The Tesseract Theatre Company has changed leadership structures and announced its new team of Creative Directors.
Tesseract Theatre has followed the more traditional model of theatre administration for over a decade now, with an Artistic Director choosing production material, a Managing Director overseeing production operations, and an Executive Director tackling the administrative identity of the company.
The company is now switching to a more ‘open forum’ type of management structure with the addition of Kevin Corpuz. ”It opens up for more collaboration,” says Corpuz, “and allows us to work more in tandem to help shape the new direction of the company.”
The new direction of the company involving the addition of musicals, like last November’s production of Adam Gwon’s Ordinary Days, something Tesseract never did in its first twelve years in St. Louis. “I found myself wishing the play would never end,” wrote Richard Green of Talkin’ Broadway of the production.
”We’ve always celebrated having a lot of voices in the room,” says Taylor Gruenloh, the founding Artistic Director of the company, now turned Creative Director alongside Corpuz, “but this feels more responsible. And guarantees a ‘check and balance’ system to everything. And not just to make sure that duties are being done and everything is done fairly in production, but that leadership can look out for one another, make sure everyone is still taking a breath and is reminded why we want to sacrifice our time to produce theatre in this community.”
Along with Gruenloh and Corpuz is Brittanie Gunn, a founding partner of the company. “We celebrate ensembles on our stage,” Gunn says, “and I think mirroring our management structure in a more ensemble-like fashion should allow us to find new experimental ways to take on production management and company administration.”
”I’m excited to help Tesseract do what it’s always done,” says Corpuz. “Which has been producing exciting shows in St. Louis. And I’m glad to help usher in the exploration of musical theatre inside this company.”
Corpuz will be featured in the musical The Last Five Years by Jason Robert Brown at Tesseract Feb. 17-26, directed by Gruenloh. And Gunn will be directing the hip-hop romance Welcome to Arroyo’s by Kristoffer Diaz this upcoming April. Both shows at the .Zack Theatre in Midtown on Locust.
The Midnight Company will feature two original cabaret shows as part of their 2023 season, and the first – JUST ONE LOOK, the story of the legendary singer Linda Ronstadt – will play at The Blue Strawberry on Wednesdays March 1, 8 and 15 at 7:30pm. The show stars Kelly Howe as Ronstadt, and it’s written and directed by Midnight Creative Director Joe Hanrahan, and tickets, at $25, are on sale now at BlueStrawberrySTL.com or by calling 314-256-1745. (In July, Midnight will present YOU MADE ME LOVE YOU, a very personal tribute to Judy Garland, at The Blue Strawberry.)
Hanrahan said “Jim Dolan of The Blue Strawberry and I have discussed incorporating a theatrical element into classic cabaret, and with the Linda Ronstadt show, we’re aiming to create that.” Dolan said “Blue Strawberry is excited to be working with Joe Hanrahan and Midnight to present this show. As a longtime fan of Joe and Midnight’s work, we are honored to be a part of this production.”
After Linda Ronstadt’s long success on the pop music charts, she went on to triumphs on Broadway with Gilbert and Sullivan, 3 albums of the Great American Songbook with Nelson Riddle, Mariachi and lullaby albums, and much more. She had 3 number 1 hit albums, and 10 albums in the top ten. She recorded over 30 albums, and appeared as a guest on 120 albums by other artists – from Philip Glass to a duet with Homer Simpson. There was a number 1 single, 3 number 2s, 10 top ten singles, 21 reaching the top 40, and two number 1 hits on the Country charts. Ronstadt’s hits included Different Drum, Blue Bayou, Desperado, It’s So Easy, the title song of this show and many more. Her worldwide album sales totaled more than fifty million, she won ten Grammy Awards, she’s a recipient of the National Medal of Arts, and she’s a member of the Rock & Roll Hall of Fame.
Hanrahan said “Both Kelly and I have a deep appreciation for the great music Linda Ronstadt delivered. Both her rockers and her ballads are among our favorite songs. We aim to remind people who she was, and to honor her work and her life.”
Her songbook featured collaborations with some of the biggest names in music, and her personal life included longterm relationships with, among others, Governor Jerry Brown of California when he was running for president, and George Lucas of STAR WARS.
In JUST ONE LOOK, Hanrahan will portray a veteran rock ’n roll journalist who finally gets to interview his unrequited love, Ronstadt, though she’s now retired to her hometown of Tucson, suffering from Parkinson’s disease. In the course of the show, they remember her debut in Los Angeles, and Howe becomes the younger Linda, recalling her storybook career and singing her great songs.
Kelly Howe was nominated for Best Supporting Actress by the St. Louis Critics Circle for her role in The Black Rep’s SWEAT. In St. Louis, she’s also been seen in TOMMY (Stray Dog), THE APHRA BEHN FESTIVAL (SATE) and RODNEY’S WIFE (Midnight.)
Joe Hanrahan, Midnight’s Artistic Director, directed Midnight productions of RODNEY’S WIFE and ST. LOUIS WOMAN in 2022. For the Company, recent Hanrahan scripts have been ST. LOUIS WOMAN and ANOMALOUS EXPERIENCE in 2022, and NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND and TINSEL TOWN in 2021. Both of those scripts were nominated for Best New Play by the Critics Circle, with TINSEL TOWN receiving the award. Previously Joe has also directed for The Black Rep (THE BROWNSVILLE RAID and NO CHILD), SATE (CUDDLES) and R-S (THE FLICK).
Miranda Jagels Felix will Assistant Direct. She directed Kelly Howe for THE APHRA BEHN FESTIVAL (SATE), assistant directed and performed for THE GOOD SHIP ST. LOUIS (Upstream), performed in HAG-SEED (Prison Performing Arts) and will assistant direct UNCLE VANYA (The Actors Studio) in February.
