Angry about being dismissed, ignored and treated differently, deaf students had enough after yet another example of prejudice, so 37 years ago, they rose up in unison and forced the hearing world to listen.
The documentary “Deaf President Now!” is a fascinating look back at a little-known civil rights movement that had lasting impact for people with disabilities. Filmmakers Nyle DiMarco and Davis Guggenheim, as passionate as the student leaders they interviewed, recount a tumultuous time at Gallaudet University in 1988.
The student-led protest resulted in a turning point at the school, established in 1864 – the only U.S. college with a total deaf/hard of hearing student population — but also for deaf rights and representation, and in a broader sense, changes for others considered ‘disabled.’
The protests began after the Gallaudet board of trustees appointed a hearing person who did not know sign language, Elisabeth Zinser, as the next president. Two deaf candidates were finalists as well — Irving King Jordan, a dean at the school, and Harvey J. Corson, director at the American School for the Deaf in Hartford, Conn.
The students demanded that its first deaf president be appointed instead and shut down the campus for a week, from March 6 to 13.
The case gained national media attention after the new president, who had been president at University of Idaho, and Greg Hlibok, the leader of the student revolt, appeared on ABC’s “Nightline” – and afterwards, more support came from far and wide.
The board acquiesced, leading to the resignations of the board president, Jane Bassett Spihlman, clearly tone-deaf, who had stated: “Deaf people are not ready to function in a hearing world.”
When Zinser resigned, candidate I. King Jordan, who was hearing-impaired, was appointed. (He served for 18 years, and since then, they’ve always had a deaf president.)
Co-directors DiMarco, a deaf activist and the first deaf contestant to win “America’s Next Top Model” and “Dancing with the Stars” back-to-back, and Oscar-winner Davis Guggenheim, who was born in St. Louis, have deftly assembled interviews and archival footage to chronicle a pivotal moment in time.
Four of the main student organizers are interviewed, using sign language while others do voice-overs of what they say: Bridgetta Bourne-Firl, Jerry Covell, Tim Rarus, and Hlibok.
Student LeadersTim Rarus, Bridgetta Bourne-Firl, Greg Hlibok, and Jerry Covell.
Guggenheim, who won many awards for his climate-change documentary “An Inconvenient Truth,” directed such acclaimed films as “Waiting for Superman,” “He Named Me Malala,” and “Still: A Michael J. Fox Movie.”
He and DiMarco use different techniques to establish what the hearing-impaired world goes through day in and day out, including silence. Through their clear understanding of the subject matter, they evoke empathy and bring out emotions that deepen our knowledge.
The students, who joined with alumni and faculty to lead the non-violent protest, tell their experiences while signing in ASL, and four voice-over actors speak for them. Abigail Marlow, Paul Adelstein, Tim Blake Nelson and Leland Orser relay the responses.
The way the 1 hour, 40-minute film is constructed is riveting, leading to a few surprises, and ultimately a satisfying wrap. Winner of the Audience Award at the 2025 SXSW Film Festival, “Deaf President Now!” is now streaming on Apple TV+.
Coverage of the game-changing protest and personal accounts of the ingrained prejudice of hearing people is certain to fire you up. To hear their plight is to react strongly to the injustices. And the snobby and elitist board president and others of wealth and privilege who act superior.
The deaf have a word for those clueless, arrogant people – “audists.”
The co-directors used some photo doubles when needed in recreations, and had a couple young people stand in for earlier versions of leaders – Charlton Hlibok and Danila Maucere as Greg and Bridgetta.
The outcome is earned, gratifying and its ripple effect is remarkable. Two years after their protest, the American Disabilities Act was passed
The deaf point of view is perceptive and the deaf community, proud of who they are, is inspiring. They stood up together and proved how valuable their voices were, making four demands that were met. And their backstories, about how much they have overcome, is illuminating for those of us in the hearing world.
. This story is dramatic and compelling, a real triumph.
Before it became a feature film starring Anna Kendrick and Jeremy Jordan, The Last Five Years began as a stirring stage musical that was hailed as one of the 10 best shows of 2001 by Time magazine. Told through inventive and heartrending songs, The Last Five Years is a two-person show that navigates the ins and outs — and beginning and ending — of a marriage.
Written by Tony Award-winning composer Jason Robert Brown (Parade), this Drama Desk Award winner is the story of a couple’s five-year relationship, from the thrilling pangs of new love to their final separation. There is, however, a twist: the husband retells the relationship from beginning to end, while the wife relates their story in reverse. The two characters’ emotional timelines converge only once — at their wedding in the middle of the show. he Last Five Years
Performances are July 10-12 and July 17-19 at 7:30 p.m. and at 2 p.m. at July 13 at the Bluff Street Theater, Hannibal, Mo. Tickets are free and should
Camden Scifres ofNew York City
Camden Scifres is playing Jamie Wellerstein and Eileen Engel is Catherine Hiatt. The musical is directed by Clark A. Cruikshank, with music direction by Randon Lane. The costume design is by Eileen Engel and the set design by Tim Callahan.
The theater’s artistic director is Jayme Brown.
The show is performed in the 90-seat theater and has been free admission since 2021. Concerned with the national decline in attendance at live performances of all kinds, Bluff City Theater made the decision to eliminate the financial barrier to attendance as a means of attracting greater audience diversity. The loss in paid admissions is offset by an increase in personal donations, corporate sponsorships, grants and other fundraising activities.
The show is recommended for audiences age 13 or older. The running time is 90 minutes without intermission.
The off-Broadway show received four nominations from the Drama Desk Awards – Outstanding Orchestrations, Set Design (Beowulf Boritt), Outstanding Actor in a Musical (Norbert Leo Butz) and Outstanding Actress in a Musical (Sherie Rene Scott).
For more information, visit https://bluffcitytheater.com or call Tel: 573.719.3226.
Eileen Engel of St. Louis
“Let it in and it knocks you back on your heels. Just like love.” — Rolling Stone
“Bittersweet and nearly perfect, Brown has come up with a winning combination of music and book…” — Variety
“Music, words, and performance meld into a spectrum of clashing emotions…”- New York Times
About Bluff City Theater Bluff City Theater is based in Hannibal, Mo., and was founded in 2013. It is the brainchild of Joe Anderson and Wesley Yargus.
An artist-driven theater company we place an emphasis on literary works that bridge the gap between books and stage. While not exclusively limited to literature, our goal will be to explore the written word through stage adaptation.
While we are primarily a producing company, we may from time-to-time present other works consistent with our artistic mandate. We seek to enhance the quality of life for residents of North-Eastern Missouri and Western Illinois by producing high-quality performances employing the best actors, directors, musicians and technicians available in an intimate setting. We commit ourselves to developing new works as well as reviving old favorites, especially those that may be forgotten, under-performed or under-appreciated.
