Crisp and Snappy ‘Some Like It Hot’ Dazzles with Dance, Vintage Charm

Crisp and Snappy ‘Some Like It Hot’ Dazzles with Dance, Vintage Charm

By Lynn Venhaus

A crisp and snappy confection that has thoroughly modern moments wrapped in its old-fashioned big splashy musical format, “Some Like It Hot” bursts with bonhomie and good humor.

The first national tour is now playing at the Fox Theatre Feb. 26 – March 9, and the dynamic ensemble of polished triple threats is a jolt of joy.

The story features two musicians/dancers who quickly hatch a scheme to masquerade as women so they can escape from gangsters after fleeing a murder scene. They join an all-female band boarding a train to play at different stops across the western U.S., headed from Chicago to California.

Romance will complicate their plans, so will race and gender in this lively farce whose source material is much beloved.

Adapted from the iconic 1959 comedy starring Jack Lemmon, Tony Curtis and Marilyn Monroe and directed by Billy Wilder, it was named the greatest comedy film of all time on American Film Institute’s list “100 Years…100 Laughs” in 2000.

That’s a daunting challenge, and that’s why an earlier version in 1972, “Sugar,” has been nearly forgotten, despite a score by Jules Styne with lyrics by Bob Merrill, book by Peter Stone, and direction and choreography by Gower Champion.

That Broadway production starred Elaine Joyce as Sugar, Robert Morse as Jerry/Daphne, and Tony Roberts as Joe/Josephine, and ran for 505 performances.

With a complete overhaul – including moving it to 1933 from the Roaring ‘20s plus a few other tweaks and twists — and granted the rights to use the film title, this energetic and clever stage show warms hearts and elicits much merriment.

The reworked musical comedy opened on Broadway on Dec. 11, 2022, with music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and a book by Matthew López and Amber Ruffin.

However, this is not your grandmother’s “Some Like It Hot” nor does it simply dwell on guys in drag. Lopez, who won a Tony Award for his landmark “The Inheritance,” and Ruffin, who collaborated on “The Wiz” at the Muny in 2018 and is a staff writer for “Late Night with Seth Meyers,” bring their astute insight and modern sensibilities to this version.

They focus on themes of resilience, transformation, and finding your true self, which is represented well, especially in the character of Jerry/Daphne, slyly and wryly played by the winsome Tavis Kordell, whose joie de vivre is contagious. His “You Coulda Knocked Me Over with a Feather” is sublime.

(Another fun fact: Tavis was one of The Drifters in the Muny’s 2023 production of “Beautiful: the Carole King Musical,” and understudied Benny in Stages St. Louis’ “In the Heights” in 2022.)

The other half of the ebullient “Tip Tap Twins” is a slicker trickster – Joe/Josephine, played glibly by Matt Loehr. He’s the mastermind of scheme upon scheme just to keep them working and out of trouble. It is the Depression after all, and times are tough.

One of the brightest spots in the cast was scene-stealer Edward Juvier, who was a charming and delightful Osgood Fielding III, an eccentric millionaire who falls hard for Daphne. His ballad, “Fly, Mariposa, Fly!” was outstanding, as was leading the ensemble in a frisky “Let’s Be Bad,” and his fun “Poor Little Millionaire.”

(More fun facts: Juvier has been in 12 shows at Stages St. Louis, including “In the Heights” with Kordell).

Leandra Ellis-Gaston is a silky-voiced siren as Sugar Kane, a mezzo-soprano with impressive versatility – can belt or do up-tempo jazz. She’s confident – a dreamer, and not as needy as Monroe’s version, but vulnerable.

Nevertheless, her romance with a German film director that Joe is impersonating, as she becomes best friends with Joe, isn’t as interesting as the Daphne-Osgood pairing. It’s just the way it’s written

Also impressive in vocals is Tarra Conner Jones as blustery Sweet Sue, the bandleader of the 10-musician-singers Society Syncopators, who’s a catalyst for a good time. She can wail the blues, or she can do jazzy period pieces like “Zee Bap.”

Costume designer Gregg Barnes’ Tony-winning shimmering evening gowns and vintage daywear are divine.

The show was nominated for 13 Tony Awards, the most in 2023, and won four. J. Harrison Ghee won Best Actor for playing Jerry/Daphne and became one of the two first openly non-binary performers to win. (Fun fact: the multi-talented J. Harrison Ghee starred at the Muny in “Kinky Boots” and as Roxy in “Chicago” twice.)

Directed with gusto by Casey Nicholaw, who won a Tony for choreography for his dazzling dance numbers, ramped up the tap numbers to be standouts. His zippy style meant the staging is brisk and fluid.

For a touring show, Scott Pask’s scenic design is visually appealing in a fun and fluid way. With Art Deco hotel room sets, show venues, and assorted comings and goings, it’s fun to watch the zany chases, quick changes, and clever escapes. The wacky predicaments are so well-timed and executed that it feels like we’re watching a Marx Brothers movie at times, especially the daffy delight “Tip Tap Trouble.”

Nicholaw, who won a Tony for co-directing “The Book of Mormon” with Trey Parker, has an impressive list of crowd-pleasing hits to his credit, including “The Prom,” “Mean Girls,” “Aladdin,” “The Drowsy Chaperone,” “Spamalot,” and “Something Rotten!”

This show closed on Broadway on Dec. 30, 2023, but has enjoyed a robust reception on the road since September 2024.

