Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

By Lynn Venhaus

A sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didn’t deserve them, “Sweet Potato Queens” sets a table for women to be proud and live out loud, no matter their lot in life.

With the exalted Boss Queen in the house, and members of the audience adorned with tiaras, sequins and neon pink feather boas, a spirited crowd – including the real inspirations behind some of the colorful characters – was in a feisty Saturday night mood to partake in the sassy and saucy Southern rock musical, “Sweet Potato Queens.”

If you are unfamiliar with the SPQ national movement, founder Jill Conner Browne and her closest friends in Jackson, Miss., have been empowering women since 1982. A New York Times’ bestselling author, she has spawned 6,200 registered Sweet Potato Queens chapters in 37 countries around the world.

New Line Theatre is producing the musical’s regional premiere, which is attracting appearances by Sweet Potato Queens and the creative people behind the musical, which debuted in 2016 in Houston and so far, has only been performed four other times.

The plucky material blends Southern prototype ‘girl power’ settings like “Designing Women” and “Mama’s Family,” and pink-collar components to “Steel Magnolias,” “Sex and the City,” and “The Divine Secrets of the Ya-Ya Sisterhood” for a frothy ‘you go, girl’ energy shot.

Talichia Noah as Jill Conner Browne. Photo by Jill Ritter Lindberg..

These are belles without a cotillion, no sorority sisters in sight, but they’ve bonded in silly and sublime ways, thanks to going through some things. Directors Scott Miller and Tony L. Marr Jr. make a point to bring out the humanity amid a carnival environs.

On March 9, the regal Browne and her entourage made grand entrances in sparkly outfits at The Marcelle, and upon introduction before the show, she regaled the crowd with the origins of her girls’ group in a very funny warm welcome. Their first appearance in a St. Patrick’s Day parade is a hoot (Google it!).

A woman who grabs life with gusto and lives by the tagline, “Be Particular,” Browne is the author of nine books, starting with “Sweet Potato Queens’ Book of Love” in 1999, then “God Save the Sweet Potato Queens” in 2001, followed by “The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner” in 2003, and including “Sweet Potato Queens’ Field Guide to Men: Every Man I Love Is Either Married, Gay, or Dead” in 2004,  “The Sweet Potato Queens’ Guide to Raising Children for Fun and Profit” in 2008, and “Fat is the New 30: The Sweet Potato Queens’ Guide to Coping with (the crappy parts of) Life” in 2012.

While many fans are primarily middle-aged and middle-class women, many chapters have people from all walks of life, and all promote positive thinking and self-esteem. Browne says the SPQ movement is to inspire “all of us to do what makes our hearts sing,” and that’s the opening number of the show.

While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at – you will laugh with them because they find out who they are and are OK with that.

Jeffrey M. Wright as Tyler and Talichia Noah. Photo by Jill Ritter Lindberg.

Brown refers to her first husband as the anti-Christ, and if he’s anything resembling Jeffrey M. Wright’s woeful dirtbag Tyler, whoa.

Wright is such a polished, likeable performer that at first, it’s hard to adjust accepting him as a sleazeball, but he oozes unctuousness in his ladies-man encounters and is slick as this low-life liar that’s not smart enough to be convincing in his ruses (and he has a couple dandy ones). Yes, it’s called acting, and he showed his range.

Meanwhile, his long-suffering wife, Jill Conner Browne, played by good-natured Talichia Noah, is at her wit’s end, and finally musters enough dignity and self-determination to break free from the ‘stand by your man’ mantra.

She does so as part of a playful quartet with her three lively BFFS, all named Tammy. Of course! They introduce themselves in the cheeky “It’s Me” and spunky “SPQ-tiful,” and give Jill advice in the ballad “Make a Wish.”

A consummate pro, Ann Hier Brown is a revelation as firecracker “Too Much Tammy,” with heaping helpings of street smarts and in-your-face bravado. She dives into the amusing second act opener “Funeral Food” with abundant zest.