First and foremost, we seek to entertain but our mandate extends to educating audiences and fostering a larger discussion around the works and their themes and an appreciation of the role live theater plays in propagating ideas and public discourse. As an ancillary to the primary goals, we partner with the larger arts community to, when appropriate, foster a broader exploration of themes using other forms like lecture, film and the visual arts.
As of 2024, BCT has produced 40 plays including three world-premieres, two American premieres of foreign works, one outdoor production and three environmental productions where local landmarks were transformed, temporarily, into performance spaces.
Directors come from across North America. Our professional actors, while primarily St. Louis-based have also come from Los Angeles, New York City and Toronto. For at least one production a year, we put local children and youth on stage with professionals.
“Come From Away” wraps you in a warm hug and doesn’t let go.
Brimming with heart, humor and humanity, the 2017 musical arrived for its highly anticipated Muny debut with all the feels intact, making clever use of the expansive stage and its dynamic ensemble demonstrating the extraordinary power of kindness during adversity.
This deeply personal, emotionally complex story has resonated strongly with theatregoers, and the Muny’s customary attention to casting and execution put that at the forefront. The first-rate cast projects enthusiasm and affection for this material from start to finish, buoyed by the creative team’s excellence and the audience’s embrace.
The 100-minute show focuses on the town of Gander, Newfoundland, and its hospitable response to 38 planes landing at their airport with 6,122 passengers and 473 crew on Sept. 11, 2001.
After the terrorist attacks on the World Trade Center and the Pentagon, the FAA closed the US airspace and Operation Yellow Ribbon began – a coordinated effort to accommodate diverted flights. Gander was among the towns helping, including nearby Lewisporte and Appleton.
The company of the Muny production of “Come From Away.” Photo by Phillip Hamer
Gander, a Canadian community of about 9,600 and home to the Gander International Airport, opened their homes and converted schools and community buildings into shelters, becoming a beacon of light in the darkest of times.
In the U.S. and for those affected elsewhere, it was an anxious and uncertain period. The fearful passengers had to stay on planes for many hours, without any information other than it was an emergency, until they were officially released and herded into buses with only their carry-ons.
Based on these real people’s stories, the husband-and-wife team of Irene Sankoff and David Hein vividly wove acts of compassion, listening, laughing, hospitality and fellowship into a heart-tugging narrative to accompany their music and lyrics.
They also addressed challenges like culture clashes and language barriers, and how people worked through tense situations.
They focused on a rerouted American Airlines flight from Paris headed to Dallas. Because of Gander’s generosity to strangers who couldn’t leave for five days, lasting friendships formed, resulting in a 10-year reunion in 2011, where the writers interviewed those in attendance.
Heidi Blickenstaff in the Muny production of “Come From Away.” Photo by Phillip Hamer
“Come from Away” truly is a remarkable story, with distinct characters that touch our soul. Thus, a theatrical gem was born with tender loving care – now the longest running musical ever from Canada. The Broadway run, interrupted by COVID, played to sold-out houses for 1,670 regular performances and 25 previews from February 2017 to October 2022.
Nominated for seven Tony Awards, including Best Musical, Christopher Ashley won for directing. (“Dear Evan Hansen” was the big winner that night and will debut at the Muny in July).
A trio from last year’s revered classic “Les Miserables” has returned to craft another powerful tale of enduring connection – director Seth Sklar-Heyn, choreographer Jesse Robb (whose mother was born and raised in Newfoundland), and costume designer Gail Baldoni.
Their meticulous work, along with exemplary essentials from scenic designer Edward E. Haynes Jr., video designer Mike Tutaj, lighting designer Rob Denton, and wig designer Kelley Jordan, created a vibrant tableau that immediately drew the large Muny crowd into the Far North.
Haynes’ ingenious stairs-jet configuration rotated, using the turntable to swiftly create the necessary spaces. Tutaj’s video work uses news footage from Rogers TV and suggests locations like Tim Horton’s and Trailway Pub, to add awareness of time and place. And Denton’s superb lighting gave the show its usual intimate feel.
Alan H. Green in the Muny production of “Come From Away.” Photo by Phillip Hamer
As they seamlessly portray multiple roles – both townsfolks and ‘plane people,’ the players talk directly to us. The proud islanders start their routine on a Tuesday morning, introducing themselves in a chill-inducing “Welcome to the Rock.”
“You are here at the start of a moment…”
Our reaction is immediate, taking us right back to that frightening morning – when we heard, what we saw, how we felt – if you experienced it. If not, its tone is evocative of that tragic day and the aftermath.
Muny stalwart Adam Heller is well-suited to play the take-charge mayor, Claude Elliott, among other characters, leading the opening number and the raucous “Screech In” (involving kissing a codfish and downing rum shots).
Looking back, he tells the audience: “Tonight we honor what was lost, but we also commemorate what we found.”
Abigail Isom and Adam Heller in the Muny production of “Come From Away.” Photo by Phillip Hamer
With her powerhouse mezzo-soprano, Heidi Blickenstaff soars as the trailblazing pilot Beverley Bass in the signature song “Me and the Sky.” Impressive as mom Mary Jane in the national tour of “Jagged Little Pill” (including the Fox in January 2024), she is captivating as Beverley, whose passion for aviation drove her career but she now worries that her workspace has become a weapon.
The dozen performers, appearing like regular folk, clearly delineate multiple characters, whether through accents, wardrobe pieces or personality shifts.
Memorable “come from aways” include two-time Grammy winner Tamika Lawrence as Hannah O’Rourke, who is frantically trying to reach her son, a New York firefighter. Her solo, “I Am Here” is heart-breaking.
Stellar veteran performers John Bolton and Ashley Brown are a delightful duo as the British bachelor Nick Marson and divorced mom Diane Gray, whose budding friendship might be more.
A gay couple, “the two Kevins” – Jason Tam as Kevin Tuerff and Trey DeLuna as Kevin Jung, who seemed to be at odds, disagree often. One’s all in for being a good sport, and the other is not comfortable in the public situation.
Trey DeLuna and the company of the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
DeLuna, who was in the national tour, delivers a gut-wrenching turn as Egyptian chef Ali, who is under suspicion as a Muslim, and prejudice grows.
One of the most moving numbers is “Prayer,” showing travelers practicing their faith – Jews, Christians, Catholics and Muslims.
Alan H. Green is comical as Bob, who is confused by all the nice emanating from the locals. He also plays a pilot and an African traveler who can’t speak English. If he looks familiar, in St. Louis, he starred in “Sister Act” at the Muny and in “The Karate Kid” at Stages.
On the home front, total pro Zoe Vonder Haar is ideal as good-natured Beulah Davis, one of the major caregivers. And she doubles as a nervous flyer who gets tipsy and loudly sings “My Heart Will Go On” from “Titanic,” which they watched as an in-flight movie.
Likable Jacob Keith Watson smoothly transforms into the police constable Oz Fudge, a bar owner, Jewish rabbi, a surly traveler and others.
