary wolves’ eyes glow bright red as they roamed the woods.

This lavish production has all the elements to succeed as an unforgettable evening of entertainment, especially for a wide audience. Typically, the ‘children’s show’ introduces a new generation to the unique experience the Muny offers..

On Friday night, it appeared to win over many youngsters who remained rapt through the entire two acts – particularly one young man a few rows in front of me. His view was blocked by a rather large adult at curtain call, so he moved to the aisle to stand and cheer.

He made me smile wider, recalling watching other youths mesmerized over the years (reviewing since 2009). I’m one of those kids who first came with my grandmother, about 10 years old, awestruck by the grandeur. How many of us became forever fans that way?

The Muny triumphs once more with a deluxe and endearing “Disney’s Beauty and the Beast,” a heart-warming reminder that we get to connect again because of this 105-year St. Louis tradition. Don’t miss your chance to get sprinkled with pixie dust on a splendid summer evening.

Be Our Guest. Phillip Hamer Photography.

“Disney’s Beauty and the Beast” runs from June 22 to 30 in Forest Park, nightly at 8:15 p.m. For more information, visit www.muny.org

Notes: Show sponsor Ameren and The Muny are promoting Ready Readers, a nonprofit supporting literacy, by collecting new and gently used children’s books, suitable for readers aged 12 and under. A table has been set up near the box office so that patrons can drop off books before the show.

For a deeper dive into the Disney Animation Renaissance, the documentary “Waking Sleeping Beauty” is currently streaming on Disney +, as is the poignant documentary “Howard,” which honors the late lyricist Howard Ashman for his tremendous contributions to music. He died at age 40 from AIDS complications, in 1991.

Phillip Hamer Photography.

The company of Beauty and the Beast. Phillip Hamer Photography
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‘No Hard Feelings’ Is an Unfunny Crude and Cringy Comedy

‘No Hard Feelings’ Is an Unfunny Crude and Cringy Comedy

By Lynn Venhaus
The crude and cringy comedy “No Hard Feelings” is a hot mess. If trying to be a throwback to ‘80s sex comedies, but for modern audiences twisted with a gender-reversed protagonist, it’s a painful reminder that arrested development isn’t always a gut buster.

A down-on-her-luck local, Maddie (Jennifer Lawrence) has long-festering daddy issues and a chip on her shoulder the size of the Rock of Gibraltar. She ekes out a living by driving the ‘haves’ around and bartending, barely containing her contempt for the seasonal residents who summer in Montauk, her homestead, on Long Island. With all the new money’d elite in town, she can’t afford her property taxes, thus the bind she’s in, calling for desperate measures.

Maddie answers a Craigslist ad to resolve her financial troubles. Wealthy helicopter parents Laird and Allison (Matthew Broderick and Laura Benanti) want to hire someone to ‘date’ their introverted 19-year-old son Percy (Andrew Barth Feldman) before he begins his freshman year at Princeton. Their promise of a car is appealing, for her vehicle was recently repossessed and she’s an Uber driver. But awkward Percy is more of a challenge than she expected.

Lawrence goes full frontal and full throttle as a combative, mean-spirited, deceitful and stuck-in-a-rut 32-year-old hedonist. She’s a commitment-phobe and harbors lots of resentments.

That’s right, “America’s sweetheart.” It’s not a good look for the Oscar winner, although she’s adept at physical comedy. With so few redeeming qualities, Maddie is hard to like, and her actions, for the most part, made me feel increasingly uncomfortable.

Not that you must be likable to carry a film, but sheesh, co-writers Gene Stupnitsky, who directed with a heavy hand, and John Phillips go for the cheap laugh every time. And the age difference is icky, no matter if it’s not condoned nor a transaction.

Mocking helicopter parents, however, is fertile comedic ground, and while Broderick and Benanti are known for their comic flair, they are underused as the couple who have smothered their kid in a detrimental way. And distraught, turn to Craigslist (!?!)  and offer a Buick Regal to an older woman who will ‘make’ their introverted son a man before he goes off to the Ivy League.

As played winningly by Andrew Barth Feldman, Percy is not as clueless as everyone thinks, and he becomes more engaging and sympathetic as the flimsy plot starts fraying. In fact, the saving grace is that he and Lawrence develop a sweet chemistry after she stops aggressively throwing herself at him.

With jerky tonal shifts to make you feel as though you’re experiencing repeated whiplash, the movie veers off course in several directions that don’t make very much sense – not that we expect this format to be remotely plausible.

Much has been made about its R-rated double entendres, but filmmakers never figure out what they want this comedy to be – a light-hearted romp, a laugh-out-loud raunchy farce, a spoof of juvenile teen-centered movies, or a “very special episode” with a message about growing up.

This blend of familiar plot threads borrowing from “Risky Business,” “Superbad” and “The Graduate” has some funny physical comedy, but mostly, the harder Maddie tries to hook up with the virginal teen, the more uneasy it feels. Are we making fun of him because he is so socially awkward, or are we laughing at her because she is a trainwreck? Either way, not encouraging.

Some of the broad physical comedy lands, but mostly, they lob all sorts of goofiness to see what sticks. And Kyle Mooney is wasted as a former nanny who’s become friends with the shy kid.

Feldman’s ease at conveying genuine emotion is a plus. He’s reminiscent of an early Michael Cera and a pleasant surprise in his first major movie role following a streaming piece on Netflix, “A Tourist’s Guide to Love.”

It’s the kind of film breakthrough that bodes well for the future. In real life, Feldman’s meteoric rise in musical theater is like a movie plot – winner of the 2018 Jimmy Award, aka National High School Musical Theatre Award, he was noticed by a producer of “Dear Evan Hansen,” and wound up as a Broadway replacement in the title role.

While the film is more of a ‘bait-and-switch’ than a rowdy low-brow comedy, its sweet and sentimental moments are when it engages in a sincere way. After 1 hour, 43 minutes of scattershot cinema, everything’s tied up neatly and the future’s so bright, they’ll have to wear shades.

That friendship movie, without the careening cars, vomit scenes, teen hijinks, house parties and one-nightstands, would have been worth the time.

“No Hard Feelings” is a 2023 comedy directed by Gene Stupnitsky and starring Jennifer Lawrence, Andrew Barth Feldman, Laura Benanti, and Matthew Broderick Rated: R for sexual content, language, some graphic nudity, and brief drug use, its runtime is 1 hour, 43-minutes. It opened in theaters June 23. Lynn’s Grade: C-.

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