Feminist Twist on Arabian Nights in ‘100 Nights of Hero’ Is Noble But Flimsy

Feminist Twist on Arabian Nights in ‘100 Nights of Hero’ Is Noble But Flimsy

By Lynn Venhaus

A fantasy feminist fable that relies more on style than substance, “100 Nights of Hero” is pretty – in people and surroundings – but at times, the story feels too flimsy to be an innovative take on elevating sisterhood over the pompous patriarchy.

Of course, stoking a rebellion is a noble intention from British writer-director Julia Jackman, who adapted Isabel Greenberg’s proudly queer 2016 graphic novel into a fairy tale-adjacent narrative that’s equal parts soap opera and female empowerment.

She drew inspiration from “One Thousand and One Nights,” that Islamic classic that has Sheherazade unhappily married to a murderer who gets rid of his wives – but she lives because of telling him fantastical stories that entrance him so much he keeps her around.

We’re thrust into a vague medieval world where the men in charge keep the women oppressed and pregnant. They are forbidden to read and write. The god-like authoritarian leader, Birdman, is played by Richard E. Grant as an irritating prig. His boorish devotees wear silly papier-mâché bird’s beaks in reverence.

The outraged elders demand Cherry, a virtuous bride, and her jerk of a husband, Jerome, some sort of nobility who resides in a coveted castle, get busy procreating. They take them to task because they are not “with child,” and set a deadline of 101 days to do ‘the deed.’

Maika Monroe is the beauteous lady of the manor who hasn’t conceived yet because the self-important spouse (Amir El Masry) rebuffs her every evening before they retreat to separate quarters. But he pretends he’s virile and everything is dandy — we get a feeling that he’s not interested in girls – or anyone other than himself. Hmmm…

Manfred, a womanizing guest, is played smugly by Nicholas Galitzine, reverting to a swaggering cad role after being so charming in “The Idea of You” and “Red, White and Royal Blue.” Convinced of his irresistibility, he agrees to an odious bet with Jerome, who’s going away on hazy business.

If he can seduce Cherry, he gets her and the castle, but if not, Jerome gets Manfred’s inferior abode but has to find him a baby. That is what’s at stake as the clock ticks.

Let’s see the women revolt! However, we must wait, because the story unfolds slowly. Uneven in tone, it’s a jumble of playful camp, sauciness, turgid desire and emboldened defiance.

With its blend of a bodice-ripping scenario from ‘80s romance novels with exotic Arabian Nights from the Middle Ages for the bulk of the film, then it veers into dark, dire consequences in the third act.

Manfred tries to woo Cherry in traditional ways, and subtle flirting begins — but the courting is painfully drawn out. The attractive duo, Galitzine and Monroe, must ramp up the sexual tension because they are thwarted by social mores and manners, and writhe separately in agony. Shades of Skinemax after dark!

Another obstacle to their presumed illicit coupling is Cherry’s maid Hero (Emma Corrin, a severe, pious but clever sort.) Hero has become an accomplished storyteller, and weaves riveting tales that enchant the locals, including the guards. Hero has sized up Manfred as a wolf and therefore provides much needed distraction before he can bed milady.

As Hero is entertaining with words, pop star Charli XCX appears as an unlucky bride wearing fabulous gowns. She’s Rosa, one of three sisters who are literate, and form a secret female society who collect and record stories.

Credit costume designer Susie Coulthard and production designer Sofia Sacomani for imaginative work. They have created sumptuous worlds to go along with a storyteller’s world-building.

No one should be surprised when Cherry is attracted to Hero, which is a change from the book, because in it they’re already lovers. Suddenly it becomes clear that gender, status and power are at play – but that the women will face consequences for not only same-sex coupling but having no shame or remorse.

The cast understands the assignment – and Felicity Jones appears in a cameo, so they dutifully carry out their roles. Feminists will cheer that the women want equal rights as much as a woman-driven utopia.

However, as a unifying anthem, the film waited too long to make a bold statement– and while motivation is always welcome, why dilly-dally instead of starting the rallying cry early?

Nevertheless, give credit for showing that women can conjure their own happily ever after for themselves.

