The Muny’s Lush, Lithe ‘South Pacific’ Is An Unforgettable Experience

The Muny’s Lush, Lithe ‘South Pacific’ Is An Unforgettable Experience

By Lynn Venhaus

Big personalities and bigger voices fill the Muny’s expansive stage for an enthralling excursion into an exotic place that remains a timeless touchstone of American musical theatre.

In their 11th staging of “South Pacific” – a stunning tour de force in every element, the Muny meets a significant cultural moment through the vision of director William Carlos Angulo. Using the gutsier 2008 revival script, the show expands on the heightened love, intolerance and war themes.

Angulo emphasizes the two intercultural romances where couples grappled with acceptance and overcoming prejudice some eight decades ago, which resonates today. Suave Emile de Becque is a French plantation owner with a mysterious past who falls for spunky nurse Nellie Forbush, from Little Rock, Ark.

The time is 1943 when the Allies fought the Axis – the coalition of Nazi Germany, fascist Italy and Imperial Japan in World War II. The unworldly Nellie is stationed on an unnamed island where the U.S. Navy and Marines are keeping tabs on the enemy.

Taylor Louderman (center) with members of the company of the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

These characters populated James Michener’s short stories in “Tales from the South Pacific,” which was adapted by Joshua Logan and Oscar Hammerstein for the wartime musical, with music by Richard Rodgers and lyrics by Hammerstein. It opened on April 7, 1949, when war memories were fresh in people’s minds.

The work won the Pulitzer Prize for Drama in 1950, the first (and only musical until “Hamilton” in 2016) and 10 Tony Awards. It ran for nearly five years on Broadway until 1954, a record album was a huge hit, and a popular movie adaptation was released in 1958. The show had never been revived on Broadway until Bartlett Sher’s acclaimed 2008 Lincoln Center run, which tackled the darker themes realistically.

After Marine officer Lt. Joseph Cable arrives for a dangerous espionage mission, he is smitten by Liat, a Tonkinese woman who lives on the mystical island Bali Ha’i. As the young lovers, Michael Canu and Michaela Marfori are mesmerizing in dance sequences that Angulo has incorporated for richer storytelling. Choreographer Karla Puno Garcia has added a tender tableau that sets this production apart, a ravishing debut.

Michaela Marfori and Michael Canu in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by MaryKatherine Patteson, The Muny

That glorious music! Music Director Roberto Sinha conducts 29 musicians for those iconic sweeping ballads and fun ensemble numbers, so very sumptuous, starting with that fabulous overture.. Sinha returns after marvelous maestro turns in Angulo’s “In the Heights” and “Dear Evan Hansen” and is currently the music director of Broadway’s “Hamilton.”

To experience Brazilian bass-baritone Paulo Szot recreate his Tony-winning role as Emile is wondrous and breathtaking live. This is the kind of powerful operatic performance that people will still be talking about for years.

They’ll single out his magnetic renditions of “Some Enchanting Evening” and “This Nearly Was Mine” with the kind of reverence that is spoken about Yul Brynner in “The King and I,” Robert Preston in “The Music Man,” and Zero Mostel in “Fiddler on the Roof.”

Sarah Fenske, St. Louis Magazine executive editor, declared it “The Summer of Szot” after seeing him at both Opera Theatre of St. Louis as charming Signor Naccarelli in “The Light in the Piazza” and now the Muny. I’m jumping on this bandwagon too. (He’s returning to Broadway to play Lance in “& Juliet” later this month, a role he originated.)

Paulo Szot in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

While a charismatic presence, he’s not the only reason to see this cherished classic. Taylor Louderman is enthusiastically welcomed back to where it all started for the Tony nominee as a teenager, combining a sunny disposition with her physicality and lovely lilting vocals as the spirited, unsophisticated Nellie. Showing genuine emotional depth, she brings out the turmoil that Nellie faces because of ingrained attitudes that affect her relationship with Emile.

Now playing a very grown-up role, she’s the epitome of exuberance in “A Cockeyed Optimist,” “I’m Gonna Wash That Man Right Outa My Hair,” “I’m In Love with a Wonderful Guy,” and “Honey Bun.” Together, Louderman and Szot have a sweet chemistry., and their “Twin Soliloquys” is silky smooth.

Not only can Canu dance ballet, but his strong tenor soars in “Younger Than Springtime” and “My Girl Back Home.” Being brought up in Philadelphia society, when he’s disgusted by his own ingrained bigotry, he erupts into the pivotal “You’ve Got to Be Carefully Taught.”

Paulo Szot and Michael Canu in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

This decades-old social commentary remains impactful today, which sets “South Pacific” apart from other golden-age chestnuts. When she meets Emile’s Polynesian children, Louderman must say “colored,” which has been restored in the script. The understanding comes later. It’s a scrupulously constructed show that wants to say something.

The rest of the ensemble is flawless, with Joan Almedilla a knockout as Bloody Mary, avoiding making her a caricature, and transporting us in “Bali Ha’i.” After playing a conniving prince in “Frozen” last year, Bobby Conte returns as an animated Luther Billis, the lovable schemer who provides much needed comic relief.

It’s a pleasure to see three St. Louisans make their mark on the Muny stage, with veteran Michael James Reed as Captain George Brackett, Jeff Cummings in his debut as Commander William Harbison, and former Muny Kid Robert Crenshaw in his debut as Stewpot. Crenshaw, who lit up stages on national tours of “Ain’t Too Proud” and “The Wiz,” is fun to watch as the goofy Seabee.

Jeff Cummings (left) and Michael James Reed in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by MaryKatherine Patteson, The Muny

The lavish atmosphere, in contrast to the gritty war mission, is beautifully rendered in Arnel Sancianco’s lush scenic design, with the tropical touches carried through in John Lasiter’s sun-drenched lighting design and Yee Eun Nam’s video designs of breezy foliage and ocean waves. Josh Hummel crafted the sound design.

Costume designer Raquel Adorno’s lovely flowing evening gowns set an enchanting mood, with a gorgeous palette of seafoam greens and blues as well as flowery prints. The elegant party clothes contrast with the military attire of the sailors and nurses. Ashley Rae Callahan was the wig designer.

The robust singers and dancers have fun with “Bloody Mary,” “There Is Nothin’ Like a Dame,” and the Thanksgiving Follies. As Emil’s children Ngana and Jerome, Grace Moore and Josiah Paik are delightful in “Dites-Moi.”

Bobby Conte (center) and members of the company of the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

The cast includes Julia Aguinaldo, Tre’ Booker, Jessica Carmona, Chloe Chamberlin, Aaron Patrick Craven, Arielle Ploy Dettmer, Alex Benetiz Evans, Rachel Fairbanks, Hannah Florence, Garrick Goce Macatangay, Jake Mendes, Caylie Rose Newcom, Julian Ramos, John Ray Jr., Hayden Rivas, David Rowen, Connor Schwantes, Gordon Semeatu, Francisco Thurston, and Nicholas A. Wilkinson.

The Muny’s “South Pacific” is a snapshot of how we once were, with hope for the future.  It’s a grand glimpse of the best of times, the worst of times, and how people connect dramatically on the world arena. This exceptional cast and crew of artisans have created an unforgettable night of theater that deeply resonates and carries us away in song.

“The Muny” presents “South Pacific” on the outdoor stage from July 6 – 12. Visit muny.org for more information on The Muny’s 108th season. 

From left: Grace Moore, Taylor Louderman and Josiah Paik in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

Prism Theatre Co. ‘Progress’ Royally Entertains with a Cozy Inside Look

Prism Theatre Co. ‘Progress’ Royally Entertains with a Cozy Inside Look

By Lynn Venhaus

With a modern sense and sensibility, local playwright John Wolbers created a warm, welcoming and wild woman’s world of the 16th century in the private chambers of Queen Elizabeth I.