The JUST ONE LOOK Band will be led by Music Director/Pianist Curt Landes. Curt has played with Chuck Berry, Albert King, Glenn Campbell, John Hartford and the St. Louis Symphony Orchestra, and has appeared at numerous national and local music festivals. Tom Maloney will be on guitar and bass. Tom was the Music Director the an international Johnnie Johnson tour. He’s played with everybody from Jerry Vale to Homesick James, and recently co-wrote and produced Jeremiah Johnson’s #1 song on the Billboard Blues Chart, HiFi Drive. And Mark Rogers will handle percussion and provide backup vocals. Mark co-founded many local bands, including Street Corner Symphony, Walnut Park Athletic Club and The Heaters. He proudly claims that he’s used the same drum set since 1968, and and the same milk can as a drum stool since 1973.
After JUST ONE LOOK, Midnight’s 2023 season will continue with THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY (May 4-20 at the Kranzberg Black Box), THE YEARS (July 13-29 at The Chapel), YOU MADE ME LOVE YOU (July 26, August 2 & 9 at The Blue Strawberry) and THE LION IN WINTER (October 5-21 at the .ZACK.) For more information, visit midnightcompany.com.
“The past is never dead,” observed the novelist William Faulkner. “It’s not even past.” That sentiment was certainly on extravagant view at the Fox Theatre during the opening of “Six” the musical, running through Feb. 5.
“Six” is a music-forward revue – a glammy, poppy, hip-hoppy, “Schoolhouse Rock” treatment of King Henry VIII’s gaggle of significant others. Think of it as a “First Wives Club” with a killer soundtrack, sick beats, explosive light show, and a bevy of Queen Beys who put a ring, a stiletto and a defiant stomp on their heretofore musty-dusty place in the past. Or think of it as reimagined Tudor history for the TikTokkers.
If you’re expecting an historical costume drama, “Six” may surprise you because it’s heavy on the costumes and light, to the point of nonexistence, of the drama. But, oh those Tudor-inspired costumes. With all their studs, spikes, sequins, fishnets, bangles, baubles and bedazzlings, the black-pleathered costumes are enough to distract you from the history and entice you to just enjoy the swish, swagger and swirl of the performers.
This puts a new spin on the term historical “figures.” As bedecked, any of the queen-wives would have been Henry’s one and only – thanks to costume design by Gabriella Slade.
Historians, most of them of the male persuasion, have not been kind to the stories and legacies of Henry’s wives and lovers – rendering them with more histrionics than history. That’s one of the main injustices that writers Toby Marlow and Lucy Moss apparently hoped to rectify during this musical’s snappy 80 minutes.
Marlow and Moss, who have written for Australian drag queen, singer and television personality Courtney Act, reclaim the fates of Henry’s wives into a shiny, knives-out revenge fantasy. They relish poking fun at Henry’s rotundity, his miniscule man-parts and his peccadillos big and small.
Under the direction of Moss and Jamie Armitage, “Six” puts all its jewels (actors, band, Eurovision-inspired set with more flashes than a Princess Di press conference) on stage, all at once and for the duration of the musical. What you see is what you get – from the get go – crowned by a more-is-more aesthetic.
The premise of “Six” is simple and simply stated at the outset. In a sort of “RuPaul’s Drag Race” by way of “Zoolander”-style walk-off, the queens compete to see who was dealt the worst hand by history and Henry to “be the one to lead the band.” Each queen gets a song and a dance and a chance to garner the most support (applause, applause) from the audience. This pageant-like format is really just an audience-engagement device and succeeds as such – the audience opening night came primed to hoot, holler and clap after each queen’s signature song.
In between are chorus numbers by The Queens in toto. When performing as The Queens, Cecilia Snow (Catherine of Aragon), Zan Berube (Anne Boleyn), Amina Faye (Jane Seymour), Terica Marie (Anna of Cleves), Aline Mayagoitia (Katherine Howard) and Sydney Farra (Catherine Parr), are impressive in voice and coordinated dances. Of the show’s nine songs, the ones owned by The Queens – “Ex-Wives,” “Haus of Holbein” and “Six” – are the best in the show, perhaps because of the combination of tight harmonization and the flash-dance choreography that takes full advantage of the confined stage.
The six solo songs wear their song-diva influences proudly and deliver catchy, if repetitive, lyrics bolstered by sonic-boom baselines. Snow’s “No Way” is an anti-divorce anthem, Faye’s “Heart of Stone” is an edgy torch song, and Mayagoitia’s “All You Wanna Do” is fruity piece of bubble gum pop.
The other “character” on stage is the all-female band called The Ladies in Waiting – Katie Coleman (conductor/keyboard), Sterlyn Termine (bass), Liz Faure (Guitars) and Caroline Moore (drums), as well as Paul Gatehouse (sound design). The band is bespoke for this musical theater’s young fanbase and ferociously spews forth the spunky score’s zesty, sometimes winkingly naughty fun – all with the tight fury of a Prince guitar solo.
Enhancing the concert-like experience of “Six” is the lighting design by Tim Deiling. According to LiveDesign website, “Beyoncé’s narrative pop concerts, where she tells you parts of her story, is what inspired the authors of “Six,” said Deiling. “Each of our six Queens are actually influenced heavily from contemporary pop divas (Aragon = Beyoncé, Boleyn = Katy Perry, Seymour = Adele, Cleves = Rihanna, and Parr = Alicia Keys) and I needed to differentiate between each Queen, so we drew on reference material from each of them.” In Deiling’s stated goals, the lighting design checks all those boxes, although it sometimes with all the flashing lights it might have been prudent to provide seizure warning.
In the first scene in “Six,” the Queens are lined up and Mayagoitia as Katherine Howard states, “…we’ve got a serious score to settle.” And like a spoonful of sugar helping the medicine go down, they spend the next rollicking hour and half making their cases. “Six” is as brightly appealing as a Twinkie and about as nutritious (historically speaking), but it is a fulfilling bon-bon of pure escapism. Take that, Henry!
Performances of “Six” at the Fabulous Fox run January 24-February 5. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
Inventively constructed yet saddled with an unwieldy plot, Nicholas D. Johnson and Will Merrick’s screenlife thriller “Missing” undercuts its strengths by appealing to brash, exaggerated storytelling.
A standalone sequel to 2018’s “Searching,” which uses a similar format of taking place entirely via screens, “Missing” follows the 18-year-old June (Storm Reid), a rebellious, always-online teenager living in Los Angeles with her mother, Grace (Nia Long).