From left: Zoe Vonder Haar, Jacob Keith Watson and Jason Tam in the Muny production of “Come From Away.” Photo byPhillip Hamer
Seasoned Muny vet Abigail Isom is the amiable TV news reporter Janice, whose first day on the job is 9-11, and easily transitions to a freaking out flight attendant. She also plays a store clerk, getting laughs with: “Thank you for coming to Walmart. Would you like to come back to my house for a shower?”
Andrea Burns is the pragmatic SPCA representative, taking care of 19 animals in cargo cages, including endangered Bonobo chimpanzees that are headed to the Columbus Zoo in Ohio.
Dialect coach Joanna Battles helped the cast become Canadians with a specific accent, and their work was impeccable.
The teen ensemble acting as townsfolk and travelers include Chloe Jennings, Grant LaMartina, Annakait Peters-Bahkou, Drew Mathers, Jarod Rhodes, Jameson Roam and Will Schulte.
Standby for the women is Leah Berry and for the men, Spencer Davis Milford.
From left: Ashley Brown, Zoe Vonder Haar, John Bolton and Adam Heller in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
The vocally strong cast harmoniously blends together in the songs that are an integral part of the storytelling – “38 Planes,” “Blankets and Bedding,” “28 Hours/Wherever We Are,” “Darkness and Trees,” “On the Edge,” “Stop the World,” “Somewhere in the Middle of Nowhere,” and “Something’s Missing” – expressing the necessary emotions.
The unifying score reflects the cultural heritage of Newfoundland – using Celtic rhythms and traditional folk, and fuses neatly with emotive modern musical theatre elements.
The robust orchestrations are by Aaron Eriksmoen, with arrangements by Ian Eisendrath, incorporating a fiddle and even an “ugly stick” (household items) on stage.
The Muny orchestra, energetically led by music director Evan Roider, captures the score’s unique sound, adding a harp and whistles to its instruments.
The first national tour came to the Fox Theatre in May 2019, and a return weekend engagement followed in 2023, striking a chord (blubbered throughout, and I wasn’t alone).
With multiple cameras, Apple TV+ filmed the Broadway cast in front of a live audience, including some 9-11 survivors and frontline workers, on Sept. 11, 2021, commemorating the 20th anniversary. It has been available for streaming since Sept. 10, 2022.
Tamika Lawrence in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
While 9-11 was 24 years ago, that time is etched into our collective memories. After a touching brief display of unity and flag-waving, today’s America is very different.
We now have a divisive political climate that’s mean-spirited and worrisome. Then we were isolated during a global pandemic that impacted our lives, an ever-mutating virus that killed more than 7 million people. More short fuses, more fear of others, anger and outrage are prevailing attitudes.
Recently, in St Louis, the deadliest tornado since 1959 tore apart neighborhoods. Watching a community come together on the Muny stage recalled empathetic responses of the past six weeks here, for people stepped up when called upon to do so.
We’ve been through a lot – as a country and as a region. Yet, glimmers of hope emerge, along with everyday heroes, and it’s gratifying to feel the uplift that “Come from Away” provides.
Mission accomplished. Triumphing with its affecting production that appreciative audiences won’t soon forget, the Muny reminds us why our shared experience is what live theater does best.
The Muny presents “Come from Away” nightly at 8:15 p.m. from June 26 to July 2 at the outdoor theatre in Forest Park. The production is 1 hour, 40 minutes without intermission. For more information, or for tickets, visit www.muny.org
The company of the Muny production of “Come From Away.” Photo by Phillip HamerThe company of the Muny production of “Come From Away.” Photo by Phillip Hamer
Loud, exciting, and about an hour too long, director Joseph Kosinski’s “F1: The Movie” coasts on Brad Pitt’s starpower and bursts of directorial panache within a narrative framework that leaves deeper thought in the dust.
Kosinski, who previously directed 2022’s excellent “Top Gun: Maverick,” opts for a similar story yet again — an aging professional past his prime coming back into the fold to mentor the next generation and conquer deep-seated traumas, looking effortlessly cool while doing so.
Sonny Hayes (Pitt) was once a Formula One prodigy with his teammate and buddy Rubén Cervantes (Javier Bardem). Sonny suffered severe injuries from a crash at the Spanish Grand Prix, which promptly took him out of commission. In the following years, Sonny embraced a nomadic lifestyle, going through three divorces and becoming a gambling addict living in a trailer. He travels from race to race seeking that ineffable high he gets from driving really fast and really dangerously.
After Sonny wins the 24 Hours of Daytona, Rubén shows up and offers (practically begs) him to join his F1 team, “APXGP,” and fill a spare seat that’s been turned down by several other drivers. The team’s life and Rubén’s career are in jeopardy.
Rubén discloses that the investors will sell the team if they cannot win one of the year’s nine remaining Grand Prix — and Rubén instructs the quietly arrogant Sonny to mentor the young rookie Joshua Pearce (Damson Idris).
Sonny, enticed by the possibility of becoming “the best in the world,” signs onto APXGP. Despite his skills behind the wheel, Sonny quickly discovers that he’s in over his head, and that his mentee-turned-rival Joshua isn’t exactly enamored with cooperation.
Joshua sees Sonny as another obstacle to overcome in his own search for glory in the sport and in the public eye. Sonny also meets the determined team technical director Kate McKenna (Kerry Condon), and, surprise!, they’re quickly drawn to each other.
But Sonny’s technique around the track is unconventional and unsuccessful from the jump, instilling doubt in Rubén and the team’s smarmy investors. Can Sonny adapt, cooperate, and achieve the victory he craves, maybe scoring a new girlfriend along the way? Can Joshua learn to look beyond himself and see the bigger picture? Should we expect any sort of substantial dramatic arc for any of these characters?
The answer to that last question, in the case of “F1: The Movie,” is a resounding “no.” And that’s perfectly fine — the film delivers the expected blockbuster goods (thrilling racing sequences, beautiful people looking cool, the cable-ready “Dad Movie” appeal).
What’s missing, though, is a tangible identity, rendering Kosinski’s film a well-oiled PR stunt for Formula One, and for Pitt himself, draped in appealing Hollywood sheen that remains undeniably easy to watch.
Pitt, like Tom Cruise, is a bonafide movie star, and “F1: The Movie” gives him plenty of opportunities to look like a badass and inject some verve into Ehren Kruger’s earnest and cornball screenplay. Pitt brings a weathered melancholy that suits Sonny’s character well. Bad Boy instincts collide with self-doubt and a spiritual emptiness that only resolves behind the wheel.
If only Kosinski and Kruger were willing to swerve in more interesting directions with his character. “F1: The Movie” is largely content to go through the motions, brushing over some potentially compelling yet unexplored aspects of Sonny while painting some uncomfortable parallels between Sonny’s controversial history and Pitt’s own. Indeed, one wonders if the requisite victory at the film’s conclusion is actually for Sonny or for Pitt.