In Prism Theatre Company’s world premiere of the comedy-drama “Progress,” this is an uninhibited Bess – presented informally and not on official duty, although she prepares to meet dignitaries, ambassadors and advisors.

In discussions with his life partner Liz in 2020, he discovered an aspect of Bess’s untold story he needed to tell – that she had a savvy squad of advisors uplifting her so that her regal image would be impressive and dignified every day.

With an uncanny ability to write multi-dimensional roles for women, Wolbers has peeled back the curtain, creating a chummy workplace environment that feels lived-in and nurturing. Straight talk is how conversations are played – even if it would be TMI or NSFW in today’s parlance.

Featuring an all-star cast, these six crafty servants surround the queen in her inner sanctum. They manage her daily routine – dressing her, checking personal care, taking care of correspondence, schedule, budgets, sweet snacks and liquid refreshments.

Local treasure Michelle Hand assuredly plays the swearing sweet-and-sour “Virgin Queen” whose 45-year reign from 1558 to 1603 was viewed favorably as “Progress” and called a “Golden Age” because it brought stability, a cultural Renaissance and the rise of England as a world power.

Prone to emotional outbursts, Bess flies into a rage but then switches to warm and witty. Hand conveys the royal’s intellect, charm, and energy – and dishes dirt with glee. She’s also pragmatic when dealing with world leaders, not making hasty decisions.

KODAK Digital Still Camera

The play begins on Christmas Day in 1562, in London, at the Palace of Whitehall. Sarah Lantsberger excels as an earnest and eager newcomer, Mary, who is nervously introduced to the key ladies.

These colorful characters, all properly prepped and styled by virtuoso costume designer Liz Henning, include Nicole Angeli as right-hand Blanche, a rather stern taskmaster who is also a mother hen. Rachel Tibbetts is the pregnant Dorothy who prides herself on a good job.

Carly Uding is Sidney, who has a complex relationship with her majesty because she is the sister of childhood friend and suitor Robert Dudley.

Margeau Steinau is spicy as Kat, a crusty and blunt attendant whose husband is also on staff. She knows what’s what and who’s who and freely shares locker room talk.

The women are also given other duties to carry out and keep themselves busy when they’re not fussing and fretting. The queen delivers news of an impending bubonic plague in London, and in the second act, the women are relocated to Windsor Castle in late summer 1863, to evade the spreading infection.

They’re hot, tired, cranky and restless. Tempers flare and then cool down. The plague has everyone on high alert, and they all must learn to trust – and soothe each other.

The experienced ensemble is adept at the verbal jousting the dialogue demands, and as smart, intuitive actors, they shade their characters with personality. Wolbers laid out conflicts in those challenging times, and the women rose to their best selves when they’re with each other.

In Act II, there is an amusing dream sequence where Bess is visited by past and future queens – Steinau is Queen Elizabeth II, Lantsberger is Lady Jane Grey, Uding is Queen Boudica, Tibbetts is Queen Anne and Angeli is Queen Victoria. They were all in that elite birthright club and know some things.

The final scene jumps ahead 25 years to Christmas 1589, in London’s Richmond Palace. The queen defeated the Spanish Armada a year earlier and is more comfortable ruling. Hand demonstrates Bess’s growth, for she has marched through the fire, with the help of her loyal ladies – and they’ve changed too.

Director Trish Brown has trusted these talented performers to play well with others in a sister showcase, designed by women artisans, who convinced us of the period trappings and their predicaments. Zayana Brown is the ensemble swing, if needed.

Katherine Stepanek, scenic and lighting designer, immersed us in a cozy period piece, intimately illuminated, with aid from assistant lighting director Brianna Shipley. Leo Young was the technical director, Delaney Plank production intern, and stage manager Joy Addler (and co-producer), along with assistant stage manager Avery Harrison.

Sound designer Bryn McLaughlin also composed nicely textured music, including a lively folk song that the women often broke into, and fight choreographer Riley Capp designed moves for when things weren’t so collegial. Jenni Ryan served as dramaturg and assistant director.

This community breathed life into an engaging piece of very funny, thoughtfully executed theater that showed us how strong women can be when difficulties must be overcome, a timely message no matter from what century.

Prism Theatre Company presents “Progress” July 3-5 and July 9-12 at the Kranzberg Black Box Thearre, 501 N. Grand, St. Louis, Mo. For more information, visit www.prismtheatrecompany.org

This production contains adult language and discussion of adult content.

KODAK Digital Still Camera Nicole Angeli, Sarah Lantsberger, Liz Henning, Michelle Hand, Rachel Tibbetts, Margeau Steinau, Carly Uding, and John Wolbers.

Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

By Lynn Venhaus

Albion Theatre’s masterful interpretation of Morgan Lloyd Malcolm’s “The Wasp,” a contemporary twisty and twisted psychological thriller, leaves the gasping audience deeply unsettled and finally able to breathe after a dramatic 90-minute rollercoaster.

Because of its many layers of secrets, lies and manipulation, Robert Ashton has directed this dark two-hander by carefully building suspense and never allowing the actors to get ahead of the material. The element of surprise is always present as Heather (Ricki Franklin) and Carla (Macia Noorman) awkwardly engage in three tense-filled scenes.

Shades of high-stakes Hitchcock abound, as conversations include tea and revelations between the two former classmates, 20 years after they’ve seen each other. At first, one assumes this uneasy encounter is because there has been no contact during these ‘grown-up’ years, and the obvious class distinctions.

But it goes so much deeper than an affluent Heather approaching blue-collar Carla, pregnant with her fifth child, with a shocking request. Malcolm’s intense and intimate 2015 play becomes an exploration of female friendships and childhood trauma.

Malcolm cleverly weaves female-centric issues with occasional humor, easily establishing characters’ personalities and motivations – but maybe our perceptions aren’t as clear-cut. Hmmm… the plot thickens.

As disturbing facts are disclosed, and a proposition gets more complicated, the chemistry between the two characters is crucial. Franklin and Noorman, both making their Albion debuts, haven’t worked together before, but that isn’t apparent in their assured portrayals and compelling interactions.

They both are riveting, expertly showing vulnerability and strength, hurt and fear, rage and worry, cruelty and mercy. At times, you can see their old schoolgirl selves re-appear in their adult shadows. With a hint of where this is going, an overwhelming feeling of dread escalates — and some surprises are still ahead.

Macia Noorman as Carla and Ricki Franklin as Heather in “The Wasp.” Photo by John Lamb.

Franklin’s refined Heather seems to have the upper hand, and appearances indicate she has a thriving career and ‘married well,’ but divulges that she is miserable in the union, ticking off her husband’s alleged infidelities and despicable qualities. Franklin, two-time St. Louis Theater Circle Award winner as supporting actress in Shakespeare comedies, has an opportunity to show her dramatic chops here.

Noorman’s streetwise Carla, obviously wary but much more complex than a stereotype, has had a rougher life, struggling financially but seemingly happy as a mother, if not as a wife. Heather is childless. Noorman, a St. Louis Theater Circle Award nominee in 2019, shows an impressive range in this challenging role.

Although narrative twists have been exposed throughout the years (the play’s been around for 11 years, but this is the St. Louis premiere), I hesitate to mention too many details in case someone unfamiliar with this show would ever see it. Let’s just say your allegiance may shift as more comes to light, as we attempt to determine who you can trust or believe. Who are you feeling sorry for as grisly details emerge?

Were they once friends, enemies or frenemies? Can you ever forgive childhood slights and mean-girl behavior, and what about unreliable memories?