“100 Nights of Hero” is a 2025 period drama-fantasy-romance written and directed by Julia Jackson and starring Maika Monroe, Emma Corrin, Nicholas Galatzine, Amir El-Masry, Charli XCX, Richard E. Grant and Felicity Jones. It is rated PG-13 for sexual material, some bloody images and language.and runtime is 1 hour 31 minutes. It opened in theatres Dec. 5. Lynn’s Grade: C-,

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.

Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

By Lynn Venhaus

Laying the foundation for the palace intrigue in Shakespeare’s tragic “Hamlet,” the original play “Elsinore” is an interesting interpretation of those familiar characters in an affecting prequel.

Known for its bold choices, local theater company Chorus of Fools has mounted artistic director Eric Satterfield’s 2021 play updated by co-playwrights David Nonemaker and Satterfield, who also directed.

How did Denmark become so rotten? Satterfield wants answers and his strong cast will tell a more nuanced story.

Through compelling performances, this ensemble delves into the unraveling of the royal family and how the political scheming escalates, which eventually leads to the kingdom’s instability and headed to war with Norway.

Most remarkable is how much the language sounds like the Bard in tone and tempo. Smartly written with style, wit and theatricality, “Elsinore” plausibly imagines the backstories.

John Wolbers is the domineering King Hamlet. Photo by David Nonemaker.

The playwrights obviously have read and studied Shakespeare, presenting a new angle on one of literature’s most influential works. After all, “Hamlet” has been adapted in many ways (“The Lion King,” anyone?)

A rewarding aspect is its exploration of many of the same universal themes, such as making one’s mark, duty, honor, loyalty, destiny and revenge. However, in these earlier incarnations, character transformations and motivations give the actors a juicy challenge.

We may think we know these characters, but by the time Shakespeare crafted them, they had been developed by circumstances, revealing their true nature.  In the prequel, they are forging their paths.

While the prince of Denmark has always been fascinating, in the before times he is secondary to Claudius, who has the most complex character arc. Joseph Garner, one of the region’s most versatile performers, has been a formidable stage presence in supporting roles. As the king’s brother and emissary, he delivers a dynamic characterization rich in detail.

Initially, a dedicated selfless royal, Claudius undergoes personal tragedies and moral dilemmas that lead to his stunning power-grab as he ascends to the throne while breaking up his brother’s family.

Joseph Garner and Jocelyn Padilla as Claudius and Gertrude. Photo by David Nonemaker.

King Hamlet is not a benevolent ruler. John Wolbers portrays him as imperious and devious, and with his son Hamlet, he is demanding and impatient. The young heir is finding his way, clashing with his father and being more comfortable around his uncle.

He starts brooding, and Andre Eslamian gives the intense, rebellious lad an emotional depth while conveying quicksilver moods. He’s confused and angry in interactions with his father, merry with his goofy friends Rosencrantz and Guildenstern, playful with his cousin Claudius, and tender with Ophelia.

His father is not fond of his childhood pals, and Xander Huber, as Rosencrantz, and Zach Pierson, as Guildenstern, display why. As the bumbling buddies, they demonstrate sharp comic timing and play off each other well, adept at slapstick.

Chuck Brinkley, equally good at comedy and drama, adds moments of daffiness to the garrulous Polonius, who is Claudius’ trusted advisor. But he’s capable of conniving. (And what a trouper — he really did break his ankle, hence the assistance.)

Madness has not yet affected major players. Ophelia becomes a handmaiden for Queen Gertrude. She is an intelligent, curious girl, devoted to her father Polonius and gives her heart to Hamlet. Hannah Geisz plays her as a spirited, virtuous member of the court – but one who won’t be an afterthought.

Hannah Geisz and Chuck Brinkley as Ophelia and Polonius. Photo by David Nonemaker.

As Gertrude, Jocelyn Padilla is an obedient wife and dutiful mother. She is hurt by the king’s gruff treatment of her, and after his untimely death, brightens under the gaze of Claudius.

Huber and Pierson each fill another role – Huber is Lord Waldemar and Pierson as young Claudius. Joe Kercher handles three brief roles – Lord Olaf, Laertes and a hooded figure. Rose Reiker is Osric, a courtier and messenger.

Claudius, who becomes a widower after his loving wife Colette (Lexie Johnson) and their beloved son Claudius (Zach Pierson), died in a shipwreck, has somewhat of a reset.

He has lost faith after those devastating losses, becoming bitter and angry. He disagrees with his brother’s decisions and ruthlessly sets a course to takeover.