What seemed to be the biggest letdown is the musical score by the normally whip-smart and snarky Marc Shaiman and co-lyricist Scott Wittman, who won Tony Awards for “Hairspray.” These songs, more of a pastiche, are not as memorable. It’s not that peppy tunes don’t support the vigorous dance numbers, it’s that they sound alike.

This piece can be enjoyable for both the film’s fans and those new to the story because its modernization is subtle and worthwhile, and it’s a grand good time.

Photos by Matthew Murphy.

Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

By Lynn Venhaus

Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!

After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).

The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.

But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).

Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.

Katie Orr as Magenta. Photo by Jill Ritter Lindberg.

He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.

The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.

New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).

For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.

Todd Schaefer as Frank. Photo by Jill Ritter Lindberg.

Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”

Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”

Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).

Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.

Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).

Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”

A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.

Brittany Kohl and Rafael Da Costa as Janet and Brad. Photo by Jill Ritter Lindberg.

Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”

I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.

The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.

In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.

The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.

Christopher Strawhun and Tori Shea Cole as Eddie and Columbia. Photo by Jill Ritter Lindbergh

Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.

It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.

“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.

Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”

The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.

People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).

For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.

Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.

It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).

Photo by Jill Ritter Lindberg.

A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.

Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.

For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.

Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.

These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.

New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only. For more information: www.newlinetheatre.com.

Photo by Jill Ritter Lindbergh.

Harrowing and Heroic ‘Last Breath’ Is Earnest True Story Thriller

Harrowing and Heroic ‘Last Breath’ Is Earnest True Story Thriller

By Lynn Venhaus
True-life everyday heroes and a harrowing realistic drama are a winning combination in the earnest ​s​urvival thriller “Last Breath.”

Director Alex Parkinson made the same-titled 2019 documentary feature based on this remarkable true story of a 2012 rescue mission in the North Sea, and this is a fictionalized version, but thankfully, made in a straightforward manner and foregoes unnecessary melodrama.

In his first narrative feature, the Emmy-nominated director skillfully builds tension as a new deep-sea diver is involved in a freak underwater accident. and he is trapped hundreds of feet below the ocean’s surface. while seasoned rescuers battle raging elements.

Parkinson first introduces us to the eager ​young rookie Chris Lemons (Finn Cole), who is engaged to be married. He has been mentored by grizzled veteran Duncan Allcock (Woody Harrelson), so he’s in the same capsule vessel, along with intense no-nonsense co-worker Dave Yuasa (Simu Liu).

In the script that Parkinson, Mitchell LaFortune, and producer David Brooks co-wrote, they stress the dangers involved in this demanding job​, meticulously disclosing the process..

Chris and Dave submerge to work on ​a​n assigned pipeline when things go awry, and Chris’ umbilical cable snaps. Dave attempts to free him, but it is unsuccessful. Chris’ life is at risk because he has a limited amount of breathable oxygen and the clock is ticking.

While a storm rages, the agonizing rescue effort is a race against time, and the ship’s crew goes to extraordinary lengths to think of ways to assist. Their teamwork and resourcefulness make this a genuine heart-pounder.​ Chris has 5 minutes of oxygen, and help is likely 30 minutes away.

This medical miracle that defied science became headline news and one for the record books, but in case you are unfamiliar with what transpired, or haven’t seen the trailer, I will not divulge further details.

The story is gripping and heart-tugging because of its authentic portrayals by all involved. Charming Finn Cole is bright-eyed and enthusiastic as the amiable Chris, a definite breakthrough film role here. Cole, who is best known as Michael Gray on “Peaky Blinders,” also played Joshua “J” Cody on 75 episodes of “Animal Kingdom.”

The versatile Harrelson is solid as the dedicated team leader devoted to his crew and passionate about his profession, while the likable Liu is strong as ​reliable Dave, and eventually reveals a more emotional side. He has made some interesting choices since he broke out in Marvel’s “Shang-Chi and the Legend of the Ten Rings” in 2021.

The crew is also heroic, as they battle the ​bad-luck one-two punch of the elements and technical issues​. Captain Andre Jenson is played by Cliff Curtis, his 1st Officer Hannah is MyAnna Buring, the DPO (Data Protection Officer) is Josef Altin, and the dive supervisor Craig is Mark Bonnar. ​Their training, professionalism and respect for each other comes through, and their sincerity is key to our investment in this astonishing tale. Bobby Rainsbury is​ sweet as Moraq, Chris’ worried fiancé. 

The ​top-shelf technical work is noteworthy, too, for Nick Remy Matthews was the cinematographer and action movie specialist Tania Goding did the outstanding editing. Grant Montgomery provided the lived-in production design, and composer Paul Leonard-Morgan enhanced ​the urgency in this well-paced, taut thriller that’s a tidy 1 hour-33 minutes.

This film is inspiring, and although not as well known, reminiscent of the sensational international news stories about the Tham Luang cave rescue in 2018. It became source material for the documentaries “The Cave” (2019) and “The Rescue” (2021), and Ron Howard’s narrative feature “Thirteen Lives” in 2022.

“Last Breath” is a worthwhile endeavor that rewards our empathy, the kind of rare storytelling that triumphs because it is gratifying and extraordinary without extra padding.

“Last Breath” is a 2025 survival thriller directed by Alex Parkinson and starring Woody Harrelson, Simu Liu and Finn Cole. It’s rated PG-13 for brief strong language and runtime is 1 hour, 33 minutes. It opens in theatres Feb. 28. Lynn’s Grade: B.