June’s father, James (Tim Griffin), passed away over a decade prior, and June continues to grieve — often lashing out at Grace’s protectiveness and constant need to check in with her. Grace and her boyfriend, Kevin (Ken Leung), are about to leave for a week-long vacation in Colombia, giving June free time to party it up at their security-cam-riddled suburban home.
When June arrives at the airport to pick them up, though, they’re not there. After being unable to reach either Grace or Kevin on their phones, June grows increasingly worried that they’re in danger. She takes the investigation into her own hands when authorities don’t act promptly. Time is of the essence, and June — a tech-savvy teen proficient at digital sleuthing— is on the case.
With the help of their lawyer neighbor, Heather (Amy Landecker), a freelance worker June hires named Javi (Joaquim de Almeida), and June’s pal Veena (Megan Suri), June embarks down a labyrinthine rabbit hole of password hacking and web surfing. She makes discoveries that turn her reality upside-down.
By restricting the action to screens — the majority of the film unfolds on June’s computer, where she’s often video-chatting with someone and navigating an insane number of tabs — “Missing” effectively taps into the enormous digital footprints we leave behind, along with the ways in which technology can conceal, and illuminate, different sides of us.
Unfortunately, Johnson and Merrick, who edited “Searching,” neither fully play by the genre’s rules nor craft a compelling yarn to support the gimmick. By layering so many twists upon each other, especially in the third act, “Missing” obscures its most sobering aspects — leaning into schlocky developments that annoy, rather than thrill.
That’s not to say the central concept isn’t engaging, however, even though films like “Searching” and the (far superior) “Profile” have done it before. The format lends an immediacy and tangibility that ramps up suspense, as we observe June using familiar tools to uncover secrets supposedly hidden from view.
Johnson and Merrick aren’t fully confident in the idea — flashbacks, added camerawork, and shifting perspectives attempt to add cinematic flair, ironically breaking immersion — but it’s always nice to watch filmmakers buck tradition.
“Missing” is most successful when it shows how much personal information is accessible if we have the know-how to access it — from one’s immediate location to their online dating messages. The devices that “connect” us are themselves connected, able to communicate with each other like an omnipresent observer.
Although June’s Gen-Z detective skills lead to several satisfying “aha” moments, there’s no shaking the fact that these gadgets and services are violating, and a vessel for manipulation. They’re both helpful for June’s purposes and an extreme invasion of privacy.
Additionally, when the public latches onto the case, and it becomes a viral obsession, we see how truth can be warped beyond recognition, as people capitalize on scandal for their own gain. Johnson and Merrick are obviously critical of true-crime entertainment, too — turning the events of “Searching” into an over-the-top Netflix show — which further complements this idea of corrupted reality.
Reid makes the most of the somewhat cookie-cutter June, who doesn’t have many compelling traits besides her technical smarts. Her strained relationship with Grace provides some emotional grounding, but the script’s melodramatic beats are far from subtle.
Even so, Reid conveys her growing anxiety, fear, epiphanies, and anger convincingly — it’s fun to watch the mystery unfold, for a while, and feel like we’re solving it with her.
Long makes the most of a half-baked role — believable as a mother who, above all, wants the best for her child.
Almeida is the standout as Javi. He provides the bulk of comedic relief, and the film could have used more of his eccentric presence — especially when the story jumps the shark in the final act.
Indeed, despite its limited presentation, “Missing” shows little restraint in its narrative. Red herrings abound, and the film is constantly trying to one-up itself with bonkers reveals that require an absurd suspension of disbelief.
The constant attempts at subverting expectations distract from the most meaningful takeaways involving tech’s hold on modern life. “Missing” sacrifices the “human” element of its story for shock factor — sliding into unintentional comedy with threads that feel ripped straight from a soap opera. By the last “surprise,” the film ends up resembling the scandalous content the filmmakers critique elsewhere.
It’s a shame that “Missing” fumbles so egregiously in the end, since there’s much to praise about this paranoid thriller. At the very least, if you’re not too irritated when it’s all over, you might set up two-factor authentication on all your accounts.
“Missing” is a 2023 mystery thriller co-written and co-directed by Nick D. Johnson and Will Merrick. It stars Nia Long, Storm Reid, Ken Leung, Megan Suri and Amy Landecker. It is rated PG-13 for some strong violence, language, teen drinking, and thematic material and run time is 1 hour, 51 minutes. It opened in theaters on Jan. 20. Alex’s Grade: C+.
In his recent review in New York magazine of the Metropolitan Opera’s production of “Fedora,” Justin Davidson snarked, “’Fedora is an opera about décor.” The headline read, “At Least the Sofa Looks Fabulous.” That’s the kind of pronouncement relished by critics and reviewers, myself included (I do love a good snark, when well-deserved.)
In a backdoor sort of way, Davidson’s sentiment evoked an opposite reaction when assessing Winter Opera’s production of Giuseppe Verdi’s “Macbeth” at the Kirkwood Community Center. One of the major strengths of this production, stage directed by John Stephens, is precisely due to the minimal “décor” and sets. This approach, which was definitely not stagy nonchalance, enabled the production to focus on the essential moments in Shakespeare’s tale of power and corruption, Verdi’s score and the performances of the fine cast. The storyline is the thing, and the result was a solidly satisfying experience that served as a potent post-holiday palate cleanser – we all need a little opera, not a little more Christmas.
Calling the setting simple is not to belittle the work of scenic designer Scott Loebl. It’s to his credit, as well as lighting designer Michael Sullivan’s and technical director Jacob Cange’s, that the mood is so effectively set with appeared at times as a wall of blood, emphasizing the Macbeths’ descent into depravity. The cast members moved through the playing area as though a walk upon Shakespeare’s atmospheric heath.
Photo by Rebecca Haas
One of the risks of production of “Macbeth” in either its theatrical or opera forms, is overplaying the witchiness of the witches. This is not “Wicked” after all. Verdi makes this risk higher turning the play’s three witches into a chorus of witches. But this production makes great, prudent use of this gaggly coven, which sometimes offers comic relief and other times stirring up their portentous predictions. One of the witches contorted her face so dramatically it seemed like an effect that could only be achieve with a mask. Jim Carrey would have been jealous.
