Concert presenters have a name for performers and composers who reliably fill seats: bankers. Beethoven is a banker. Wagner is a banker. Debussy is a banker. Opera Theatre of Saint Louis’ annual Center Stage concert has become a banker of a different sort.
The evidence could be heard in the departing crowd following Tuesday’s performance. Audience members traded variations on the same thought: Center Stage just keeps getting better. The buoyancy was palpable.
This year’s concert featured 28 Richard Gaddes Festival Artists and Gerdine Young Artists, selected from more than 1,100 applicants. Accompanied onstage by select musicians of the St. Louis Symphony Orchestra, the singers performed a thoughtfully curated program of opera and Broadway selections, all sung in their original languages.
Artistic Director Patricia Racette has shaped Center Stage into an evening of theater. Semi-staged scenes and ensembles dominate, with minimal props and plenty of dramatic intensity. Heavy on the Italian seasoning this year, the program moved confidently through the operatic repertoire before folding in selections from “Chicago,” “West Side Story” and “Carousel.” The arc gave individual singers their moments while sustaining the momentum of a complete evening.
The performers attacked their opportunities with the unmistakable energy of young artists who know a few minutes onstage can make an impression. One of the evening’s pleasures came in watching the instant transformation after a scene ended: the final note, a flicker of silence, then the character disappeared and the young artist emerged to receive the applause.
That dramatic commitment surfaced throughout the program. Gaddes Festival Artist Vinicius Costa showed impressive range, bringing swagger and menace to Mephistopheles in Gounod’s “Faust,” then pivoting to deft comic timing as Don Basilio in Rossini’s “The Barber of Seville.” The six “merry murderesses” of “Cell Block Tango” from “Chicago,” meanwhile, attacked Kander and Ebb’s number with individually etched characters and a collective ferocity that made the stage feel suddenly crowded with dangerous women.
In previous years, Center Stage often produced a handful of performances that left one thinking, “That one’s going somewhere.” This year, the remarkable depth of the roster became the story. Memorable individual performances emerged across a field operating at a strikingly high level. The growing strength of the applicant pool — and the precious few who earn places in these programs — has raised the level of the entire enterprise.
That consistency explains why Center Stage has become such a reliable draw. Racette and her team have created an evening built around discovery, theatrical immediacy and the infectious intensity of artists eager to show what they can do. That’s a banker worth betting on.
Opera Theatre of Saint Louis presented Center Stage on June 23 at the Loretto-Hilton Center.
It’s hard to say who had a better time at “Shrek the Musical” – the parents or the children, often green-clad and gleefully giggling at the daffy antics. The Muny’s annual family favorite ‘Kids Show’ delighted across generations with its irreverent humor, impressive pop vocals, and infectious energy in a funky, funny, fluffy un-Disneyized fairy tale musical.
It’s not your classic prince-rescues-princess tradition, and that’s the fun of it, what sets this storytelling apart. In the comical land of Far, Far Away, the unlikely hero is a smelly, grumpy ogre, accompanied by his chatty sidekick Donkey, his feisty true-love Princess Fiona and his merry band of misfits.
The ensemble opens with the catchy “Big Bright Beautiful World” and you’re off on an unusual adventure. Lord Farquaad demands Shrek rescue Princess Fiona from a dragon-protected tower in exchange for the deed to his swamp, for the despicable despot wants to marry her. Once upon a time wasn’t ever this raucous.
First released as an animated film in 2001, “Shrek” fractured happily-ever-after fairy tales in this DreamWorks Animation smash hit that won the first-ever Oscar for Best Animated Feature Film. Breaking industry rules and becoming a cultural phenomenon, the film adaptation of William Steig’s slight 1990 children’s picture book “Shrek!” has earned $500 million globally. It has four sequels (a fifth is due out next year), two Puss ‘n Boots spin-offs, and just announced is an Eddie Murphy-led “Donkey” spinoff for 2028.
Nik Walker (left) and Marcus M. Martin in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
Of course, Broadway beckoned. “Shrek the Musical” took off in 2008, with Tony-nominated book and lyrics by Pulitzer Prize winner David Lindsay-Abaire, whose wicked wit is apparent in this adaptation, adding more backstory and mischief. With his absurdist, blunt humor paired with Jeanine Tesori’s clever and upbeat songs, they pulled apart musical theater tropes.
Lindsay-Abaire has incorporated elements of the movie sequels, too – “Shrek 2” and “Shrek Forever After.” After the Broadway run of 441 performances, they have since revised the musical several times.
With a large fun-loving ensemble, the Muny presents a jolly good road trip to the swamp, Duloc, and beyond. In its second staging here, the first since 2013, the casting is impeccable, their performances vigorous and the whimsical world-building is dazzling by director John Tartaglia and his unconventional team of dreamers and doers, celebrating the ‘different.’
The Tony-nominated and Emmy-winning Tartaglia, who directed “Shrek” thirteen years ago – and originated the role of Pinocchio on Broadway, has infused this playful version with bigger and bolder choices but keeping his trademark heart at the center. It’s the 10th show he’s directed, and he’s very comfortable incorporating puppetry into all his visionary productions.
Tyler Joseph Ellis in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
After all, he was promoted several weeks ago to be the vice president of development and production at The Jim Henson Company, focusing on television and live theatrical projects. He serves as the primary creative supervisor for the Fraggle Rock brand (and started his career at “Sesame Street.”)
The magnificent giant pink fire-breathing Dragon is a stunning addition. Designed by James W. Wojtal Jr. and his team, with Eric Wright of Puppet Kitchen the puppet director, five puppeteers create magic on stage. Jim Henson’s Creature Shop designed and built Gingy, the dancing rats and the exploding bird.
Maintaining the Disney departure feel, Tartaglia followed through by envisioning a grungier, not gleaming, kingdom, but also favored a lively, captivating 90s glam-rock concert look, with a nod to punk rock, too.
It reminded me of late ‘60s and early ‘70s television variety shows like “The Sonny and Cher Show” and “The Smothers Brothers Comedy Hour” with sparkly high-energy performers and cheeky humor.
Marcus M. Martin and Salome Smith in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel
The well-integrated designs add to the showbizzy and make-believe worlds, including musical Easter eggs that subvert the usual tropes (Can you spot “Les Miserables,” “A Chorus Line,” “Gypsy,” “The Lion King,” “Wicked” and “Chicago”?). Nothing’s going to bring him down, Lord Farquaad sings!
Adam Koch’s vivid set design incorporated a new-to-the-Muny technique, using a screen to great effect, especially when Donkey and Fiona have a heart-to-heart in a ‘cave.’ His grid-and-forest design took us immediately into an interesting new world.
The exceptional trio of Nik Walker, Marcus M. Martin and Kara Lindsay headline as Shrek, Donkey and Fiona, and corralled us into their corner from their entrance, with deeply expressive voices, crisp comic timing and tangible chemistry.
Delightful Troy Iwata once again raises the bar on comical scene-stealing performances. Previously the guffaw-inducing housekeeper Jacob in last year’s “La Cage Aux Folles” and adorably amusing as beat-to-a-different drummer Ogie in “Waitress,” he makes the most of tyrannical narcissist Lord Farquaad and his shortcomings.
Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
His sheer physicality is mind-boggling, cavorting by wearing a special costume with tiny legs attached and primarily walking on his knees. His “What’s Up, Duloc!” and “Ballad of Farquaad” are hilarious, as are his farcical movements.
Add a zany Aymee Garcia as outspoken Gingerbread Man, aka Gingy, and a spry Tyler Joseph Ellis, who hits the right falsetto notes as rabble-rouser Pinocchio, to the ‘social outcast’ mix. Mighty Salome Smith is a showstopper as the booming voice of the Dragon, belting out “Forever” like a Dreamgirl.
All the principals, except for Iwata, are making their Muny debut. The peppy ensemble, a mix of vets and newbies, is very strong – and busy. They’re up to the rigorous routines that dynamic choreographer Patrick O’Neill, associate choreographer Bryan Thomas Hunt and assistant choreographer Kelly Sheehan challenge them with, and it shows in the major dance numbers: “Story of My Life,” my favorite “Freak Flag” with its winking at “Les Miz,” “What’s Up, Duloc!” and the glorious tap routine “Morning Person.”
Kara Lindsay in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel
Martin has fun leading the spirited divas Three Blind Mice (Monique Churchill, Kylie Edwards and Abby Linderman) in the R&B “Make a Move.” Inserting “I’m A Believer” from the movie for the wedding reception dance-party finale is as jubilant a curtain call as can be. Another catchy visual by inventive video designer Kylee Loera includes photo booth snapshots.
In his 18th show as music director/conductor, master maestro Ben Whiteley leads 24 musicians, and keeps the joyous tempo on track, with fluid orchestrations throughout.
For her 14th show, costume designer Robin L. McGee, a Highland, Ill., native, created an eye-popping assortment of outfits, based on original costume design by Tim Hatley. Just look at the close-up detail in production photos, making the fairy tale characters recognizable, but also able to easily move.
Jeff Knaggs’ wig designs completed the look, and those who helped with padding and prosthetics deserve shout-outs too. Lighting designer Jason Lyons and sound designer Joshua Hummel worked in tandem to capture the atmosphere, and the human noises had to be perfectly timed, as did the swamp sounds.
Salome Smith (above), Marcus M. Martin and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
Now, there is frequent use of potty humor, so you are warned – particularly fart jokes. “I Think I Got You Beat” is an outrageously silly flatulence and burping contest between Shrek and Fiona.
Skilled at physical comedy, the ensemble also included Mathew Blasio, DeShawn Bowens, Matthew Davies, Ryan Fitzgerald, Matt Gibson, Jack Gimpel, Shelby Griswold, Michael Harp, Gwen Hollander, Sean McManus, Shelby Ringdahl, Trevor Michael Schmidt, Kelly Sheehan, Caitlin Stebelman and Jonah D. Winston.
They appeared as such familiar childhood characters in forests and fauna – Pied Piper, Fairy Godmother, Peter Pan, Wicked Witch, Tweedledum, Mama Bear, Ugly Duckling, Big Bad Wolf and others.
The company was joined by the adorably costumed Muny Kids and Teens youth ensembles. Fine young performers Solomon Rosenthal and Lake Schultz play Young Shrek and Young Fiona, while Amelie Lock was Teen Fiona. The trio of Fionas combine for the poignant “I Know It’s Today,” yearning for their escape.
Amelie Lock, Kara Lindsey, Lake Schultz. Photo by_Phillip Hamer
In such duets as “Don’t Let Me Go” and “Travel Song,” Walker and Martin show their mapcap skills, and when paired with Fiona in “This Is How a Dream Comes True” and the anthem “Who I’d Be,” it calls for heightened emotions.
The most important takeaway is the show’s message about self-acceptance. Some songs focus on inner beauty, self-worth and being comfortable in your own skin. Shrek’s a-ha moments include “When Worlds Fail,” “Build a Wall” and “Beautiful Ain’t Always Pretty.”
While the songs are melodious and superbly delivered, some of the numbers seem repetitive, stretching out the inevitable, and these ballads, while heartfelt and moving, created some restlessness from the little ones around me. The musical’s structure has some pacing issues, but this cast kept it as breezy as possible.(Special mention to stage manager Larry Smiglewski). It is a 2.5-hour experience with intermission.
In “Shrek the Musical,” we can still BELIEVE in the comforting magic of fairy tales, and that everyone is worthy of love and friendship. With “biggish” ideas, the Muny has crafted a refreshing show that’s suitable for all – on two different levels. For adults, the parodies and un-cutesy theme land while the kids can revel in the slapstick and goofy characters.
Aymee Garcia (Gingy puppeteer), Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
The Muny presents “Shrek the Musical” from June 25 through July 2 nightly at 8:15 p.m. at its outdoor theatre in Forest Park. For more information, visit www.muny.org
THe company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer
The performing arts do love a new label, especially for an old idea. Take “poperetta,” a recent coinage for musical theater that mixes high and low, sophistication and popular appeal. Gilbert and Sullivan might reasonably ask what took us so long. Nearly 150 years after “The Pirates of Penzance” first set sail, Opera Theatre of Saint Louis’ exuberant revival finds this Victorian confection still afloat, still tuneful and still very funny. Apparently, nobody told it that it was old.
Director and choreographer Seán Curran knows precisely what keeps this gloriously improbable work moving. His production, first staged at OTSL in 2013, has since been mounted by opera companies across the country. Back where it began, the production remains fresh and remarkably sure of itself. The stage is rarely still. Gesture, rhythm and split-second timing accumulate into comedy, grounded by characters who treat every ridiculous circumstance with complete seriousness.
James Schuette’s sets and costumes announce the game before Sullivan’s score gets underway. A grand gilt Victorian proscenium, crowned by a skull and crossed swords, frames the thrust stage. Red curtains, vivid painted backdrops and a pirate ship cheerfully wheeled into place suggest a pop-up book sprung to life. The machinery shows. That’s part of the point.
Daniel Luis Espinal gives Frederic a bright, ardent tenor and a winning innocence. Jana McIntyre’s Mabel brings character and wit to the role’s coloratura demands. Their romantic sincerity gives the surrounding lunacy something firm to bounce against.
Jana McIntyre and Daniel Luis Espinal, Photo by Eric Woolsey.
The production has comic talent to spare. William Socolof’s Pirate King swaggers and blusters with comic authority, while Meredith Arwady brings a formidable contralto and deft comic timing to Ruth. Robert Mellon makes Major-General Stanley a beaming monument to cheerful foolishness, dispatching the famous patter song with impressive clarity. Shyheim Selvan Hinnant makes the Sergeant of Police one of the evening’s comic highlights, leading his hapless constables through some of Curran’s funniest physical comedy.
George Manahan conducts members of the St. Louis Symphony Orchestra with equal attention to Sullivan’s melodic beauty and the propulsion that keeps Curran’s production moving. The chorus, prepared by Andrew Whitfield, contributes power, verbal clarity and distinct comic character.
