‘Mercy’ Mishmash on AI Ethics Loses Momentum as Doomsday Scroll

‘Mercy’ Mishmash on AI Ethics Loses Momentum as Doomsday Scroll

By Lynn Venhaus

With a timely yet controversial AI issue to ponder in “Mercy,” this futuristic cyber thriller’s gimmick is that it uses intelligent tools in slick visual effects. Where it fumbles is in the overstuffed storytelling that is not nearly as smart as it wants to be.

This won’t be the only movie to take on the complex ethical issues of Artificial Intelligence, but director Timur Bekmambetov can’t overcome a contrived and convoluted script, so whatever statement he wanted to make isn’t impactful.

No dispute about human vs AI fallibility, but the logic goes off the rails as screenwriter Marco van Bello shifts from a murder mystery to a videogame Doomsday scare. Let’s pile up the highway crashes to enliven the inertia from watching the two main people sit in chairs for 90 minutes while they monitor screens.

The year is 2029, and L.A. is a cesspool of crime in this dystopian-adjacent future. The police and the judicial system have teamed up on a high-tech way to clean up the mean streets, the Mercy System. They’ve cut out lawyers and juries, all there is presiding is an impartial AI judge.

The sci-fi drama starts as a zippy barrage of multi-media evidence when Los Angeles detective Chris Raven (Chris Pratt) stands trial for the heinous murder of his estranged wife Nicole (Annabelle Wallis).

They have been married 20 years, but his escalating drinking problem after his partner Ray (Kenneth Choi) is killed on duty has caused anger management issues. A cliché-riddled home life – miserable marriage, bratty daughter with a secret Instagram account – is meant to cast doubt on his innocence.

Once a champion of Mercy who worked on the court’s first AI murder conviction, Raven awakens from a drunken stupor and has no memory of his wife’s killing. As the facts are revealed, the case looks airtight with him as the primary suspect.

After all, there is an algorithm calculating the likelihood of his guilt as evidence is presented – 92.5 percent probability or higher is what administers a lethal injection and lower unlocks the clasps.  

Pratt is confined to a chair for most of the 101-minute film, and Rebecca Ferguson is only visible as a head screenshot as AI hologram Judge Maddox, so this is ‘screen’ acting, not engagement as a countdown clock ticks away in real time.

That gives the plot a sense of urgency, for a desperate Raven has only 90 minutes to determine his fate, because in this pilot program, you are guilty until proven innocent.

When he finally starts investigating the case, at his disposal is a cloud archive of bodycam footage, surveillance tapes, Ring cam, Face Time, phone records and website files. We see this unfold on a virtual reality screen.

Bekmambetov is a master at screenlife movies – the ones that use smartphones, computers and recording technology to tell a story, such as “Unfriended,” “Searching,” “Missing” and “Profile.” He makes the most of modern bells and whistles.

The court allows Raven to make calls to family and friends. His teenage daughter Britt (Kylie Rogers) tearfully talks, confused (she found her dead mom). His friend Rob Nelson (Chris Sullivan, Toby in “This Is Us”), who is Nicole’s co-worker and Chris’ AA sponsor, is helpful with names and background.

Kali Reis is Chris’ current partner Jaq, and she is reluctantly doing the leg work helping him find evidence. She has a space-age off-road vehicle that allows her to bypass LA traffic.

But this is no “Minority Report.” In the third act, van Bello was not content to wrap things up logically but added multiple ludicrous subplots for a maddening over-the-top finale. It’s one of those films that is ultimately forgettable after you leave the multiplex.

Pratt, so likeable as Peter Quill in the Guardians of the Galaxy and Avengers films, and to an extent as Owen in “Jurassic World” (also preposterous), is badly in need of a hit after making some rote, soulless action films. What about an ensemble comedy, like his breakthrough “Parks and Recreation?”

Ferguson, a superb actress who was the heart of “A House of Dynamite” last fall, is wasted as this efficient robot-like figure, but somehow is humanized after Pratt’s pleading with her.

Editors Dody Dorn, Austin Keeling and Lam T. Nguyen and the visual effects team do exemplary work, but after the techno-razzle-dazzle fades, what’s left? “Mercy” is an empty vessel, failing to make a sincere case for caution with AI because of its ridiculous crash-and-burn climax.

All that for “Human or AI – we all make mistakes.”

“Mercy” is a 2026 crime drama cyber thriller directed by Timur Bekmambetov and starring Chris Pratt, Rebecca Ferguson, Kali Reis, Chris Sullivan, Kylee Rogers and Annabelle Wallis. It is rated PG-13 for drug content, bloody images, some strong language, teen smoking and violence and its run time is 1 hour, 41 minutes. It opened in theatres Jan. 23. Lynn’s Grade: D

Comical House Party ‘The Dance on Widow’s Row’ Warmly Entertains

Comical House Party ‘The Dance on Widow’s Row’ Warmly Entertains

By Lynn Venhaus

Wackiness will ensue. Four women with very distinct personalities, under suspicion for their husbands’ mysterious deaths, throw a party to socialize with eligible bachelors of a certain age. Everyone’s looking for companionship and whatever that might lead to, so what could go wrong?

Of course, nothing goes according to how the ladies and gentlemen imagined as secrets spill and drinks flow in the amusing “The Dance on Widow’s Row,” playwright Samm-Art Williams’ clever dark comedy about death, dating and superstition.

Mystery elements are also mixed in, so it keeps us guessing. The four Southern widows all live on the same street and between them have nine dead husbands. That’s a source of many jokes, but that’s not all that elicits laughs.

Williams’ wit shines through in light-hearted fashion, and the two-act play is familiar like a television situation comedy. In the hands of a very likeable cast, who have a ball with each other, the play has enough mischief and merriment to make a dreary winter more palatable.

It’s such a crowd-pleaser that this is the third production the Black Rep has mounted over its 49th season. Director Ron Himes, the founder and producing director, assembled an elite ensemble of veteran actors (I think casting is his superpower).

Denise Thimes, as Magnolia, and A.C. Smith, as Deacon Hudson. Photo by The Black Rep.

The seven performers – including Denise Thimes, A.C. Smith, Velma Austin, Margery Handy, Tiffany Tenille and Isaiah Di Lorenzo – know how to make the most of an entrance and exit. They sashay, strut and scamper easily across the well-appointed stage.