The leading roles were performed with uniform excellence by singing actors, several of whom have been in previous Winter Opera productions. The Macbeths, sung by Michael Nansel and Whitney Myers were convincing both singly and as a couple. Myers’ performance as Lady Macbeth offered many insightful moments, marred only by her line “Out, damned spot” through no fault of her own. The line elicited more than few chuckles because its meaning has been ruined after being reduced to an American advertising slogan. Pity.
Nansel as Macbeth also jelled with Nathan Whitson as Banquo. Both used their big, expressive voices to reveal the thoughts and tribulations of their characters. Equally impressive was Jonathan Kaufman as Macduff, especially when confronting (shall I say, laying on) Macbeth.
As with the chorus of witches, the supporting cast was seamless performed and put effective use. The supporting cast included Willard Moseley as Duncan, Damian Ziarko as Fleanzio, Angel Azzarra as a lady in waiting and Kevin Thomas Smith as Malcolm.
Verdi’s score received a well-balanced, thoughtful and atmospheric performance by the orchestra, directed by Edward Benyas. This was noticeable from the start, during the brooding, foreboding overture.
In the play, Lady Macbeth says, “What’s done cannot be undone.” In the case of Winter Opera’s “Macbeth,” what can’t be undone is a fine production of this Verdi-Shakespeare classic.
Winter Opera presented Verdi’s “Macbeth” on January 20 and 22, at the Kirkwood Performing Arts Center.
Silly, messy, yet filled with provocative ideas and starring an already classic antagonist, director Gerard Johnstone’s “M3GAN” is one of 2023’s first great films.
Set in near-future Seattle, “M3GAN” centers around Gemma (Allison Williams), a robotics engineer working for a toy company called Funki developing flatulent, Furby-esque “Perpetual Petz.” Gemma, a workaholic bordering on a mad scientist, has higher aspirations — creating a lifelike artificial intelligence that can serve as a child’s loyal companion, assisting with parental duties for guardians unwilling or unable to put the effort in themselves.
After a prototype demonstration goes haywire, her brash, overeager boss, David (Ronny Chieng), demands Gemma and her team construct a less complex version of Perpetual Petz to fight the competition. All hope for Gemma’s obviously flawed passion project goes out the window… until a fateful circumstance gives her the opportunity to pursue her dreams.
Her niece, Cady (Violet McGraw), is orphaned in a car accident involving a snow plow that kills both her parents. Gemma is called upon to assume guardianship of Cady, but she has absolutely no idea or willingness to interact with her on a meaningful level. Fortunately, or, rather, unfortunately, she finally has an excuse to build her Frankenstein once again — creating the titular M3GAN (Model 3 Generative Android), a wry and viciously programmed android with the body of young girl, a mean side-eye, off-kilter movements, and a propensity to sing pop songs — to provide for Cady and give Gemma the freedom to go about her own, separate life.
Cady’s attachment to M3GAN grows quite extreme, however, as does M3GAN’s directive to protect her at all costs, definitely not above killing anything that inconveniences her. The bodycount builds, Gemma faces increasing pressure from David to show M3GAN off to the world, and she must learn to take responsibility for her creation and, potentially, for her own life.
Despite relevant commentary on humankind’s dependence on technology, companies’ ruthless exploitation of our personal lives to sell goods, and how mistreatment of a near-sentient AI can heinously backfire, “M3GAN” is, at its core, a batshit insane slice of PG-13 horror that never takes itself too seriously. This is a satirical comedy above all else, eschewing nuance in favor of putting its Mean Girl to savage work.
M3GAN, voiced with cheerfully malevolent gusto by Jenna Davis and physically performed by Amie Donald, mixing stiltedness with bursts of animalistic energy, is quite the character. She’s both creepy and hilarious, eliciting nervous laughter with practically every one of her sardonic quips. Johnstone, screenwriter Akela Cooper (who also wrote 2021’s off-the-rails “Malignant”), and story co-creator James Wan aren’t here to necessarily humanize M3GAN, but they emphasize the poor ways she’s treated in this morally bankrupt world. M3GAN’s merely following her programming — serving Cady to the best of her reductive, frightening abilities — and gradually developing self-awareness of her own, fighting for her independence and a misguided desire to control, rather than be controlled. M3GAN is often discarded as an “other” to reside among other toys, or literally powered down whenever push comes to shove.
M3GAN, the viral dancing sensation.
Peter McCaffrey’s cinematography mines this idea to darkly comedic effect; one memorable shot at a school field day features M3GAN seated in the middle of a pile of stuffed animals, glaring at the camera as if to say how could you treat me this way? When she’s unleashed to wreak her (largely bloodless) havoc, you might almost root for her as she disposes of those who disrespect and use her for their own selfish advancement.
The more (traditionally) human characters aren’t nearly as engaging, but Williams and McGraw lend pathos even in the most ludicrous stretches. Williams excels at delivering the film’s deadpan dialogue — Gemma’s awkwardness and impulsivity almost feel robotic at certain points, as she struggles to navigate her newfound maternal role and care for the grief-stricken Cady. Her arc later on in the film seems rushed (gotta get back to M3GAN dancing, after all), but Gemma’s learned empathy hits home with surprising, albeit not exactly poignant, force.
McGraw shines as Cady, conveying ample dramatic range as proceedings unfold. M3GAN seemingly fills the void left by the loss of her parents, and Cady refuses to be separated from her. She can have any question answered, a playmate always by her side, and someone to protect her from harm. Despite M3GAN’s increasingly violent actions, Cady remains strongly loyal, addicted to a “solution” that, despite how it’s promoted, is a dangerous rabbit hole.
Side characters — with the exception of David, who gives Chieng plenty of opportunities to ham it up as a shameless executive who wouldn’t feel out-of-place in a “Saturday Night Live” sketch — are mainly there as fodder for M3GAN, but that’s exactly what the film calls for. Although the PG-13 rating prevents Johnstone from fully cutting loose, there’s still a couple of wince-inducing moments (one involving not-quite-surgical ear removal) that won’t leave my mind anytime soon. Indeed, “M3GAN” pulls no punches when it counts.