A Bittersweet Slice-of-Life, ‘Coconut Cake’ Offers an Irresistible Ensemble at the Black Rep

A Bittersweet Slice-of-Life, ‘Coconut Cake’ Offers an Irresistible Ensemble at the Black Rep

By Lynn Venhaus
Four retired guys sitting around talking and drinking coffee at a Chicago McDonald’s is intriguing food for thought –a delectable slice-of-life scenario that immediately draws us in to the play “Coconut Cake.”

Playwright Melda Beaty’s flair for dialogue, humor and seamlessly integrating social commentary in her dramedy is irresistible in a compelling and thoughtful presentation in The Black Rep’s intimate A.E. Hotchner Studio Theatre at Washington University.

Because of the caliber of its five-male cast, this character-driven work makes a swift and memorable connection. Their nimble delivery and interactions under the skilled direction of Geovonday Jones enhances their personal relationships as their struggles are revealed over the course of the two-act 2-hour show.

As they explore issues of manhood, racism, mental health and offer advice over games of chess, they show genuine affection — and aggravation — with each other but offer convincing immersive characterizations and realistic camaraderie. It’s set in the summer of 2010.

A fifth character, an unhoused man they call Gotdamnit, interrupts their mornings asking for money and offering his philosophical and spiritual words of wisdom. He’s considered a pest, but there is a surprising backstory and as suspected, more to the guy than his appearance indicates. Lawrence Evans is riveting as a marginalized man.

While the women in their lives are discussed, not seen, vivid portraits of the female characters emerge as they factor into the men’s disparate demeanors. Two characters in particular – a classy, attractive woman that has caught their eye, whom they watch as she walks to work from the Mickey D’s window, and property owner Joe’s mysterious new tenant, Ms. Brulee, who is a baker that makes a divine coconut cake, which happens to be Eddie’s nostalgic childhood favorite.

Richard E. Waits and Joe Hanrahan listen to Duane Foster. Photo by Keshon Campbell

Eddie Lee, a handyman, is the most agitated guy – upset about his wife’s escalating threatening behavior and discloses personal details about his troubled marriage. Everyone knows he has not been faithful, and that complicates matters. Duane Foster is strong as a guy whose life is falling apart but he’s not taking responsibility for the reasons why.

Marty is often the voice of reason, and his faith has kept him grounded. He’s a deacon in his church and devoted to his family, friends and congregation. As Marty, Richard E. Waits is firm, but measured, in the advice he gives, and it’s not always welcome.

The characters show different sides of them as husbands, fathers, sons and friends. Their individual stories mesh well, and the play offers unexpected twists and turns that add poignancy.

Each man has a significant emotional journey, and their textured portrayals give us richer story arcs as they bring up cherished memories and confide secrets.

Marty has brought along his brother-in-law Hank, a white guy who was married to his sister, who died a year ago. As played warmly by Joe Hanrahan, the widowed Hank is lonely and comes along for companionship and something to do. He’s learning chess, and he beams talking about his family, as his daughters and granddaughters try to keep him busy.

The outspoken Joe likes to needle Hank, calling him “Republican,” and increases his pot shots and cruel jabs. Richard Harris is a feisty live wire as the loud, swaggering Joe, a flashy blowhard who brags about his money and conquests. He’s never married but has a couple baby mamas.

Richard Harris is the outspoken Joe. Photo by Keshon Campbell.

As the very opinionated Joe, Harris can change his mood quickly. His accusations get heated and personal, especially if the other guys give him some lip about his boasts. His colorful wardrobe, often referred to as ‘fly’ in urban slang, is an indicator of his perceived status (kudos to costume designer Brandin Vaughn for the stylin’ attire).

Because Joe’s disposition can turn on a dime, his pointed barbs take on a hostile, accusatory tone in the second act, after he endures some setbacks.

All accomplished actors, the five bring nuance and shades of gray to our assumptions and give us deeper insight into these complicated men. They eventually must grapple with the consequences of their choices during their lifetimes.

Scenic designer Tammy Honesty has presented elements of a typical nook at a 2010-era McDonald’s, well-lit by designer Tony Anselmo, that allows Jones to move the action to wherever the guys are sitting.

When Joe struts in, he commands attention by seemingly holding court. Eddie is too restless to sit down most of the time, and Marty and Hank are often hunched over their chess board.

Lawrence Evans as Gotdamnit and Joe Hanrahan as Hank. Photo by Keshon Campbell.

Sound designer Alan Phillips incorporated people chattering at times and assembled an appealing soundtrack of catchy pop hits. Christian Kitchens was an assured technical director, and Mikhail Lynn provided the minimal props.

This isn’t the first time The Black Rep has presented the play, because during the pandemic in September 2020, they made a virtual Zoom reading available from The Ensemble Theatre in Houston, which featured founder Ron Himes as a major character, Eddie Lee.

In 2022, Beaty received the second annual Sylvia Sprinkle-Hamlin Rolling Premiere Award by the International Black Theatre Festival. Because of that, this play is being produced by five theaters, including the Black Rep. It is a welcome return.

With its engaging cast, a captivating funny-sad bittersweet narrative, and noteworthy technical know-how, “Coconut Cake” is a satisfying production to savor.

