Re-Imagined ‘Sherwood’ Features Intrepid Ensemble, Dandy Action

Re-Imagined ‘Sherwood’ Features Intrepid Ensemble, Dandy Action

By Lynn Venhaus

Mix the Marx Brothers, Monty Python and Mel Brooks in a blender, and you have the fizzy potion that is fueling a crackerjack ensemble in the rollicking “Sherwood: The Adventures of Robin Hood” on the Repertory Theatre of St. Louis’s mainstage.

Through merry mischief and dazzling derring-do, this jaunty, physically fit ensemble works very hard to entertain and summon their mighty skills to keep their pace zippy and their swashbuckling crowd-pleasing.

Staged with zesty agility by director Kate Bergstrom, some of the feats are astounding. How do they manage arrows hitting their targets without flying over the heads of the audience? It’s an incredible illusion involving sleight-of-hand, I imagine. (And they’re not divulging this magic trick).

The fight choreographers Rachel Lee Flesher and Zachariah Payne did extraordinary work to make it authentic – and whoever worked on archery, too.

With a nifty Sherwood Forest set framed as a folk tale, we’re immersed back to 1194 Nottingham, England. Scenic designers Lindsay Mummert and Courtney O’Neill have created a majestic oak tree as the focal point, and it serves the action well.

The set. Photo by Jon Gitchoff.

Part history, part myth, the legend of Robin Hood, fighting for the common man, has endured for more than 700 years and been fictionalized in countless ways (even the Rat Pack, aka 1964’s “Robin and the Seven Hoods” starring Frank Sinatra as “Robbo,” set gangster-style in 1930s Chicago!).

With so many movie and TV adaptations, nearly everyone has seen a version – Douglas Fairbanks’ silent movie in 1922, Errol Flynn’s finest hour in 1938’s “The Adventures of Robin Hood,” Disney’s animated feature in 1971, miscast Kevin Costner’s “Robin Hood: Prince of Thieves” in 1991, Mel Brooks’ spoof “Robin Hood: Men in Tights” in 1993, and then millennial efforts from Ridley Scott in 2010 with Russell Crowe and Cate Blanchett, and another same-titled one “Robin Hood” in 2018, albeit younger performers, starring Taron Egerton, among them.

So, you likely know the story – maybe not beyond “stealing from the rich and giving it to the poor,” but playwright Ken Ludwig incorporates the 12th century history – in fact, the first act gets bogged down with the backstory.

However, the second act rebounds with vigorous swordplay as our heroes endure the slings and arrows of an outrageous ruler (greedy Prince John) and his henchman (including sycophants Sheriff of Nottingham and Sir Guy of Gisbourne). Like their rogue counterparts in France as embodied by “The Three Musketeers,” the rascals are “all for one, one for all.”

Ludwig, known for such farces as “Lend Me a Tenor,” “Moon in Buffalo,” and “Baskerville: A Sherlock Holmes Mystery,” produced this play in 2017. He has infused some contemporary behavior so as not to have the action mired in the past (and off-putting to today’s sensibilities).

Jayne McLendon, DeAnté Bryant, Michael James Reed, Oriana Lada. Photo by Jon Gitchoff.

As Robin grows up from playboy to a man with a conscience, he and his band of outlaws are committed to social justice, their eyes opened by seeing the monarch’s cruelty and corruption through several characters.

Delivering both the swagger and the rebel with a cause, Louis Reyes McWilliams reveals himself to be a noble lad after his aimless youth. Although he’s dashing in his romantic endeavors as well, he’s clearly met his match in his spunky childhood pal Maid Marian, for she is no push-over.

What’s refreshingly modern is that Marian is not a damsel in distress. Rather, Jayne McLendon plays her as just as fleet-footed and even more of a sharp-shooter than her male peers. It’s a delightful rendering, and she has terrific chemistry with McWilliams.

Costume Designer Dottie Marshall Englis, splendid at creating period pieces that offer ease of movement, has superbly outfitted this lively bunch so they can run, jump and fight without pesky restrictions.

The characters’ camaraderie is this play’s strong suit, and their stamina is impressive – they had to be athletic and graceful throughout to execute their game plans.

Louise Reyes McWilliams as Robin Hood and CB Brown as Little John. Photo by Jon Gitchoff.