“Hamlet” was Shakespeare’s longest play, and this version is in three acts, with two intermissions. The second act resumes 14 years later, and the third is one year after that.

Joseph Garner, Andre Eslamian as Claudius and Hamlet. Photo by David Nonemaker.

The small company, with a modest budget, cleverly depicts the castle’s throne room, Claudius’ family sitting room, and the orchard where King Hamlet often napped. Vickie Delmas worked on the set design with Satterfield, and took care of props..

With its “Downtown Abbey” inspired Edwardian setting and period costumes, “Elsinore” creates an insular world where loyalty is demanded while secrets and lies are part of the growing corruption.

Costume designer Celeste Gardner paired different textures together to appropriately outfit the characters, with her work particularly noteworthy for Ophelia and Gertrude.

Bradley Rohlf’s atmospheric lighting design highlighted an impending doom, while giving the ghosts an other-worldly illumination. Satterfield’s outstanding sound design included imaginative needle drops and a regal music score to reflect the spreading darkness.

Other contributors were Ryan Lawson-Maeske, fight choreographer; Jen Kerner, accessibility consultant; Tress Kurzym, intimacy director; and Nikki Pilato, dramaturg (and also assistant director). Moira Healy was the stage manager.

With a castle community sensibility, the savvy cast transported us to a troubled time that has been examined through the ages, and managed to engage us with different, interesting angles. They skillfully conveyed Satterfield’s and Nonemaker’s intentions in a smart, entertaining presentation.

Andre Eslamian, Zach Pierson as the young Hamlet and young Claudius. Photo by David Nonemaker.

Chorus of Fools presents “Elsinore” Thursdays through Saturdays at 7:30 p.m. from Oct. 9 through Oct. 19 at The Greenfinch Theatre and Dive Bar, 2525 S. Jefferson. For more information: greenfinchstl.com/events

Masterfully macabre ‘The Woman in Black’ Thrills in The Rep’s Staging

Masterfully macabre ‘The Woman in Black’ Thrills in The Rep’s Staging

By Lynn Venhaus

With every door creak, candle flicker, wind moan, and eerie shadow glimpse, “The Woman in Black” immerses us in a haunting and unforgettable ghost story.

The Repertory Theatre of St. Louis has impeccably presented a London West End production that will live in my head for a while, a gripping suspenseful classic Gothic fiction that is best experienced with a receptive audience.

The 1987 play earns its jump scares as an edge-of-your-seat feeling grows, building nearly unbearable tension for a pulse-pounding climax. It is an outstanding example of how our minds process strange things.

Stephen Mallatratt’s clever theatrical adaptation of Susan Hill’s 1983 mystery has engrossed audiences over 30 years. Reminiscent of Henry James’ unsettling “Turn of the Screw,” this is about a haunted house whose terror uncomfortably lurks through the ages. But that’s really only the start of horrifying consequences.

A lawyer, Arthur Kipps, has been bedeviled by a spectral figure in black for years, and to relieve his misery, he has hired a young actor to share his captivating story. He feels it must be told.

James Byng, Ben Porter. Photo by Jon Gitchoff.

While the first act is much slower as it sets up the action, the second act ramps up the shocks and scares so effectively, we are totally enthralled in mutual shivers.

Our imaginations work overtime, and that’s such a wonderful communal feeling to be bonded with total strangers (and friends and family) over our fears, waiting for the next spine-tingling moment – or gasp or scream or the occasional giggle and sigh in relief.

This chilling tale unfolds as a play within a play, and the duo becomes ensnared in a terrifying sequence of events in an isolated old house near misty marshes. David Acton, who plays the tormented Arthur Kipps, works in tandem with James Byng as “The Actor,” to convince us we should be very afraid.

Acton and Byng’s superb storytelling deliver the well-timed frights – and the welcome doses of humor. Both actors were in productions at London’s Fortune Theatre, and their interactions are flawless.

Ben Porter. Photo by Jon Gitchoff.

As a young solicitor, doing estate legal work for his firm’s clients, Kipps traveled to a remote village in northern England to sort through the documents of the deceased Alice Drablow, who owned Eel Marsh House. Byng portrays his younger self, lonely without his fiancé Stella nearby.