(At intermission, a coconut cream cheese pound cake is available for purchase too, along with other snacks. Just sayin’, if you get a hankering for a sweet treat.)

Richard Waits and Joe Hanrahan are brothers-in-law playing chess. Photo by Keshon Campbell.

The Black Rep presents “Coconut Cake” Feb. 5 – March 2 in the AE Hotchner Studio Theatre at Washington University. For tickets and more information, visit www.theblackrep.org

Teller and Taylor-Joy’s Sweet Romance Enlivens Sci-Fi Horror Thriller ‘The Gorge’

Teller and Taylor-Joy’s Sweet Romance Enlivens Sci-Fi Horror Thriller ‘The Gorge’

By Lynn Venhaus

With its genre mash-up of science fiction, horror, action-adventure and romance, the most surprising of all is that the romance is the most satisfying aspect of “The Gorge.” And that’s because of the sparks flying between charismatic co-stars Anya Taylor-Joy and Miles Teller.

While this mysterious thriller has intriguing menacing elements, it does take a while to get going, but once the creature danger plotline is revealed, it doesn’t take a biochemist to explain it all to us (although that does help) – so then what follows is entirely predictable and borders on the ridiculous at times.

But the pair’s coupling is worth sticking out the extra-long runtime of 2 hours, 7 minutes, because these lost souls are clearly meant to be together. As two lone wolves, they discover not only do they have their line of work in common, but so much more. Tenderly, though, they bond through poetry and music, which is a sweet, thoughtful touch.

Both are hired guns – she’s a Lithuanian assassin whose dad was a KGB agent, and he’s a former U.S. Marine who takes on sniper assignments, used to a solitary existence. They’ve accepted a vague year-long assignment to be guards at an undisclosed location.

They are told they are protecting the world from the present evil in this misty gorge, with eerie noises and a foreboding terrain. The enemy is unseen, but it’s only a matter of time until the threat is disclosed.

Teller’s Levi Kane is in the West Tower while Taylor-Joy’s Drasa is in the East Tower, super-secret representatives of a government pact made during the Cold War, during the tail end of World War II.

Levi, a reader, discovers a wall inscribed with sayings from all the previous guards, hidden behind a bookcase. He’s given a training lesson from his British counterpart who’s about to return to civilization after 365 days. As JD, Sope Dirisu alludes to the “Hollow Men,” a reference to the T.S. Eliot poem that Levi is familiar with, so that’s a tipoff.

Levi is told not to have contact with ‘the other side,’ although it’s unclear why not. The watchtower is self-sufficient with a garden, rainwater system, solar power, and he must perform a radio check every 30 days. Lots o’ firepower for protection as well.

Drasa may not have gotten the same memo, so she fires the first shot – they begin writing messages to each other, visible in their panoramic windows. It doesn’t take long before they’re playing long-distance chess and feeling a strong connection. What develops is fun and joyful, because it all makes sense in a swashbuckling scenario.

The screenplay by Zach Dean, while clever, has limitations because once we figure out who the real threat is, we’re faced with an onslaught of increasingly icky gross ‘things’ that crawl, some form of zombified human-plant-insect hybrids. They are relentless in trying to climb the steep walls of their ‘hell.”

Among other higher profile projects, Dean wrote one of my favorite guilty pleasures, “Deadfall,” so I admire his intentions. Yet, he did write “Fast X,” not chimps, which is what I suspected.

After repeated gnarly attacks, it doesn’t take a nuclear physicist to figure out that some sort of chemical warfare experiments have gone wrong (but of course, there is more to that discovery).

Our heroes now must team up for their survival, and the gauntlet is a disgusting maze of natural and man-made disasters. Director Scott Derrickson, who has crafted some well-received horror movies, including “The Black Phone,” and the mega-blockbuster “Doctor Strange,” has laid out a booby-trapped road map that benefits from cinematographer Dan Laustsen, who is known primarily for his work with Guillermo del Toro and “John Wick” chapters 2-4.

Lausten makes the environment a terrifying living, breathing world for this resourceful and smart couple to navigate, with plenty of tension and threats of bodily harm. Their final attempt to escape is quite an inventive piece of derring-do.

The score is a dandy spooky synth-driven composition by Trent Reznor and Atticus Ross that adds to the creepy atmosphere, and Drasa’s musical taste unearths some alt-rock favorites like the Yeah Yeah Yeah’s “Spitting Off the Edge of the World.”

This is best to enjoy with as few expectations as possible. Come for the romance and stay for the thrills.

“The Gorge” is an action-adventure sci-fi horror thriller romance directed by Scott Derrickson and starring Miles Teller and Anya Taylor-Joy. Rated PG-13 for intense sequences of violence and action, brief strong language, some suggestive material and thematic elements, its run time is 2 hours, 7 minutes. It began streaming on Apple TV+ on Feb. 14. Lynn’s Grade: B.

STLAS’s Brave ‘Long Day’s Journey Into Night’ Delves into a Dysfunctional Family’s Awful Truths

STLAS’s Brave ‘Long Day’s Journey Into Night’ Delves into a Dysfunctional Family’s Awful Truths

By Lynn Venhaus
The awful truths of a dysfunctional family dealing with addiction and a lifetime of blame games is presented, unvarnished, in Eugene O’Neill’s potent semi-autobiographical masterwork,  “Long Day’s Journey into Night.”