The rest of the ensemble brings requisite charm — especially Condon and Sarah Niles as Joshua’s mother. However, the actors can only do so much with characters more resembling cutouts than three-dimensional people.
Idris embodies Joshua’s swagger and egotism effectively, but“F1: The Movie” still paints Joshua’s story in broad strokes, often undercutting character development through music video-esque montages backed by Hans Zimmer’s (admittedly invigorating) techno score.
Fortunately, most viewers go into “F1: The Movie” looking for spectacular racing sequences, and Kosinski — partnering again with cinematographer Claudio Miranda — does not disappoint.
The film’s races (mini stories themselves within the larger narrative) were filmed during actual Formula One races, with Pitt and Idris behind the wheel, and with a new camera system pioneered by Miranda that puts viewers in the cockpit with them, aiming to capture an unmatched sense of speed and immersion.
This succeeds, for the most part, although Stephen Mirrione’s editing cuts from shot to shot with a tempo that prevents us from fully getting into drivers’ headspaces. The near-constant racing commentary and reaction shots (outright explaining what’s happening on-track, along with some “interesting” intricacies of the sport) also break up the action to a distracting degree, falling into workmanlike tropes that pull away from the film’s experiential achievements. Still, it’s enjoyable to watch these sequences in a theater — in a handful of scattered moments, “F1: The Movie” roars like summer blockbusters should.
Yet Kosinski’s film couldn’t exactly be called “memorable,” nor particularly successful aside from its technical prowess. “F1: The Movie” ultimately lacks what “Top Gun: Maverick” has in spades: heart.
“F1: The Movie” is a 2025 sports action drama directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Shea Wigham, Tobias Menzies, Samson Kayo, and Sarah Niles. It is rated PG-13 for strong language and action and its runtime is 2 hours 35 minutes. It opened in theatres June 27. Alex‘s Grade:C+
Before the June 28 performance of Come From Away — the breathtaking musical based on true events in Gander, Newfoundland, in the aftermath of 9/11 — Muny audiences will hear directly from one of the nearly 7,000 airline passengers who found themselves grounded in the tiny Canadian town on an island in the North Atlantic.
Kevin Tuerff, whose real-life experience inspired the character Kevin T. in Come From Away, will speak onstage at the Muny’s Purina Plaza. The preshow event begins at 6:15 p.m. and is open to all ticketholders for that evening’s performance.
Tuerff will share his firsthand account of being stranded in Gander, reflect on the experience of having his story portrayed onstage and share stories from his memoir, Channel of Peace: Stranded in Gander on 9/11.
He is also the founder of Pay It Forward 9/11, a nonprofit dedicated to encouraging kindness and community service in memory of the day’s tragic events. Learn more at payitforward911.org.
Pay It Forward Community Drive
Inspired by the kindness of the people of Gander, The Muny will host a Pay It Forward Community Drive, a MunyCares initiative benefiting the International Institute of St. Louis. During the run of Come From Away, patrons are invited to donate new, unopened hygiene items, cleaning supplies and other essential products. Donations will be accepted at four locations: the Muny Box Office, Purina Plaza, the Lower Muny Lot and Kooyumjian Family Plaza. Contributions can also be made online via a Walmart registry.
The Muny production of Come From Away runs June 26-July 2, with performances at 8:15 p.m. nightly.
Single-performance tickets start at just $21 and are on sale now at muny.org or metrotix.com, by calling (314) 534-1111 and at the Muny Box Office, located at 1 Theatre Drive in Forest Park.
A 20% group discount is available for parties of 15 or more. To start the free reservation process, visit muny.org/groups or call (314) 595-5708.
Visit muny.org/comefromaway to read content notes and more for Come From Away; watch In Focus, a Muny original series; and hear Muny Unscripted, a new podcast available exclusively on Spotify.
Find photos, show logos and other promotional assets in the Muny Press Room.
About The Muny
Now in its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org, and follow along at facebook.com/munytheatre, instagram.com/themuny and youtube.com/themunytv .
The star power of Brad Pitt combines with the adrenaline rush of Formula 1 racing for an entertaining but strictly-by-the-numbers summer blockbuster.
The turbo-charged technical mastery lifts “F1: The Movie” as a classic underdog-redemption sports drama that follows a standard, if formulaic, template. The thinly written story offers little surprise amidst the turmoil of risk vs. reward, a grizzled veteran clashing with a cocky kid, and whether fun or finance should be the prevailing motivator.
The story follows Sonny Hays (Brad Pitt) as a former Formula 1 driver who is convinced to come out of retirement by his old pal Ruben (Javier Bardem), now owner of a struggling Formula 1 team, to mentor a hotshot rookie Joshua Pearce (Damson Idris). It’s 30 years later and the road to redemption is a rocky one.
A sterling cast supports this star vehicle, and brings authenticity to their roles, which makes it watchable. Oscar winner Javier Bardem is his customary captivating self as APXgp team owner Ruben Cervantes while Oscar nominee Kerry Condon plays Kate McKenna, a smart, feisty technical director whose knowledge of physics has served her well in aeronautics and racing.
Damson Idris fits the promising young talent mold, and while there are many supporting players, Tobias Menzies is memorable as board member Peter Banning, Samson Kayo is Pearce’s manager, and Sarah Niles is a charmer as Joshua’s mother Bernadette. (If you know you’ve seen her but can’t quite place where, she played Ted Lasso’s therapist Dr. Sharon Fieldstone (and scored two Emmy nominations).
Director Joseph Kosinski, who helmed the crowd-pleasing “Top Gun: Maverick” two summers ago, must have been so focused on capturing the thrills that he neglected the emotional sustenance that strong storytelling provides.
He and screenwriter Ehren Kruger, Oscar nominees for the “Top Gun: Maverick” adapted screenplay, collaborated on the cliché-riddled story, which is disappointingly predictable. Kruger, who wrote the “Transformers” sequels, should know his way around a blockbuster.
Nevertheless, the likeable actors are invested in the intensity of these athletes in training and competition.
Those unfamiliar with the professional auto racing circuit will get a stunning glimpse of fancy racetracks around the world.
Is Sonny Gray a has-been or a never-was? Oscar winner Pitt, now 61, is in his element playing this once-promising hotshot who lost his mojo after a horrific crash and wound up never jump-starting his career.
Pitt is always at his best when he’s a tarnished golden boy. He suits the role of a lone wolf beaten down by life. Through his subtle expressions, you can tell this weathered guy, who is now a racer-for-hire living out of his camper van, has emerged sadder and wiser from Hard Knocks University.
He still tries to be relevant after learning harsh life lessons. With a tawdry laundry list of mistakes made either by gambling or from bad romances (three failed marriages), Sonny seeks another chance to get it right.