On opening night, Jan. 9, J. Samuel Davis was replaced as Newly Benson by Ron Himes, who admirably filled the role. Himes, adept at both drama and comedy, immediately connects because he’s so jittery about coming to the party.

The women are trying to revive their reputations in a fictional North Carolina coastal community, Port Town. They know they are the subject of gossip and inuendo, but that’s the chance they are willing to take.

These are full-bodied women, full of sass and spirit. Romance takes a back seat to the comedy, but it’s not for lack of trying to score Mr. Right.

Ready for a good time. Photo by the Black Rep.

Thimes, who is a formidable leading lady, plays the sophisticated Magnolia Ellis, the hostess in her elegant home. Set designer Tim J. Jones mirrored Ellis’ style in chic décor, and prop designer Mikhail Lynn followed suit.

As she prepares for the party, she removes her late husband’s photo, saying: “I gave you a good funeral, so we’re even.”

Always excellent Velma Austin portrays the bold and audacious Simone Jackson, who has an attitude and speaks her mind, but is willing to play along for the ladies’ benefit.

Tiffany Tenille makes her Black Rep debut as the pious Annie Talbot, who doesn’t necessarily practice what she preaches. She’s outlived four husbands and professes to be lonely. As mousy as she appears, she sees an opportunity and strikes while the iron is hot, so to speak.

Margery Handy, also making her Black Rep debut, portrays the saucy Lois Miller, and she is ready to party heartily. Two of her husbands may have died from food poisoning, but that doesn’t prevent her from bringing her specialties – chicken wings and potato salad.

Party time. Photo by the Black Rep.

For the confident ladies, costume designer Brandin Vaughn has blended alluring upscale finery with some va-va-voom outfits emphasizing curves to make eye-catching statements. The men are sharply dressed, reflecting their personalities.

Himes knows how to mine laughs out of movement, and the cast is smooth in their shenanigans.

Because they are lonely, the men bravely take the plunge – even though Newly is very apprehensive and nervous – and show up for a night of drinks and dancing.

Isaiah Di Lorenzo is laugh-out loud hilarious as the oldest gentleman, Randall Spears, dapper and mannerly, but ready for a good time. Maybe he has too good of a time, and Di Lorenzo is a master of comic timing and body language on stage.

A.C. Smith, who was very funny as the blustery church pastor in “Chicken & Biscuits” a year ago, slips into another comedic role effortlessly, trying to be suave. Deacon Hudson is a leader of his flock – and a leader of this wolf pack.

The women flit about, trying to connect and boost the ‘oomph’ as the night progresses, but the best-laid plans…not divulging too much of the plot, so people can enjoy the twists.

While trying to sparkle, the feisty females get aggravated at one’s attempt to outshine the others, and that leads to some caustic, catty remarks that are rapidly fired at the “inappropriate woman.”

Between the women going at it and the men fretting about being present possibly backfiring, the humor doesn’t slow down.

The technical crew has remarkably created a lived-in interior, and lighting designer Sean Savoie and sound designer Kareem Deanes expertly tailored sights and sounds for the occasion. The party music is quite appealing, and Smith displays some spry dance moves, and so does Thimes.                                         

With such a fearless ensemble amplifying their characters’ quirks and Williams’ snappy dialogue, “The Dance on Widow’s Row” delivers the warmth and genuine humor much welcome in January.

The Black Rep presents “The Dance on Widow’s Row” Jan. 9 through Jan. 25. at The Edison Theater on the campus of Washington University in St. Louis.  

Single tickets and subscriptions for Season 49 are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students and groups of 12 or more. For more information: www.theblackrep.org

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Comedy as Therapy In Dark Times Is Relatable Point of ‘Is This Thing On?’

Comedy as Therapy In Dark Times Is Relatable Point of ‘Is This Thing On?’

By Lynn Venhaus

With its inspired casting, “Is This Thing On?” is strongest in its personal self-discovery journey as a married couple divorces.

Alex and Tess Novak (Will Arnett, Laura Dern) were married for 20 years and dote on their two boys, so co-parenting isn’t an issue, but navigating the single life is a bumpy path. Tess finds purpose again rejuvenating her athletic career while Alex stumbles onto comedy as therapy.

While how funny Alex is can be debated, the use of humor to get through life’s toughest times is a spot-on assessment. After all, Charlie Chaplin famously said: “Life is a tragedy when seen in close-up, but a comedy in long-shot.”

Frustrated by life’s ups and downs, Alex seeks a sense of purpose while he is frustrated by life’s ups and downs.. In stand-up comedy routines, he finds out he’s relatable as a middle-aged guy navigating ‘uncoupling.’ It’s also therapeutic for this sad dad. An interesting by-product is he learns more about himself.

Tess, who clearly wanted to divorce, sought to renew that zest for life she had as an Olympic volleyball player and college coach. After years of sacrificing for her family, she is loving getting back in the game. 

As Alex’s newfound hobby takes flight , he keeps it hidden from Tess, his friends and family. But he also has a re-energized outlook on life, and finds this outlook rewarding in ways he never imagined.

As they face middle age and divorce, the Novaks are working on co-parenting and their identities as singles. Somehow, they come to an understanding that surprises both, as they learn new things about each other.

This film is inspired by the real-life story of British comedian John Bishop. Arnett met him on a canal boat in Amsterdam and, after hearing about how he got his start in stand-up comedy, Arnett wanted to make it into a film.

Arnett, a very funny Emmy-nominated actor who broke out as “Gob” Bluth on “Arrested Development,” has carved a niche in voice-over work, especially in animated series and films (“BoJack Horseman,” “The Lego Batman Movie”).His is best known as the guy enticing us to eat Reese’s peanut butter cups every Halloween. 

Showing a new side to his capabilities, he is appealing as the befuddled and vulnerable Alex, while Oscar winner Dern is a good scene partner. Their dynamic is believable, both eliciting empathy. 

The film is directed by Bradley Cooper, his third feature, and it’s quite a departure from “A Star Is Born” and “Maestro” – an intimate interpersonal drama-comedy that amplifies relationship struggles that many people face.

In a supporting role, he’s practically unrecognizable as Alex’s best friend, Balls – a scruffy, vain actor in a rocky marriage to Christine (Andra Day), who is friends with Tess. The friends’ scenes seem to pad the film unnecessarily, and Sean Hayes and his real-life husband Scott Icenogle are seen only briefly as pals.