 He writes letters home and begins to read some of Mrs. Drablow’s alarming personal correspondence. The house’s unfortunate location means that it is cut off from the local village when the tide comes in. Kipps notices the villagers’ unwillingness to talk about the Eel Marsh House, but he does get assistance from local guys Samuel and Jerome (and an unseen dog named Spider).

One dark night, Kipps is alone with his thoughts in the creaky old house. Or is he? For the audience, the ‘flight or fight’ feeling escalates, not to mention the overwhelming atmosphere of dread. (This is the period where people were clutching others).

James Byng. Photo by Jon Gitchoff.

As Kipps becomes aware of another presence, whoa. It’s truly a marvel of Swiss watch timing how exemplary the presentation is.

Because of the show’s emotional heft, another actor, Ben Porter, can perform both roles in repertory, and sometimes does. He was nominated for a Drama League Award in 2020 for distinguished performance in this play.

Original director Robin Herford has seen to it that every eerie detail isn’t missed on The Rep’s thrust stage. He has worked with touring director Antony Eden, associate director Maggie Spanuello, designer Michael Holt, lighting designer Anshuman Bhatia, sound designer Sebastian Frost and vision producer Imogen Finlayson.

The masterful use of sound and lighting adds to the creepy atmosphere, enhancing the minimalist set and ensuring the horror is believable in every moment. These visions will linger.

This production is being produced in a special arrangement with PW Productions, the original West End producers. After opening in London in 1989, it was performed there until March 4, 1923, for 13,232 shows, the second longest-running non-musical in West End history, second only to Agatha Christie’s “The Mousetrap.”

James Byng, Ben Porter. Photo by Jon Gitchoff.

Pemberley Productions, a tour booking company in New York and Chicago, has produced and general managed “The Woman in Black” in North America since 1918.

The effective shadows and the unnerving scares are in the well-crafted storytelling. With its twisty tricks unveiled, the play is a thrilling treat, as satisfying as the best horror movies. It’s as if we’re all at a bonfire, mesmerized by the evil conjured up at a most entertaining evening. The execution is sensational, and the pair of actors make it a must-see spellbinding experience. I’m leaving the lights on.

The Repertory Theatre of St. Louis presents “The Woman in Black” Oct. 8 – 26 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. To purchase tickets, visit www.repstl.org or call the box office, Monday – Friday noon – 5 p.m.  at (314) 968-4925.

The play is 2 hours with a 15-minute intermission. Post-show discussions follow the Sunday, Oct. 19 and Wednesday, Oct. 22 performances.

Pretentious, Murky ‘After the Hunt’ Is Disturbing Take on Identity Politics

Pretentious, Murky ‘After the Hunt’ Is Disturbing Take on Identity Politics

By Lynn Venhaus

“After the Hunt” is a horrible movie about despicable people that attempts to tackle cancel culture, identity politics and a so-called female generation gap in 2019, which is strategically set during the #MeToo movement.

Ambiguous, pretentious and overlong, the psychological drama is a tedious watch because several lead characters are smug narcissistic liars who are morally bankrupt and intellectual know-it-alls.

These insufferable types are part of the insular world of Ivy League academia, in the philosophy department at Yale. Whether action is in a high-stakes classroom, a snooty Yale Club or a swanky dinner party, these caricatures are either going to pontificate or act out.

Directed by provocateur Luca Guadagnino, who is frustratingly vague about the points he’s trying to convey, meanders more than usual and boxes himself into a corner with Nora Garrett’s baffling screenplay.

Ayo Edebiri and Julia Roberts.




Apparently not a fan of political correctness, Guadagnino really does a disservice to victims of sexual abuse who deserve to be seen and heard. It’s an insult to anyone who has had the courage to come forward, at the risk of damage to their reputation. #MeToo needed to happen and should have much sooner.

While the A-list cast is given juicy, complex roles, the irredeemable parts lack connection and emotional truth.

Julia Roberts, at her most unlikable, plays haughty, viperous professor Alma Imhoff, whose fancy-schmancy lifestyle with her lapdog husband Frederik is built on secrets and lies.

Truly egregious is that Michael Stuhlbarg is wasted in an utterly ridiculous role as an attentive partner who gets little respect. Chances are odd-man-out Frederik will get fooled again, and again.

As this rotten character, Roberts doesn’t elicit one iota of sympathy. She recklessly drinks too much. She has severe abdominal pain and violent vomiting episodes, but instead of going to a doctor she abuses painkillers, which she downs by fistfuls.