Sound familiar? Absolutely. Pitt’s Sonny works his unconventional maverick confidence but also carries around a lot of baggage. He shrugs, he swaggers, he says pithy phrases that motivate people — or quickly shuts them down. A man in motion, he runs – and inspires others.
He’s a betting man, but would he bet on himself?
The movies “Grand Prix” in 1966 and “Le Mans” in 1971 established racing as a compelling action-adventure, even with what was considered state-of-the-art back then, and then “Rush” in 2013 and “Ford v Ferrari” in 2019 surpassed them with high-stakes racing.
This has an old-school escapist feel, although the modern scenario is never in doubt, with social media ‘engagement,’ cell phone usage, and the wall-to-wall product placement palooza.
Cinematographer Claudio Miranda, who last shot the shimmering seascapes of “Nyad,” captured the dizzying spectacle while editor Stephen Mirrione ramped up the stakes and the suspense, heightened by Hans Zimmer’s propulsive score.
Overlong at 2 hours and 35 minutes, you’ll feel like you’ve been driving all night on a road trip. Sure, the action is zippy and immersive. But “F1: The Movie” unfortunately doesn’t have the oomph in the surrounding story on the same level as the vroom-vroom zooming.
“F1: The Movie” is a 2025 sports action drama directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Shea Wigham, Tobias Menzies, Samson Kayo, and Sarah Niles. It is rated PG-13 for strong language and action and its runtime is 2 hours 35 minutes. It opened in theatres June 27. Lynn’s Grade: B-.
In Opera Theatre of Saint Louis’ shimmering new production of Benjamin Britten’s “A Midsummer Night’s Dream,” the familiar Shakespearean tale is reborn with a rare blend of musical precision, visual poetry and theatrical wit.
Under the baton of maestro Leonard Slatkin and the direction of Tim Albery, this staging is less a retelling than a re-enchantment—an immersive journey into a world where fairies glide, lovers quarrel and rustic clowns stumble through tragedy with comic brilliance.
The production is anchored by a cast of world-class singers and actors, each bringing nuance and vitality to their roles. The creative team, led by designer Emma Kingsbury, conjures a forest that breathes and transforms while the children’s chorus and mechanicals add layers of charm and humor.
What follows is a breakdown of the production’s key contributors—principal cast, lovers, mechanicals, fairies and creatives—each of whom helps weave this dream into something unforgettable.
The heart of Britten’s dreamscape lies in the ethereal authority of its fairy royalty. Oberon and Tytania, portrayed with vocal finesse and dramatic poise, anchor the supernatural world with a sense of grandeur and mystery. Puck, though silent in song, is a kinetic presence who threads the narrative with mischief and grace.
James Laing – Oberon: A commanding OTSL debut, Laing’s countertenor voice is smooth and powerful, embodying the regal and mystical presence of the fairy king.
Jana McIntyre – Tytania: Also making her OTSL debut, McIntyre dazzles with a silvery bel canto soprano, bringing both elegance and emotional depth to the fairy queen.
Matisse Carmack – Puck: In this non-singing role, Carmack is a kinetic force—quick, agile and mischievous. Her delivery of Puck’s final monologue is masterful.
The quartet of young lovers brings emotional volatility and romantic confusion to the forest, their entanglements rendered with vocal clarity and dramatic charm. Each performer navigates the shifting affections and magical manipulations with humor and heart, grounding the opera’s fantasy in human longing.
Anthony Léon – Lysander: A strong and expressive tenor, Léon brings warmth and charm to the role.
Jennifer Johnson Cano – Hermia: A returning OTSL favorite, Cano delivers a sterling performance with emotional nuance and vocal richness.
Theo Hoffman – Demetrius: A standout among the lovers, Hoffman’s powerful baritone is one of the production’s vocal highlights.
Teresa Parrotta – Helena: Parrotta brings humor and heart to Helena, rounding out the quartet with a vibrant performance.
Comic relief arrives in the form of the “rude mechanicals,” whose earnest attempt at theatrical tragedy becomes a riotous farce. Their scenes are a masterclass in physical comedy and ensemble timing, with Bottom’s transformation into an ass providing one of the production’s most memorable visual gags.
Ben Brady – Bottom: A comedic triumph, Brady is hilarious in both human and donkey form. The donkey’s head is described as a miracle of stagecraft—realistic with a moving mouth that allows Brady’s voice to project clearly and powerfully.
Christian Sanders – Thisbe: Sanders delights with a playful and endearing portrayal of Thisbe.
Robert Mellon, Dylan Gregg, Adam Partridge, Sam Krausz – Mechanicals Ensemble: This troupe delivers classic low-comic charm, wringing every laugh from their vaudevillian rehearsal scenes.
The enchanted forest is populated by a chorus of fairy sprites, led by four charming attendants. Their presence adds a layer of visual and vocal delicacy, transforming the stage into a living, breathing dreamscape. The children’s chorus, under expert direction, brings both innocence and eerie beauty to the production.
Emily Kealani – Cobweb
Veronica Siebert – Mustardseed
Laura Santamaria – Peaseblossom
Zoe Brooks – Moth: These young performers lead the children’s chorus with grace and whimsy, adding a magical layer to the production.
St. Louis Children’s Choruses – Fairy Sprites: A visual and vocal delight, these young singers enhance the enchanted forest with charm and precision.
Behind the scenes, a visionary creative team shapes the production’s aesthetic and emotional tone. From the conductor’s podium to the costume shop, each contributor brings a distinct artistry that elevates the opera’s dreamlike world. Their collaboration results in a production that is as visually arresting as it is musically rich.
Tim Albery – Stage Director: Albery’s minimalist Shakespearean-inspired staging is both magical and emotionally resonant.
Emma Kingsbury – Scenic & Costume Designer: Her designs are exquisite with transformative sets and timeless costumes that elevate the production’s visual storytelling.
Krystal Balleza & Will Vicari – Wig & Makeup Designers: Their work is brilliant, especially in crafting the ethereal looks of the fairy realm.
Seán Curran – Choreographer: Curran’s choreography adds fluidity and charm, enhancing the dreamlike atmosphere.
Leonard Slatkin – Conductor: A celebrated return to OTSL, Slatkin leads the St. Louis Symphony Orchestra with finesse, bringing Britten’s haunting score to life.
Andrew Whitfield – Chorus Master: His direction of the children’s chorus is superb, contributing to some of the production’s most enchanting moments.
As we all accept that we will die, confronting our own mortality seems to be a lifelong journey – and often tip-toed around with family and friends. How we deal with the inevitability of our end and the loss of our loved ones leads to interesting debates.
Such is the case with Albion Theatre’s latest offering – “Colder Than Here” by Laura Wade. The British playwright sensitively tackles the tricky subject matter, as a terminally ill cancer patient plans her funeral, selects her final resting place, and attempts to discuss the topic with her family.