After nearly 150 years, “The Pirates of Penzance” has nothing to prove. Curran and company trust the music, sharpen the comedy and keep the whole improbable contraption moving. The old thing sails beautifully.
Opera Theatre of Saint Louis’ production of “The Pirates of Penzance” was performed May 23 through June 27 as part of the company’s 2026 Festival Season.
Robert Mellon as the Major General. Photo by Eric Woolsey.
Representing less a defiant step forward into a new era of the DC Cinematic Universe than a retread of the by-the-books superhero fare of the past decade, director Craig Gillespie’s “Supergirl” flies along well enough but shoots out of memory soon afterwards.
We first meet Kara Zor-El a.k.a. Supergirl (Milly Alcock) as she boozily zips from planet to wacky planet in celebration of her 23rd birthday. With the lovably destructive CGI dog Krypto in tow, Kara has a laissez-faire attitude toward life, clearly preferring to party than confront the trauma of her tragic backstory. She also avoids Earth at all costs — much to the frustration of Superman (David Corenswet), who’s increasingly worried she won’t ever “find her people.”
Things take a turn for the explosive when Kara encounters Ruthye (Eve Ridley), a young woman seeking revenge after her family was murdered by Brigand leader Krem of the Yellow Hills (Matthias Schoenaerts). Kara saves Rutheye from a squelchy brute straight out of the “Star Wars” Mos Eisley Cantina, but refuses to help her track down the bloodthirsty trafficker.
Krem has other plans, though, when he hijacks Kara’s ship and shoots poor Krypto with a poisonous dart that gives the pup only three days to live. This motivates Kara to track him down to retrieve the antidote, and reluctantly take on Ruthye as her novice (but underestimated) sidekick.
Kara is greeted by Superman when she comes to Earth with her puppy Krypto.
As the pair rush to track down Krem, they develop a friendship (wow!), each teaching the other about the power of community and reckoning with grief. They deal with bouts of punchtastic action and formulaic villainy along the way. Plus, an unhinged, motorcycle-riding Jason Momoa appears as the intergalactic bounty hunter Lobo!
If one expects “Supergirl” to break the mold of what’s come before, get ready for disappointment. Gillespie’s film starts out strongly enough, decidedly wackier and more committed to showing a colorful galaxy than other recent outings, as well as establishing Alcock as a perfect fit for the role of Kara.
Alcock’s dry comedic timing is spot-on, with Ana Nogueira’s screenplay leaning into her cynicism and dry wit in a way that never becomes tiresome, building a character far less “polished” than Corenswet’s Superman, and one that’s all the more enjoyable to watch for it.
Sadly, before long, the film slides back into the template we’ve seen time and time again, awkwardly sandwiching humor between “sobering” backstory that’s clunkily assembled and largely bereft of earned poignancy.
Milly Alcock and Eve Ridley.
Gillespie ultimately trades the energetic personality of the opening for something far drearier and, crucially, blander, as the PG-13, green-screened violence kicks into high gear and we realize that, no, none of the heroes are truly in danger amid the swirl of crowd-pleasing clichés.
Kara and Ruthye’s bond is believable, to an extent. Kara’s bond with Ruthye and seeing her hunger for revenge leads her to reflect on her own past, gradually understanding herself and her deep-seated anger at the world as she eventually transforms into the “Supergirl” that she’s destined to become.
This is a passable arc — it’s just that Gillespie’s storytelling lets Kara down, awkwardly jumping into flashbacks that are rushed through without letting us sit and feel the sadness and disorientation that Kara experiences. Gillespie and Nogueira opt for a barebones outline instead of fleshing out her past in more detail, perhaps assuming that viewers already get the gist from the comics.
Jason Momoa as Lobo.
Fortunately, “Supergirl” moves along at a brisk enough clip. We’ve got the monstrous, albeit extremely one-note baddie Krem, the goofily out-there Lobo (Momoa understands the assignment), and plenty of quip-filled set-pieces complete with peppy needle drops.
It’s just that, with such an excellent actor as Alcock in the starring role, doesn’t she deserve something more substantial to work with from a narrative standpoint? She’s even let down from an action perspective.
Matthew Schoenaerts asKrem.
Rob Hardy’s cinematography is often eye-catching and keeps the fighting coherent, but these sequences are unwilling to fully let Kara off the chain, too often kneecapping her powers just when she starts using them. They fall into a frustrating stop-start pattern that persists all the way through the final battle.
“Supergirl” is still an entertaining enough watch despite its numerous issues — the template is functional, after all, although the pointed social commentary of James Gunn’s “Superman” is definitely missed here.
There’s nothing offensively off-putting about Kara’s debut. It’s just an affirmation that, at their core, these films might never truly change.
“Supergirl” is a 2026 sci-fi action-adventure directed by Craig Gillespie and starring Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Corenswet, Jason Momoa, Emily Beecham and David Krumholtz. It’s runtime is 1 hour, 47 minutes, and is rated PG-13 for sequences of strong violence, action, language, and smoking. It opens in theatres June 26. Alex’s Grade: C+
In a modern satire on parenting, social graces and the notion that polite society is merely a thin veneer, “God of Carnage” becomes a living room throwdown in the hands of a murderer’s row of talent and razor-sharp execution at New Jewish Theatre.
Think of it as a rambunctious comedy of manners – without the manners. This relationship play, where two upper-middle-class couples meet after a playground fight between their 11-year-old sons, will get really ugly – and hilarious.
All pros, the dynamic quartet offer a master class of limber verbal and physical exchanges. Alan and Annette Raleigh (Nick Freedman, Bridgette Bassa), contrite, arrive one afternoon at the Novaks (Joel Moses, Christina Rios), uneasy. Henry Raleigh hit Benjamin Novak with a stick, knocking two teeth out.
For the next 90 minutes, the civilized discussion unravels from courteous into chaos, with shrewd characterizations that expose these upwardly mobile sophisticates’ immaturity, hypocrisy and true nature.
Christina Rios and Joel Moses are Veronica and Michael Novak. Photo by Jon Gitchoff
Playwright Yasmina Reza earned her second Tony Award for Best Play for its Broadway debut, translated from the French by Christopher Hampton, in 2009, following her critically acclaimed “Art” in 1998. The all-star ensemble was nominated: Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden, who won best supporting actress.
This is the first time New Jewish Theatre is tackling one of the French Jewish playwright’s celebrated shows. And this cast of local all-stars are paired well, bouncing off each other with a natural rhythm, keeping the witty dialogue sharp and the action fast paced.
These ill-will games are fluidly directed by Gad Guterman, whose clear-cut vision escalates the tension as pretense crumbles and the gloves come off in the Brooklyn home.
Rob Lippert’s well-appointed set gives the Fab Four adequate room to nimbly move, and each has their stand-out meltdowns. Alan is a corporate lawyer, Annette in wealth management, Michael a wholesaler and Veronica a writer.
Nick Freed and Bridgette Bassa are Alan and Annette Raleigh. Photo by Jon Gitchoff.