Nevertheless, the family scenes are heartfelt and humorous without strained effort. Terrific character actors Christine Ebersole and Ciaran Hinds lend lived-in credibility to their roles as Alex’s parents, who are close to Tess and their two grandchildren (Blake Kane as Felix and Calvin Knegten as Jude, both naturals).

The appearance of Peyton Manning as Laird, an old friend of Tess’, is a surprise, and he handles playing a character quite well. 

The script, written by Cooper, Arnett and Mark Chappell, captures the fast-paced, competitive standup comedy scene, particularly at the iconic venue the Comedy Cellar. 

Stand-up comics Chloe Radcliffe, Jordan Jensen, Reggie Conquest, Amy Sedaris and Elizabeth Furiati are an authentic part of the cast.They know that making people laugh during dark times is an elixir. 

The grittiness of New York, how both worlds felt real, the sincerity of lessons learned, and an in-sync score add to the film’s enjoyment. However, “Is This Thing On?” never rose above OK, despite its good intentions and amusing, relatable moments. 

(“Is This Thing On?” is a comedy directed by Bradley Cooper and starring Will Arnett, Laura Dern, Bradley Cooper, Andra Day, Ciaran Hinds, Christine Ebersole, Peyton Manning, Blake Kane and Calvin Knegten, It is 2 hours and 1 minutes long and rated R for language throughout, sexual references and some drug use. It opened in local theatres Jan. 9. Lynn’s Grade: B-.)

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

By Lynn Venhaus

‘Tis the season to emphasize “Believe,” and that’s a fitting attitude about the iconic Elle Woods, the musical “Legally Blonde,” and Tesseract Theatre Company itself.

The “Little Engine That Could” theater group, which mirrors Elle’s plucky, positive demeanor, has produced a fresh, fun, fizzy and feisty reimagining of the upbeat 2007 musical adaptation of the smash hit 2001 romantic comedy.

As the iconic Elle Woods, Grace Seidel is at her best, strong in portrayal of the bubbly California sorority girl who gets into Harvard Law School after a crushing break-up. As she discovers how smart, resilient and dedicated she is, finding her purpose, Seidel triumphs, tossing the blonde ‘bimbo’ first impression out the door.

She defies the stereotype and smoothly slips into champion mode – representing anyone who has had to fight to be seen and heard. And rocks the pink outfits, too.

Known for her powerful vocals, she strikes the right chord with her passionate delivery of Elle’s breakthrough anthem “So Much Better” and turning point “Chip on My Shoulder.” She wins over the other characters in vibrantly staged ensemble numbers, including “Positive,” the ebullient “Legally Blonde” and rousing finale “Find My Way.”

Seidel is not the only bright spot who has a renewed, refreshed take on the musical. Just as you shouldn’t underestimate Elle’s inner light to shine through, there are a few memorable debuts joining reliable veterans in the ensemble.

Marsiya Miller as Paula. Photo by Florence Flick.

In a knockout debut, Marsiya Miller is a hoot as Paula Buonufonte, the hairdresser with heart of gold. She is a skillful vocalist in her solo “Ireland,” and has sharp comic timing too, as she develops a palpable bond with Elle.

Fellow newcomer Kyle Rudolph is delightful as the UPS delivery man, also named Kyle, a definite scene-stealer with fleet footwork in the Irish step dance part of “Ireland.” His high-energy performance is noteworthy in ensemble numbers, too.

In another impressive debut, Mason Ramsey portrays the shallow, privileged Warner Huntington III, who breaks up with Elle because she’s not “Serious” enough. He has the poise of someone that’s already a stage veteran.

Newcomer Aditi Seetharaman embodies the haughty Vivienne Kensington, Warner’s new girlfriend and condescending law student who humiliates Elle — but eventually has her ‘aha’ moment.  

Seasoned pros who contribute their customary excellent work include Dawn Schmid as exercise guru Brooke Wyndham, who is accused of killing her husband; Jon Hey as the distinguished, demanding Professor Callahan; and Katie Orr hilarious as quirky activist Enid Hoopes.

Kevin Corpuz is charming as the lovable, smart Emmett Forrest, a law student who befriends Elle and sees her potential, helping her to realize it. He and Grace have worked together multiple times, most notably in the two-hander “The Last Five Years” at Tesseract in 2023. They have a noticeable ease with each other in the makeover number “Take It Like a Man” and the turning point “Chip on My Shoulder.”

The Delta Nu sorority. Photo by Florence Flick.

The Greek Chorus of Delta Nu sorority sisters is sprightly support – Natalie Sannes as energetic Serena, Lillie Self-Miller as chipper Margot, and Evan Lee as sassy Pilar, starting off with the cheery “Omigod You Guys” and being Elle’s sounding board.

Ella Drake, Martin Ibarra, Molly Stout (dance captain), Loren Goudreau, Aadi Kadam and Rudolph are supple in supporting roles that range from shop clerks, students, frat boys, scummy ex-boyfriend, presiding judge, trial witnesses, salon customers and assorted others.

Jo Palisoc’s choreography is crisp and snappy, notably the standout jump-rope number “Whipped into Shape” that is a demanding aerobics workout routine. Admirably, the dancers don’t miss a beat. Always a favorite, the “Bend and Snap” is as fun as ever.

The band is an expert group of eight musicians under the musical direction of virtuoso Larry D. Pry, who kept the music by Tony nominees Laurence O’Keefe and lyrics by Nell Benjamin tight and bright. Pry joined Becca Bessette and Brayden Bessette on keyboards, Chuck Evans on violin, Mary Jewel Wiley and Lea Gerdes on reeds, Joe Winters on percussion, Mat Coble on guitar and Jonah Larsen on bass. They were polished and peppy.

Inventively staged by director Will Bonfiglio in the cozy confines of The Marcelle Theatre, he keeps the scenes moving along, from the Hair Affair Salon to Harvard Yard, dorm rooms and shops, using different nooks that scenic designer Brittanie Gunn has crafted in imaginative ways.

He has adroitly mixed humor with a courtroom drama and boosted the girl power. He focused on bringing out the heart and humanity, spotlighting a community coming together and people finding out where they belong.

Kevin Corpuz, center, as Emmett. Photo by Florence Flick.

If you look beyond the fluff, which is why both the movie and musical endure, the show is thematically strong by exposing prejudice, harassment and discrimination. The Tony-nominated book by Heather Hach is an adaptation of Amanda Brown’s 2001 novel, which was based on her experience at Stanford Law School.