Ever-reliable Michael James Reed, always first-rate and masterful as Friar Tuck, ties everything together as a trustworthy confidante, acting as the narrator and breaking the fourth wall to alert the audience to what’s happening.

One of the show’s highlights is the audience involvement, as they’re encouraged to cheer and boo, some getting called into action. Bergstrom focused on the joy, the sense of fun, this story contains.

Other performance standouts include Fabiola Cabrera-Davila as Deorwynn, a feisty peasant avenging her farmer father’s unfortunate death due to the acting king’s tyranny. Her courage inspires others to be dedicated to their mission, especially Robin and a smitten Little John, robustly embodied by CB Brown. (They look imposing but are really a teddy bear).

Oriana Lada is a noteworthy supporting player, nimbly handling several roles, including as a paramour of Robin’s. Credited as Alize, she’s part of an ensemble who is adept at multiple parts, like monks, soldiers, foresters, archers and executioners.

The dastardly villains include David Weynand, amusing as the weaselly Sheriff of Nottingham; hardy Matt Lytle as the smug Sir Guy of Gisbourne; and iron-man Eric Dean White as the capricious, conniving Prince John. Usurping his brother Richard the Lionheart’s throne while he is away fighting in The Crusades, he is hoodwinking the masses. White oozes with unctuousness in this juicy role.

Matt Lytle and David Weynand as Sir Guy and Sheriff. Photo by Jon Gitchoff.

(For a reference, “The Lion in Winter” is a good history lesson about John’s parents, Henry II and Eleanor of Aquitaine, and his relationship with his brothers.)

DeAnte Bryant, spry as the Troubadour, also smoothly played other roles and was the assistant fight director.

The Troubadour’s music and score were composed/arranged by St. Louisan Colin McLaughlin, who also was the music director. He went medieval on 21st century tunes, at times, reimagining pop hits by using old-fashioned instruments like lutes, harpsichords and recorders. The choice of Outkast’s Grammy-winning 2003 song “Hey Ya!” for curtain call was inspired.

Amanda Werre’s expert sound design and Christine Watanabe’s sterling lighting design add to the quality of The Rep show, as their efforts always do.

With its improvisations, goofy additions (yay, Monty Python’s “Spamalot” reference), and vibrant casting, this is not your 14th century ballad come to life. It’s a fresh take – script could have been sharper, though – on a classic story.

While it has commendable heart and humor, “Sherwood” also has a message that always stands the test of time – respect the dignity of the common man, and band together to resist tyranny, especially without fear of “the others” – no time for we vs. them when society is at a moral crisis. Enjoying this popular adventure and energetic effort by all involved is the cherry on top.

Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “Sherwood: The Adventures of Robin Hood” March 21 through April 13. The play is appropriate for ages 8 and up, with the use of mild innuendo throughout. The production may use strobe lighting, fog, and haze. It runs 2 hours and 5 minutes, including a 15-minute intermission. Performances are on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

On April 13 at 2 p.m., a special Sherwood Family Day will take place. Post-show festivities include costumed performers from the St. Louis Renaissance Festival and an interactive archery experience.

Jayne McLendon and Oriana Lada perform medieval music with aplomb. Photo by Jon Gitchoff.

Take Ten with Spencer Davis Milford

Take Ten with Spencer Davis Milford

By Lynn Venhaus

Whether he stands out in a challenging role or disappears into a classic character, Spencer Davis Milford is a familiar presence, having matured on local stages and now recognized nationally.

Fresh from the U.S. and New Zealand premieres of the epic fantasy tale “The Lord of the Rings” musical adaptation as hero Frodo Baggins, the St. Louis native has returned to tackle one of his “dream roles,” as the cunning Master of Ceremonies in New Jewish Theatre’s powerful interpretation of “Cabaret.”

“Getting the chance to tell this story with the passion and creative leadership that Rebekah Scallet, Ellen Isom, and Carter Haney are bringing is incredibly special. I’m grateful that they asked me to be a part of this amazing cast,” he said. “This had always been one of my dream roles when I was younger and became obsessed with musical theater, and I always was on the lookout for an opportunity and I couldn’t pass it up.”

Performances have been selling out (including this upcoming weekend), they’ve extended the run through April 13 for four more performances, and he’s been garnering rave reviews for his magnetic performance as the menacing Emcee with the salacious grin. It’s a departure from anything he’s done before.

“Cabaret.” Photo by Jon Gitchoff.