The play gives off the same cunning vibes as “Sleuth,” Anthony Shaffer’s brilliant 1970 cat-and-mouse mystery that featured class warfare and toxic masculinity, but Malcolm’s modern work is distinctively feminine.

Ashton astutely sets each exchange through scenic designer Rob Lippert’s well-appointed set in the intimate black box theatre. From a small coffee shop to Heather’s posh home, Lippert’s keen eye has created a vivid world, complete with a well-manicured backyard glimpsed through a glass door.

Lighting designer Kara Grimm-Denholm added to the classy atmosphere, and Tracy Newcomb’s costume designs effectively established the socio-economic status of each woman.

Ricki Franklin and Macia Noorman in a twisted cat-and-mouse game. Photo by John Lamb.

A sly reference to the titular stinger is included in Heather’s husband Simon’s framed collection of insect prints. The description is creepy, and when told, you may have an inkling of what’s ahead, but really, the script is so well-crafted and the actresses so intuitive, they keep us guessing. As both dig into a past that is far messier than first hinted at, it’s gripping and perturbing – get ready for stomach knots.

As is customary in Albion productions, the dialect is crisp and neither Franklin’s educated Brit nor Noorman’s cockney accents ever drop. Thanks to sound designer Leonard Marshell, Ashton’s tutelage and the actors’ efforts, understanding is not a problem.

Noteworthy contributions include Mo Moellering as fight choreographer, C. J. Langdon as assistant director, Rachel Klinck as board operator, Susan Wylie as stage manager and Denise Mandle as assistant stage manager, for the scene transitions are smooth and the anxious mood is never broken.

Perhaps some of the situations are contrived, but the performers are totally committed to making these characters believable and are convincing as they dredge up the distressing backstories of childhood bullying and harsh conditions.

The relationship, never solid, eventually fractures in unexpected ways. Do they go there? The performers dug deep, re-opening their characters’ wounds and showing their emotional depth in intricate, disquieting monologues.

Franklin and Noorman’s honest dynamic is key to immersing oneself in this chilling experience. Do childhood scars ever heal, and what does that say about the cyclical nature of violence? Oh, those blurred lines of life are the reason “The Wasp” has such staying power – and you’ll remember the sting.

Albion Theatre presented “The Wasp” from June 12 to 28 at the Kranzberg Black Box Theatre. This production was reviewed on June 28. The play has mature themes and adult language and runs 90 minutes without an intermission. For more information, visit www.albiontheatre.org

Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

By Lynn Venhaus

It’s hard to say who had a better time at “Shrek the Musical” – the parents or the children, often green-clad and gleefully giggling at the daffy antics. The Muny’s annual family favorite ‘Kids Show’ delighted across generations with its irreverent humor, impressive pop vocals, and infectious energy in a funky, funny, fluffy un-Disneyized fairy tale musical.

It’s not your classic prince-rescues-princess tradition, and that’s the fun of it, what sets this storytelling apart. In the comical land of Far, Far Away, the unlikely hero is a smelly, grumpy ogre, accompanied by his chatty sidekick Donkey, his feisty true-love Princess Fiona and his merry band of misfits.

The ensemble opens with the catchy “Big Bright Beautiful World” and you’re off on an unusual adventure. Lord Farquaad demands Shrek rescue Princess Fiona from a dragon-protected tower in exchange for the deed to his swamp, for the despicable despot wants to marry her. Once upon a time wasn’t ever this raucous.

First released as an animated film in 2001, “Shrek” fractured happily-ever-after fairy tales in this DreamWorks Animation smash hit that won the first-ever Oscar for Best Animated Feature Film. Breaking industry rules and becoming a cultural phenomenon, the film adaptation of William Steig’s slight 1990 children’s picture book “Shrek!” has earned $500 million globally. It has four sequels (a fifth is due out next year), two Puss ‘n Boots spin-offs, and just announced is an Eddie Murphy-led “Donkey” spinoff for 2028.

Nik Walker (left) and Marcus M. Martin in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Of course, Broadway beckoned. “Shrek the Musical” took off in 2008, with Tony-nominated book and lyrics by Pulitzer Prize winner David Lindsay-Abaire, whose wicked wit is apparent in this adaptation, adding more backstory and mischief. With his absurdist, blunt humor paired with Jeanine Tesori’s clever and upbeat songs, they pulled apart musical theater tropes.

Lindsay-Abaire has incorporated elements of the movie sequels, too – “Shrek 2” and “Shrek Forever After.” After the Broadway run of 441 performances, they have since revised the musical several times.

With a large fun-loving ensemble, the Muny presents a jolly good road trip to the swamp, Duloc, and beyond. In its second staging here, the first since 2013, the casting is impeccable, their performances vigorous and the whimsical world-building is dazzling by director John Tartaglia and his unconventional team of dreamers and doers, celebrating the ‘different.’

The Tony-nominated and Emmy-winning Tartaglia, who directed “Shrek” thirteen years ago – and originated the role of Pinocchio on Broadway, has infused this playful version with bigger and bolder choices but keeping his trademark heart at the center. It’s the 10th show he’s directed, and he’s very comfortable incorporating puppetry into all his visionary productions.

Tyler Joseph Ellis in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

After all, he was promoted several weeks ago to be the vice president of development and production at The Jim Henson Company, focusing on television and live theatrical projects. He serves as the primary creative supervisor for the Fraggle Rock brand (and started his career at “Sesame Street.”)

The magnificent giant pink fire-breathing Dragon is a stunning addition.  Designed by James W. Wojtal Jr. and his team, with Eric Wright of Puppet Kitchen the puppet director, five puppeteers create magic on stage. Jim Henson’s Creature Shop designed and built Gingy, the dancing rats and the exploding bird. 

Maintaining the Disney departure feel, Tartaglia followed through by envisioning a grungier, not gleaming, kingdom, but also favored a lively, captivating 90s glam-rock concert look, with a nod to punk rock, too.

It reminded me of late ‘60s and early ‘70s television variety shows like “The Sonny and Cher Show” and “The Smothers Brothers Comedy Hour” with sparkly high-energy performers and cheeky humor.

Marcus M. Martin and Salome Smith in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

The well-integrated designs add to the showbizzy and make-believe worlds, including musical Easter eggs that subvert the usual tropes (Can you spot “Les Miserables,” “A Chorus Line,” “Gypsy,” “The Lion King,” “Wicked” and “Chicago”?). Nothing’s going to bring him down, Lord Farquaad sings!

Adam Koch’s vivid set design incorporated a new-to-the-Muny technique, using a screen to great effect, especially when Donkey and Fiona have a heart-to-heart in a ‘cave.’ His grid-and-forest design took us immediately into an interesting new world.

The exceptional trio of Nik Walker, Marcus M. Martin and Kara Lindsay headline as Shrek, Donkey and Fiona, and corralled us into their corner from their entrance, with deeply expressive voices, crisp comic timing and tangible chemistry.

Delightful Troy Iwata once again raises the bar on comical scene-stealing performances. Previously the guffaw-inducing housekeeper Jacob in last year’s “La Cage Aux Folles” and adorably amusing as beat-to-a-different drummer Ogie in “Waitress,” he makes the most of tyrannical narcissist Lord Farquaad and his shortcomings.

Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

His sheer physicality is mind-boggling, cavorting by wearing a special costume with tiny legs attached and primarily walking on his knees. His “What’s Up, Duloc!” and “Ballad of Farquaad” are hilarious, as are his farcical movements.

Add a zany Aymee Garcia as outspoken Gingerbread Man, aka Gingy, and a spry Tyler Joseph Ellis, who hits the right falsetto notes as rabble-rouser Pinocchio, to the ‘social outcast’ mix. Mighty Salome Smith is a showstopper as the booming voice of the Dragon, belting out “Forever” like a Dreamgirl.