Andrew Garfield and Julia Roberts.

She treats students cavalierly and acts superior to her peers. Not exactly role model material. Chloe Sevigny is also wasted as Dr. Kim Sayers in a too brief role as a psychiatric counselor that factors in to yet another subplot thread.

Alma is graduate student Maggie’s thesis advisor, and she attends her mentor’s dinner party. An inebriated Hank Gibson, a cocky professor played by Andrew Garfield, walks Maggie home.

As the star pupil, Ayo Edebiri is miscast as a character that is as nebulous as Garfield is repellent.

Later, a distraught Maggie confides in Alma that Hank, who was in her apartment for a nightcap, sexually assaulted her.

He denies it. She reports it. He’s fired and makes a lot of noise publicly. He was up for tenure, as is Alma, who has conveniently distanced herself from the situation. Or has she?

Ayo Edebiri as Maggie on the Yale campus.

It quickly gets very ugly. Maggie views it as a betrayal. Understandably, the Gen Z students rally around her. She is quite vocal in the press, while Alma becomes very vicious in response, showing a cold and calculating side to her bewildering personality.

Garfield is so off-putting as the swaggering Hank that it would be difficult to conjure up a smidgeon of sympathy over his career in tatters if that is what the film leans towards.

Don’t expect any relatability to these self-important characters. The academia snake pit comes across like an unappealing morass. These are selfish people who have such an inflated opinion of themselves that they think everything is about them.

Doesn’t it matter that Hank’s behavior is troubling and dangerous? In some sort of alternative universe, Maggie is now the subject of derision because her wealthy, influential parents are Yale’s biggest donors. Wait, what?

Is it a witch hunt? Hank’s version accuses Maggie of plagiarism. Oh, as if that’s not enough, they must unravel Alma’s past. There are too many plot points, and none satisfactorily resolved.

This supercilious debate about morality, ambition and ‘woke’ ideology fails to resonate. Is it an unwise battle between trailblazing women who broke glass ceilings and the entitled Gen Z’ers whose lives of privilege have handed them multiple gold-plated opportunities?

Contrivances abound as the plot goes in circles. Hank, longtime friend of Alma’s, perhaps had a sexual relationship with her, or did they just flirt a lot? She’d rather drink at a bar with him than go home to her psychoanalyst husband’s cassoulet.

And Maggie is purposely drawn to be unformed. She is in a relationship that lacks details. Her trans romantic partner and roommate is away when the Hank incident supposedly took place.

Cinematographer Malik Hassen Sayeed makes the hallowed halls of a prestigious university gleam with historic seriousness and the tony Imhoff home cultured and cavernous. The annoying contemporary score by Trent Reznor and Atticus Ross is uncharacteristically too obtrusive.

Chloe Sevigny and Julia Roberts.

Guadagnino is a polarizing director, with detractors saying his style is too murky on substance. His sumptuous locations look beautiful, and the films often superficially and uncomfortably deal with desire – “I Am Love,” “The Bigger Splash,” “Call Me by Your Name,” “Challengers” and “Queer.” Characters often are complicated and meant to be stimulating but lack clear identities.

A better film on this subject, an authentic one set in a college town, is “Sorry, Baby.”

What is “After the Hunt” trying to say, and why does it try too hard to get our attention when there really is no point? We are tasked with the heavy lifting of deciphering the storytelling.

After more than 2 hours, the preposterous conclusion feels like cheating, ending in a very self-indulgent way. 

The Imhoff dinner party in New Haven.

“After the Hunt” is a 2025 psychological drama directed by Luca Guadagnino and starring Julia Roberts, Andrew Garfield, Ayo Edebiri, Michael Stuhlbarg and Chloe Sevigny. It is Rated R for language and some sexual content and the run time is 2 hours, 19 minutes. Opens Oct. 17 in theatres. Lynn’s Grade: F.

Mendacity meets the mundane in Stray Dog’s razor-sharp ‘The Minutes’

Mendacity meets the mundane in Stray Dog’s razor-sharp ‘The Minutes’

By Lynn Venhaus

“A hundred years from now, will anyone care?”