Even though superficial, the initially polite adults become openly hostile and judgmental as conflicts build. The awkwardness is palpable; the social niceties start falling away. They compliment Veronica on her clafouti, a French baked fruit dessert she made from scratch, talk about their careers and life in their affluent Cobble Hill neighborhood. Then, things take a turn.
The actors dig in as the grown-ups don’t take long to get primitive – misinterpreting phrases, defending meanings, and boldly stating opinions. Rum flows, marital issues surface and the tact disappears. Better judgment goes out the window.
Nick Freed deftly captures Alan’s smugness and self-importance as the preoccupied attorney, constantly distracted by taking calls about a problematic client in a high-profile case. His wife, Annette, is polished but frazzled, trying to diffuse misunderstandings at first. In this role, Bridgette Bassa boldly takes the driver’s seat after she gives up, exasperated, and lets loose.
As Veronica, Christina Rios portrays the sanctimonious control freak host. She writes pretentious books focused on social causes, and projects a superior attitude that contrasts with her husband Michael’s seemingly more easy-going nature. But ever so cleverly, she gets sassier and her moods swing farther.
The reserved bottle of rum comes out. Photo by Jon Gitchoff.
As the gruffer dad, Moses attempts to be agreeable but is hamster-shamed when he gets rid of his daughter’s beloved pet and becomes defensive right away. At first, he seems to choose his words more carefully, but then adroitly strips away any liberal pretense.
As they argue, Rios picks her battles, and her clashes with Moses rise on the DEFCON scale – so madcap and raucous. They both are such skilled performers in movement, as are Bassa and Freed, that the free-for-all is a master class in over-the-top antics. Special nod to fight choreographer John Wilson, for the staging is quite a workout.
The men, in a bro-bonding way, gang up on the women as alliance shifts, pointing out animalistic instincts. It is Alan who mentions his belief in the God of Carnage – “He has ruled, interruptedly, since the dawn of time.”
Getting metaphorical, Reza is taking aim at the primal and violent nature of humanity that we are born with, our tendency toward aggression and self-interest. Despite modern education and culture, when those artificial societal norms masks are torn off, the true instincts can surface.
The Novaks spitefully go at it. Photo by Jon Gitchoff.
Hence, the digression into childish behavior, appearing like playground bullies as attacks become personal, and a wild night ensues. Rather than just a battle royale, it offers smart food-for-thought: When our ideas are challenged, how do we react because in our everyday lives, we all deal with difficult people and situations.
The technical aspects marvelously enhance the engaging experience, with lighting design by Jayson Lawshee-Gress and sound design by Kareem Deanes that is beautifully timed, especially the frequent cell phones — Kudos for picking “The Imperial March (Darth Vader’s Theme)” for Michael’s mother’s ringtone!
Costume Designer Michele Friedman Siler has chosen the ideal socio-economic status wardrobe for each character, down to the accessories, and props supervisor Laura Skroska has selected a colorful assortment of hospitality items for eating and drinking. (I particularly liked Veronica’s Frida Kahlo socks).
Christina Rios and Bridgette Bassa share pleasantries. Photo by Jon Gitchoff.
Because of the cast and crew’s high-level of commitment, the explosive rollercoaster-like proceedings come across effortlessly on stage, when in reality it took an amusement park-sized dedication to get the tempo, timing and storytelling arranged so precisely.
This outstanding production of “God of Carnage” maintains momentum and relevancy — and is laugh-out-loud funny. (You may have heard me on Thursday, June 25).
New Jewish Theatre presents “God of Carnage” June 11 – 28, which runs at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146). Performances are on Thursdays, Saturdays, and Sundays. Showtimes and tickets are available by phone at 314.442.3283 or online at jccstl.com/njt
Bridgette Bassa gets feisty with Nick Freed. Photo by Jon Gitchoff.
A messier, edgier alien superhero has arrived in “Supergirl,” with all its expected over-reliance on CGI visual effects and its anticipated female-forward power dynamic. What is surprising is Milly Alcock’s spunky, punky portrayal of the party girl from Krypton.
Alcock, who portrayed Princess Rhaenyra Targaryen in the first five episodes of HBO’s “House of The Dragon” prequel to “Game of Thrones” and as insecure sister Simone in Netflix’s limited series “Sirens,” brings considerable heart and vulnerability to Kara Zor-El’s backstory.
The origin story is in a flashback detailing her solo grief-stricken journey to Earth. An only child, her parents (Emily Beecham, David Krumholtz) became terminally ill when they were sent to live in Argo City after Krypton’s demise. Her father is Zor-El, brother to Superman’s father Jor-El.
Alcock’s present-day Kara is angsty, sassy, and sarcastic, and needs to find a compelling reason to put the suit back on and do good for mankind. Instead, she stumbles and mumbles through life only clad in a Blondie t-shirt and a rumpled trench coat until she is called upon to be heroic. Her self-destructive tendencies have masked her pain and she questions her purpose.
Kara Zor-El lands on Earth to be welcomed by cousin Kal-El.
She must rise to her destiny when she reluctantly joins forces with Ruthye (an impressive Eve Ridley), whose family was slaughtered by the monstrous villain Krem of the Yellow Hills (Matthias Schoenaerts).
As the sole survivor, she seeks vengeance. Kara reluctantly takes her under her wing on an interstellar journey, where they planet-hop between red, yellow and green-designated planets.
Hot on their trail, Krem, devoid of any humanity, injures Krypto, Kara’s beloved rascally pet, with a poison dart. Supergirl has three days to find the antidote, so that ramps up her motivation. The scalawag bounty hunter Lobo (colorful Jason Momoa) becomes an unlikely ally.
.As a follow up to DCU’s “Superman” reboot last summer, this “Supergirl” presents a different, grittier spin on Clark Kent’s younger first cousin (eight years apart). Magnetic David Corenswet returns as the noble Man of Steel, and he’s a terrific addition to James Gunn’s new vision for the DCU.
Milly Alcock as Supergirl with her beloved pet Krypto.
The return of fan-favorite Krypto is another welcome sight. As the clock ticks, Ruthye becomes a wily companion, and anti-hero Lobo steals every scene he’s in as an “immortal” with glowing eyes and a big, bad, brassy demeanor.
The entertaining actor, best known as DC’s “Aquaman,” is now a go-to for extended cameos in action films in the same way Jack Black shows up in comedies to add his over-the-top sauce.
With his hulking physique, gravelly growling voice, and riding a tricked-out motorcycle, Momoa fits into this grimy aesthetic that resembles the chaotic “Mad Max: Fury Road” and the irreverent “Guardians of the Galaxy.” The film features a visually striking motley crew of space creatures that look like an even gnarlier collection of “Star Wars” cantina revelers.
This renegade-like adventure is capably directed by Craig Gillespie, who helmed such standout darkly comedic films as “I, Tonya,” “Cruella,” and “Dumb Money” in recent years, after his breakout indie “Lars and the Real Girl” that’s among his eclectic resume..
Waiting for a bus.
Based on Tom King’s 2021-22 comic book mini-series, “Supergirl: Woman of Tomorrow,” the screenplay was written by Ana Nogueira, who focused on emotional depth, cheeky wit, a found-family connection, and an underground vibe. Where the story is weakest is its villain, Krem.