All the principals, except for Iwata, are making their Muny debut. The peppy ensemble, a mix of vets and newbies, is very strong – and busy. They’re up to the rigorous routines that dynamic choreographer Patrick O’Neill, associate choreographer Bryan Thomas Hunt and assistant choreographer Kelly Sheehan challenge them with, and it shows in the major dance numbers: “Story of My Life,” my favorite “Freak Flag” with its winking at “Les Miz,” “What’s Up, Duloc!” and the glorious tap routine “Morning Person.”

Kara Lindsay in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

Martin has fun leading the spirited divas Three Blind Mice (Monique Churchill, Kylie Edwards and Abby Linderman) in the R&B “Make a Move.” Inserting “I’m A Believer” from the movie for the wedding reception dance-party finale is as jubilant a curtain call as can be. Another catchy visual by inventive video designer Kylee Loera includes photo booth snapshots.

In his 18th show as music director/conductor, master maestro Ben Whiteley leads 24 musicians, and keeps the joyous tempo on track, with fluid orchestrations throughout.

For her 14th show, costume designer Robin L. McGee, a Highland, Ill., native, created an eye-popping assortment of outfits, based on original costume design by Tim Hatley. Just look at the close-up detail in production photos, making the fairy tale characters recognizable, but also able to easily move.

Jeff Knaggs’ wig designs completed the look, and those who helped with padding and prosthetics deserve shout-outs too. Lighting designer Jason Lyons and sound designer Joshua Hummel worked in tandem to capture the atmosphere, and the human noises had to be perfectly timed, as did the swamp sounds.

Salome Smith (above), Marcus M. Martin and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Now, there is frequent use of potty humor, so you are warned – particularly fart jokes. “I Think I Got You Beat” is an outrageously silly flatulence and burping contest between Shrek and Fiona.

Skilled at physical comedy, the ensemble also included Mathew Blasio, DeShawn Bowens, Matthew Davies, Ryan Fitzgerald, Matt Gibson, Jack Gimpel, Shelby Griswold, Michael Harp, Gwen Hollander, Sean McManus, Shelby Ringdahl, Trevor Michael Schmidt, Kelly Sheehan, Caitlin Stebelman and Jonah D. Winston.

They appeared as such familiar childhood characters in forests and fauna – Pied Piper, Fairy Godmother, Peter Pan, Wicked Witch, Tweedledum, Mama Bear, Ugly Duckling, Big Bad Wolf and others.

The company was joined by the adorably costumed Muny Kids and Teens youth ensembles. Fine young performers Solomon Rosenthal and Lake Schultz play Young Shrek and Young Fiona, while Amelie Lock was Teen Fiona. The trio of Fionas combine for the poignant “I Know It’s Today,” yearning for their escape.

Amelie Lock, Kara Lindsey, Lake Schultz. Photo by_Phillip Hamer

In such duets as “Don’t Let Me Go” and “Travel Song,” Walker and Martin show their mapcap skills, and when paired with Fiona in “This Is How a Dream Comes True” and the anthem “Who I’d Be,” it calls for heightened emotions.

The most important takeaway is the show’s message about self-acceptance. Some songs focus on inner beauty, self-worth and being comfortable in your own skin. Shrek’s a-ha moments include “When Worlds Fail,” “Build a Wall” and “Beautiful Ain’t Always Pretty.”

While the songs are melodious and superbly delivered, some of the numbers seem repetitive, stretching out the inevitable, and these ballads, while heartfelt and moving, created some restlessness from the little ones around me. The musical’s structure has some pacing issues, but this cast kept it as breezy as possible.(Special mention to stage manager Larry Smiglewski). It is a 2.5-hour experience with intermission.

In “Shrek the Musical,” we can still BELIEVE in the comforting magic of fairy tales, and that everyone is worthy of love and friendship. With “biggish” ideas, the Muny has crafted a refreshing show that’s suitable for all – on two different levels. For adults, the parodies and un-cutesy theme land while the kids can revel in the slapstick and goofy characters.

Aymee Garcia (Gingy puppeteer), Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

The Muny presents “Shrek the Musical” from June 25 through July 2 nightly at 8:15 p.m. at its outdoor theatre in Forest Park. For more information, visit www.muny.org

THe company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Dynamic Quartet Razor-Sharp in New Jewish Theatre’s ‘God of Carnage’

Dynamic Quartet Razor-Sharp in New Jewish Theatre’s ‘God of Carnage’

By Lynn Venhaus

In a modern satire on parenting, social graces and the notion that polite society is merely a thin veneer, “God of Carnage” becomes a living room throwdown in the hands of a murderer’s row of talent and razor-sharp execution at New Jewish Theatre.

Think of it as a rambunctious comedy of manners – without the manners. This relationship play, where two upper-middle-class couples meet after a playground fight between their 11-year-old sons, will get really ugly – and hilarious.

All pros, the dynamic quartet offer a master class of limber verbal and physical exchanges. Alan and Annette Raleigh (Nick Freedman, Bridgette Bassa), contrite, arrive one afternoon at the Novaks (Joel Moses, Christina Rios), uneasy. Henry Raleigh hit Benjamin Novak with a stick, knocking two teeth out.

For the next 90 minutes, the civilized discussion unravels from courteous into chaos, with shrewd characterizations that expose these upwardly mobile sophisticates’ immaturity, hypocrisy and true nature.

Christina Rios and Joel Moses are Veronica and Michael Novak. Photo by Jon Gitchoff

Playwright Yasmina Reza earned her second Tony Award for Best Play for its Broadway debut, translated from the French by Christopher Hampton, in 2009, following her critically acclaimed “Art” in 1998. The all-star ensemble was nominated: Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden, who won best supporting actress.

This is the first time New Jewish Theatre is tackling one of the French Jewish playwright’s celebrated shows. And this cast of local all-stars are paired well, bouncing off each other with a natural rhythm, keeping the witty dialogue sharp and the action fast paced.

These ill-will games are fluidly directed by Gad Guterman, whose clear-cut vision escalates the tension as pretense crumbles and the gloves come off in the Brooklyn home.

Rob Lippert’s well-appointed set gives the Fab Four adequate room to nimbly move, and each has their stand-out meltdowns. Alan is a corporate lawyer, Annette in wealth management, Michael a wholesaler and Veronica a writer.

Nick Freed and Bridgette Bassa are Alan and Annette Raleigh. Photo by Jon Gitchoff.

Even though superficial, the initially polite adults become openly hostile and judgmental as conflicts build. The awkwardness is palpable; the social niceties start falling away. They compliment Veronica on her clafouti, a French baked fruit dessert she made from scratch, talk about their careers and life in their affluent Cobble Hill neighborhood. Then, things take a turn.

The actors dig in as the grown-ups don’t take long to get primitive – misinterpreting phrases, defending meanings, and boldly stating opinions. Rum flows, marital issues surface and the tact disappears. Better judgment goes out the window.

Nick Freed deftly captures Alan’s smugness and self-importance as the preoccupied attorney, constantly distracted by taking calls about a problematic client in a high-profile case. His wife, Annette, is polished but frazzled, trying to diffuse misunderstandings at first. In this role, Bridgette Bassa boldly takes the driver’s seat after she gives up, exasperated, and lets loose.

As Veronica, Christina Rios portrays the sanctimonious control freak host. She writes pretentious books focused on social causes, and projects a superior attitude that contrasts with her husband Michael’s seemingly more easy-going nature. But ever so cleverly, she gets sassier and her moods swing farther.

The reserved bottle of rum comes out. Photo by Jon Gitchoff.

As the gruffer dad, Moses attempts to be agreeable but is hamster-shamed when he gets rid of his daughter’s beloved pet and becomes defensive right away. At first, he seems to choose his words more carefully, but then adroitly strips away any liberal pretense.