And that line, asked by a small-town council member, is a double-edged sword in Tracy Letts’ brilliant “The Minutes.” Presented by Stray Dog Theatre, this comedy-drama is a rare work of raw theatrical power as told by a razor-sharp ensemble.

In his usual unflinching way, the master playwright probes the very tenets of democracy with his customary sharp wit and acerbic style. The eight-year-old play is as timely as ever as news is suppressed, and rules of law are disregarded currently in various administrations.

The Tony-nominated play, produced by the Steppenwolf Theatre Company in Chicago in 2017, was scheduled for previews on Broadway in 2020, but had to be shut down due to COVID-19, then returned for opening in 2022.

What starts out as an amusing series of exchanges recalling the eccentric film “Waiting for Guffman” and nutty TV sitcom “Parks and Recreation,” nailing the quirkiness of small-town living and municipal government, makes a hairpin turn into a scalding look at democratic principles that should leave you shaken and stirred.

Tawaine Noah, John Reidy, Gerry Love, Jon Hey, Stephen Peirick and Jan Niehoff. Stray Dog photo.

The well-chosen cast, shrewdly subverting expectations, smartly interprets Letts’ blistering look at how those in power will ignore revisionist history to distort the accuracy for political agendas. And that’s chilling to think about how history is written and recorded.

In his contemporary civics discourse, Letts focuses on a fictional town called Big Cherry. At first, we witness funny coffee-break chatter before eight elected members of the city council comprise a quorum, and along with the mayor and clerk, have a closed-door session – but wait, one guy is missing, and the reason isn’t very clear.

Oh, Letts’ cunning. The minutiae have a motive – he’s carefully chosen every topic, every chuckle. Letts has smoothly built the action to reveal how people in authority overlook principles for their own greed and ambition.

The personalities are distinct. John Reidy is sly Mr. Breeding, your typical gladhander who measures people by their golf game. Will Shaw is the eldest statesman Mr. Oldfield, a cranky sort who likes things the way they were. Patrick Canute is harder-to-read Mr. Hanratty, who appears to be thoughtful and committed.

John Reidy, Jan Niehoff and Lavonne Byers in skit re-enactment of town’s founders. Stray Dog photo.

As Mr. Blake, Tawaine Noah is glib and fired up, pushing his pet project, “Lincoln Smackdown,” a cage match. Has he been drinking? Jan Niehoff is ditzy Ms. Matz, who is scattered and blurts out that she’s heavily medicated. Lavonne Byers is Ms. Innes, whose inflated sense of self-importance means she tends to make things all about her. Grandstanding is her favorite way to address her peers.

Mr. Assalone is one of Mayor Superba’s cronies who has little patience for transparency. As “that guy,” his portrayal measured, Jon Hey is smarmy and curt, attitude and aggression festering as the meeting progresses.

Gerry Love deftly plays the iron-fisted mayor as jovial enough but he’s manipulative, controlling and entitled, as his good old boy façade collapses into self-righteous excuses.

The city clerk, Ms. Johnson, savvily played by Rachel Hanks, is machine-like in efficiency, and Hanks has affected an annoying sing-songy voice to appear like an insufferable goody-two-shoes honor roll student you knew in school.

The guy who gets under all their skin is Mr. Peel, the earnest newcomer. Always impressive Nick Freed skillfully portrays the newly elected council member who wants to make a difference. He asks a lot of questions, harmless enough, but his curiosity is unwelcome.

Tawaine Noah, Nick Freed.

Mr. Peel missed the last meeting because his mother died. Where is Mr. Carp? This appears shrouded in secrecy. In a clever flashback, Stephen Peirick shows up as the now absent council member who dared to challenge his colleagues.

As preparations are underway for the annual Founders’ Day, a horrified Carp is compelled to share his findings. Delivered urgently and passionately, Carp has discovered something rotten they don’t want to hear.

Even the reason behind the town’s name is a lie. What is taught in classrooms and presented in pageants with great fanfare is not the reality Carp has uncovered. There’s a danger to the truth, and Peirick implores them to listen.

Peel, a dentist who is not from Big Cherry but moved there with his young family, is not familiar with the town’s founding father story. All he wants is to see the minutes from the meeting he missed. But as Peel becomes aware of why Carp retreated, a growing apprehension of being an outlier comes sharper into focus, and Freed’s work here adroitly exposes malfeasance.