The bombastic finale reverts to familiar tropes, and the combination of thoughtful commentary with goofiness doesn’t click together “smoothly,” but that adds to the charm. “M3GAN” remains an unabashedly fun watch, comfort food for those willing to update to its zany wavelength.
“M3GAN” is a 2023 science-fiction horror comedy directed by Gerard Johnstone and written by Akela Cooper. It stars Allison Williams, Violet McGraw, Ronny Chieng, Amie Donald, and Jenna Davis. It is rated PG-13 for violent content and terror, some strong language, and a suggestive reference, and the runtime is 1 hour, 42 minutes. It opened in theaters January 6. Alex’s Grade: B+
A heart-tugging story about love, loss, life, and friendship, “A Man Called Otto” has much to say about seeing the world differently through other people’s eyes, and what your ‘found’ family means in your life.
Otto Anderson (Tom Hanks) is a grump who’s given up on life following the loss of his wife and wants to end it all. When a young family moves in nearby, he meets his match in quick-witted Marisol (Mariana Trevino), leading to a friendship that will turn his world around.
The film is based on the bestselling 2012 novel “A Man Called Ove,” written by Fredrik Backman, which was made into a 2015 Swedish of the same name by Hannes Holm.
Tom Hanks is a handful here. The neighborhood crank that can’t be bothered by social graces. He’s downright glacier. But there is more to his story here, and thankfully, we go along for the ride.
With a terrific supporting cast – Mariana Trevino is the MVP of this journey, and she’s a force of nature as the kind neighbor Marisol. Without her as a counterpart, this would be a difficult, one-note story, for the story centers on a man who wants to end his life.
His soul mate, Sonya (a lovely Rachel Keller in flashback) has passed on after a tough setback, and numerous sorrows, and he’s retired from his engineering job of 40 years. But, with divine intervention, his attempts are interrupted by people who care.
People needing people – what is wrong with a theme like that? I’ll take sentimental over harshness any day.
Without giving too much away, Otto relents. He thaws, he helps people, and he’s the better for it.
With some much-needed humor, the film rewards us. So, it may not be ground-breaking, but it’s a crowd-pleasing, feel-good movie. And I’d say we need this right about now.
“A Man Called Otto” is a 2022 drama directed by Marc Forster and starring Tom Hanks, Truman Hanks, Mariana Trevino, Rachel Keller and Mike Birbiglia. Rated: PG-13 for mature thematic material involving suicide attempts, and language, it runs 2 hours, 6 minutes. It opened in local theatres Jan. 6. Lynn’s Grade: B+
Side by Side by Sondheim will awe audiences with a night of Stephen Sondheim’s best
ST. LOUIS (January 5, 2023) – The Repertory Theatre of St. Louis (The Rep)- the leading regional performing arts theatre in the Midwest- will start the new year with Side by Side by Sondheim, a Sondheim revue (replacing Putting it Together: A Sondheim Review). The intimate and nostalgic production will begin previews on January 29 and will run from February 3 to February 19 at the Catherine Berges Theatre at the Center for the Creative Arts (COCA).
Celebrate legendary composer and lyricist Stephen Sondheim in a cabaret-style revue revisiting some of his most poignant, powerful and witty songs in the American musical theatre canon. This Tony-award-winning production features a variety of Sondheim’s most notable works, including rarely performed numbers straight from the cutting-room floor. Side by Side by Sondheim explores the breadth of Sondheim’s acclaimed career, including numbers from Follies, West Side Story,Company, Anyone Can Whistle, Pacific Overtures, Gypsy and more.
Side by Side by Sondheim will mark the St. Louis directorial debut of Reggie D. White, The Rep’s recently hired Associate Artistic Director. White joins The Rep from New York City and brings with him more than two decades of theatre experience, including over 10 years of expertise as an award-winning artist, educator and arts advocate.
“Musical theatre is how I began my career and I have loved Sondheim’s work for decades,” said White. “Side By Side is an especially wonderful piece because it introduces new listeners to his music, gives the most ardent lovers of his work a taste of his greatest hits and it reminds us all of the boundary smashing genius with which he created some of the most iconic musical theatre songs of the 20th Century. He gave us so many gifts over his career and this is such a beautiful way to keep his songs in our hearts.”
Side by Side by Sondheim features four cast members. The role of Narrator will be played by Paul HeeSang Miller, whose Broadway experience includes Mamma Mia!, the first revival of Miss Saigon and the Tony award winning The King and I. The role of Man will be played by Saidu Sinlah. This will be Sinlah’s debut at The Rep, but St. Louisans may recognize him from the Muny’s performances of Aida and The Wizard of Oz. The role of Woman 1 will be played by Phoenix Best. Best’s Broadway credits include Dear Evan Hansen and The Color Purple Revival. The role of Woman 2 will be played by Amy Spanger. Spanger created the role of Susan in Jonathan Larson’s tick, tick… Boom and was nominated for a Drama Desk Award for her role of Holly in The Wedding Singer.
Sound design for this production is by Sharath Patel, who boasts previous experience at The Rep with his sound design of The Mystery of Irma Vep in 2020. Heather Beal serves as the choreographer. Audience members may remember her work as choreographer of Feeding Beatrice at The Rep in 2019. The Projection Designer will be Camilla Tassi. Tassi’s design experience includes working at Carnegie Hall and the Berlin Opera Academy. Oona Natesan will return to provide Costume Design after designing costumes for House of Joy at The Rep earlier this season. The Lighting Designer will be Xavier Pierce, who was recently the Lighting Designer for Confederates at the Oregon Shakespeare Festival- a show that The Rep is producing this season. Tre’von Griffith returns to The Rep as the Music Director. Rep audiences may remember him as the Music Director for A Christmas Carol. Alerica L. Anderson will serve as the Music Coordinator and St. Louis audiences may recognize his work from the Pre-Broadway Premiere of The Karate Kid-the Musical at STAGES.