As they argue, Rios picks her battles, and her clashes with Moses rise on the DEFCON scale – so madcap and raucous. They both are such skilled performers in movement, as are Bassa and Freed, that the free-for-all is a master class in over-the-top antics. Special nod to fight choreographer John Wilson, for the staging is quite a workout.

The men, in a bro-bonding way, gang up on the women as alliance shifts, pointing out animalistic instincts. It is Alan who mentions his belief in the God of Carnage – “He has ruled, interruptedly, since the dawn of time.”

Getting metaphorical, Reza is taking aim at the primal and violent nature of humanity that we are born with, our tendency toward aggression and self-interest. Despite modern education and culture, when those artificial societal norms masks are torn off, the true instincts can surface.

The Novaks spitefully go at it. Photo by Jon Gitchoff.

Hence, the digression into childish behavior, appearing like playground bullies as attacks become personal, and a wild night ensues. Rather than just a battle royale, it offers smart food-for-thought: When our ideas are challenged, how do we react because in our everyday lives, we all deal with difficult people and situations.

The technical aspects marvelously enhance the engaging experience, with lighting design by Jayson Lawshee-Gress and sound design by Kareem Deanes that is beautifully timed, especially the frequent cell phones — Kudos for picking “The Imperial March (Darth Vader’s Theme)” for Michael’s mother’s ringtone!

Costume Designer Michele Friedman Siler has chosen the ideal socio-economic status wardrobe for each character, down to the accessories, and props supervisor Laura Skroska has selected a colorful assortment of hospitality items for eating and drinking. (I particularly liked Veronica’s Frida Kahlo socks).

Christina Rios and Bridgette Bassa share pleasantries. Photo by Jon Gitchoff.

Because of the cast and crew’s high-level of commitment, the explosive rollercoaster-like proceedings come across effortlessly on stage, when in reality it took an amusement park-sized dedication to get the tempo, timing and storytelling arranged so precisely.

This outstanding production of “God of Carnage” maintains momentum and relevancy — and is laugh-out-loud funny. (You may have heard me on Thursday, June 25).

New Jewish Theatre presents “God of Carnage” June 11 – 28, which runs at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146). Performances are on Thursdays, Saturdays, and Sundays. Showtimes and tickets are available by phone at 314.442.3283 or online at jccstl.com/njt

Bridgette Bassa gets feisty with Nick Freed. Photo by Jon Gitchoff.

Spunky, Punky Milly Alcock Ascends in DCU’s Edgier, Grittier ‘Supergirl’

Spunky, Punky Milly Alcock Ascends in DCU’s Edgier, Grittier ‘Supergirl’

By Lynn Venhaus

A messier, edgier alien superhero has arrived in “Supergirl,” with all its expected over-reliance on CGI visual effects and its anticipated female-forward power dynamic. What is surprising is Milly Alcock’s spunky, punky portrayal of the party girl from Krypton.

Alcock, who portrayed Princess Rhaenyra Targaryen in the first five episodes of HBO’s “House of The Dragon” prequel to “Game of Thrones” and as insecure sister Simone in Netflix’s limited series “Sirens,” brings considerable heart and vulnerability to Kara Zor-El’s backstory.

The origin story is in a flashback detailing  her solo grief-stricken journey to Earth. An only child, her parents (Emily Beecham, David Krumholtz) became terminally ill when they were sent to live in Argo City after Krypton’s demise. Her father is Zor-El, brother to Superman’s father Jor-El.

Alcock’s present-day Kara is angsty, sassy, and sarcastic, and needs to find a compelling reason to put the suit back on and do good for mankind. Instead, she  stumbles and mumbles through life only clad in a Blondie t-shirt and a rumpled trench coat until she is called upon to be heroic. Her self-destructive tendencies have masked her pain and she questions her purpose. 

Kara Zor-El lands on Earth to be welcomed by cousin Kal-El.

She must rise to her destiny when she reluctantly joins forces with Ruthye (an impressive Eve Ridley), whose family was slaughtered by the monstrous villain Krem of the Yellow Hills (Matthias Schoenaerts).

As the sole survivor, she seeks vengeance. Kara reluctantly takes her under her wing on an interstellar journey, where they planet-hop between red, yellow and green-designated planets.

Hot on their trail, Krem, devoid of any humanity, injures Krypto, Kara’s beloved rascally pet, with a poison dart. Supergirl has three days to find the antidote, so that ramps up her motivation. The scalawag bounty hunter Lobo (colorful Jason Momoa) becomes an unlikely ally.

.As a follow up to DCU’s “Superman” reboot last summer, this “Supergirl” presents a different, grittier spin on Clark Kent’s younger first cousin (eight years apart). Magnetic David Corenswet returns as the noble Man of Steel, and he’s a terrific addition to James Gunn’s new vision for the DCU.

Milly Alcock as Supergirl with her beloved pet Krypto.

The return of fan-favorite Krypto is another welcome sight. As the clock ticks, Ruthye becomes a wily companion, and anti-hero Lobo steals every scene he’s in as an “immortal” with glowing eyes and a big, bad, brassy demeanor.

The entertaining actor, best known as DC’s “Aquaman,” is now a go-to for extended cameos in action films in the same way Jack Black shows up in comedies to add his over-the-top sauce.

With his hulking physique, gravelly growling voice, and riding a tricked-out motorcycle, Momoa fits into this grimy aesthetic that resembles the chaotic “Mad Max: Fury Road” and the irreverent “Guardians of the Galaxy.” The film features a visually striking motley crew of space creatures that look like an even gnarlier collection of “Star Wars” cantina revelers.

This renegade-like adventure is capably directed by Craig Gillespie, who helmed such standout darkly comedic films as “I, Tonya,” “Cruella,” and “Dumb Money” in recent years, after his breakout indie “Lars and the Real Girl” that’s among his eclectic resume..

Waiting for a bus.

Based on Tom King’s 2021-22 comic book mini-series, “Supergirl: Woman of Tomorrow,” the screenplay was written by Ana Nogueira, who focused on emotional depth, cheeky wit, a found-family connection, and an underground vibe. Where the story is weakest is its villain, Krem.

Supergirl first showed up in a DC comic in May 1959, created by Otto Binder and artist Al Plastino for the story “The Supergirl from Krypton.” If you are unfamiliar with the source materials, no worries. The plot isn’t so dense that you can’t figure out what drives the super-powered Kryptonians to save the universe, one epic battle at a time.

St. Louis native Gunn, creator of Marvel’s vastly successful “Guardians of the Galaxy,” took over the reins of DC Studios as co-chair and co-CEO with Peter Safran in 2022, and he is the creative leadership for the film, TV and animation slate.

As writer-director of the 2025 “Superman,” Gunn restored the iconic American superhero to his altruistic roots and did considerable world-building. He also teased the new Supergirl coming this summer, when Kal-El was headed for the Fortress of Solitude, and she returned to fetch Krypto.

Supergirl (Milly Alcock) face to face with villain Krem (Matthias Schoenaerts).

Gunn is up next writing and directing “Superman: Man of Tomorrow,” which is set for release July 9, 2027, with Corenswet back and Nicholas Hoult reprising his role as arch-villain Lex Luthor.

Memorable villains are always key to how good a movie holds up, and Krem is bland. It’s not that Schoenaerts isn’t a good actor, because the Belgian has been noteworthy in acclaimed international films (“Bullhead,” “Rust and Bone”), as a thug in the vastly underrated “The Drop” and as a prisoner seeking redemption in “The Mustang.”

But written as a one-note demonic space pirate, he’s not interesting. His physique is imposing as a sadistic killing machine, but there is not much to work with here.