When Elle saves the day using her sparkle and coming up with her unconventional legal strategies, it’s a satisfying victory that feels earned. I mean, look at this logic: “Exercise gives you endorphins. Endorphins make you happy. Happy people just don’t shoot their husbands, they just don’t.” — Elle

Carly Uding’s costume design, along with Sarah Gene Dowling’s wig design, created appropriate looks for every character. Morgan Brennan’s lighting design and Jacob Baxley’s sound design suited the show, with Kevin Sallwasser technical director, Sarah Baucom production manager and Lexi Sims stage manager keeping elements on task. Sims was aided by assistant stage managers Jae North and Josh Neighbors.

This production radiates warmth, good humor and empowerment. If you need a cup of kindness this holiday season, Tesseract’s “Legally Blonde: The Musical” overflows with cheer and optimism.

The Tesseract Theatre Company presents “Legally Blonde: The Musical” Dec. 5 – 21 at the Marcelle Theatre, 3310 Samuel Shepard Dr, St. Louis, Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m. For tickets or more information, visit www.TesseractTheatreco.org

‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

.By Lynn Venhaus

Good trashy fun, “The Housemaid” is a psychological domestic thriller with a dash of dark comedy that is ideal alternative programming this holiday season when all the prestige awards-hopefuls are released.

Millie (Sydney Sweeney), a plucky young woman with a secret criminal past, takes a live-in job as a housekeeper for the wealthy Winchester family – high-maintenance wife Nina (Amanda Seyfried) and handsome husband Andrew (Brandon Sklenar). While they look perfect, her new employers have secrets of their own.

None of the three stars – currently having moments – will be on year-end awards shortlists for their performances, yet they lean in and act with an intensity that merits them serious kudos for their earnest approach to over-the-top melodrama.

Let the mind games begin! As Nina, the suburban princess living luxuriously, Seyfried can fly into Defcon 5 rage with a frightening ferocity and assuredly drives this effort.

Knowing what’s at stake is her forte here. To watch her alternate wild histrionics with an icy-cold façade as a Real Housewife archetype is amusing.

Sweeney’s star has risen ever since “Euphoria” shook up streaming and may tie with Josh O’Connor for having the most movies released this year, even besting Pedro Pascal. She plays forlorn Millie just-right with a shaggy poor-girl-trying-to-please demeanor and a palpable desperation to escape her past.

Sklenar, who was swoon-worthy as the rugged hero Spencer Dutton in Taylor Sheridan’s “Yellowstone” prequel “1923,” is in yet another handsome, chiseled guy role. This time, he’s Andrew, a gracious, well-mannered scion of an influential family, flashing his pearly whites often.

It’s a perfect threesome for this type of suburbanites’ unraveling story. For fans of the popular 2022 page-turner by Freida McFadden, you know the delectable unpredictable twists. But for those of us in the dark, the reveals are a surprise – and boost the audience-participation feel of the film.

Smartly directed by Paul Feig, whose comedy pedigree is stellar (“Freaks and Geeks,” “Bridesmaids,” and episodes of “The Office”) and his thriller portfolio is gaining traction after “A Simple Favor,” he is one step ahead of us as we uninitiated try to figure out where these deceptions are leading.

He also strikes the right engrossing tone, mixing suspense, shock and silliness to guarantee gasps and build momentum. The screenplay by Rebecca Sonnenshine, a two-time Emmy nominee as a writer on “The Boys,” draws us into the chills by smoothly weaving backstories in, adding gaslighting and tension in the home.

Elizabeth Jones’ lavish production design is Martha Stewart-worthy in a sprawling, airy McMansion in Great Neck, N.Y. As the live-in housekeeper, Millie’s bedroom is a cozy A-frame attic nook that has a door that locks from the outside.

In shades of Stepford wives, supporting players are stereotypical privileged upper-class women who are condescending of others not in their same social register – and even if they are, finding ways to be critical. Millie overhears the local elitist moms gossiping about Nina, which is unexpected, as are other remarks by ‘the help’ in the community.

Those are interesting nuggets that illuminate what’s happening – or not – but it keeps us guessing as the plot thickens. The dialogue is often cheesy, but that’s part of the fun, too. This material is far from Tolstoy or Chekhov – it’s “Dynasty” glammed up for the 21st century.

It’s best to know as little as possible going into the movie, so no spoilers here.

Elizabeth Perkins has a few defining moments as Andrew’s snobby mother Evelyn Winchester, dismissive of her daughter-in-law and demanding in snide ways. After all, she’s more concerned with appearances than anything else.

Young actress Indiana Elle is the Winchester’s snotty, indulged daughter Cecelia “CeCe,” whose sense of entitlement shows signs of creating a monster, but whose actions later indicate she’s been paying attention. It would have been nice to have more character development in that regard.

Michele Morrone, who played Emily’s fiancé Dante in Feig’s “Another Simple Favor,” is well-cast as mysterious handyman Enzo, but sadly, it’s an underdeveloped character.

“The Housemaid” is nothing more than a pulpy “popcorn” thriller, well-suited as escapist fare, especially during a dreary winter and in a disconcerting world. It’s a film that knows exactly what its mission is, and how it fits into the entertainment landscape.

“The Housemaid” is a 2025 psychological thriller directed by Paul Feig and starring Amanda Seyfried, Sydney Sweeney, Brandon Sklenar, Elizabeth Perkins, Michele Morrone and Indiana Elle, Its runtime is 2 hours, 11 minutes, and it’s rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language. It opens in theaters Dec. 19. Lynn’s Grade: B.

The Rep’s Fresh Twist on ‘Emma’ is a Charming and Delightful Romp

The Rep’s Fresh Twist on ‘Emma’ is a Charming and Delightful Romp

By Lynn Venhaus
Bristling with refreshing feminist energy, rom-com vibes, and clever wit, “Emma” bounds onto The Repertory Theatre of St. Louis’ well-appointed mainstage with verve.

Stuffiness, be gone! This charming adaptation of Jane Austen’s novel “Emma” by Kate Hamill is redolent with both style and substance. Adept at physical comedy, a spirited ensemble revitalizes this classic 1815 tale of a zealous matchmaker whose meddling complicates matters of the heart for friends and acquaintances.

As the titular character, Adelin Phelps exudes confidence and determination as the young maiden who is convinced that she knows best. On her hard-fought journey of self-discovery, she engages us for the entire two acts, always on stage, and breaks the fourth wall with glee. She has a thing or two to say about love.