Side by Side by Sondheim will also mark the first mainstage production of the new year performed at the Catherine Berges Theatre at the Center for the Creative Arts (COCA). This performance space is a state-of-the-art theatre built in 2020, and is part of The Rep’s initiative to bring theatre into the St. Louis Community.
The Rep is pleased to offer several special offerings and accessible performances throughout the run of Side by Side by Sondheim. These include:
Post Show Talkbacks, Feb. 9, 7 p.m & 15, 2 p.m. – Following the performance stick around for an informal discussion with members of the cast and creative team of the show.
Audio Described Performance, Feb. 16, 2 p.m. – The Rep partners with MindsEye to offer live audio description for the final Thursday performance of all productions.
American Sign Language (ASL) Interpreted, Feb. 18, 2 p.m. – An ASL interpreted performance will be offered on the final Saturday matinee. Interpreters will be inside the theater and sign along with what the actors are saying and expressing for the audience.
Open-Captioned Performance, Feb. 19, 2 p.m. – The Rep offers open captioning, an electronic text display that shows what the actors are saying or singing, at the last Sunday show for all Mainstage performances.
About The Repertory Theatre of St. Louis
The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.
BANSHEES wins Best Film, but Sarah Polley scores best Director for WOMEN TALKING. In our Female Focus sections, Viola Davis gets the nod for Outstanding Achievement and Danielle Deadwyler’s turn in TILL is designated the Breakthrough Performance of 2022. Emma Thompson takes AWFJ’s Grand Dame title and is honored for the bravest performance for GOOD LUCK TO YOU, LEO GRANDE. The talented Ana de Armas is deemed most deserving of a new agent to get her roles in better projects than BLONDE.
AWFJ has presented annual EDA Awards for 16 years, representing professional women critics’ collective perspectives on movies and cinema culture in the movie awards arena, where female critics and critical opinion are still greatly underrepresented. AWFJ honors female creatives in non-gender specific awards categories and in unique Female Focus categories designated for women only.
“We are particularly proud that this year’s member-determined roster of nominees included a goodly number of female contenders in non-gender specific categories. and that we have female winners in those categories, as well, including Sarah Polley who receives the EDA Award for Best Director for the multi-nominated and awarded WOMEN TALKING.” said Jennifer Merin, President of the 95 members AWFJ. “We hope to see similar results at this year’s Oscars and various guild awards. as well as with other critics awards groups.”
In preparation for the awards season, AWFJ tracks femme-helmed and femme-centric films released throughout the year. The 2022 list of EDA Award-eligible femme-helmed and/or femme-centric films includes more than 500 titles. Many of these female made movies are small budget productions that receive neither wide distribution nor critical consideration. This staggering number of independently produced films indicates the high level of female filmmaker proactivity in contradiction to the grim statistics consistently reported in major studies about female film production. AWFJ advocates for acknowledgment of these films and recognition for their filmmakers.
Note: PopLifeSTL.com Managing Editor and Founder Lynn Venhaus has been a member of AWFJ since 2014, along with St. Louis colleagues Martha Baker, Diane Carson and Cate Marquis and former St. Louisan Michelle (McCue) Hannett, , managing editor of We Are Movie Geeks.
AWFJ BEST OF AWARDS
These awards are presented to women and/or men without gender consideration
ALL QUIET ON THE WESTERN FRONT – Edward Berger, Lesley Patterson, Ian Stokell
GLASS ONION – Rian Johnson
SHE SAID – Rebecca Lenkiewicz
THE WHALE – Samuel D. Hunter
WOMEN TALKING – Sarah Polley and Miriam Toews
THE WONDER – Alice Birch, Emma Donoghue, Sebastian Lelio
Best Documentary
ALL THAT BREATHES – Shaunak Sen
ALL THE BEAUTY AND THE BLOODSHED – Laura Poitras
DESCENDANT – Margaret Brown
FIRE OF LOVE – Sara Dosa
GOODNIGHT OPPY – Ryan White
THE JANES – Tia Lessen and Emma Pildes
Best Animated Film
GDT’S PINOCCHIO – Guillermo del Toro and Mark Gustafson
MARCEL THE SHELL WITH SHOES ON – Dean Fleischer-Camp
PUSS IN BOOTS: THE LAST WISH – Joel Crawford and Januel Mercado
THE SEA BEAST – Chris Williams
TURNING RED – Domee Shi
WENDELL & WILD – Henry Selick
Best Actress
Cate Blanchett – TAR
Viola Davis – THE WOMAN KING
Danielle Deadwyler – TILL
Vicki Krieps – CORSAGE
Emma Thompson – GOOD LUCK TO YOU, LEO GRANDE
Michelle Yeoh – EVERYTHING EVERYWHERE
Best Actress in a Supporting Role (tie)
Angela Bassett – WAKANDA FOREVER
Jessie Buckley – WOMEN TALKING
Hong Chau – THE WHALE
Kerry Condon – THE BANSHEES OF INISHERIN
Jamie Lee Curtis – EVERYTHING EVERYWHERE
Janelle Monae – GLASS ONION
Best Actor
Austin Butler – ELVIS
Colin Farrell – THE BANSHEES OF INISHERIN
Brendan Fraser – THE WHALE
Paul Mescal – AFTERSUN
Bill Nighy – LIVING
Jeremy Pope – THE INSPECTION
Best Actor in a Supporting Role
Brendon Gleeson – THE BANSHEES OF INISHERIN
Brian Henry Tyree – CAUSEWAY
Barry Keoghan – THE BANSHEES OF INISHERIN
Eddie Redmayne – THE GOOD NURSE
Ke Huy Quan – EVERYTHING EVERYWHERE
Ben Wishaw – WOMEN TALKING
Best Ensemble Cast – Casting Director