St. Louis Actors’ Studio has bravely tackled this challenging behemoth with ambition, dedication and determination, but with an interpretation that isn’t always as hard-hitting as one expected. Perhaps the subtlety sneaks up on us with a final emotional wallop at that sorrowful ending.

For those familiar with the clinical aspects of addiction psychology, the play is nearly a textbook example of how people in a family are affected by years of resentment, bickering, excuses, and unhealthy confrontations. And this is at an unenlightened time.

Mary Tyrone (Meghan Baker) has returned home after a sanitarium stay for her morphine addiction, which she blames on her rheumatoid arthritic pain, and her difficult pregnancy with her second son, Edmund. She fusses about her appearance, and frets about the family’s misfortunes.

Dustin Petrillo as Edmund and William Roth as James. Photo by Patrick Huber.

Her obsessive husband James (William Roth) is a once-famous stage actor who had a prosperous career, but is a notorious penny-pincher, haunted by his poor Irish immigrant upbringing. He is often chastising his sons for wasteful spending and not living up to their potential. He and the boys are heavy drinkers, likely he and Jamie are alcoholics, which they don’t acknowledge but keep enabling.

Oldest son Jamie (Joel Moses) is also an actor, not as successful, while Edmund (Dustin Petrillo) is a writer and poet, working for the local newspaper. He is also in ill health, likely consumption (tuberculosis). They are used to their flawed and stingy father finding fault with them, already beaten down by life.

Mary’s family is welcoming, but worried, afraid that she will slide back into use. Given the family’s penchant for blaming each other for their shortcomings and failings, it doesn’t take long to return to those bad habits.

They lack coping skills, and it’s obvious how deep the grudges go. It’s a sad, but inevitable dark trajectory, and unfortunately, a familiar one to many. Hence, the universal theme that remains recognizable.

Set in August 1912, over the course of one day, O’Neill wrote the play between 1939-1941, but it wasn’t staged until 1956, after the writer’s death in 1953. He posthumously won the Pulitzer Prize for Drama in 1957, and it is considered one of the great plays of the 20th century. Of course, these days, one can admit the exposition is lengthy, and the penchant for narrating memories is overused, but that was O’Neill’s style.

Meghan Baker and William Roth as Mary and James Tyrone. Photo by Patrick Huber.

As characters tiptoe around their deeply felt animosity, they recite their laundry lists of grievances, and each of the four acts explores a toxic atmosphere of bitterness despite a foundation of familial love, although broken.

The gloomy setting is their seaside summer home in Connecticut, and the tech crew has incorporated mist rolling in and sounds of the sea, which is a nice atmosphere in contrast to the claustrophobic drawing room where most of the action, well heated conversations, take place.

Everyone excuses their behaviors, and as Mary, in serious denial, becomes increasingly miserable and delusional, no amount of numbing themselves through whiskey matters.

The assignment is to bring out each character’s humanity and that is a tough one. Director Austin Pendleton has taken a measured approach, and the pace does not sag. While at times, the parents seem to be talking at each other, not with each other, they hint at the inescapable conflicted feelings that make them unavailable emotionally for each other. However, Roth and Baker exhibit a tenderness towards each other at times.

Most impressive are the brothers, Moses and Petrillo, who are dynamic scene partners, conveying an unbreakable brotherhood bond even when they lash out at each other.

Petrillo’s performance as the brooding, seemingly doomed brother, is the right amount of fear, confusion, and conflict. He’s closest to his mother, and therefore crestfallen when he fears a relapse. He earns the most sympathy.

Jamie could just be a caricature of an insensitive jerk unable to break a cycle of irresponsibility and anger, but Moses has found the right shift in tone, the character’s inability to break his abusive cycle. He’s the more pitiable character.

The elder James is too stubborn and intolerant, which is to his detriment, so Roth’s performance is an unwavering one-note in judginess.. He can’t understand his family’s falling apart because it would mean he has to shoulder some of the blame, and he lacks that capability. I thought, because his background is old-timey stage-acting, he’d offer more grandstanding, but it’s a stern tone throughout. at times rushed.

As the most tragic Mary, Baker appeared to be too young for the emotional heft of the role, but perhaps she didn’t project her desperation enough. The haunted Mary has spent a lifetime of disappointment looking back and never dealing with the present issues at hand. She has become irrelevant and a bystander in her own life, which is incredibly morose. Nevertheless, her longing is palpable.

Meghan Baker and Bridgette Bassa. Photo by Patrick Huber.

While the melancholy play is a mixture of fire and ice, it can appear tedious, but the celebrated Pendleton kept the action conventional, where the actors stay focused in the moment on the oppressive dysfunction. Amy J. Paige, longtime stage manager, is a master at calling a show, too.

Bridget Bassa, as the Irish maid Cathleen, engages in moments of levity, which are nice comic relief.

“Long Day’s Journey into Night” has strong technical work from scenic designer Patrick Huber, always a treat, who also designed the outstanding lighting. Costume designer Teresa Doggett’s period appropriate garb established the family’s positions, although Baker’s wig seems overwhelming. Noteworthy were Kristi Gunther’s crisp sound work, Chuck Winning’s technical direction, and Emma Glose’s props. Shawn Sheley’s work on the fight choreography was also convincing.

While a painful glimpse into one American family’s addiction ordeal, the fact that O’Neill was candid enough to recognize his trauma wasn’t unique, and lays bare fragile episodes we can identify with, and grow from (hopefully).