Understanding the play’s complexities, director Justin Been finessed Letts’ nuances in a terrific push-pull with all the characters. As the power dynamics shifted, he carefully modulated the temperature in the room as the actors serve and volley, mostly seated, but occasionally as they move around the dais.

Along with Tyler Duenow’s effective lighting design, Been’s sound design signals a storm outside on this November evening. His scenic design captures a nondescript place like dozens of meeting spaces around the country, where public participation shapes laws.

Other creatives contributing to the production include Kevin Corpuz’ choreography, Colleen Michelson’s costume design and Lizi Watt as cultural consultant.

Letts, who was a finalist for the Pulitzer Prize for Drama in 2018 for this pitch-black show, exposes ugly truths and how self-preservation and complacency factors into moral dilemmas.

Letts grew up in Oklahoma and won a Pulitzer Prize and Tony Awards for his masterwork, “August: Osage County” in 2007. An insightful writer about dysfunctional human experience, he’s always thought-provoking, sometimes unsettling, with a penchant for the absurd.

Patrick Canute and Nick Freed. Stray Dog photo.

In “The Minutes,” he expertly built tension as the comfort level evaporated. At its core, the complicit council’s smugness threatened to suffocate common sense and decency in favor of expediency.

The one quibble is that while Letts engaged with a conventional narrative structure, he abandoned that for a surreal ending that seemed at odds with the tone of what’s gone on exploring imagery vs. substance, alternative facts vs. reason.

While he enjoys keeping people on edge, it appeared to be an extreme turn after already zig-zaggy storytelling. Still, an admirable work performed vividly with deliberate direction.

“The Minutes” is a potent, politically charged American allegory for the ages, relevant then and now. It may be a cliché that the smallest towns hide the biggest secrets, but exposing hypocrisy is always welcome.

Lavonne Byers, Will Shaw. Stray Dog photo.

Stray Dog Theatre presents “The Minutes” Oct. 2 – 18 at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, Mo 63104. Performances are at 8 p.m. on Thursdays through Saturdays, with additional performances at 2 p.m. Sundays on Oct. 5 and Oct. 12. The play is 90 minutes without an intermission.

The cast of “The Minutes” at Stray Dog Theatre.

All photos by Stray Dog Theatre.

Feel the Joy of Making Music in Stages St. Louis’ Affectionate ‘Beautiful: The Carole King Musical’

Feel the Joy of Making Music in Stages St. Louis’ Affectionate ‘Beautiful: The Carole King Musical’

By Lynn Venhaus

How legendary singer-songwriter Carole King found her voice is chronicled in the crowd-pleasing “Beautiful: The Carole King Musical,” a remarkable life story that hits all the right notes in an exuberant debut at Stages St. Louis.

The smartly constructed show is the soundtrack of a generation, and King’s influential journey parallels the evolution of women in the 1960s and 1970s.

Bursting with catchy pop songs, King’s fascinating rise to stardom is as much about the beginnings of rock ‘n roll – all those tunes that had a good beat and we could dance to them – as well as the transformative power of music.

Entrancing in the title role, Brianna Kothari Barnes believably transforms from an insecure, talented teen into a strong independent woman, making Carole easy to love and empathize with through every change and heartbreak.

The charming, affable Barnes was matched in zest by the other principals and ebullient ensemble. Nobody misses a beat.

“It’s Too Late” turning point. Photo by Phillip Hamer.

Carole grew up in Brooklyn and then fought her way into the record business as a teenager. She begins as part of the pop hit machine at the Brill Building, located at Broadway and 49th St. in New York City.

Hired by producer Don Kirshner (a droll Jeff Cummings), she meets her first husband Gerry Goffin (Sean McGee) at Queens College, and they make beautiful music together – he writes the lyrics, and she composes the melodies, from 1959 to 1969. Soon, the whole world would sing their songs.

The hits keep coming when they start a friendly rivalry with the songwriting duo Barry Mann (David Socolar) and Cynthia Weil (Kailey Boyle) and that not only enlivens the script but ups the game. The foursome’s good-natured competitiveness produced standards for the girl groups and teen idols that defined the rock era.

(Fun fact: The Brill building was home to Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, Neil Diamond, and Jeff Barry-Ellie Greenwich.)

The Drifters – Ian Coulter-Buford, Trey McCoy, Devin Price, Justin Reynolds. Photo by Phillip Hamer.