Director Rebekah Scallet, whom Milford said had a clear vision, was impressed with her cast’s work ethic.

“The entire ensemble of Cabaret, from top to bottom, was a dream to work with. Everyone was incredibly committed to this production and worked their tails off – this was no easy feat, given our short rehearsal schedule and small ensemble (we only had 11 and typically the show is done with more like 18), but this group was up for any challenge. We began the process with a tour of the St. Louis Kaplan Feldman Museum, and I think that really cemented for everyone the important reasons for doing this show now at NJT. I am so grateful for all of their talents and their passion,” she said.

New Jewish Theatre’s production takes on an even greater relevance as rates of anti-Semitism in the United States are reaching all-time highs. The musical illustrates how the Nazis rose to power while the German citizens either ignored what was happening, refused to believe fascism possibly could happen, or chose to go along with it to ensure their own survival.

Milford, as Frodo Baggins, in the touring “The Lord of the Rings” musical. Photo provided.

“The themes of the show are just as prevalent in our society today as they were when the show was written, unfortunately,” he said.

The Wool Studio’s intimate and immersive setting brings the audience right into the Kit Kat Club as they enter the world of 1929 Germany.

Scallet described Milford as a ‘dream to work with’ on “Cabaret.”

“Not only is he a super talented actor, singer, and dancer, he is a thoughtful and sensitive human. The emcee is a challenging character to wrap your head around, both who he is and how he functions in the play, and Spencer and I had wonderful conversations, diving deep to discover his journey. And I absolutely love what he found,” she said.

A veteran of the Muny, Stages St. Louis and the Repertory Theatre of St. Louis, Milford spread his wings on the first national tours of “Billy Elliot” (as the “Tall Boy” and understudy to Michael) and “How the Grinch Stole Christmas.” (as Boo Hoo).

In 2013, he appeared on Broadway in the revival of the 1947 Terrance Rattigan play “The Winslow Boy” as the titular character, Ronnie. The drama, about a family’s fight to clear their son’s name after an unjust expulsion from naval college, is based on a real incident, and starred Tony winner Roger Rees and Oscar nominee Mary Elizabeth Mastrantonio as his parents.

Acting since he was a youngster, he played Michael Darling in The Muny’s “Peter Pan,” Winthrop in “The Music Man” at Stages St. Louis, Rudy in “Over the Tavern” and :”A Boy” (aka Peter) in “Peter and the Starcatcher,” both at The Rep.

 Among his recent roles at the Muny, he was Gene Vincent, Dick Clark and part of the ensemble in 2023’s “Beautiful: the Carole King Musical,” Davey in 2017’s “Newsies,” the ensemble in 2016’s “42nd Street” and in the ensemble in 2022’s “Camelot.” He said performing at the Muny in the summer is one of his most favorite things to do in St. Louis.

Spencer Davis Milford, as Davey, Tessa Grady as Katherine, and Gabriel Cytron as Les dance rehearsal for The Muny’s Newsies in 2017. St Louis Post-Dispatch photo.

Michael Baxter, The Muny’s associate artistic director, has worked with Spencer for many years. first as a Muny Teen. Baxter, part of the Muny artistic team since 2012, spearheaded the teen program, revamping it and being director/choreographer, serving eight seasons. He became the resident choreographer in 2015 and promoted to his current position in 2018.

When asked for a comment, he said: “Spencer is an incredible talent, a true ‘song and dance’ man who comes alive in every role. He is valuable in an ensemble because he honors his essence but is a proper actor who is great with language. He lives in the ‘truth’ of the play and activates every role/line with specificity, rhythm and nuance. I trust him implicitly and he always delivers exceptional work.”

In my Aug. 11, 2017 review of “Newsies” for the Belleville News-Democrat, I wrote: “Other standouts include appealing Spencer Davis Milford as the smart go-getter Davey who handles setbacks with great aplomb, scene-stealing rookie sensation Gabriel Cytron as his adorable waif brother Les,,,.”

Photo below is from “Who’s Afraid of Virginia Woolf?” at the Fulton Theatre in 2023, with Spencer as Nick.

He has performed at professional regional theatres, including in Chicago, as Barnaby in “Hello, Dolly!” in 2022, as Rusty Charlie in “Guys and Dolls” in 2024, and as Tony in “Billy Elliot: The Musical” a year ago.