For anyone wondering if “Long Day’s Journey into Night” remains relevant, yes it does, and St. Louis Actors’ Studio’s effort is commendable because of the depth and difficulty required.

St. Louis Actors’ Studio presents “Long Day’s Journey into Night” from Feb. 10 to Feb. 23, Thursdays through Saturdays at 8 p.m., and Sundays at 3 p.m. at the Gaslight Theatre. The play is about 3 hours, with a 15-minute intermission. For tickets, visit www.Ticketmaster.com. They are also on sale at the box office an hour before showtime.

Meghan Baker and William Roth. Photo by Patrick Huber.

Feast on Gritty ‘Clyde’s’ Succulent Recipe for Success at The Rep

Feast on Gritty ‘Clyde’s’ Succulent Recipe for Success at The Rep

By Lynn Venhaus

When is a sandwich not just our daily bread, but a symbol of an American Dream and the sustenance we need for nourishment? When it’s the specialty of the house at “Clyde’s.”

Lynn Nottage’s pungent work thrives as food for the soul – as in redemption, second chances and the power of food as community. It is surprising in its depth of flavors and the power in its connection.

Starting out as gray and bleak as the winter weather, “Clyde’s” combines zesty, peppery comedy and tough-as-nails drama led by an exceptionally sinewy, robust ensemble.

As they convincingly weave tales of dashed dreams and delayed hope, many layers reveal themselves slowly once we embrace this hub — a grungy truck stop diner in the struggling Rust Belt city of Reading, Penn.

The gritty location is important, because it ties into Nottage’s Pulitzer-Prize winning 2015 play “Sweat,” about what happens when the town’s economic center, Olstead’s Steel Tubing plant, goes on strike. Most of that play’s main characters work there, as have their families, for generations.

Ron Himes as Montrellous. Photo by Jon Gitchoff.

The town’s manufacturing industry decline, resulting in high unemployment and abandoned factories, is represented by the withdrawn character Jason, who is a part of both scenarios. In “Sweat,” he goes to prison for badly beating a Columbian busboy.  In “Clyde’s,” he is on parole and desperate to outrun his past. You feel Brendan D. Hickey’s anguish.

Clyde hires ex-cons, as she is one herself. But in her cruel tirades and harassment, she reminds them that she gave them a second chance when no one else would. As played by Phyllis Yvonne Stickney, Clyde is as fiery as her red-haired wig and mean in a nasty irredeemable way.

Despair is heavy in the air, for the ragtag staff seeking a glimmer of hope and a brighter day. They are between a rock and a hard place, trying to earn a living as they keep paying their debt to society. The stakes are high for them not to mess up again and return to prison.

They eventually become each other’s lifelines.

Rafael (Alfredo Antillion) wears his heart on his sleeve. The master of the grill and the fryer, he tries to be a cheery coworker. Now clean and sober, he served time for robbing a bank with a BB gun when he was high, to buy his girlfriend a pedigree dog.

Phyllis Yvonne Stickney as Clyde. Photo by Jon Gitchoff.

He is sweet on his co-worker, Letitia (Essence Anisa Tyler), known as “Tish,” who has a disabled daughter and a worthless baby daddy.  She served time for stealing prescription drugs from a local pharmacy. She knows her options are limited. She likes to project a tough exterior, but she is not hardened – yet.

As Montrellous, Ron Himes is the heart and soul of this operation. As Rafael says “He’s like Buddha, if he grew up in the hood.” It’s a sturdy, grounding performance to marvel at, makes you believe in the goodness of people.

A wise sage whose selflessness is remarkable, Montrellous believes in the power we have in ourselves to create opportunities. He is an artist in the kitchen too, crafting delicious blends of bread, meats, cheeses, condiments and garnishes. He calls his creations “sublime,” and his belief wins the staff over.

They soon collaborate by describing various flavor combinations. If your mouth doesn’t water as they imagine appetizing versions, then you may have no taste buds.

His zeal is contagious, and soon his co-workers’ creativity is in overdrive. Their efforts get noticed by a local food writer, but Clyde doesn’t care. Through this invigorating endeavor, the staff feel worthy, and they display a renewed sense of purpose. They work together as a team, and in the motivational word of Ted Lasso: “Believe” – especially when their boss wants to beat them down.

Alfredo Antillion as Rafael and Brendan D. Hickey as Jason. Photo by Jon Gitchoff.

Even though Nottage wrote “Clyde’s” in 2021, before “The Bear” premiered as a television series, it shares that unmistakable sense of time and place, of found families, and what “family dinner” means — that food is love, food is community.

“Clyde’s” kitchen characters renew a faith in their contributions, that they could do something worthwhile. For people trying to make a fresh start, someone’s belief in them could be a catalyst, could make that difference.

With the guidance of Prison Performing Arts organization’s staff, they have brought insight and meaning to the difficulties of the former incarcerated trying to navigate re-entry with roadblocks in their way.

Josiah Davis directs with a full heart and a sharp eye for human comedy, and this vibrant cast comes together through rocky journeys and believable transformations. With Davis’ empathy and grace, they don’t make a false step.

The technical aspects are also first-rate, with a realistic restaurant kitchen by set designer Jean Kim, and working/casual attire that suits the characters’ personalities, designed by costumer Haydee Zelideth and wig designer Shevare Perry. Lighting designer Christina Watanabe uses a mystical approach and works in sync with sound designer Michael Costagliola.