Hamill’s pared-down, smaller cast version remains an interesting look at Austen’s societal themes – those on class and gender opportunities, but her reimagining feels modern and relatable.

Michael James Reed and Kathryn Bentley as The Westons. Photo by Jon Gitchoff.

First presented in 2022 at the Guthrie Theatre in Minneapolis, she polished it with delightful humor, poking fun at people’s foibles. But she doesn’t lose sight of a smart woman’s predicament at a time when ladies didn’t have rights.

The Rep’s casting is impeccable, and its seasonal timing. The world is celebrating Jane Austen’s 250th birthday this month, so a dip back into the world of Highbury is well-suited for a holiday show.

The guests look merry and bright for the parties, with sprightly choreography from Sam Gaitsch, and director Tracy Brigden ensures they not only move briskly, but each carve out a distinct character.

As Emma’s protégé Harriet Smith, Liz Lewe steals the show as the sweet-natured boarding school student who becomes Emma’s primary project, because she is convinced Harriet needs a higher social standing.

Jack Dryden as Mr. Eldon, Adelin Phelps as Emma and Liz Lewe as Harriet. Photo by Jon Gitchoff.

Lewe’s flair for comedy, their crisp timing and pleasant demeanor endears. It’s a breakout role for Lewe, a local theatre professional who is also an accomplished writer and director. Casting Director Delaney Piggins’ keen eye was serendipitous, for when Lewe, as a reader during auditions, stood out, it was clear they were a perfect fit.

The ease at which the ensemble embraces their roles is noteworthy – in their formal 19th century manners and speech, and fluid entrances. The skillful dialect work by coach Joanna Battles helps define the time and place.

Costume designer Dottie Marshall Englis’ dandy Regency finery works for all seasons, her ingenious layering that captures the era and economic status perfectly. Dennis Milam Bensie’s wig designs are terrific, too. The springtime berry-picking scene bursts with color and frolic.

With his exceptional dialogue delivery, Louis Reyes McWilliams is dashing once more as George Knightley, after his zesty swashbuckling turn as the mischievous hero in The Rep’s “Sherwood: The Adventures of Robin Hood” last spring.

Louis Reyes McWilliams as George and Maggie Newstead-Adams as Jane. Photo by Jon Gitchoff.

He’s well-suited to embody Emma’s close friend who challenges her and often argues about what he perceives as her flightiness and immaturity. He and Phelps are a dynamic duo, and you root for them.

Before they can figure out their course, we learn about other men in town. Jack Dryden, hilariously over-the-top as the buffoonish Clark in “The Cottage,” is back again as another goofball – Mr. Eldon, who is smitten with a woman not named Harriet.

Ryan Omar Stack suavely portrays Frank Churchill, a prized suitor who is fond of Jane Fairfax, but not if Emma can interfere. His arrival causes some upheaval and a few hearts to flutter. Yet, his intentions suspect, for he has not been entirely forthcoming with information, and there are some questions about his inheritance.

Michael James Reed again demonstrates his versatility as a character actor by portraying two – Emma’s daffy health-conscious father Mr. Woodhouse, who is obsessed with the benefits of gruel, and the good-natured widower Mr. Weston, who remarries at the start (and Emma had something to do with it).

Louis Reyes McWilliams as George and Adelin Phelps as Emma. Photo by Jon Gitchoff.

Kathryn Bentley delivers a feisty performance as his happy bride, Mrs. Weston, and the ever-reliable Nancy Bell is the genteel but talkative school headmistress Miss Bates. Maggie Newstead-Adams is pert as the popular and pretty Jane.

Taking on a dual role as Elton’s ill-mannered wife Augusta is live wire Olivia Balicki, who must giggle – and snort – as the frisky Augusta, then switches gears as the infirmed Mrs. Bates in a wheelchair.

Janeites looking for strict historical accuracy may be surprised but could be won over by the production’s effervescence. Margery and Peter Spack’s captivating set design, with a focus on florals, is enhanced by Jason Lynch’s lighting design.

John Gramada’s compositions are a festive element, and his sound design superb.

A festive occasion. Photo by Jon Gitchoff.

The excellence of Brigden’s seamless work doesn’t lose sight of the present while creating an ode to the past, making it resonate in several ways, and Brian Coats’ dramaturg reflects that too.

Austen’s work has been celebrated at The Rep notable times – including “Pride and Prejudice” in 2019, “Miss Bennet: Christmas at Pemberley” in 2017 and “Sense and Sensibility” in 2013, and this may be the best one yet.

“Emma” was Austen’s fourth published novel, and it has been adapted into four films (if you count “Clueless” in 1995), the most recent in 2020 starring Anya Taylor-Joy.

This version is a fitting salute to her legacy, and a wonderful showcase for outstanding talent. Don’t miss this joyous collaboration, preferably with a side of biscuits.

Ryan Omar Stack and Liz Lewe. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “Emma” Dec. 3-21 at the Loretto-Hilton Center, 130 Edgar Road. For more information, visit www.repstl.org

Post-show discussions follow the Dec. 14 and 17 performances at 2 p.m.

Photo by Jon Gitchoff.

Nazi Mind Games in ‘Nuremberg’ Reminds About Need to Vanquish Evil

Nazi Mind Games in ‘Nuremberg’ Reminds About Need to Vanquish Evil

By Lynn Venhaus

English philosopher R.G. Collingwood said, “The only clue to what man can do is what man has done.”

That is the direction this historical drama takes as it revisits the Nuremberg trials but delves more into a psychological perspective on what led the Third Reich to invade other countries and commit Holocaust atrocities, overseeing the extermination of 6 million Jews.

Based on the 2013 non-fiction book, “The Nazi and the Psychiatrist” by Jack El-Hai, writer-director James Vanderbilt looks back through a modern lens to send an urgent message about justice, intolerance, and cruelty to contemporary audiences.

The Nazi regime had their day in court during the main Nuremberg trials, held between Nov. 20, 1945, and Oct. 1, 1946. Beforehand, the Allies prepared to unveil the horrors for the world to hear as they wanted the highest-ranking officials to answer for their war crimes.

The chief prosecutor, Robert H. Jackson (Michael Shannon) wants to expose evil. Army psychiatrist Lt. Col. Douglas Kelley (Rami Malek) attempts to understand their complex psyches, and front and center is Hermann Goering (Russell Crowe), Hitler’s right-hand man.

Leading the legal team, ever-reliable Shannon portrays Jackson, who worked diligently to bring 12 members of the Nazi High Command to trial for war crimes.