The Chicago Shakespeare Theatre opened “The Lord of the Rings” musical last July before its New Zealand premiere in November 2024. The musical, originally written in 2006, is based on J.R.R. Tolkien’s 1954 novel about a humble hobbit who is asked to play the hero and undertake a treacherous mission to destroy an evil, magical ring. It’s set in the world of Middle-earth. The music is by A.R. Rahman, Vartina and Christopher Nightingale, with the lyrics and book by Shaun McKenna and Matthew Warchus.

The reviews described it as a visual marvel, ambitious and featuring a hard-working cast. “This Lord of the Rings is a memorable piece of work. It is undeniably intense, exciting, and powerful,” wrote Chicago on Stage..

Varsha Anjali, a critic for The New Zealand Herald, said “The cast kicked ass,” describing Milford as “charming.” and the musical as “exhilarating.”

While he is in town, we asked him to answer our Take Ten questionnaire, and we interviewed him on the March 12 PopLifeSTL Presents podcast.

Here are his responses:

Take Ten with Spencer Davis Milford

1. What is special about your latest project?

“Cabaret” is widely considered one of the best musicals of all time. The themes of the show are just as prevalent in our society today as they were when the show was written, unfortunately.”

“Getting the chance to tell this story with the passion and creative leadership that Rebekah Scallet, Ellen Isom, and Carter Haney are bringing is incredibly special. I’m grateful that they asked me to be a part of this amazing cast.”

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

“The first time I was onstage in a musical was at five years old in ‘Little Shop of Horrors’ at Shrewsbury Youth Theater and I’ve been obsessed with performing ever since. I knew very early on that I wanted to be a professional actor.”

3. How would your friends describe you?

“My friends would describe me as mostly laid back and fun, but when I’m passionate about something I am very committed and a little intense.”

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

“I’m a pretty competitive person and I love sports, so I play a lot of golf and disc golf.”

5. What is your current obsession?

“The green liquidIV packets, electrolytes AND caffeine? Sign me up.”

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

“I think Farotto’s has the best t-ravs (toasted ravioli) in STL. Maybe that’s not a surprise.”

With Molly Hogg in “Peter and the Starcatcher” at The Rep in 2015.

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

“Playing Frodo in the US premiere of ‘The Lord of the Rings’ musical and also doing the show in New Zealand. It was the most challenging and rewarding experience of my life.”

8. Who do you admire most?

“My parents. They’re the hardest working people I know and they’re incredibly supportive of me and my three siblings. I don’t know where I’d be without them.”

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

“Being in a show that tours all over Europe.”

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

“Performing at The Muny. Going to a Blues playoff game. Eating Imo’s pizza and t-ravs is pretty sweet too. I can’t pick a favorite.”

11. What’s next?

“Nothing I can announce yet but it’s going to be an exciting summer for sure!”


More About Spencer Davis Milford

Birthplace: St. Louis
Education: Masters in Acting from the Royal Conservatoire of Scotland
Favorite jobs/roles/plays or work in your medium? Lord of the Rings, Buzz directed by Carrie Preston, Who’s Afraid of Virginia Woolf, Billy Elliot
Dream job/opportunity: “Hamlet”

Photo at left is curtain call from “The Winslow Boy” on Broadway.

Milford, Jay Armstrong Johnson, Gabriel Cytron and Tessa Grady in the Muny’s “Newsies.” Photo by Phillip Hamer.

New Jewish Theatre’s Hard-Hitting, Heart-Wrenching ‘Cabaret’ More Relevant Than Ever

New Jewish Theatre’s Hard-Hitting, Heart-Wrenching ‘Cabaret’ More Relevant Than Ever

By Lynn Venhaus

“There was a cabaret, and there was a master of ceremonies, and there was a city called Berlin, in a country called Germany… and it was the end of the world” – “Cabaret” 1966

Eerily relevant now more than ever, the musical “Cabaret” has only grown in potency and insight over its 59-year history.

In New Jewish Theatre’s haunting production, director Rebekah Scallet has faithfully adapted Sam Mendes’ brilliant 1998 revival that emphasized the sinister motives as we witness the gathering storm that would lead to World War II and the Holocaust.

However, she has focused on making sure the parallels between then and now are clear, and she has strengthened the shattering epilogue even more than Mendes did. She puts a hard-hitting NJT stamp on it.