Supergirl first showed up in a DC comic in May 1959, created by Otto Binder and artist Al Plastino for the story “The Supergirl from Krypton.” If you are unfamiliar with the source materials, no worries. The plot isn’t so dense that you can’t figure out what drives the super-powered Kryptonians to save the universe, one epic battle at a time.
St. Louis native Gunn, creator of Marvel’s vastly successful “Guardians of the Galaxy,” took over the reins of DC Studios as co-chair and co-CEO with Peter Safran in 2022, and he is the creative leadership for the film, TV and animation slate.
As writer-director of the 2025 “Superman,” Gunn restored the iconic American superhero to his altruistic roots and did considerable world-building. He also teased the new Supergirl coming this summer, when Kal-El was headed for the Fortress of Solitude, and she returned to fetch Krypto.
Supergirl (Milly Alcock) face to face with villain Krem (Matthias Schoenaerts).
Gunn is up next writing and directing “Superman: Man of Tomorrow,” which is set for release July 9, 2027, with Corenswet back and Nicholas Hoult reprising his role as arch-villain Lex Luthor.
Memorable villains are always key to how good a movie holds up, and Krem is bland. It’s not that Schoenaerts isn’t a good actor, because the Belgian has been noteworthy in acclaimed international films (“Bullhead,” “Rust and Bone”), as a thug in the vastly underrated “The Drop” and as a prisoner seeking redemption in “The Mustang.”
But written as a one-note demonic space pirate, he’s not interesting. His physique is imposing as a sadistic killing machine, but there is not much to work with here.
Jason Momoa as “Immortal” antihero Lobo.
The last “Supergirl” live adaptation feature was in 1984, as a spin-off of Christopher Reeve’s Superman movies, and bombed, with Helen Slater in the title role.
Three decades later, Supergirl re-appeared as a popular television series on the CW from 2015 to 2021, starring Melissa Benoist. Since then, the character appeared as an alternate-universe Kara in the crossover 2023 film “The Flash,” played by Sasha Calle.
While this “Supergirl” is not without flaws, it still is a promising start to the new direction, and has enough characters to care about, particularly the lovable scruffy floppy-eared, white furry mutt, and the resourceful and determined Ruthye. The female protagonists both deal with trauma in an identifiable way.
Milly Alcock as Kara Zor-Eland Eve Ridley as Ruthye Marye Knoll.
“Supergirl” is a 2026 sci-fi action-adventure directed by Craig Gillespie and starring Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Corenswet, Jason Momoa, Emily Beecham and David Krumholtz. It’s runtime is 1 hour, 47 minutes, and is rated PG-13 for sequences of strong violence, action, language, and smoking. It opens in theatres June 26. Lynn’s Grade: B
By Lynn Venhaus Dark, dour and dreary, “The Death of Robin Hood” is a revisionist take on the legendary folk hero without any merry men or noble derring-do – or much of a pulse.
After a chaotic life of crime and murder, a battle-scarred and weather-beaten Robin Hood (Hugh Jackman) is roaming the austere heaths of medieval England. The year is 1247, and he’s not seeking redemption nor reconciling his past — yet. He announces: “I’m tired.”
Writer-director Michael Sarnoski has adapted a 17th century ballad, “Robin Hood’s Death,” to bust the myth about the outlaw that the common man cheered for, “stealing from the rich and giving it to the poor.”
Presenting himself as “no hero,” Robin grapples with being a heartless bandit and not a good guy glorified in folklore. He doesn’t have an altruistic bone in his broken body, and he is irked about the romanticized version because he can’t live up to expectations nor does he want to try.
Along the way, he encounters people affected by his slicing and dicing: Arthur (Noah Jupe), a young man seeking revenge for his slain family; his longtime friend Little John (Bill Skarsgard), now a family man calling himself Edward, who wants Robin’s help in a vicious attack; and little Margaret (Faith Delaney), a traumatized orphan who latches on to him.
Grizzly and growling, Jackman’s sullen Robin is without aspirations. While enacting vengeance at Little John’s coaxing, Robin is gravely injured. He wakes up in the Priory of St. Clement, being nursed by Sister Brigid (Jodie Comer), an angel of mercy, calls himself Randolf.
Forget every screen incarnation, from silent swashbuckler Douglas Fairbanks in 1922 to Taron Egerton as a gritty Robin of Loxley in 2018, with Errol Flynn, Sean Connery, Kevin Costner, Russell Crowe, Cary Elwes, Disney animation and even Frank Sinatra as “Robbo” in a Rat Pack musical comedy in between.
While Tony Award winner and Oscar nominee Hugh Jackman has carried big-themed films before, playing an introspective elder confronting his ghosts is quite a departure from the superhero Wolverine and musical icons Jean Valjean, P.T. Barnum and Neil Diamond that he’s known for, although one can point to “Logan” for another tough-guy reflecting on his mortality.
Emmy and Tony Award winner Jodie Comer lends a quiet strength to Sister Brigid, a kind, caring woman who believes in the good, and devotes her life to the afflicted and orphans.
Sarnoski employs such a top shelf cast that you want to care about their characters, but drawn only as sketchy outlines, it’s difficult to be convinced of this slow story’s merit.
Heralded for his outstanding debut feature, “Pig” in 2021, Sarnoski followed with a fine studio blockbuster, “A Quiet Place: Day One,” in 2024. Now he is poised to be one of A24’s arthouse darlings.
In his grim re-imagining, Sarnoski focuses on moody misty landscapes, terse dialogue and shocking violence. His reinvention is in the same vein as David Lowery’s “The Green Knight” and Robert Eggers’ “The Northman.”
The austere elements are visually interesting– cinematographer Pat Scola and production designer David Lee captured the harsh Northern Ireland landscape, contrasting it with the safe space of the monastery. But Sarnoski’s philosophical approach is one-note, that somber ambience soaking this plodding adventure.
A distinctive element is the mournful score composed by Tony Lewis and folk singer Jim Ghedi that is haunting throughout the film’s 122 minutes.
Sarnoski has decided that backstories are not necessary, so there’s no evidence of a kinder, gentler swashbuckler hardened by his brutality. No mention of the Crusades or Sherwood Forest, or the cruel corrupt monarchy (Prince John and his henchman Sheriff of Nottingham and Sir Guy of Gisbourne) that spurred the Robin Hood saga in the Middle Ages.
Supporting players arrive, merely trying to survive the harsh conditions. This is mud, blood, slings and arrows – an eye for an eye.
At the monastery, one of the castoffs is a compassionate bandaged leper played by Murray Bartlett, Emmy winner as resort manager Armond in the first season of “White Lotus.” He dispenses hard-fought wisdom and seems to pierce Robin’s impenetrable demeanor, as does Sister Brigid and young Margaret.
The leper encourages Robin to let go of his violent past and become part of the sanctuary community. But is he too late for salvation? In theory, this moral dilemma sounds interesting, but its subdued execution makes this film tough to embrace. And the hushed, mumbling delivery of all characters, with dialects, makes understanding the exposition even harder.