Grief mixed with humor? Yes, it’s tactful, situational and conveys both pain and love, as does exploring complex family relationships. With utmost delicacy, director Robert Ashton has gracefully staged this comic drama in the intimate Kranzberg Black Box Theatre.
Ashton has cast a quartet that can carry the weight of these characters and still be likable, starting with Susan Wylie as the mom staring at her own fate with clear eyes and an open heart.
The family – LIvy Potthoff, Susan Wylie, David Wassilak and Anna Langdon. Photo by John Lamb.
In typical Mom fashion, Myra is the caretaker, but now others must take care of her. Wylie is convincing as the kindhearted and considerate mother who is trying to nudge her family into accepting what’s ahead. She balances Myra’s inner strength with the outward effects of bone cancer on a human body and does so subtly in an exceptionally well-modulated performance.
Her family’s reluctance to accept the inevitable is understandable as they each have different ways of dealing with the impending loss — but exasperating for her. As Myra becomes sicker, she is aware of the ticking clock, if others aren’t, and she wants matters confirmed. She has even prepared a Power Point with fancy fonts, which garners mixed reactions.
Her husband, Alec, in a skillfully nuanced portrait by David Wassilak, is a taciturn sort used to blocking out the cacophony of three women in the house. Of course he cares for them, but like most dads, he has his routines. He really doesn’t want to talk about anything beyond the immediate issues, like the chilly house because of a wonky boiler.
Now, the daughters are grown, live on their own, but return for visits or temporary stays. How daughters Harriet and Jenna cope with adulting is a mixed bag. They couldn’t be more opposite in appearance and attitudes.
Wylie and Livy Potthoff. Photo by John Lamb.
Anna Langdon is Harriet, the more level-headed, ‘settled’ one, and Livy Potthoff is the rebellious unfiltered Jenna, an impressive debut in a showier part – the daughter who everyone is used to ‘acting out.
The girls express their worries, sadness and guilt, and it is frightening new territory. While they bicker, they still care for each other amd realize they will need each other..
Langdon conveys Harriet’s attempts to maintain control but her anxiety is manifested through eczema. Jenna, who has overcome an eating disorder but not boyfriend troubles, becomes a reliable companion for her mom when checking out cemeteries. You just never know how people will respond.
Wade’s first published play opened in London in 2003, and it’s obvious she has experienced grief and loss, for she created authentic dialogue and believable situations to offer poignant reflection.
Anyone who has gone through similar situations will relate. Grief is a very personal experience, and one can often take comfort with others going through the same thing – or shut down. Everyone is different in how they handle it.
Livy Potthoff and Wassilak. Photo by John Lamb.
A family can grow closer, which happens here. They go through feelings of denial, despair, rage, isolation and helplessness. In finally talking about it, they share warm family moments that lead to empathy, understanding and perspective.
Trying not to be morose or maudlin, Wade successfully integrated gentle humor into the mix. And comic relief is welcome, in any circumstance but important here as a coping mechanism.
In newsroom parlance, gallows humor is resorted to when headlines are routinely horrific, so to continue working on tough subjects, someone will crack an inappropriate joke that makes people laugh, thus releasing tension.
The play’s funniest sight gag is a painted and decorated cardboard coffin sitting in the living room (kudos to set builder Jeff Kargus).
We’re not talking a gut-busting farce like the legendary “Chuckles the Clown” funeral episode of “The Mary Tyler Moore Show,” or even the amusing Monty Python ditty “Always Look on the Bright Side of Life,” now featured in the musical “Spamalot,” which incidentally is the most requested song at British funerals.
Wassilak, Potthoff, Wylie and Anna Langdon. Photo by John Lamb.
But the humor lands, and it’s a nice component. The cast’s emotional journeys are natural as they each grapple with reality, eventually coming together in their shared grief. And because of the mom’s efforts, they can start to heal.
Instead of projections used to show different cemetery grounds, Gwynneth Rausch is a narrator who explains where each setting is and what it looks like.
The simple performance space features a living room with ‘dad’s chair’ and a sofa, and the outdoor gravesites are represented by Astroturf-type grass. The well-appointed set is designed by Kristin Meyer, with construction help from Kargus.
Michelle Zielinski’s lighting design astutely captured the atmosphere, and Ted Drury’s sound design – and Power Point presentation (kudos for the Papyrus!) are excellent. Rausch handled the props and costume designer Tracey Newcomb comfortably outfitted the characters in age-appropriate attire. CJ Langdon was the assistant director.
“Colder Than Here” is a candid account of what people experience on a daily basis, and is sensitively handled so that the points are well-taken. It helps that everyone involved in the project brings an admirable level of commitment to telling this story in a helpful, heart-warming way. And as always, with Albion’s plays set in the UK, the dialect work is impeccable.
When going through difficulties, the only real answer is Love. Do love, never forget to remember. It won’t change the outcome, but it will help get through another day. And that’s a good takeaway from Wade’s play and Albion Theatre’s thoughtful efforts.
Albion Theatre presents “Colder Than Here” June 13-29 at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis. The performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The play is presented as a one-act in 90 minutes without intermission. For more information, visit www.AlbionTheatreSTL.org.
A spirited Muny debut that is tailor-made for that grand stage, “Bring It On: The Musical” is a marvel of motion that takes place in the cutthroat world of competitive cheerleading.
An engaging combination of original music, exhilarating dance, spunky multi-skilled performers, slick craftsmanship and a relatable finding-your-place story will win you over.
The sociable story is a teen rivalry set in two diverse socio-economic high school cultures that takes a page from “Legally Blonde” and “Mean Girls,” among others, The popular 2000 movie that inspired it starred Kirsten Dunst and Gabrielle Union, grossed $90 million worldwide and sparked five direct-to-video sequels and a TV movie.
Fun fact: Screenwriter Jessica Bedinger pitched the idea as “Clueless” meets “Strictly Ballroom” after becoming obsessed with cheer competitions on ESPN and having experience as a former music journalist covering hip-hop artists.
Taylor Sage Evans, Kennedy Holmes and Jonalyn Saxer. Photo by Phillip Hamer.
Full of pep, elaborate steps and impressive biceps, the acrobatic achievements are quite a spectacle, and 16 of the nation’s most elite college cheerleaders from the University of Kentucky are part of the energetic ensemble. The school has won 24 national championships.
Count me impressed. Their gasp-inducing athletic leaps, lifts and tumbles choreographed by cheer consultant Ryan Martin O’Connor, Kentucky head coach, combined with Jennifer Weber’s high-octane choreography, are thrilling.
While cheerleaders are a staple of film narratives since the 1950s, it is rarely the focus of traditional musical theater.
Enter a team of Broadway heavyweights who saw its appeal through a different lens – adding a hip-hop beat to a standard musical format, with other modern flourishes. Tony winners Lin-Manuel Miranda and Tom Kitt teamed up for the music, Miranda and Tony nominee Amanda Green collaborated on the lyrics, and Tony winner Jeff Whitty wrote a very funny libretto.