Jason Momoa as “Immortal” antihero Lobo.

The last “Supergirl” live adaptation feature was in 1984, as a spin-off of Christopher Reeve’s Superman movies, and bombed, with Helen Slater in the title role.

Three decades later, Supergirl re-appeared as a popular television series on the CW from 2015 to 2021, starring Melissa Benoist. Since then, the character appeared as an alternate-universe Kara in the crossover 2023 film “The Flash,” played by Sasha Calle.

While this “Supergirl” is not without flaws, it still is a promising start to the new direction, and has enough characters to care about, particularly the lovable scruffy floppy-eared, white furry mutt, and the resourceful and determined Ruthye. The female protagonists both deal with trauma in an identifiable way.

Milly Alcock as Kara Zor-El and Eve Ridley as Ruthye Marye Knoll.

“Supergirl” is a 2026 sci-fi action-adventure directed by Craig Gillespie and starring Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Corenswet, Jason Momoa, Emily Beecham and David Krumholtz. It’s runtime is 1 hour, 47 minutes, and is rated PG-13 for sequences of strong violence, action, language, and smoking. It opens in theatres June 26. Lynn’s Grade: B

‘The Death of Robin Hood’ Revises The Legend in a Dark and Dull Way

‘The Death of Robin Hood’ Revises The Legend in a Dark and Dull Way

By Lynn Venhaus
Dark, dour and dreary, “The Death of Robin Hood” is a revisionist take on the legendary folk hero without any merry men or noble derring-do – or much of a pulse.

After a chaotic life of crime and murder, a battle-scarred and weather-beaten Robin Hood (Hugh Jackman) is roaming the austere heaths of medieval England. The year is 1247, and he’s not seeking redemption nor reconciling his past — yet. He announces: “I’m tired.”

Writer-director Michael Sarnoski has adapted a 17th century ballad, “Robin Hood’s Death,” to bust the myth about the outlaw that the common man cheered for, “stealing from the rich and giving it to the poor.”

Presenting himself as “no hero,” Robin grapples with being a heartless bandit and not a good guy glorified in folklore. He doesn’t have an altruistic bone in his broken body, and he is irked about the romanticized version because he can’t live up to expectations nor does he want to try.

Along the way, he encounters people affected by his slicing and dicing: Arthur (Noah Jupe), a young man seeking revenge for his slain family; his longtime friend Little John (Bill Skarsgard), now a family man calling himself Edward, who wants Robin’s help in a vicious attack; and little Margaret (Faith Delaney), a traumatized orphan who latches on to him.

Grizzly and growling, Jackman’s sullen Robin is without aspirations. While enacting vengeance at Little John’s coaxing, Robin is gravely injured. He wakes up in the Priory of St. Clement, being nursed by Sister Brigid (Jodie Comer), an angel of mercy, calls himself Randolf.

Forget every screen incarnation, from silent swashbuckler Douglas Fairbanks in 1922 to Taron Egerton as a gritty Robin of Loxley in 2018, with Errol Flynn, Sean Connery, Kevin Costner, Russell Crowe, Cary Elwes, Disney animation and even Frank Sinatra as “Robbo” in a Rat Pack musical comedy in between.

While Tony Award winner and Oscar nominee Hugh Jackman has carried big-themed films before, playing an introspective elder confronting his ghosts is quite a departure from the superhero Wolverine and musical icons Jean Valjean, P.T. Barnum and Neil Diamond that he’s known for, although one can point to “Logan” for another tough-guy reflecting on his mortality.

Emmy and Tony Award winner Jodie Comer lends a quiet strength to Sister Brigid, a kind, caring woman who believes in the good, and devotes her life to the afflicted and orphans.

Sarnoski employs such a top shelf cast that you want to care about their characters, but drawn only as sketchy outlines, it’s difficult to be convinced of this slow story’s merit.

Heralded for his outstanding debut feature, “Pig” in 2021, Sarnoski followed with a fine studio blockbuster, “A Quiet Place: Day One,” in 2024. Now he is poised to be one of A24’s arthouse darlings.

In his grim re-imagining, Sarnoski focuses on moody misty landscapes, terse dialogue and shocking violence. His reinvention is in the same vein as David Lowery’s “The Green Knight” and Robert Eggers’ “The Northman.”

The austere elements are visually interesting– cinematographer Pat Scola and production designer David Lee captured the harsh Northern Ireland landscape, contrasting it with the safe space of the monastery. But Sarnoski’s philosophical approach is one-note, that somber ambience soaking this plodding adventure.

A distinctive element is the mournful score composed by Tony Lewis and folk singer Jim Ghedi that is haunting throughout the film’s 122 minutes.

Sarnoski has decided that backstories are not necessary, so there’s no evidence of a kinder, gentler swashbuckler hardened by his brutality. No mention of the Crusades or Sherwood Forest, or the cruel corrupt monarchy (Prince John and his henchman Sheriff of Nottingham and Sir Guy of Gisbourne) that spurred the Robin Hood saga in the Middle Ages.

Supporting players arrive, merely trying to survive the harsh conditions. This is mud, blood, slings and arrows – an eye for an eye.

At the monastery, one of the castoffs is a compassionate bandaged leper played by Murray Bartlett, Emmy winner as resort manager Armond in the first season of “White Lotus.” He dispenses hard-fought wisdom and seems to pierce Robin’s impenetrable demeanor, as does Sister Brigid and young Margaret.

The leper encourages Robin to let go of his violent past and become part of the sanctuary community. But is he too late for salvation? In theory, this moral dilemma sounds interesting, but its subdued execution makes this film tough to embrace. And the hushed, mumbling delivery of all characters, with dialects, makes understanding the exposition even harder.

Sadly, “The Death of Robin Hood” is more a desolate dirge than a profound philosophical statement.

“The Death of Robin Hood” is a 2026 action-drama written and directed by Michael Sarnoski and starring Hugh Jackman, Jodie Comer, Bill Skarsgard, Murray Bartlett, Noah Jupe and Faith Delaney. It is rated R for strong bloody violence and the runtime is 2 hours, 3 minutes. It opens in theatres June 19. Lynn’s Grade: C-

Wackiness Ensues in Stray Dog’s Broad Farce ‘3 Sheets to the Wind’

Wackiness Ensues in Stray Dog’s Broad Farce ‘3 Sheets to the Wind’

By Lynn Venhaus

They say write what you know, and Gary F. Bell and Robert L. White, former roommates in New York City, have done just that.

They have collaborated on an original broad farce, “3 Sheets to the Wind,” which is about throwing different personalities together in a cramped three-bedroom apartment in New York City.

What happens when three ex-lovers converge in the same space, where neighbors and an out-of-town theater troupe breeze in and out? Wackiness ensues. It’s a familiar plot device not unlike popular sitcoms “The Odd Couple,” “Three’s Company” and “Will & Grace.”

Bell, founder and artistic director of Stray Dog Theatre in 2003, has built a loyal following at the intimate Tower Grove Abbey, producing a season of comedies, dramas and musicals. He and White premiered another collaboration in 2015, an original musical “Spellbound! A Musical Fable.”

Joe Garner, Brady Stiff, Sarah Polizzi, Zack Huels and Jeffrey M. Wright. Stray Dog Theatre photo.

Long a fan of the camp style of playwright and drag queen legend Charles Busch, Bell has directed with great verve the wildly popular “Red Scare on Sunset,” “Psycho Beach Party” and “Vampire Lesbians of Sodom.”

Favoring that type of template, Bell and White blend melodrama with parodies of soap operas and Broadway musicals for this show, sprinkling witty pop culture references – especially clever theater ones – into the dialogue.

But what started out as an interesting premise dissolve into a messy story with too many over-the-top characters that have either too little to do or are entangled in nonsense, so they pull focus away from an already flimsy story.