Sadly, “The Death of Robin Hood” is more a desolate dirge than a profound philosophical statement.
“The Death of Robin Hood” is a 2026 action-drama written and directed by Michael Sarnoski and starring Hugh Jackman, Jodie Comer, Bill Skarsgard, Murray Bartlett, Noah Jupe and Faith Delaney. It is rated R for strong bloody violence and the runtime is 2 hours, 3 minutes. It opens in theatres June 19. Lynn’s Grade: C-
With magical Muny moments aplenty, the joy juggernaut “Hairspray” launched the 108th season with heart, humor and humanity.
Stacked with stand-out performances, this production celebrates change agents, set on the cusp of the monumental cultural shifts that would define the 1960s, and is a kicky, kitschy kaleidoscope of comical zingers and 60s beats.
Director Seth Sklar-Heyn brought out the infectious dance-party energy, and his fast-paced show is just pure fun! A flawless, turbo-charged cast demonstrates why this 2002 Tony-winning musical continues to defy tradition with its cheeky wit, upbeat approach and timeless freedom of expression theme.
Let’s hear it for the outsiders – and Tracy Turnblad’s optimism! Set in 1962 Baltimore, plus-size teenage Tracy has a dream – to dance with the cool kids on the popular TV program “The Corny Collins Show.” With her slick moves, she earns a spot and winds up leading a movement for racial integration. Oh — and gets the cute guy!
Paul Schwensen (center) and the company of the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
“I just don’t understand why we can’t all dance together,” she says to the black teens who’ve become her friends (in detention and dancing at platter parties).
A marvel in motion, the indefatigable Katy Geraghty embodied Tracy with unadulterated glee. A scene-stealer in the Muny’s “Sister Act” and “Bring It On!,” Geraghty endeared as a triple treat, whirling, twirling and unfurling Tracy’s positivity in her signature songs: “Good Morning Baltimore” and “I Can Hear the Bells,” in addition to leading the company in “Welcome to the ‘60s” and an exuberant “You Can’t Stop the Beat.”
Also defying America’s narrow beauty standards is marquee headliner Richard Kind as Tracy’s big-hearted but insecure laundress mother Edna. Kind, star of stage and screen, embraced this distinctive gender-flipped role by warmly revealing Edna’s many facets – her insecurities, confident transformation, and devotion to her daughter and husband Wilbur (a sensational John Bolton).
With his raspy voice and expressive face, the beloved Kind is a natural as this larger-than-life figure. A Drama Desk Award winner and Tony nominee, his Swiss-watch comedic timing is impressive.
John Bolton (left) and Richard Kind in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
Commanding the stage in the finale, Kind charmed as shiny happy Edna, clad in snazzy red sequins, a wondrous sight to behold. His sweet duet with Bolton, “You’re Timeless to Me,” is a highlight.
From the principal parts to the chorus, this spirited well-cast ensemble is one of the strongest to grace the Muny stage in recent memory. Besides the terrific Turnblad trio, Charity Angel Dawson and the appropriately named Joy Elizabeth Rhodes knocked it out of Forest Park as Motormouth Maybelle and Little Inez, a mother-and-daughter powerhouse from the record shop on ‘the other side of town.’
Dawson brought the house down with the soulful ‘11 o’clock number’ “I Know Where I’ve Been” and joined the bluesy anthem “Big, Bold and Beautiful” with Rhodes.
The pint-sized dynamo Rhodes belted out “Run and Tell That” with her brother Seaweed J. Stubbs (marvelous sparkplug Nicholas A. Wilkinson), showing tremendous poise. A star is born.
From left: Richard Kind, Charity Angél Dawson and Joy Elizabeth Rhodes in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
Special mention to The Dynamites, that stylish trio of Taylor Colleton as Shayna, Indya Lincicome as Judine and Tatiana Lofton as Kamilah, swirling in costume designer Tristan Raines’ sparkly girl-group finery.
Raines’ vibrant vintage style is spot-on, a SweeTARTS palette of pastels, plaids and floral prints that pop in 50s A-line dresses and bouncy skirts, before the mod look of Carnaby Street arrived. Integral are the period-specific wig designs by Ashley Rae Callahan, for the teased bouffant hairdos, pageboys, and flips.
Scenic designer Christine Peters smartly chose bright retro colors and contributed eye-catching vintage signage for the storefronts in Baltimore, including Wilbur’s novelty joke shop the Har-de-Har Hut and Motormouth Maybelle’s record shop.
(A nice nostalgic nod is the Sealtest Ice Cream sign, which was a national brand produced at the former St. Louis Dairy Company location where Energizer Park is now, known for its massive iconic clock for decades).
From left: Taylor Colleton, Indya Lincicome and Tatiana Lofton in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
Sklar-Heyn’s staging, using the turntable, is seamless, and Nathan Scheuer’s fluid black-and-white video design added depth to the storytelling (and flying pink flamingos!). So did Rob Denton’s lighting design, which amplified the feel-good atmosphere, and Joshua Hummel’s sound design, which reinforced the musical’s peppy rhythm.
The girl power is noteworthy, with perky Ashlyn Maddox as Tracy’s sheltered best friend Penny Pingleton, who gets more animated on her personal liberation journey, while Hannah Solow is funny as her overbearing, ultra-conservative mother Prudy.
The vain blonde villains Amber and Velma Von Tussle (Madison Thompson and Sara Gettelfinger) look like magazine-cover models but are despicable in their devious ways, trying to block Tracy at every turn, and resorting to underhanded methods. Thompson and Gettelfinger are convincing in their exaggerated evil, especially awful Velma with “Miss Baltimore Crabs” and “Velma’s Revenge,” and bratty Amber in “Cooties.”
The guys they push around are the dreamboats Link Larkin, aka “The Elvis of Baltimore” (Ben Jackson Walker), and host Corny Collins (Paul Schwensen), who come to see the light, not unlike the throwback teen heartthrobs (Ricky Nelson, James “Moondoggie” Darren, Fabian and Frankie Avalon).
Nicholas A. Wilkinson and Ashlyn Maddox in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
Walker nailed Larkin’s breezy likability, smoothly dueting with Geraghty on “It Takes Two” and “Without Love.” So does Schwensen as the polished boy-next-door host, leading the clean-cut company in “The Nicest Kids in Town,” the line-dance song “The Madison” and “It’s Hairspray” at the Ultra-Clutch sponsored Miss Teenage Hairspray Pageant.
Music Director Evan Roider masterfully maintained those swinging melodies, leading a mega-cast including a youth ensemble and singers off-stage, and 24 musicians as the orchestra conductor.
Those nice kids, aka “Council Members,” are the 10 camera-ready idolized teens on the dance floor. They couldn’t be more vivacious in choreographer Jesse Robb’s peppy-retro style: Matt Dean, Olivia Windley, TJ McCarthy, Brooke Cox, Matthew Varvar, Chloe Chamberlin, McKinley Knuckle, and Audrey Curdo. Jennifer Florentino deserves mention as assistant choreographer and dance captain (and swing, along with Jack Sippel).