As impressive as her track record has been since becoming the artistic director in 2022, it’s noteworthy to mention that this is the first musical she has directed in Wool Studio.

Through the decadent setting of the seedy Kit Kat Club in 1929 Berlin, we witness the end of the Weimar Republic and the rise of the Nazis.

Photo by Jon Gitchoff.

This passionate cast resonates because of how committed they are to the bleak and shocking themes. In their telling of this story, the desperation is palpable. And their layered approach to the hummable John Kander-Fred Ebb score is commendable.

As the cunning Emcee welcomes patrons in “Wilkommen,” he seductively entices: “Leave your troubles outside! So—life is disappointing? Forget it! In here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful!”

In a magnetic performance, Spencer Davis Milford embraces the tawdriness and makes sure the ominous feeling grows. He lurks in other scenes where he’s not the saucy showman, his menacing presence foreshadowing the horrors that are ahead.

Oh, he has doused his “I Don’t Care Much” and “If You Could See Her” in irony, making those numbers even more chilling. After such iconic actors as Joel Grey, Alan Cumming and Eddie Redmayne have created their indelible portraits, Milford makes the role his own.

Fresh from his starring role as Frodo Baggins in “The Lord of the Rings” national tour, he’s back home making his mark in yet another special show. His work has always captivated since he was a youngster, whether on stage at The Muny or The Repertory Theatre of St. Louis, or a myriad of other companies. But this is quite a departure from anything he’s done.

When it was time for “Tomorrow Belongs to Me,” I braced myself, for its intensity remains affecting — and induces chills.

As conditions deteriorate in the polarizing landscape, those loyal to the “new Germany” face apathetic citizens and those who don’t understand the consequences.. In hindsight, how could they and why were people so unaware?

Soencer Davis Milford as the Master of Ceremonies. Photo by Jon Gitchoff.

The innovative 1998 Tony winning Mendes collaboration with Rob Marshall deconstructed the heralded 1966 Hal Prince show in an earlier 1993 London re-imagining. While the original introduced social commentary in uncommon staging, this version heightens the present danger of ignoring anti-Semitism.

Mendes and Marshall would go on to helm Oscar-winning films in the early 2000s – “American Beauty” and “Chicago” respectively – but their impact has carried over for several vivid revivals in the past 27 years, notably 2014 and 2024, and in this striking, moving interpretation.

Scallet makes the most of the Wool Studio’s intimate setting, through an immersive experience placing some audience members in club configurations.

As the small but vibrant ensemble delivers high-energy precision in musical numbers, Scallet skillfully maintains fluidity throughout, with brisk staging, as one scene quickly melds into another.

Ellen Isom’s crisp and snappy choreography adds pizzazz to “Don’t Tell Mama,” “Mein Herr,” “Money,” and “Two Ladies,” and the robust kick line number in second act is an exceptional feat.

Otto Klemp, Hailey Medrano and Jayson Heil. Photo by Jon Gitchoff.

Music Director Carter Haney conducts the band on stage – Brad Martin on drums, Alerica Anderson on a stand-up bass, and Kris Pineda on accordion and trombone, and their polished presentation is a highlight.

Scenic Designer David Blake’s visually interesting set has a grand balcony implying secretive dalliances behind closed doors while the downstairs doubles as the nightclub stage and both Sally’s and Fraulein Schneider’s shabby living quarters.

Denisse Chavez’s lighting design shrewdly draws us into the action, highlighting the moods, while Justin Smith’s sound design captures the atmosphere.

Hailey Medrano and Dustin Lane Petrillo are strong together as flighty, flirty nightclub singer Sally Bowles and broke American writer Clifford Bradshaw, brought together by fate, desire and living on the edge.

Separately, they are heart-tugging. Petrillo brings a discernable gravitas to every role he tackles, including virtuoso work in “Red,” The Immigrant,” “Hamlet” and “A Long Day’s Journey into Night” on local stages during the past two years.

Not as innocent as he first appears, and initially caught up in the whirlwind, Cliff eventually becomes the keen —-and appalled — observer whose conscience can no longer ignore the signs.

Dustin Petrillo, Medrano and Milford. Photo by Jon Gitchoff.