Sadly, as good as these performers are on paper, the roles are a mixed bag of either over or under-written cartoonish characters that fail to sustain interest through two acts with an overlong runtime of 2 hours, 40 minutes with a 10-minute intermission.

The more may not be merrier in ‘3 Sheets to the Wind.” Stray Dog Theatre photo.

The 9-member cast, a hefty blend of remarkably talented local theater artists, some with St. Louis Theater Circle nominations and wins to their credit, are not having their finest hour, even though they appear to be giving each part their all as consummate professionals.

Improv master Joe Garner, as struggling writer Oliver Morton, and versatile Jeffrey M. Wright, as television therapist Aaron Addison, for lack of a better word, are playing the ‘straight’ guys in this oddball circus. They’re the only ones whose characters seem bland, their wild pajamas notwithstanding.

Aaron plans to move back in with Oliver, as platonic roommates, to help with Oliver’s dire financial straits. Wright, now a reality TV personality, tells Oliver that he and his partner are on the rocks.

Enter the goofy, very theatrical Danny Winslow, embodied by the nimble comic actor Mike Wells, who’s fast-talking spiel is a cross between Harold Hill in “The Music Man” and the con artists in “Dirty Rotten Scoundrels.”

Wright, Mike Wells, Garner. Stray Dog Theatre photo.

He arrives needing a place to stay, because he’s brought good news with him. Once a couple, the pair collaborated on a high-concept musical, which flopped, leaving Oliver in massive debt (and very angry). Lo and behold, Danny announces that a wealthy benefactor wants to remount the show in Guam and Yap, part of Micronesia in the Western Pacific.

But Danny is not alone — he has three actors in tow: a flamboyant diva and two young very fit dancers. Danny’s raring to revise their songs with Oliver, as the clock is ticking.

But more may not be merrier. Larina Delagostino (Sarah Polizzi) is an unfiltered prima donna without any boundaries who specializes in treating everyone like servants, drinking too much, yammering about her life in the theater, and dipping in not-safe-for-work territory.

That type of exaggerated role is Polizzi’s forte, but the character is so off-putting and rambling that she can’t muster any sympathy, and her affectations are a cross between Norma Desmond in “Sunset Boulevard” and a Southern belle, sporting an ill-fitting red wig. Larina is soon wearing out her welcome, not to mention the cringy bathroom humor at her expense.

Oliver with his neighbors Maddie and Cal O’Connor (Sarajane Clark and Jason Meyers. Stray Dog Theatre photo)

Oliver’s busybody and TMI neighbors, Maddie and Cal O’Connor (Sarajane Clark and Jason Meyers), stop by, either for cocktails or to dish, as Maddie is fond of telling everyone else what they should do. The two young guys trying to make sense of all the chaos are Zack Huels as Abe Feldman and Brady Stiff as Jake Hershman.

Wells, clad in outlandish outfits designed by Colleen Michelson, incorporates physicality as this silly trickster, an extreme sidekick in the mold of Cosmo Kramer. But he is dead serious about one thing – Danny recommends the playwrights ‘kill their darlings.’ He encourages Oliver to nip and tuck, and that’s good advice for the play itself.

Rob Lippert’s set design includes multiple doors, a la “Lend Me a Tenor” and “Noises Off!”, for comedic purposes. Tyler Duenow took care of the lighting design. As usual, sound designer Justin Been selected peppy and upbeat musical transitions including TV theme songs.

Wells, Garner, Polizzi, Wright. Stray Dog Theatre Photo.

For “3 Sheets to the Wind” to work, the well-intentioned playwrights need to tighten the rambling story, for when Liz Michel shows up as Russian-accented emissary Zolda (think Natasha of “Rocky and Bullwinkle”) near the two and a half hour mark, it goes off the rails.

Suddenly, we have spies, a dictator who’s madly in love with Larina, and a charade about why the show is going overseas, all told in a very long-drawn-out monologue. Shades of the Cold War? Isn’t Guam a U.S. territory? What am I missing? By this point, connecting the dots has become confusing, and the sound isn’t helping these dialogue-heavy sequences, especially with accents in play.

In this case, less would be far more appealing. Snip some tangents and characters for a less bumpy dynamic and inject more likability to connect with the audience.

Stray Dog Theatre photo.

Besides the shenanigans going on, the play takes place in the present-day, in August and September, when NYC is experiencing a heat wave. Is that weather factor necessary?

Old partners working again on a show after much time apart, when old resentments surface and new acquaintances appear, would be a terrific starting point going back to workshop.

Stray Dog Theatre presents “3 Sheets to the Wind” from June 4 through 20 at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. Performance dates are Thursday through Saturday at 8 p.m., with Sunday matinee performances at 2 p.m. on June 7 and 14. For more information, visit www.straydogtheatre.org

Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

By Lynn Venhaus

A personality-powered gem, “The 25th Annual Putnam County Spelling Bee” is a rambunctious musical comedy that celebrates American meritocracy, eccentric nerds and freak flag waving.

Produced with extra oomph by Stages St. Louis, a sagaciously cast sextet has nimbly mastered wordplay and improvisations in this offbeat musical that’s as accessible to logophiles as it is to class clowns.

Inside a typical middle school gymnasium, dweeby sixth graders compete for a $200 savings bond, a shot at the national bee, and a towering trophy.

All triple threats, this enthusiastic cast has got game – showing heart, humor and humanity. The boys are Michael Schimmele as returning champ Charlito “Chip” Tolentino, who is struggling with puberty; Matthew Cox as Leaf Coneybear, the wide-eyed home-schooled son of hippies; and Bryce A. Miller as showboating misfit William Morris Barfee.

The Spellers are ready to rock. Photo by Phillip Hamer.

A running gag is the constant mispronunciation of Bar-Fay, because of an accent aigu, and not Bar-Fee.

The girls are Abigail Isom as high-strung Logainne SchwartzandGrubenierre, a positive political activist pushed by her two dads to be best; Alexis Kinney as exuberant wordsmith Olive Ostrosky, whose mom is in India and dad is always working; and Sarah Wilkinson as pedantic Marcy Park, an over-achieving transfer student.

The annual event is a big deal in the town, with three adults in charge – ‘comfort counselor’ Mitch Mahoney (Omega Jones), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Jennifer Theby-Quinn), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Christopher Hickey), who has returned as a judge after personal time off to work out some ‘things.’

Their innuendos and double entendres elicit laughs – and the show’s mature content is aimed for a PG-13 audience.

Christopher Hickey as vice-principal. Photo by Phillip Hamer.

The catchy music and lyrics by William Finn, of “Falsettos” and “A New Brain,” give each character their moment to shine and explain their character’s drive or idiosyncrasies.

Their signature songs are Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me” and Chip: “Chip’s Lament.”

The coming-of-age stories about their home lives are poignantly delivered, and they perform the funny parts with gusto. The spellers have crafted realistic kids – not to mock but to enjoy their characteristics and identify with their emotions, and you root for them to stay golden.

Barfee, unfortunately hampered by one working nostril, has a peculiar way of spelling out the words – with his “Magic Foot.” (Fun fact: Dan Fogler, of “Fantastic Beasts,” won a Tony Award for originating the role).

Sarah Wilkinson as Marcy Park. Photo by Phillip Hamer.

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two (book by Rachel Sheinkin, featured actor). It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The fluid script allows producing companies to insert topical and local references. It also includes audience participation, and patrons can fill out a slip in the lobby before the show.

Four names are drawn backstage, so no one is tipped off in advance, and they join the spellers to take their turn at the microphone. All good sports, this is a key element to the fun, producing good-natured laughter from the audience. No special treatment – they might get to spell “Cow” or a consonant heavy four-syllable word.