Same goes for the hip kids allowed to dance on the once-a-month “Negro Day,” including Jonah Taylor, Trevor “Tjay” Groce, J’Khalil and Leah Joy Ifill.
Nicholas A. Wilkinson in the 2026 Muny production of “Hairspray.” Photo by The Muny | MaryKatherine Patteson
Character actor Kevin Zak amusingly filled multiple roles – Mr. Pinky, Mr. Spritzer, principal and guard, while Solow played the gym teacher and matron too.
While “Hairspray” initially was a blast from the past for Baby Boomers, who lived through the social and cultural revolution of the ‘60s, accompanied by the unmistakable pop and rhythm ‘n blues music soundtrack of our lives, all generations can identify with the characters’ struggles and triumphs – especially with its empowering message of individuality and acceptance. It remains relevant today.
Director John Waters has focused on marginalized people in his subversive social satires, and his 1988 film “Hairspray” (starring Ricki Lake, Divine, Jerry Stiller, Sonny Bono and Deborah Harry) struck a universal chord to become a cult classic.
Waters had based it on his youth in Baltimore, where “The Buddy Deane Show” enthralled teenagers, not unlike Dick Clark’s “American Bandstand” and “St. Louis Hop” here on KSD-TV with host Russ Carter from 1958 – 1973. (Fun Fact: St. Louis’ local show was nationally recognized as the first racially integrated teen dance program in U.S.). Oh, how we looked up to those groovy gals doing the twist, pony and mashed potato moves.
Producer Margo Lion enlisted composer Marc Shaiman – who had scored the 1999 “South Park” film — to adapt “Hairspray,” so he and co-lyricist Scott Wittman wrote the catchy songs in the music styles of that fabled era. Writers Mark O’Donnell and Thomas Meehan tackled the real-world bullying and segregation issues with frankness, finesse and wicked humor. (FYI – Shaiman and Wittman showed up at Monday’s Muny opening!)
Katy Geraghty and Ben Jackson Walker in the 2026 Muny production of “Hairspray.” Photo by The Muny | Emily Santel
The show opened on Aug. 15, 2002, and ran for more than six years, closing on Jan. 4, 2009, after 2,642 performances. It won eight Tony Awards from 13 nominations in 2003 and touring productions have been around the world. A wildly popular movie musical was released in 2007 with an all-star cast, and a live television event was broadcast in 2016. The show was performed at the Muny in 2009 and 2015.
The racial harmony aspect still resonates today, and the casting reflects a changing society, breaking down traditional images of femininity. The fact that youth activism can power social change is a potent takeaway, too, for the Muny retelling captured the optimism of a generation. The emphasis on dreamers is notable too, for one can look at this as an aspirational tale.
Mike Isaacson, executive producer and artistic director, always thinks big, and this show is no exception. Noting the Muny’s priority on community in his season opening remarks, he talked about why the special experience year in and year out is still unique.
For we dreamers come together in this summer reunion, connecting with the stories shared by people making their collaborative creative and performing efforts as personal as they can. The Muny saves space for all of us.
Katy Geraghty and the company of the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
The Muny presents “Hairspray” from June 15 to 21 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets and more information, visit www.muny.org
Madison Thompson (left) and Sara Gettelfinger in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer
Opera Theatre of Saint Louis closes its 2026 festival season with a production of Charles Gounod’s “Romeo and Juliet” that understands exactly what makes the opera work.
Director Keturah Stickann, conductor Ramón Tebar and a superb cast place the relationship between the young lovers at the center of the evening. Every scene, every duet and nearly every design choice serves that relationship, allowing the opera’s final moments to land with uncommon emotional force.
Emma Marhefka and Leonardo Sánchez establish that foundation from their first encounter at the Capulet ball. Over the course of four duets, attraction deepens into devotion, devotion deepens into intimacy and intimacy collides with tragedy. By the opera’s final moments, the fate of Romeo and Juliet feels like a personal loss.
Although the opera bears the lovers’ names, this production finds its emotional center in Juliet. Marhefka charts the evening’s most significant journey, carrying Juliet from youthful exuberance and certainty toward hard-won understanding. Her buoyant “Je veux vivre” captures a young woman delighted by life’s possibilities and confident in her place within them.
Marhefka uses the aria to establish the emotional ground beneath the entire performance. Experience, loss and consequence gradually reshape that confidence, and Marhefka traces every step of the transformation.
Sánchez proves an ideal partner in that journey. His clear, ardent tenor and openhearted stage presence ground Romeo’s devotion in genuine feeling. He also captures the impulsiveness that repeatedly transforms emotion into action and action into consequence. Together, Marhefka and Sánchez accomplish the production’s central task. They make the relationship real.
Stickann follows the emotional architecture that Gounod built into the score. The four great duets become milestones in the relationship’s evolution. At the ball, attraction arrives with the force of discovery.
At the balcony, discovery deepens into commitment. In the bedroom, longing yields to intimacy. In the tomb, intimacy confronts consequence. Marhefka and Sánchez make each stage feel earned, allowing the relationship to grow before our eyes rather than simply advancing it from one familiar scene to the next.
The masked ball pulses with youthful energy. Seán Curran’s choreography fills the stage with movement while Marhefka and Sánchez create an immediate connection that feels spontaneous and authentic.
The balcony scene narrows the world around them. Family loyalties, social obligations and old grievances lose their hold as the lovers construct a private universe of their own making. They move forward with complete certainty. They trust feeling to overcome circumstance.
The bedroom scene reveals the relationship at its fullest expression. The lovers move beyond longing and into intimacy. Reality waits outside the room. Neither lover recognizes how quickly it will arrive.
By the tomb scene, reality has arrived in full. The final duet devastates because the production earns it. Marhefka and Sánchez carry the emotional weight of everything that came before. The audience mourns two people rather than two symbols.
The supporting cast defines the forces pressing against that increasingly fragile private world. Benjamin Taylor’s Mercutio embodies the exuberance the production spends its first act celebrating and its remaining acts dismantling.
His Queen Mab scene sparkles with wit, confidence and youthful vitality. His death shifts the emotional temperature of the evening and signals that the world surrounding the lovers has begun to harden.
Micah Perry’s Tybalt burns hot and fast. His bright tenor matches a temperament that seems incapable of imagining a future beyond the next insult, challenge or grievance. The emotions arrive with the same force as his blade. Perry captures the moment when youthful certainty hardens into catastrophe.
Nicholas Newton gives Friar Laurence the confidence of a man who believes wisdom and planning can master events. The opera steadily exposes the limits of that confidence.
Vinicius Costa commands the stage as Lord Capulet, embodying the expectations and obligations that increasingly constrain Juliet’s choices. The certainty of the older generation proves no more reliable than the certainty of the younger one.
Edmond Rodrigues brings quiet steadiness to Benvolio, while Veronica Siebert’s spirited Stephano, Imara Ashton’s warm Gertrude, Jason Edelstein’s authoritative Duke of Verona, Cole Bellamy’s Paris, Julia Mariah Johnson’s Lady Capulet and Kevin Douglas Jasaitis’ Gregorio give shape and texture to the world surrounding the lovers.