Douglas McGrath’s witty and warm book conveys the emotional connections that music makes throughout the show, in many different ways. The two pairs have an effortless interaction – until the dramatic action gets tense because the biz overtakes Gerry’s psyche – but they all share an easy chemistry.

Veteran Amy Loui astutely captures Carole’s well-meaning mom Genie Klein, quick with the advice and the quips. As Kirshner, Cummings is both a caring friend and a sharp-as-a-tack boss with a terrific ear for what sells.

The ensemble is equally robust in singing the non-stop parade of peppy hits – Tatiana Bahoque, Maya Talia Bishop, Ian Coulter-Buford, Hugh Entrekin, Tiffany Frances, Jayna Glynn, Connor Kelly-Wright, Trey McCoy, McKay Marshall, Cara Palombo, Devin Price, Sydney Quildon, Alexandrea Reynolds, Justin Reynolds, Bryce Valle, and RJ Woessner.

As the chart-toppers The Drifters, The Shirelles, Little Eva and others, they perform their iconic songs. “Up on the Roof,” “One Fine Day,” “The Locomotion,” and “Will You Still Love Me Tomorrow” among them.

These songs clearly struck a chord. One of my favorite moments is when Hugh Entrekin and RJ Woessner, as The Righteous Brothers, deliver a soulful “You’ve Lost That Loving Feeling.”

David Socolar and Kaley Boyle as Barry Man and Cynthia Weil. Photo by Phillip Hamer.

So many music memories abound — Carole’s emergence as a potent solo artist when she tries out ‘It’s Too Late” at the Bitter End signals a turning point.

Her landmark 1971 album, “Tapestry,” which sold over 25 million copies, won Grammys for Best Record, Song and Album of the Year. It is still one of the bestselling albums of all-time, and the longest Billboard run by a female artist.

My generation knows every single word — still (My 1972 high school yearbook was titled “Tapestry”).

For us Boomers, this show is a true lovefest, a sentimental flashback. But other generations can enjoy it as well – as a blast from the past pop music history lesson and as a portrait of a resilient woman who finally believed in herself.

In a male-dominated business, her integrity and kindness stood out, and she not only survived but thrived in changing times.

Photo by Phillip Hamer.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design.

(The gifted and troubled Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole each had three other spouses in their lives.)

Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019. The Muny produced it as one of four premieres for its 105th season in 2023. This production is the fifth time for me, since Broadway in 2014, and I believe it’s on par with that show – for its intimacy and its heartfelt desire to tell this fascinating story.

Jennifer Werner, who directed and choreographed the musical, brings out the fun and the joy in the music-making. For lack of a better word, she made the production ‘sing’ – and the scenes flow into each other smoothly. She made us feel what the times were like.

So Far Away…Carole at Carnegie Hall. Photo by Phillip Hamer.

 Music Director David Nehls conducted with gusto, and to play 29 songs from the great American songbook with aplomb was a remarkable feat for the musicians. Besides Nehls on keyboard, so was Mark Maher, with Alerica Anderson on bass, Travis Mattison on guitar, Abby Steiling on violin (select performances Fiona Brickey), Lea Gerdes and JD Tolman on reeds, Tom Vincent on trombone, Andy Tichenor on trumpet, Jonathan Taylor on drums and percussion. Randon Lane was associate music director.

Collaborating to set the scene, Peter Barbieri’s grid-like scenic design superbly captures the different eras, as did costume designer Johanna Pan, with costume design coordinator Cat Lovejoy and wig and hair designer Paige Stewart. all precise in the vintage looks.

Sean M. Savoie’s lighting design added just the right ambiance for every scene, day or night, while sound designer Breanna Fais was pitch-perfect in execution.

“Beautiful: The Carole King Musical” is the best kind of jukebox musical – one that unites us, tells us a story rich in sincerity and humor, and has us leaving the theater with a smile on our faces and a song in our hearts.

We all feel the earth move at curtain call. Photo by Phillip Hamer.

Stages St. Louis presents “Beautiful: The Carole King Musical” from Sept. 19 to Oct. 19 at the Kirkwood Performing Arts Center’s Ross Family For more information, visit For tickets, visit www.stagesstllouis.org

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The outstanding ensemble of “Beautiful: The Carole King Musical” at Stages St. Louis. Photo by Phillip Hamer.