The crowd’s perspicacity was evident on opening night June 3 and embraced the experience. The ingenious construction keeps it fresh, and that spontaneity is appealing.

Abigail Isom, Bryce A. Miller and Alexis Kinney. Photo by Phillip Hamer.

Detail-oriented co-directors Ron Gibbs and Gayle Seay also co-choreographed the show, achieving a terrific level of energy. The upbeat title song introduces the characters, and “The Spelling Rules” brings out their quirks and “Pandemonium” is just that.

In stand-out moments, dynamic Wilkinson showcases her gymnastic skills in her peppy number “I Speak Six Languages” and her prayer for change, “Jesus,” while gifted comic actors Miller and Kinney display charming chemistry leading up to and including their duet “Second.”

Another highlight is the tender ballad “The I Love You Song” that heart-tugging Kinney sings with her parents – as the absentee mom, Jennifer Theby-Quinn’s strong mezzo-soprano is in lovely harmony with workaholic dad Omega Jones’s warm vocals.

As Rona, Theby-Quinn confidently commands the stage in “My Favorite Moment of the Bee,” and in two reprises. As Mitch, Jones demonstrates expressive vocals in “The Prayer of the Comfort Counselor” and in “Woe Is Me” reprise with the vivacious Isom.

Michael Schimmele as Chip. Photo by Phillip Hamer.

And Schimmele is a trouper with his sudden onset of a puberty issue, and feigning discomfort in his public humiliation. If you know, you know. (Refer to mature rating).

The junior high vibes are boosted by scenic designer Rachel Seabaugh’s school gymnasium set that is a nifty flashback to every community event ever, with sly nods to the civic organizations and school sports teams that are delightful to notice.

Lighting Designer Sean M. Savoie’s expertise is apparent in the harsh gym glare, which shifts to the warm intimate interaction moments. Sound designer Hankyu Lee’s work is remarkably crisp, without any dead spots in the KPAC’s Ross Family Theatre.

Costume Designer Cat Lovejoy has jauntily defined every character through their distinct outfits, and the addition of a makeshift cape and roller-sneakers for Leaf Coneybear is inspired. Cox gives his movements extra flair with those accessories.

Matthew Cox as the free-spirited Leaf Coneybear. Photo by Phillip Hamer.

Music Director Michael Kaish smoothly kept the tempo on track, and is on one keyboard, joined by Randon Lane on a second keyboard, Lea Gerdes on reeds, Marcia Erwin on cello and Jonathan M. Taylor on percussion.

The Bee is a buzzy, playful communal experience, one that celebrates smart kids without any stigma – a proud revenge of the nerds, and the relatable rituals of youth. To be a part of the glee expressed by cast and crowd alike will lift spirits of any age.

Note: Understudies include Julie Hanson, Lillie Self-Miller, Bradford Rolen and Connor Kelly-Wright.

Stages St. Louis presents the musical “The 25th Annual Putnam County Spelling Bee” through June 28. Performances take place at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org.

Jennifer Theby-Quinn as Rona, with Omega Jones as Mitch in background. Photo by Phillip Hamer.

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

By Lynn Venhaus

Earthlings, we may not be alone. If you believe that aliens have visited our planet, “Disclosure Day” reinforces that opinion. Just don’t expect the big-ideas film to effectively connect dots or spark much wonder.

Unlike director Steven Spielberg’s superior supernatural sci-fi thrillers, the classics “E.T.: The Extra-Terrestrial” and “Close Encounters of the Third Kind,” this mostly incoherent and inconsistent ramble fails to pull heartstrings and mutes the director’s trademark shock and awe.

Spielberg front-loads the action with shadowy figures at breakneck speed, when whistleblower Dr. Daniel Kellner (Josh O’Connor), rescues his girlfriend Jane (Eve Hewson) from black-clad goons working for the Wardex Corporation.

As part of a rogue movement led by virtuous Hugo (Colman Domingo), Kellner has absconded with archival film footage of aliens here since the ‘alleged’ UFO crash in Roswell, N.M. in 1947. They plan to tell the world at the same time, but Wardex is in cahoots with the government to make sure the evidence remains top secret.

Josh O’Connor plays a cybersecurity expert on the run in “Disclosure Day.”

The chase is on, from farmhouses to backroad motels, and even a convent. Colin Firth is the stony but dapper villain Noah Scanlon, who doesn’t think the world can handle the truth and gets doomsday vibes.

This heartless honcho hell-bent on covering up can manipulate space and time, and is in possession of some alien teleporter gizmo, not without side effects (or explanations).

Meanwhile, Emily Blunt is Margaret Fairchild, an ambitious meteorologist who lives with her musician boyfriend Jackson (Wyatt Russell) in Kansas City. One morning, a red-feathered Cardinal flies into their spacious loft, stares her down, and afterwards, she can speak foreign languages and telepathically knows what is happening in people’s hearts and minds.

Whoa. That is a gamechanger, and she and Daniel are destined to team up. They share an inexplicable psychic bond, similar childhood memories, and keep running.

Emily Blunt is a meteorologist in Kansas City.

O’Connor’s Daniel is a man of many secrets, and his girlfriend has a few too, but backstories are slim – and Firth’s stony villain only glowers, glares and inflicts pain. While this cast of heavy hitters is appealing, no one stands out besides Blunt. It’s one of her best performances.

After 2 hours and 25 minutes of clunky detours, screenwriter David Koepp’s dense mystery, from a story by Spielberg, mercifully wraps up in an iconic yet implausible Spielbergian way. But lacks a wow factor, to leave us wanting more.

This brainiac blockbuster ultimately fumbles because it has too many elements to process. Koepp, one of the most successful screenwriters in the modern era (“Jurassic Park,” and last year’s taut thriller “Blackbag”) has missed before – “Indiana Jones and the Dial of Destiny” and “Indiana Jones and the Kingdom of the Crystal Skull” among them.

The search for intelligent life in the universe is a staple of pop culture sci-fi, and “The X-Files” kept us riveted for years. In recent years, government agencies have posted records on UAP (Unidentified Aerial Phenomena), no longer referred to as UFOs, to identify mysterious events in the sky. There is that reality check.

Colman Domingo, Tommy Martinez, Emily Blunt and Josh O’Connor are part of an all-star cast.

It’s easy to be dazzled by the dream team cast and the elite artisans who worked on creating a spectacle – Janusz Kaminski’s camerawork is impeccable, and so are Adam Stockhausen’s production designs. A nail-biting car-train collision is shades of Indiana Jones in his prime, but fleeting moments do not make a movie.

For his 30th feature film collaboration with Spielberg, John Williams composed a subtler, more minimalist score rather than his familiar grand sweeping melodies.

Arguably among the Mount Rushmore of directors, Spielberg’s best films extol ordinary people in extraordinary situations. But he doesn’t always reach the stars (“The BFG,” “Ready Player One,” “1941.”)  Here, the all-important heart-tugging beats are missing.

Are we seeing anything fresh, or just a fictional rehash of myths and weaponizing misinformation? The truth is out there, but will we ever know it?

Big action scene in a very long chase movie..

And why would belief in other life forms be a dealbreaker for your faith? And why do aliens only visit America? Too many questions and not enough answers, but then again, I tend to overthink science fiction plots.

For those expecting Spielberg magic, the highly anticipated “Disclosure Day” is a letdown.

“Disclosure Day” is a 2026 supernatural sci-fi thriller directed by Steven Spielberg and starring Josh O’Connor, Emily Blunt, Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell. It is rated PG-13 for action/violence, some bloody images and strong language and the runtime is 2 hours, 25 minutes. It opens in theatres June 12. Lynn’s Grade: C.

The telltale crop circles.