THE BANSHEES OF INISHERIN – Louise Kiely
EVERYTHING EVERYWHERE – Sarah Finn
TRIANGLE OF SADNESS – Pauline Hansson
WAKANDA FOREVER – Sarah Finn
THE WOMAN KING – Aisha Coley
WOMEN TALKING – John Buchan and Jason Knight
Best Cinematography (tie)
BANSHEES OF INISHERIN – Ben Davis
THE FABELMANS – Janusz Kaminski
EMPIRE OF LIGHT – Roger Deakins
EVERYTHING EVERYWHERE – Larkin Seiple
TOP GUN: MAVERICK – Claudio Miranda
THE WOMAN KING – Polly Morgan
Best Editing
ELVIS – Jonathan Redmond and Matt Villa
EVERYTHING EVERYWHERE – Paul Rogers
TAR – Monika Willis
TOP GUN – Eddie Hamilton
THE WOMAN KING – Terilyn A. Shropshire
WOMEN TALKING – Christopher Donaldson, Rosalyn Kallop
Best Non-English-Language Film (tie)
ALL QUIET ON THE WESTERN FRONT
BARDO
DECISION TO LEAVE
HAPPENING
RRR
SAINT OMER
EDA FEMALE FOCUS AWARDS
These awards honor WOMEN only
Best Woman Director
WOMEN TALKING (2022)
Rooney Mara, Claire Foy, and Jessie Buckley
CR: Michael Gibson/United Artists Releasing
Chinoye Chukwu – TILL
Marie Kreutzer – CORSAGE
Gina Prince-Bythewood – THE WOMAN KING
Sarah Polley – WOMEN TALKING
Maria Schrader – SHE SAID
Charlotte wells – AFTERSUN
Best Woman Screenwriter
Alice Birch – THE WONDER and MOTHERING SUNDAY
Rebecca Lenkiewicz – SHE SAID
Sarah Polley and Miriam Toews – WOMEN TALKING
Domee Shi – TURNING RED
Dana Stevens and Maria Bello – THE WOMAN KING
Charlotte Wells – AFTERSUN
Best Animated Female
Connie – Isabella Rossellni MARCEL THE SHELL WITH SHOES ON
Izzy – Keke Palmer – LIGHTYEAR
Kat – Lyric Ross. WENDELL & WILD
Kitty Softpaws – Salma Hayed – PUSS IN BOOTS: LAST WISH
Mei – Rosalyn Chiang- TURNING RED
Ming – Sandra Oh – TURNING RED
Danielle Deadwyler in “Till”
Best Woman’s Breakthrough Performance
Frankie Corio – AFTERSUN
Danielle Deadwyler – TILL
Stephanie Hsu – EVERYTHING EVERYWHERE
Thuso Mbedu – THE WOMAN KING
Amber Midthunder – PREY
Sadie Sink – THE WHALE
Outstanding Achievement by A Woman in The Film Industry
Viola Davis – For getting THE WOMAN KING made as her lifetime passion project and creating opportunities for other women creatives.
Nina Menkes and Maria Giese for making BRAINWASHED, analyzing and illustrating the misogynistic representation of women in Hollywood movies.
Domee Shi for being the first woman to direct a film for Pixar and for becoming Pixar’s VP of Creative
Jacqueline Stewart for ongoing advocacy of the underrepresented and becoming president of the Academy Museum of Motion Pictures.
Michelle Yeoh- lifetime achievement award
EDA SPECIAL MENTION AWARDS
Grand Dame Award for Defying Ageism
Emma Thompson
Jamie Lee Curtis
Viola Davis
Emma Thompson
Michelle Yeoh
Most Egregious Lovers’ Age Difference Award
CONFESS FLETCH – Jon Hamm born 1971 and Lorenza Izzo born 1989
CRIMES OF THE FUTURE – Viggo Mortensen born 1958 and Lea Sedoux born 1985
DEEP WATER – Ben Affleck born 1972 and Ana de Armas born 1988
EIFEL – Romain Duris born 1974 and Emma Mackey born 1996
She Deserves A New Agent Award (NOTE: This is not a put down. On the contrary, it suggests that the actor is better than the role she’s been given.)
Ana de Armas for BLONDE
Bryce Dallas Howard for JURASIC WORLD DOMINION
Margot Robbie for BABYLON
Rebel Wilson for SENIOR YEAR
Most Daring Performance
Cate Blanchett – TAR
Viola Davis – THE WOMAN KING
Danielle Deadwyler – TILL
Emma Thompson – GOOD LUCK TO YOU, LEO GRANDE
Michelle Yeoh – EVERYTHING EVERYWHERE
Time Waster Remake or Sequel Award
FIRESTARTER
HALLOWEEN ENDS
JURASSIC WORLD DOMINION
PINOCCHIO (Disney)
AWFJ Hall of Shame Award (Women and men are eligible)
Alec Baldwin and the crew of RUST for continuing to deny responsibility for the on set shooting that killed cinematographer Halyna Hutchins. The situation is still messy. A wrongful death lawsuit was settled, but the criminal investigation continues. In November, Baldwin sued crew members for giving him the loaded prop gun that killed cinematographer Halyna Hutchins. News reports say Baldwin also texted Hutchins’s husband, Matthew, saying that the gun was never meant to be fired at a particular camera angle.
BLONDE and Andrew Dominik
Will Smith for his behavior at the Oscars and in the aftermath
Harvey Weinstein for everything and forever
ABOUT THE ALLIANCE OF WOMEN FILM JOURNALISTS The Alliance of Women Film Journalists, Inc. (AWFJ) is a not-for-profit professional association of highly qualified female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated to supporting work by and about women – both in front of and behind the cameras – through intra-group promotional activities, outreach programs and by presenting awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. AWFJ was founded in 2006 by Jennifer Merin, Maitland McDonagh, Joanna Langfield and Jenny Halper. In addition to the year end awards, AWFJ presents EDA Awards at partner festivals, keeps an active and interactive record of fiction feature and documentary films by and/or about women, and/or are of particular interest to women because they focus on women’s issues. We welcome information that will allow us to keep our lists updated. Lists are made available to members and the general public on our Web site at AWFJ.org. For further information, contact AWFJ President Jennifer Merin at [email protected].
I had the pleasure to guest on Friday’s McGraw Millhaven Show with Jay Kanzler subbing as host. We talked movies, of course!
(My segment is the last hour, starting at 3:10, or after the 9 a.m. news.)