Tebar understands that Gounod often advances the drama by suspending it. Again and again, the orchestra creates moments in which time seems briefly to stop and attention narrows to the emotional lives of the lovers. Tebar draws feeling from melody, phrasing and texture rather than sheer volume. The St. Louis Symphony Orchestra illuminates the drama without overwhelming it.
Stickann’s collaborators reinforce the production’s focus on emotional clarity. Scenic designer Liliana Duque Piñeiro embraces fluidity and metaphor. At first glance, the set’s broad expanse of masonry and geometric forms resembles a public swimming pool emptied of water.
As the evening unfolds, however, its logic reveals itself. Steps, balconies, platforms and even convenient toe holds for Romeo gradually emerge from the design, creating a flexible environment for the opera’s succession of intimate encounters. Large movable columns continually reshape the playing space, suggesting both a divided society and shifting emotional terrain.
Their movement occasionally draws attention to the mechanics of the staging, but never enough to pull the audience from the drama. The architecture rarely competes for attention. Instead, the eye naturally returns to the performers and Robert Perdziola’s richly colored costumes.
Costume designer Robert Perdziola externalizes the feud through color. The Montagues inhabit a world of blue while the Capulets move through shades of red, rose and violet. The visual contrast immediately clarifies the barriers the lovers spend the evening attempting to cross.
Eric Southern shapes mood and focus through light, while Andrew Whitfield’s chorus establishes the conflict that shadows the lovers from the opening moments.
The achievement of OTSL’s “Romeo and Juliet” lies in how completely it earns its emotional ending. By the time the lovers reach the tomb, the exuberance that animated the ball has collided with the realities waiting outside the lovers’ private world. The story remains familiar. The ending still hurts.
“Romeo and Juliet” runs June 7-26 at Opera Theatre of Saint Louis. The production concludes OTSL’s 2026 festival season, which features all four productions in rotating repertory at the Loretto-Hilton Center on the campus of Webster University. For tickets and additional information, visit Opera Theatre of Saint Louis at opera-stl.org.
Bringing together remarkable talent for an underbaked summer spectacle that trades nuance for naiveté, director Steven Spielberg’s “Disclosure Day” is neither compelling enough as popcorn entertainment nor fully invested in its existential ideas.
We’re thrown into the story in media res, as rogue cybersecurity specialist Dr. David Kellner (Josh O’Connor) is on the run with a backpack containing evidence of human-alien contact dating back to the Roswell Incident.
The Wardex Corporation, an arm of the US government led by the stiff-jawed Noah Scanlon (Colin Firth), desperately wants to keep the files hidden from the public.
David, guided by the Morpheus-esque Hugo Wakefield (Colman Domingo), is determined for the world to know the truth, regardless of the ramifications — although society already seems on the brink of World War III due to some vague geopolitical conflict involving Russia and North Korea.
Josh O’Connor as a rogue cybertech expert.
David is accompanied by his girlfriend Jane Blankenship (Eve Hewson), who used to be a nun and is grappling with the potential consequences of what this alien “disclosure” would do for the devout’s belief in God.
Meanwhile, Kansas City television meteorologist Margaret Fairchild (Emily Blunt) is preparing for work one day when a cardinal flies into the apartment she shares with her exhausted and passive-aggressive boyfriend Jackson (Wyatt Russell). After the bird leaves, Margaret seemingly has psychic abilities; she’s able to read minds and understand the emotions of anyone she comes across.
She’s also able to speak any language, including a bizarre click-clacking extraterrestrial tongue that she deploys during the day’s broadcast. This catches the attention of Wardex, and, soon enough, Margaret is being pursued by them. She eventually crosses paths with David, who she learns she shares a world-altering connection with.
Can they get to safety and reveal the truth before Noah’s goons lock them up and forever relegate the files to the realm of conspiracy theories?
Emily Blunt as KCweathercaster.
It’s an admittedly decent premise, especially considering the people involved. Spielberg directing, John Williams scoring, Janusz Kamiński lensing, O’Connor, Blunt, Firth, and Domingo among the cast — what’s not to like?
As it turns out, fundamental storytelling issues bring “Disclosure Day” down to size, abandoning the thorniness of “Close Encounters of the Third Kind” or even the lesser emotional pull of “The Fabelmans” for something decidedly messier and devoid of much novel to say.
It’s never less than watchable, but with Spielberg at the helm, shouldn’t we expect more than a boomeristic call for unity that forgets to give its characters much depth?
Five-time Spielberg collaborator David Koepp’s screenplay is wildly uneven, oscillating between broad, crowd-pleasing humor, bursts of cynicism, and blatant sentimentality that never coheres into a truly satisfying identity of its own.
Colin Firth (center, standing) in DISCLOSURE DAY, directed by Steven Spielberg.
To its credit, “Disclosure Day” is an ambitious film, exploring religion, childhood trauma, empathy, government surveillance, journalistic integrity, and extraterrestrial life, Spielberg’s favorite, just without digging into any topic with much detail.
Characters pay lip service to ideas in exposition-heavy sequences where debates sometimes feel like each person is arguing with themselves, stumbling into revelations without the story unfolding organically.
And we don’t actually know that much about these people to begin with, especially David, as Spielberg drops us into the fray mid-chase and expects us to forge a bond on the fly as bits of backstory are periodically spelled out for us.
Margaret fares marginally better, mostly thanks to an excellent Blunt performance that walks an entertaining tightrope between comedy and drama as her character grapples with the fear and eventual determination stemming from her newfound powers.
Blunt has great comedic timing that makes her endearing regardless of the character’s blandness, as does O’Connor, who proves himself to be a capable Spielberg everyman who can shoulder action sequences effectively. Firth, given even less to work with from a narrative depth standpoint, chews scenery as the villainous Noah.
It might sound like “Disclosure Day” is a near-total misfire, but, on a pure, in-the-moment level, there’s too much impressive craft on display to ignore. Kamiński works overtime framing elaborate (perhaps overly elaborate) long takes and action sequences that are thrilling and full of slapstick carnage.
Williams’ score provides a fitting backdrop to this paranoid thriller, sans much separating itself from the master’s previous works. And Spielberg does take some wild swings here, complete with mind control and some questionably-animated CGI animals, that are unconventional, even if their cumulative effect is more goofy than profound.
Colman Domingo helping lead the pro-alien faction.
Spielberg has a clear message to share — of how the spontaneous and unexpected can bring us together, and how, as a species, we need to learn to gradually bridge divides and “listen” to each other. “Disclosure Day” speaks to the current moment in 2026, albeit remaining old-fashioned in the ways it delivers its pleas, but it becomes difficult to take seriously amid its loopy, fragmented plotting.
It’s still mildly diverting if one can let the 145-minute runtime wash over them and not expect to have much “disclosed” that prompts more than smirks and eyerolls.
“Disclosure Day” is a 2026 supernatural sci-fi thriller directed by Steven Spielberg and starring Josh O’Connor, Emily Blunt, Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell. It is rated PG-13 for action/violence, some bloody images and strong language and the runtime is 2 hours, 25 minutes. It opens in theatres June 12. Alex’s Grade: B-