While others just wanted to put the war in the rear-view mirror, and favored executing those responsible for the genocide, Jackson wanted the world to see and hear what they had done. He was responsible for this international tribunal that involved the U.S., England, France and the Soviet Union, the first of its kind.

Jackson, later a Supreme Court justice, didn’t want these ‘monsters’ to become martyrs upon their deaths. His instincts were correct, but the proceedings were not smooth because this was new territory.

How do you define evil? Oscar winner Malek stars as dedicated Kelley, an Army mental health professional tasked with analyzing Hitler’s henchmen. His methods come under fire as he appears to be sympathetic to the prisoners.

He was attempting to build trust. But really, who is trying to outmaneuver whom? It becomes mainly a cat-and-mouse mind game with malevolent Goering, not unlike Jodie Foster and Anthony Hopkins in “The Silence of the Lambs.”

Goering was second in command to Hitler, engineering the horrors of what transpired without any remorse. At the time of this trial, he was the highest-ranking Nazi still alive. (Rudolph Hess is also a fellow prisoner).

Kelley wrote a personal account in his book, “22 Cells in Nuremberg,” but the movie indicates his fall from grace, so he’s been historically ignored, until now. His book’s final chapter is a cautionary tale about how he could see the mindset of pre-World War II Germany happening in the United States.

For those who don’t believe the Holocaust happened, this film won’t let anyone forget. The stakes, past and present, should remain in the forefront.

The chess-like match between the men, especially with Oscar winner Crowe in full command, is fascinating. However the account is fictionalized, Crowe is back to displaying the power he had in his prime, igniting the screen as the cagey, cunning and diabolical Goering.

With his keen intelligence and massive ego, narcissist Goering believed he could justify his actions on this global stage, and it’s chilling to see it unfold.

The 1961 classic Oscar-nominated film “Judgment at Nuremberg,” directed by Stanley Kramer, was mostly a courtroom drama while the current film spends more time behind the scenes on the dangers of unchecked malice.

While this 2-hour, 30-minute film gets ham-fisted in its editing and bogged down in its cumbersome narrative that makes its points repeatedly, the performances are uniformly strong.

Standouts include Leo Woodall as interpreter Sgt. Howie Triest, John Slattery as Col. Burton C. Andrus, who oversaw the prison, and Richard E. Grant as Sir David Maxwell-Fyfe, who is a British co-counselor.

The film’s other strengths include period-accurate designs – production (Eve Stewart), costume (Bartholomew Cariss) – as well as cinematographer Dariusz Wolski’s interiors in ​the secret military prison and​ German homes.

The most powerful scene is what was shown at the trial 80 years ago, the same disturbing archival footage of skeletal victims at work camps being bulldozed into their graves. The six gut-wrenching minutes are from the 1945 “Nazi Concentration and Prison Camps,” which was partially shot by director John Ford and included in George Stevens’ 52-minute film.

This footage showed the world what really happened, what these Nazi leaders were capable of, and that they must be punished for their crimes.

​N​ot just a reminder of the past, the film​s​ ​strives to be clear that the prevention and proliferation of evil is always necessary. One recalls Edmund Burke’s famous quotation: “The only thing necessary for the triumph of evil is for good men to do nothing.”

Triest, the German-born translator, says at one point: “Do you know why it happened here? Because people let it happen.”

While the film doesn’t reveal anything new, it is committed to being a clarion call. People have been quoting philosopher George Santayana a lot these days — “Those who cannot remember the past are condemned to repeat it,” from his “The Life of Reason” in 1905.

The fact that we must be nudged out of complacency and realize the consequences on a global stage is the reason that films like “Nuremberg” are made.

“Nuremberg” is a 2025 historical drama written and directed by James Vanderbilt and starring Russell Crowe, Rami Malek, Michael Shannon, John Slattery, Leo Woodall and Richard E. Grant. It is Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content and the runtime is 2 hours, 28 minutes. It opened in theatres Nov. 7. Lynn’s Grade: B.

Brilliance Blazes Bright in ‘The Brothers Size’ at The Rep’s Studio

Brilliance Blazes Bright in ‘The Brothers Size’ at The Rep’s Studio

By Lynn Venhaus

An extraordinary work of vision, power and poetry, “The Brothers Size” is one of The Repertory Theatre of St. Louis’s finest achievements to date.

Because of a cohesive collaboration between some of the most talented artists in St. Louis, this spiritual exploration of brotherhood and the black male experience has a dramatic impact that may leave you emotionally spun and moved to tears.

Directed with grace and deep understanding by multi-hyphenate Jacqueline Thompson, Metro Theater Company’s artistic director and winner of multiple St. Louis Theater Circle Awards for acting and directing, this gritty tale is staged in a lean, deliberate manner.

This immersive triumph is enhanced by the muscular choreography of Kirven Douthit-Boyd, artistic director of Saint Louis Dance Theatre; the memorable music composition and sound design of Tre’von Griffin and David A. N. Jackson; and the atmospheric lighting of Jayson Lawshee.

Nic Few as Ogun and Christian Kitchens as Oshoosi. Photo by Jon Gitchoff.

Their artistic vision, along with other artisans behind-the-scenes and the dynamic performances of Nic Few, Christian Kitchens and Donald Jones Jr., make this an unforgettable presentation.

They strived to make this resonate emotionally and do so in waves, for it grows in intensity and richness. Artistic consultant LaWanda Jackson and dramaturg Taijha Silas helped make that happen.

In his signature lyrical style, playwright Tarell Alvin McCraney, who won an Oscar for the screenplay of “Moonlight,” unfolds a common man story, with heart and humor, in the Louisiana bayou, which he wrote 20 years ago.

He examines the complex bonds of family, how love and loyalty affect relationships, the ripple effects of crime and punishment, systemic racism, and the hard road to healing.

Christian Kitchens and Donald Jones Jr. Photo by Jon Gitchoff.

Nic Few is big brother Ogun, a responsible, hard-working auto mechanic whose younger brother Oshoosi (Christian Kitchens), has been released from prison. He’s restless, impulsive, trying to carve out a new life.

Can they reconnect or will the youngest return to his old habits when his ex-con friend Elegba (Donald Jones Jr.), his former cellmate, comes by for visits.

Ogun is tough on Oshoosi, annoyed by his swagger and aimlessness, and that chafes his little brother. It’s complicated when the oldest wants stability and the youngest is content to be carefree, tempted by a friend who’s a bad influence.