The Truman squad of Regine Sophia, Saxer, Katie Riedel and Evans. Photo by Phillip Hamer.
Back then, Mike Isaacson, the Muny’s executive producer and artistic director, co-produced the show with Kristin Caskey for Fox Partners, which premiered in Atlanta in 2011 and earned a 2013 Tony Award nomination for Best Musical and so did choreographer Andy Blankenbuehler, who also directed.
Missouri native Taylor Louderman and Adrienne Warren, who would later win a Tony as Tina Turner, starred as Campbell and Danielle, Jason Gotay was Randall, and Ariana de Bose made her Broadway debut as Nautica.
When it played at the Fabulous Fox in spring 2012 before its Broadway engagement, I was surprised at how enjoyable it was. With its crisp and snappy dance moves and lively performances, it seemed like a perfect fit for stages.
While a challenging commitment, the show has transferred seamlessly to the Muny’s canvas because of the entire creative team’s dedication to getting it right, from Denis Jones’ briskly paced direction to Caite Hevner’s imaginative video designs that add much to the storytelling.
Kennedy Holmes (left) and Jonalyn Saxer in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Jones, who has helmed 11 shows at the Muny and won three St. Louis Theater Circle awards, has a knack for presenting spry, ebullient shows performed gracefully with remarkable precision.
However, this show is fortified by perky performances and a perennial thoughtful message about friendship. What’s more important than winning? Purpose, self-worth and valuing true-blue relationships.
Saxer is Campbell, a sweet but driven cheerleader who is popular at Truman High School. Her main goal is to be captain and lead the team to Nationals. However, her dreams are dashed when she must transfer high schools because of redistricting.
She’s now at Jackson High School, where the cheerleading squad was disbanded. She convinces some skeptical students that competitive cheerleading would be their ticket to bigger dreams and more opportunities.
Katy Geraghty (center) and members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
She confidently delivers ballads, such as “What I Was Born to Do.” But when she has doubts or shows determination – “One Perfect Moment,” “What Was I Thinking” or even crazy-worry “Something Isn’t Right Here,” that’s when her character’s colors come out.
The clever Whitty, whose irreverent humor helped create “Avenue Q,” has altered the original conflict, dropped and brought in characters and injected Millennial speak.
He added a ruthless schemer “All About Eve” subplot, or more appropriate, “All About Eva,” a two-faced sophomore who masterminds her ascension into cheerleading royalty while orchestrating others’ demise.
Making her Muny debut as villainous Eva, Taylor Sage Evans, who was a standout as the replacement Anne Boleyn in the national tour of “Six” during the Fabulous Fox run in January, is the bouncy plastic blonde wannabe. She reveals her true colors in “Killer Instinct” and “Eva’s Rant.”
From left: Kennedy Holmes, Jonalyn Saxer, Aj Paramo and Ayla Ciccone-Burton in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
While there is much fresh talent to applaud, one of the obvious hallmarks of Muny summers are returning artists who have come back again and again to our “alone in its greatness” experience.
If actors describe Muny shows as “summer camp,” then “Bring It On” is a triumphant homecoming for Kennedy Holmes, who became a star on that stage over the past 10 years.
A Muny Kid, her big break came as Little Inez in “Hairspray” in 2015, and in recent years, she was in “Dreamgirls” and “Beautiful: The Carole King Musical” (as Little Eva). At age 14, she was an early standout on Season 15 of “The Voice” in 2018, but at the finale, came in fourth – the youngest finalist ever (she was robbed!). She’s been in demand ever since.
Jonalyn Saxer and Bryce Williams in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Now 20 and a student at USC, she’s a poised leading lady as Danielle, the ‘crew’ dance team chief at Jackson High. Talk about a Muny moment! It’s so gratifying to see her easily slip into this role that requires her to be a fluid hip-hop dancer and master the vivacious pop and hip-hop lyrics by Miranda and Green..
Saxer, who was an appealing Peggy Sawyer in Jones’ “42nd Street” here in 2016, works well with Kennedy as they navigate their differences, singing together superbly in the touching “We’re Not Done.” Among her credits are multiple Broadway shows, the first national tour of “Mean Girls” and the 2021 Spielberg film of “West Side Story.”
In a scene-stealing performance, Katy Geraghty, as Bridget, is the wackiest sidekick this side of Ethel Mertz. She also endears as a girl who was an ‘outsider’ all her life but finally fits in at her new school.
Geraghty is quickly becoming a Muny favorite, after her hilarious turn as Sister Mary Patrick in “Sister Act” two summers ago. (She was also impressive as Little Red in the 2022 Broadway revival of “Into the Woods.”)
Saxer, Holmes, Geraghty. Photo by Philip Hamer.
Another memorable Muny performer with 11 shows here, Sean Harrison Jones plays Steven, a Truman cheerleader and Campbell’s boyfriend. He was in the original Broadway cast of “The Outsiders,” in “Hamilton” on Broadway and national tour, and was Action in the 2021 film of “West Side Story.”
With his easy-going demeanor and soaring tenor, Bryce Williams stands out as Randall, a popular Jackson student and DJ who befriends Campbell. They share a lovely duet “Enjoy the Trip.” It’s an impressive Muny debut, and he’s still in college.
When Campbell’s first day at the new school is chaotic, the “Do Your Own Thing” number firmly establishes the rules and draw the lines. “Move!” is a savvy directive. Music director Anne Shuttlesworth never lets up.
The scenes at Jackson are where the show gets into a rhythmic groove, and the opening second act number “It’s All Happening” is a rousing fired-up anthem.
The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Supporting players who added much sass and satire were Katie Riedel as the golden girl Skylar, a spot-on Paris Hilton imitation, with terrific comic timing. One of her zingers in an a-ha moment — “Omigod, everyone’s gone through all this, like, personal growth, but I’m exactly the same person I was a year ago. Oh well! I like myself. Always did.”
In contrast, Regine Sophia is a sunny Kylar (real name Inez), who hangs with Skylar.
Danielle’s posse includes Nautica and La Cienega – and Ayla Ciccone-Burton and AJ Paramo are a dynamic duo. Randall’s buddies Twig and Cameron are winsomely played by Kevin Trino Perdido and Brandon O’Neal Bomer.
Special recognition must go to dancer Bailey “Bailrok” Munoz, who wowed the crowd with a spectacular breakdance routine in the Leprechaun mascot outfit during “Friday Night, Jackson.” Munoz won “So You Think You Can Dance” competition show in Season 16, the only breakdancing winner in the show’s 18 seasons.
Dancer Bailey Munoz as the mascot with members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Weber, who was Tony nominated for “& Juliet,” has designed choreography as vibrant as O’Connor’s vigorous cheer routines. Those numbers, including “Bring It On,” “Legendary,” “Crossing the Line” and the finale “I Got You” are dazzling.