His character is the fictionalized British writer Christopher Isherwood, who would go on to write the semi-autobiographical novel “Goodbye to Berlin.” The musical’s book by Joe Masteroff is based on the 1951 John Van Druten play “I Am a Camera,” which is adapted from Isherwood’s collection of short stories that he wrote between 1930 and 1933, published in 1939.

Medrano, who has returned to St. Louis with memorable turns in NJT’s “We All Fall Down” last year and work with Metro Theater Company, is at her most heart-wrenching when she refuses to leave her reckless livelihood for the safety and promise of a new life.

She makes drastic self-destructive decisions after spending much of the show flaunting her tough exterior that masks an emotional fragility.

In a smart change of pace, Medrano slows down several classic renditions, boosting their power – the raw, emotional “Maybe This Time” and the title song, aka “Life is a Cabaret” (old chum!) – infused with regret – are both knockouts.

The undercurrent of irony laced with a stinging gut-punch, her anguish seeping through as she breaks. It’s all the more tragic that she chooses to remain oblivious to what’s happening.

Medrano as Sally Bowles. Photo by Jon Gitchoff.

Because Sally is such a confused mess, she is not always sympathetic, but Medrano is alluring when she’s “always on” as Sally Bowles, and tender, for a time, with new love interest Cliff.

In the show’s most devastating performance, Jane Paradise projects world-weariness but also a yearning she hides with pragmatism. The veteran character actress is known for lived-in portrayals and is often the MVP in any ensemble.

As Fraulein Schneider who discovers late-in-life love, her doomed romance with shy, kind fruit vendor Herr Schultz, played sweetly by Dave Cooperstein, is agonizing, for he is a Jew, and their shared dreams collapse under the weight of current events.

From their joyous duets “The Pineapple Song” and “Married,” to her melancholy “So What” and the tragic “What Would You Do?” are sad reminders of the choices we make and life’s turns, depriving them of even a shred of happiness.

Also standing out is Aaron Fischer as the calculating smuggler Ernst Ludwig, whose growing fervor for the Third Reich is alarming. With an impeccable German accent, Fischer slowly reveals his bigotry. Fischer, fairly new to the professional stage, and splendid in last fall’s “Anastasia: The Musical” at Tesseract Theatre Company, is one of the most exciting performers to keep your eye on.

Aaron Fischer and Petrillo. Photo by Jon Gitchoff.

In fact, John Wilson’s dialect work is superb from all 11 performers. Besides doubling as soldiers and shady characters, the ensemble includes devil-may-care revelers celebrating their hedonistic culture before fear and chaos will grip their world. The nightclub’s naughty boys and girls, and their free-spirited customers live in the moment: Otto Klemp as Bobby, officer, ensemble and on clarinet; Jayson Heil as Victor, Max, ensemble and on violin; Amarachi Kalu as Lulu and on the flute; Caroline Pillow as Fritzie; and Lillian Cooper as Texas and the gorilla.

Costume Designer Michele Friedman Siler expertly incorporated luxurious shiny blacks and reds for the performers, often with torn fishnet stockings, and more middle-class attire for everyone else. Because of doubling characters, costume changes are remarkably smooth.

We won’t forget, we can’t forget the unflinching cautionary tale this enduring musical tells us.

Jane Paradise and Dave Cooperstein. Photo by Jon Gitchoff.

The New Jewish Theatre presents “Cabaret” from March 20 to April 13. Please check for showtimes, as several Wednesday shows have been added as well as an extended run. For mature audiences, the show has adult content. The show runs 2 hours and 15 minutes, with a 15-minute intermission. Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com. Tickets are available online at newjewishtheatre.org or by phone at 314.442.3283.

NJT’s 2025 Season is generously sponsored by Mary Strauss, with Cabaret receiving additional sponsorship from Stellie Siteman and the Siteman Family Foundation.

Alongside the production, NJT hosts special events that will give the audience a special understanding of the iconic musical:

Saturday, April 5 –The Weimar Republic the Rise of Hitler with Helen Turner

Have a conversation with Helen Turner, Education Director for the St. Louis Kaplan Feldman Holocaust Museum, as she presents information about the Weimar Republic and the real-life historical events that provide the backdrop for Cabaret. This event will take place between the matinee and evening performances on Saturday, April 5. Doors will open at 4:30 with the presentation beginning at 5pm. Light refreshments will be provided. The presentation is free, but reservations are required at https://formstack.io/80312

Photo by Jon Gitchoff.

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.