Allow me to list local professionals who have enriched my life greatly in recent years. Because this life is a journey where people you meet matter in many interesting and surprising ways.
Five years ago in November 2017, Jay asked me to be a guest on his nighttime show, talking movies, and the rest is history.
I am grateful for Jay’s support, the opportunity and being on with Jay and Jennifer, then Jay and Ray, then when Jay left, a solo Ray Hartmann through 2022. Ray has decided to end his show, and I can’t speak highly enough of Ray as an individual, colleague, and as a supportive host for several years (2019-2022).
Wendy Wiese and Jennifer E Blome
I’ve been fortunate to join Jennifer E. Blome and Wendy Wiese on their KTRS weekday mid-morning show about theater (mostly Muny and Fox) and entertainment since they joined forces, and we’re going to continue that into 2023.
Now I’ll be a regular contributor on Friday mornings, and that will start on Jan. 6, so I’m very excited and happy to be joining the sisterhood to talk movies and what’s happening in entertainment.
I’m very grateful to Mark Mueller, for sponsoring “Mueller Furniture Presents Lynn Venhaus Goes to the Movies,” what a great guy and a great business, and to all the board ops/producers along the way – Howard Morton, CJ Nasello, Greg Harvey, Luis, Austin and others. And to station boss Mark Dorsey for allowing me to grace the airwaves.
And of course, the listeners. I really enjoy the feedback and the fellowship!
It’s been a wonderful five years at KTRS, and I look forward to continuing this partnership!
Paul Cook
(And I’d be remiss if I didn’t thank my pal Paul Cook for being the first to invite me on St Louis airwaves to review movies, back in February 2016 at Y98, when Paul hosted the drivetime, and he’d have me on Fridays. It was the start of a beautiful friendship, and the powers-at-be ended it after a year, but it was a year full of challenges for Paul — his triumphant but gut-wrenching cancer treatment, recovery — and I learned so much from him, such positive vibes, what strong people do in times of crises.
In January 2016, I also started reviewing for Webster-Kirkwood Times, which I am very grateful for, especially after McClatchy ended local reviews in BND in 2017, and I still had a print outlet.
The business is ever-changing, ever-evolving, multiple re-inventions, revisions, and I am just happy to be part of the conversation on current film, regional theater, and what’s happening in the world of entertainment and local events. I love being able to interview people for features, and I continue to meet the most fascinating people (will discuss this more in a column on my website, about the people of the year that was).
I’m still writing print (news, features in BND) and online at my website, www.PopLifeSTL.com, but as a mass communication major who has dabbled in radio (even worked in small market radio news), it’s nice to develop other skills. I am eager to improve. And I’m fortunate to still be working in the biz I love — and doing the things I yearned to do in my early years — now 47 years after college graduation.
Summer 1979 working in radio news at WILY-WRXX in Centralia IL
Now I’ve aged out of certain roles, it’s that time of life, and I am an independent contractor. This gives me more opportunities to write for other outlets, and since the electric bill won’t wait, yippee.
One of the biggest thrills this year was being added as a contributor to St Louis magazine by dining editor George Mahe, one of our town’s (and nation’s) finest. Talk about learning from someone so good at their craft! What a joy. I’m meeting the wonderful foodies and movers and shakers of this region through this outlet, and it’s been a terrific experience. More to come as I’m just getting my ‘feet wet,’ so to say. (Longer story about my December is coming). I am so very appreciative of George’s tutelage.
(Fun fact: Yes, I was the last food editor at the late, great St. Louis Globe-Democrat — where I got to interview Martha Stewart before she was a mega-brand and Wolfgang Puck at the height of his celebrated chef days at Spago’s — and I’ve written dining/chef articles for Belleville News-Democrat for many years, and recently, for Marketplace Magazine (Old Herald, Goshen Coffee, Soulcial Kitchen).
I think of where I’d be if the Globe hadn’t folded in ’86, a topic my colleague Chas Adams and I talk about regularly, as he and I have reconnected (so many times over the years, but now, he writes reviews for my website).
Of course, they would have separated us by now back in Living section because we were quite the pop culture enthusiasts back then, writing our column “DIshing It Out” and chatting about what we should include.
I digress…
I started the website so I’d have a home for my theater reviews, because I am in the St Louis Theater Circle, and it’s a great joy/responsibility to support the arts, and ‘keep it real.’ It’s a challenge to keep up a grueling production schedule, in light of sometimes real-life things happening at the same time, but it’s one that is an honor and a privilege to do. So many talented people and creatives in this region, and I am grateful to see their work. (More on that in another post). Special thanks to the patient PR people and artistic directors for their assistance and their understanding when there are scheduling conflicts.
In this up-and-down rollercoaster of a career, and a life, I do not take anything for granted — especially after the pandemic, now in our third winter. I know life holds no promises, and to be respected as a professional is an ongoing process, one I work hard at because it’s important to be relevant and trusted. Gaining people’s trust is never something one can take lightly.
We can’t slack on the skills we were taught so long ago “in j-school” about ethics, integrity and ‘getting it right.’ The leg work, the fact-checking — yes, it matters. (My pet peeves, for another time). I tried to instill this when I taught journalism/media at Kaskaskia College, St Louis Community College-Forest Park and Southern Illinois University Edwardsville).
Me at NYFF 2022
I guess the only way to sum it up any kind of work these days is to “keep on, keeping on.”
Thanks to you for reading and listening all these years. It’s truly a wonderful life being able to contribute in a meaningful way, and to be able to do what you love, learning and growing every day.
We get to carry each other, and no one does anything well alone — collaboration is always the key, and that’s how we’ll get better. Always. The ‘new normal’ has taught us that we aren’t islands (at least I hope so).
At this later stage in life, I’m afforded opportunities because of such great chances, like being vetted for Rotten Tomatoes, Critics Choice Association and Alliance of Women Film Journalists. It’s a responsibility to live up to, and I continually strive to be better at communicating critical knowledge.
Here’s to a productive 2023, full of new challenges and adventures. And hopefully, some good things to watch and see in the year ahead. And wonderful people to meet.