To allow for the splashy dance numbers, Ann Beyersdorfer’s scenic design is masterful fluidity and function, efficiently mobile for the major cheer numbers, too. Jason Lyons’ harmonious lighting designs set the scenes and the sound work of John Shivers and David Patridge was clear and cohesive.
Continuing effective design work, Tristan Raines’ costumes were conducive to movement and represented high school fashions while Ashley Rae Callahan’s wig designs blended in well.
With its disarming good-time vibe, “Bring It On” pops with personality, energizing with uplift and inspiration – and is just so darn much fun.
Surprise guests on Wednesday night!From left: Mike Isaacson, Kwofe Coleman, Amanda Green, Lin-Manuel Miranda and Tom Kitt with the company of “Bring It On: The Musical.” Photo by The Muny | Emily Santel
The Muny presents “Bring It On: The Musical” June 16 – June 22 nightly at 8:15 p.m. in Forest Park. The musical is 2 hours and 10 minutes long, with one intermission. For more information, visit www.muny.org
This review is based on Tuesday’s rain-shortened one-act performance and Thursday’s full production
The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
With the physicality of silent film actors and the verbal dexterity of Abbott & Costello, a delightful duo cavorts with glee for a quick-witted, fast-paced musical comedy, “Murder for Two.”
The rollicking romp that opened Stages St. Louis’ season showcases Jeremiah Ginn in a stunningly agile tour de force as a dozen murder suspects and Ian Fairlee as the eager small-town police officer who wants to get ahead in the department. Could he make detective by solving this case?
The actors are also deft pianists who tickle the ivories while they’re coaxing the audience to laugh at their foibles, for this work includes a dozen songs.
The premise is a surprise birthday party for Great American Novelist Arthur Whitney, thrown by his wife Dahlia, a fretful, melodramatic Southern belle straight out of a Tennessee Williams play. Everybody in attendance is a suspect, all 12 of them.
Joe Kinosian, who wrote the music and co-wrote the book with Kellen Blair, who also wrote the lyrics, borrows the format from old-fashioned murder mysteries. Think Agatha Christie’s one-room setting filled with possible suspects, but then add the wacky charm of a sketch comedy troupe.
The twist of eccentric characters, so prevalent in parodies, such as the 1985 film “Clue” and the 1976 Neil Simon spoof “Murder by Death,” creates a fertile playground for the two actors.
The colorful characters are distinguished through Ginn’s remarkable quick-changes and sleight of hand techniques – whether it’s a pair of glasses, a dance movement, a hat or an accent shift.
Memorable suspects include the deceased’s flustered wife, snooty ballerina Barrette Lewis, the blabby town psychiatrist Dr. Griff, Dahlia’s niece – a pushy forensics student – Steph, bickering married couple (and next-door neighbors) Barb and Murray Flandon, peculiar gung-ho firefighter Henry Vivaldi, and a boys’ choir. Some are too nonplussed about a cold-blooded murder committed right in front of them. Hmmm…
Ginn’s vocal flexibility as he moves between characters’ dialogues is quite something, managing to keep them all distinct. The boys in the choir sounds straight out of a Bowery Boys movie/Little Rascals short, which is obvious in the song “A Lot Woise” sung by Timmy, Yonkers and Skid.
Ian Fairlee as Marcus. Photo by Phillip Hamer.
As the fledgling detective Marcus Moscowicz, Fairlee gains the audience’s sympathy in rapid exchanges with his boss, his silent partner Lou, and others on the phone. He wants to do everything by the book, as outlined in his funny “Protocol Says” number.
Ginn’s sprightly delivery gets a workout in the ‘company’ numbers – “It Was Her,” “So What If I Did?” and “Process of Elimination.”
The story, heavy on true crime tropes, liberally adds daffy shenanigans as Marcus tries to narrow down who’s the killer and what could have been the motive. We learn the ‘who’ is immaterial to finding out why. You think you sorta know from the get-go — but you may be surprised because your hunch could be the infamous ‘red herring’ employed in so many mysteries.
The reveal is anti-climactic because the whodunit is secondary to the pair’s goofy antics. Ginn is so animated, he could be a live-action figure at Disney World, reminiscent of vaudeville clowns of a different era. He and Fairlee nimbly volley back and forth like tennis pros if they were ‘50s era Dean Martin and Jerry Lewis.
Ginn, who was a part of the New York cast, blends his considerable skills in dance, song and obviously has dealt with ‘seltzer down his pants.’ He is masterful in switching accents, like Peter Sellers did playing multiple characters in films like “Dr. Strangelove” and “The Pink Panther.”.
Fairlee and Ginn. Photo by Phillip Hamer.
While Ginn has the showier roles, Fairlee is as adept with the comic timing in a cagey part. They play off each other well.
Director Michael Kostroff maintained high energy during both acts, and brought out the ingenuity of the work, using as many resources as possible in that confined space.
Ann Beyersdorfer’s sly set, designed to be an author’s mansion in New England, is a well-appointed canvas for the nifty surprises galore, a nod to the Clue game board and every remote country estate where spooky things happen. She has given the actors room to dash around and broaden the action to outside..
And when it’s time for Dahlia’s big show-stopping number, “Steppin’ Out of the Shadows,” a humorous ridiculously over-the-top extravaganza, that’s when Stages ramps up the fun.
The show, which won Chicago’s Jefferson Award for Best New Musical in 2011, was developed at the Chicago Shakespeare Theater, then later produced on Broadway.
Jeremiah Ginn, as Dahlia. Photo by Phillip Hamer.
Because the cleverly constructed play entertains with slapstick, sight gags and slick technical effects, it seems natural to present at mystery dinner-theaters and for inoffensive school plays (never mind that murder is in the title and a few off-color remarks that can be altered.) This show would have been a major crowd-pleaser on the Goldenrod Showboat in its heyday. (Stages’ wildly popular production of the comedy “Clue” — their first-ever non-musical in 2023 was not only an audience hit but an awards magnet).
While both Ginn and Fairlee are skilled pianists, the music isn’t really necessary. They are enjoyable in the roles, with or without the music. And deliver the songs with aplomb. Ginn also served as music director.
The rest of Stages’ tip-top team makes the production flow smoothly. Sean M. Savoie’s lighting always enhances the settings, especially in a mystery where lights suddenly go out and things go bump in the night. Hankyu Lee’s sound design was sharp without any issues. Costume coordinator Erica Jo Lloyd kept up with all the shifts that helped define the characters.
With its zesty vaudeville-style humor, the energetic pair come across as looney, and they’re tuneful, so what’s not to enjoy?
Stages St. Louis presents “Murder for Two” from May 30 to June 29 in the Ross Family Theatre at the Kirkwood Performing Arts Center. .210 E. Monroe Ave. For more information or tickets, visit www.stagesstlouis.org.