At times, Nottage’s plot is shaggy, but the ensemble’s authenticity – in both the bitter and the sweet – pierces our hearts for an indelible impression.

Hickey, Essence Anisa Tyler, Antillion and Himes. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “Clyde’s” Feb. 5 – March 2 at the Loretto-Hilton Center on the campus of Webster University. The runtime is 105 minutes without intermission. Tickets can be purchased online at www.repstl.org or by phone at 314-968-4925. The box office is also open on Tuesdays and Wednesdays from 10:30 a.m. to 5 p.m. and two hours before the curtain.

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

Student Tickets: Students can purchase $20 tickets available by calling the Box Office at 314-986-4925

A RepresentSTL talkback following the performance on Feb.15 will further engage audiences in meaningful dialogue.

The Rep has also partnered with Laughing Bear Bakery, which supports re-entry opportunities for formerly incarcerated individuals, and will have their goods available at concessions during the run of the show.

Clyde’s. Photo by Jon Gitchoff.

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

By Lynn Venhaus

A sweet and tender-hearted foray into found families, “The Curious Savage” is brought to vivid life with warmth by an eclectic cast of 11 characters.

Reminiscent at times of the screwball antics of “You Can’t Take It with You,” this 1950 amiable comedy by playwright John Patrick kicks off Stray Dog Theatre’s season with a heartwarming effort.

Set in a live-in psychiatric center called The Cloisters, Ethel Savage has been placed there by her three awful stepchildren. Greedy, self-centered and rude, the trio are cartoonish villains played in over-the-top characterizations by seasoned pros Matt Anderson, Sarajane Clark and Joseph Garner, who have great fun being despicable.

Anderson is a condescending senator, Clark is a vain actress who has been married six times, and Garner is a haughty judge. All display degrees of entitlement and indignation, for they think their father’s second wife is mentally unstable. She inherited $10 million and wants to give it to people who want to pursue their dreams.

The bratty kids want the money for themselves, therefore, wreak havoc at the sanitarium by badgering her, bullying the staff and disrupting the fragile ecosystem among the patients.

Tyson Cole, Liz Mischel, Gansner and Lindsey Grojean. Photo by John Lamb.

In an amusing performance, Liz Mischel excels as a crazy-like-a-fox senior citizen, whose compassion and kindness is in stark contrast to her stepchildren’s demanding threats.

Ethel quickly ingratiates herself with the staff and the residents, and bonds form with the damaged/broken people whose mental trauma resulted in a sanitarium stay.

Director Gary F. Bell deftly directed this piece to bring out The Cloisters’ characters’ goodness and dignity, and the staff’s humanity. While what they say is often funny, they are not punchlines to any cruel jokes and are treated as individuals. The well-cast performers are convincing in portraying their characters’ issues, and they all gel as a satisfying ensemble.

Lindsey Grojean is delightful as the childlike Fairy May, who is unfiltered and funny, while Anne Vega is a caring mother, Florence, whose loss of her infant son caused a breakdown. She believes John Thomas is still alive.

Camille Fensterman is tormented Mrs. Paddy who professes to “hate everything” and delivers laundry lists of things she dislikes, but she doesn’t speak other than those litanies, only painting seascapes in a corner.

Tyler Cole plays a skittish World War II veteran Jeffrey, who was a pilot who survived a crash while all his men perished. He’s convinced he has a horrible facial scar and holds his hand to his face hiding it.

Gansner is helpful statistician Hannibal, who lost his job to an electronic calculator. He plays the violin, badly. The characters have personal quirks, such as Miss Paddy who gave up electricity for Lent, and is turning off the lights at inopportune times.

David Wassilak is Dr. Emmett, the matter-of-fact and fair doctor-administrator, while Claire Coffey is pleasant Miss Willie, who helps with patients. She also shares a secret.

Over the course of three acts, we are charmed by this smart, intuitive ensemble, portraying lovable characters with a great deal of heart, and the bad guys who are at their grumpiest and at times, histrionic. The joke is often on them.

Lz Mischel, David Wassilak, Anne Vega, Joseph Garner, Matt Anderson and Sarajane Clark. Photo by John Lamb.

The playwright has become a favorite of community and school theaters, and the most famous of his works is “The Teahouse of the August Moon,” which won a Pulitzer Prize for drama and a Tony Award for best play in 1954.

The only drawback to presenting a 75-year-old play is its outdated views on mental illness and mental health but does make strong points about the insanity on the outside that wields ugly power in society.

Think of it as a period piece, like the classic “Harvey” and other old chestnuts. Costumer Colleen Michelson has gathered frocks and casual attire from the 50s era, while dressing Lily Bell in scarlet dresses. As Ethel, Liz wears a dandy gaudy hat.

As is customary, Bell, as scenic designer, created a cozy interior on stage, while lighting designer Tyler Duenow and sound designer Justin Been enhanced the atmosphere.

A thoughtful and enjoyable approach to a heart-warming comedy, “The Curious Savage” is a comical kiss to kindness elevated by captivating performances.

Camille Fensterman, Lindsey Grojean, David Wassilak. Photo by John Lamb

Stray Dog Theatre presents “The Curious Savage” Thursdays through Saturdays at 8 p.m., Feb. 6-Feb. 22, with additional performances at 2 p.m. Sunday, Feb. 16, at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. There are two 10-minute intermissions. For more information: www.straydogtheatre.org.