The brothers are eager to succeed, but they tussle often, like many siblings. Their temperaments are different – Few embodies fierce physicality and weighted down by the world and Kitchen imbues his part with musicality and a lightness of being.

Photo by Jon Gitchoff.

The charming Elegba seems to want the same things but actually is a detriment to Oshoosi and Ogun’s goals. Ogun is suspicious but Oshoosi is faithful. Are we our brother’s keeper?

The effects of incarceration and the never-ending fight to be free, to make something better for their futures, shape this raw portrait. When danger lurks, they wrestle with decisions (Shades of “Nickel Boys.”)

Few, Kitchens and Jones corral an electrical charge to deliver honest characterizations that are physically and emotionally demanding. Their chemistry personifies their close ties. They are natural in their interactions – arguing, goofing off, trash talking, soul-singing, dancing and expressing their feelings.

Thompson was determined to find entry points for everyone watching, illuminating what could be considered abstract elements. The trust between everyone is obvious, their artistry elevated through her guidance.

Photo by Jon Gitchoff.

The minimalist staging, with action taking place within a circle, is reflected in Kristie C. Osi’s costume design, Jayson Lawshee’s scenic design and Eric William Barnes’ props design.

A regional premiere, “The Brothers Size” is the first time one of McCraney’s plays are staged in St. Louis. Considered a modern-day fable, “the script includes stage directions in the dialogue to heighten the encounter between the actor and the audience.

McCraney was inspired by the Yoruba people of West Africa – their rituals and religion, so he incorporated symbolism. His stylistic choices are rhythmically distinctive, seamlessly blending verse and conversation. In his original way, he aims for a mythical quality, making it about something larger than our daily lives. That adds a potency and an urgency.

The first show this season in the Steve Woolf Studio Series, it’s a play that was made for the intimate space and the series, praised for its risk-taking. The former artistic director, who retired in 2019 after 33 years at The Rep and died during the pandemic in 2021, encouraged theatregoers to be adventurous with newer works and unknown playwrights. What a fine legacy.

Photo by Jon Gitchoff.

Opening night bristled with electricity, the kind of buzz that marks a big deal event. After this profound, gut-wrenching experience, the audience leapt to their feet as soon as it ended, with an outpouring of love and thunderous applause. It was indeed a moment (well, several).

“The Brothers Size” boldly represents The Rep’s vision and demonstrates their commitment to produce works of daring imagination and transformative symmetry with exceptional casts and crews.

The Repertory Theatre of St. Louis presents “The Brothers Size” from Oct. 22 to Nov. 16 as part of the Steve Woolf Studio Series in the Emerson Studio of the Loretto-Hilton Center, 130 Edgar Road, St. Louis.

The play is 90 minutes without intermission. A post-show discussion follows the performance on Sunday, Nov. 2, at 2 p.m.

To purchase tickets, visit www.repstl.org or call the box office Monday through Friday noon to 5 p.m. at 314-968-4925.

Photo by Jon Gitchoff.

Stylish and Surreal ‘Ballad of a Small Player’ is Not a Good Gamble  

Stylish and Surreal ‘Ballad of a Small Player’ is Not a Good Gamble  

By Lynn Venhaus
Stylish but slow and shallow, “Ballad of a Small Player” is an underdeveloped and overproduced drama that drowns in its own pretentions.

Despite its visual splendor, the storytelling is scattered and too surreal to sustain interest. A mystifying misfire from director Edward Berger, it’s disappointing because his two previous films were Oscar nominees for Best Picture – the international winning feature “All Quiet on the Western Front” in 2023 and “Conclave” in 2024. He knows how to frame a narrative – the conundrum is do we want to spend nearly101 minutes on this one?

Colin Farrell plays an addict, liar, thief and fraud masquerading as a high roller with a fake aristocrat name, Lord Doyle, hiding out in the opulent gambling mecca Macau, and trying to score. He plays baccarat wearing a lucky pair of leather gloves.

Doyle is really Reilly, and he is wanted for swindling an old rich woman out of her life savings. He is trying to escape his past, but with self-destructive tendencies, he makes reckless decisions and is spiraling on his way to rock bottom.

Sweating profusely, a portrait of desperation, he’s also a ticking time bomb with heart issues — drinks too much, eats too extravagantly and smokes (even when he’s having chest pains). He continues to live large while the wolves are at the door. Why not give us a reason to care if he can put his life back together?

Somehow, he is given grace by a casino floor manager, Dao Ming, who turns out to be an angel of mercy. As delicately played by Fala Chen, she’s a mysterious, kindred spirit who recognizes a fellow lost soul. (Does this remind anyone of “Leaving Las Vegas”?)

Dao Ming explains The Festival of the Hungry Ghost in Hong Kong, and screenwriter Rowan Joffe ties his streak of good fortune to a ghost story. This mystical turn adds another bizarre twist. Is it instead a dance with the devil?

The plot thickens — or rather falters. Joffe’s script, adapted from a 2014 novel by Lawrence Osborne, has too many unexplained occurrences. He seems to rationalize it to luck or wizardry, messing with dream-like with time and place. And do we really need another gambler’s one-last-time trope? Yawn.

Joffe has danced around spiritual, moral and philosophical entry points that are merely teases. Brief nods to the seven deadly sins appear but are not satisfyingly threaded to make an impact.

Farrell has become one to watch, especially after his tour de force as Oswald “Oz” Cobble in the HBO mini-series “The Penguin” (and the movie “The Batman”), as well as his superb Oscar-nominated turn in “The Banshees of Inisherin.” He’s accomplished at playing a smooth talker at the end of his rope, and this performance is intense.

While he has played likeable scalawags before, he has been more appealing as a rude hitman in “In Bruges” and as a gangster coach in “The Gentlemen,” because this wheeler-dealer is pathetic.

In an obscure, shadowy role, the always aces Tilda Swinton plays yet another quirky character in her canon of peculiar portrayals. She is Cynthia Blithe, a debt collector hot on Reilly’s tail, but he calls her Betty. (If you haven’t checked out by the time the credits’ roll, there is a strange dance she and Farrell do. Just because, I suppose.)

Alex Jennings coyly plays Adrian Lippett, a cryptic figure who owes Reilly money, and is always looking for a deal himself.