Fernanda Torres Is a Marvel of Strength in the Powerful ‘I’m Still Here’

Fernanda Torres Is a Marvel of Strength in the Powerful ‘I’m Still Here’

By Lynn Venhaus

A haunting and hard-hitting portrait of human tenacity in the face of injustice, “I’m Still Here” has now opened in local theaters.

A political drama based on a harrowing true story from Brazil, it has become one of the most acclaimed films of the year, and is nominated for three Academy Awards, including Best Picture, Best International Feature, and Best Actress – Fernanda Torres in a riveting performance as shattered wife turned human rights crusader.

During Brazil’s military dictatorship in 1971, Rubens Paiva, a former congressman and open critic of the new regime, was taken from his home in Rio de Janeiro, ordered to give a deposition to government officials. He was never again seen by his family.

His wife, Eunice, mother of their five children, will begin a search for the truth about his disappearance that lasted for decades. Based on their son Marcelo Rubens Paiva’s memoir, the screenplay by Murilo Hauser and Heitor Lorega details her own horrific experience when she was imprisoned for 12 days. She was interrogated and asked to identify anyone with Communist affiliations from photographs, including her family. Her oldest daughter, Eliana, was also arrested.

From that point on, she could not get any information about her husband. They were not alone, but through one family, director Walter Salles shows us the costs of defending freedom of speech, of the press and protests.

For historic reference, several generals served as president at this time: Emílio Garrastazu Médici from 1969 to 1974, Ernesto Geisel from 1974 to 1979 and João Figueiredo from 1979 to 1985. During the 20-year reign, over 20,000 people were tortured and murdered.

Selton Mello depicts Ruben as a compassionate family man, involved in his children’s active lives and in a loving relationship with his wife. He worked as an engineer, and his family didn’t realize he was assisting dissidents in the opposition movement.

Eunice returns to school at age 48 and becomes a human rights attorney. She had moved her family to Sao Paulo, and courageously continued seeking answers about Rubens. Torres’ poignant performance stands out, as a mother who does what she needs to do and follows her convictions.

The film follows her journey until 2014, when she passes. In her old age, Torres’ own mother, actress Fernanda Montenegro plays the character. Fun fact: Montenegro, 95, is considered the greatest Brazilian actress of all-time, and was the first from her country to be nominated for an Oscar, for the 1998 film, “Central Station,” and now her daughter is the second actress to follow in her footsteps.

Salles, who directed “Central Station” and “The Motorcycle Diaries” (2004), takes a methodical approach and allows the film to unfold naturally, showing the close-knit family bonds, their resilience, and above all, Eunice’s remarkable strength.

A cautionary tale, “I’m Still Here” reminds us to pay attention to the insidious way powerful people take control and take away rights, and how one person can make a difference.

“I’m Still Here” is a 2024 political drama directed by Walter Sallas and starring Fernanda Torres, Selton Mello, Maria Manoella, Marjorie Estiano, and Antonio Saboia. It runs 2 hours, 17 minutes, and is rated PG-13 for thematic content, some strong language, drug use, smoking and brief nudity. It opened in St Louis theatres on Feb. 7.It is in Portuguese with English language. Lynn’s Grade: A-.

Take Ten with Joel Moses

Take Ten with Joel Moses

By Lynn Venhaus

Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.

Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”

This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.

After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.

He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.

Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.

Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.

He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.

In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.

Take Ten Q & A with Joel Moses

1. What is special about your latest project?

“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.

I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”

2. Why did you choose your profession/pursue the arts?

“My mom says that from an early age I was always in character.  Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.

When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”

3. How would your friends describe you?

“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.

With Nicole Angeli in “Lungs.”

4. How do you like to spend your spare time?

“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”

5. What is your current obsession?

“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”

6. What would people be surprised to find out about you?

“I get anxious in social settings and can sometimes struggle with words.”

7. Can you share one of your most defining moments in life?

“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”

8. Who do you admire most?

“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”

9. What is at the top of your bucket list?

“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”

10. What is your favorite thing to do in St. Louis?

“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”

I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”

11. What’s next?

“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”

In his award-winning role in “The Christians” at West End Players Guild.

More Information on Joel Moses

Birthplace: near Kansas City, Mo.
Current location: St Louis
Education: BFA: Theatre Performance – University of Central Missouri – 2006.
Moscow Art Theatre – Summer Acting Intensive – 2012.
MFA: Acting – Northern Illinois University – 2013.

Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.

First job: Fry Cook. Dairy Queen.
First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.”
Favorite jobs/roles/plays or work in your medium?

It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.

•           Ubu in King Ubu, Organic Theater Company

•           Einstein in Picasso at the Lapin Agile, Organic Theater Company

•           Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.

•           Branwell in Bronte Sister House Party, SATE.

With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.

And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.

•           Lungs, Albion Theatre.

•           George Deever in All My Sons, New Jewish Theatre.

•           Heisenberg in Copenhagen, St Louis Actors’ Studio

•           Duke Frederick in As You Like It, St. Louis Shakespeare Festival.

Awards/Honors/Achievements:

St. Louis Theater Circle Awards:

•           Outstanding Performance in a Drama: The Christians – West End Players

•           Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE

Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner

“What is utterly absurd happens in the world.” Gogol

A song that makes you happy: “Scatman” – Scatman John

With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.

“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.

The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.

Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell photo.