The enigmatic storytelling takes a back seat to the striking colorful aesthetic. Macau, a former Portuguese colony that’s a special region of the Republic of China, is a glitzy, glamorous neon-drenched adult playground that is luxuriously packaged, in James Field’s cinematography and Jonathan Houlding’s production design.

They are so meticulous in beautiful textures, it seemed like a nod to Wes Anderson’s visual style. Friend won an Oscar for his work on “All Quiet on the Western Front,” and he dazzles again.

Ultimately a letdown, “Ballad of a Small Player” doesn’t pay off, despite skilled artisans at work. In the words of Notorious B.I.G.: “Mo Money, Mo Problems.”

“Ballad of a Small Player” is a 2025 drama directed by Edward Berger and starring Colin Farrell, Tilda Swinton, Fala Chen and Alex Jennings. It is rate R for language and suicide, and its runtime is 1 hour, 41 minutes. It is currently in theaters and streaming on Netflix beginning Oct. 29. Lynn’s Grade: C-.

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

By Lynn Venhaus

Marked by twists, turns and a “Twilight Zone” flair, Albion Theatre Company’s latest whip-smart production “I Have Been Here Before” ponders the construct of time in a shrewd yet abstract way.

An adroit ensemble of six piques our curiosity, each one developing layers of their characters’ personalities and motivations. They seamlessly embody different classes, all at crossroads (whether they realize it or not).

The Black Bull Inn in Grindle Moor, part of the remote Yorkshire countryside, is where the story takes place in 1937. Set designer Rachel St. Pierre has fashioned a cozy, modest parlor, with Brad Slavik the astute set builder and Gwynneth Rausch specific in appropriate time-period props.

They have effectively set the period and place, so that co-directors Robert Ashton and C.J. Langdon were able to keep the characters on the move, so they weren’t as stodgy as they probably were nearly 90 years ago.

The six accomplished performers were notably well-rehearsed with distinct dialects and physically nimble in their mannerisms, driving the story with more verve than playwright J.B. Priestley’s dated drama indicated.

Photo by John Lamb

Today, the show hasn’t aged as well or is as suspenseful as an Alfred Hitchcock classic or even an Agatha Christie drawing room mystery. The set-up in the first act is intricate and lengthy, then has more engaging action in second act, while the third act teeters on implausible. Nevertheless, the sheer will and the skills of the actors make this watchable.

Priestley continued his fascination with theories of time here; one of the 39 he wrote. “Time and the Conways” and “Dangerous Corner” were among his most successful plays about time – he wrote seven.

He believed different dimensions could link past, present and future, and philosophizes, using Russian teacher P.D. Oupensky’s theory of eternal recurrence, which are life circles or spirals.

Robert Ashton and Anna Langdon are the reliable Sam Shipley and Sally Pratt, father and daughter innkeepers. He’s amiable, she’s pragmatic in their portraits. They are expecting three guests while a quiet but agreeable young headmaster, Oliver Farrant (Dustin Petrillo), is already spending a vacation there, for a rest. He relaxes by reading and going for long walks.

The upcoming holiday is known as Whitsuntide, around the time of the Christian holy day the Pentecost. In the south of England, it was the first official holiday of the summer (until replaced in 1971).

Photo by John Lamb

But the guests that reserved the rooms have cancelled. That allows a foreign guest, professor Dr. Gortler, (Garrett Bergfeld) and a wealthy businessman and his stylish wife, Walter and Janet Ormund (Jeff Kargus and Bryn McLaughlin), to book separate rooms.

Tall, gruff and exiled from Nazi Germany, the mysterious professor has already startled Sally by practically predicting future outcomes. He seemed to know who would be staying and not who originally booked rooms.

Are they thrown together by chance or is it on purpose?  That is one of the many questions raised as the plot thickens. It is rather odd that somehow, they seem inter-connected. Their decisions could have consequences that would affect others.

There is a nagging feeling that they may have lived through this experience before. But how could that be? The cosmic undertones seem to rattle some cages, especially suspicious Sally.

 An expert in math and science, Gortler is blunt at asking perceptive questions, revealing predictions, and shares a precognitive dream describing preposterous occurrences between everybody there. Dun dun dunnn!

Photo by John Lamb

Quite surprising is an assured, imposing performance by Garrett Bergfeld as the enigmatic professor. It’s been 20 years since he stepped on a stage, and one hopes it will continue.

Dustin Petrillo, who is always authentic in his portrayals, displays emotional depth and an unmistakable connection with Mrs. Ormund, who is unhappy with her workaholic – and alcoholic – husband.

Petrillo and Bryn McLaughlin worked together beautifully as husband and wife in “The Immigrant” at New Jewish Theatre two years ago, and they smoothly convey an ease with each other.

As restless Janet, McLaughlin contrasts her comfort with Farrant by showing unease with her inattentive husband.

Jeff Kargus is striking as the swaggering Ormund, used to getting what he wants and believably upper crust in speech and movement. He commands the stage, appearing as a manipulative mover and shaker, giving off shady vibes. One wanted to know more about these puzzling people.

Photo by John Lamb

As impressive as the actors are, so is the creative team that collaborated on a well-worn look, including the aforementioned scenic/prop designers. Costume designer Tracey Newcomb, whose work is always memorable, has economically created status in her ideal apparel choices. Lighting designer Eric Wennlund and sound designer Leonard Marshell set the mood well.

In 1970, rock group Crosby Stills Nash and Young released an album, “Déjà vu,” including a song of the same name.

If I had ever been here before
I would probably know just what to do
Don’t you?
If I had ever been here before on another time around the wheel
I would probably know just how to deal
With all of you

It later ends with the lyric, “We have all been here before” repeated several times. (“It’s déjà vu all over again,” in the words of an epic St. Louis philosopher-raconteur Yogi Berra.)

I was frequently reminded of those lyrics, as the play attempted to explain unnatural phenomenon. Had it followed through with a more convincing ending, it would have stuck the landing, but this is an observation in hindsight 90 years later.

Priestley worked with what was known at the time, and his own viewpoint on another life ahead as a do-over. Food for thought, to be sure.

In their customary fine fashion, Albion presented an unfamiliar play effectively, driven by excellent performances and strong contributions by local artisans.

 Albion Theatre presents “I Have Been Here Before” Thursday through Saturday at 7:30 p.m. and Sundays at 2 p.m., on Oct. 23-26, 30-31; Nov. 1-2 at the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. The show runs 2 hours, 30 minutes, with two 10-minute intermissions. For more information: albiontheatrestl.org.