Another veteran, Mara Bollini, sashays with attitude as Floozie Tammy, uninhibited in “One Last Kiss” and spills the sweet tea on her sexual escapades. Brown, Bollini and Noah are a force on “The Only Thing I Know.”

Aarin Kamphoefner leads “Mad Dog Twenty Twenty.” Photo by Jill Ritter Lindberg

Victoria Pines completes the Tammy trio, as Flower Tammy, an abused wife who leans on her friends about her predicament. She displays her terrific vocal skills in the poignant ballad “Cherries in the Snow.”

The show’s standout this performance was Aarin Kamphoefner as George, going beyond the cliches as a beacon of hard-fought self-acceptance, and a caring friend to the girls – no judgment, just reassurance.

He has fun leading “Mad Dog Twenty-Twenty” as a good time song. Comfortable in his skin as a queer in the deep South, George, a good listener, has something to say, and Kamphoefner shines, tugging at our heartstrings reprising “It’s Me.”

Performing on March 9, while the real “TammyGeorge” was sitting in the front row, he deserved a standing ovation for pouring his heart out in an emotionally vulnerable solliloquy while a patron’s cell phone was audible and wasn’t immediately turned off. Kamphoefner held composure and drew everyone into his character’s truth. Bravo!

Portraying the concerned parents dispensing homespun wisdom are Bethany Barr as Mama and Kent Coffel as Daddy. Coffel also has a couple different minor roles, and always shows his versatility as a local MVP. He kindheartedly reprises “Do What Makes Your Heart Sing” several times.

The music is composed by Melissa Manchester, a longtime singer, songwriter and actress, who has been active since the 1970s. She first came to prominence as one of Bette Midler’s back-up singers, “The Harlettes.”

Noah and Kent Coffel. Photo by Jill Ritter Lindberg.

Some of her career highlights include her first smash hit “Midnight Blue” (recently a music video duet with Dolly Parton!), her Grammy-nominated performance of Peter Allen’s “Don’t Cry Out Loud,” and co-writer with Kenny Loggins on his collaboration with Stevie Nicks “Whenever I Call You Friend.” She won a Grammy in 1983 for “You Should Hear How She Talks About You.”

As an actress, she played Maddy Russo on the TV show “Blossom” 1993-95, and last year played Mrs. Brice on the first national tour of “Funny Girl.”

Fun fact: Her solo 1984 concert at the Fabulous Fox Theatre here was my first review assignment from a St Louis Globe-Democrat editor.

Lyrics are by country songwriter Sharon Vaughn, who has penned hits for Randy Travis, Reba McEntire, Patty Loveless, Kenny Rogers and others. Her big breakthrough in 1976 was with the Waylon Jennings hit “My Heroes Have Always Been Cowboys,” which Willie Nelson covered for the 1979 Robert Redford movie “The Electric Horseman.” She was inducted into the Nashville Songwriters Hall of Fame in 2018.

With two women writing the female-forward songs, the numbers flavor the characters’ arc with a range of earnest emotions, what the characters are feeling at the time. The music has a peppy ‘60s girl-group vibe, with a splash of the self-acceptance of Tracy Turnblad in “Hairspray” and the boldness to be who you are of “Kinky Boots.”

“Five” is a showstopper, detailing Brown’s list for five men you must have in your life at all times: 1. Someone who can fix things 2. Someone you can dance with 3. Someone you can talk to 4. Someone who can pay for things (so you’re not paying their share) and 5. Someone to have great sex with. That about covers it, wouldn’t you say?

The Tammys and Jill. Photo by Jill Ritter Lindberg.

The band is tight, with seasoned New Line regulars John Gerdes on electric bass, Clancy Newell on percussion and Adam Rugo on electric guitar, and they are joined by Brandon Thompson on reeds, Nikki Ervin on keyboard, and conductor Dr. Tim Amukele on keyboard as well.

The enormity of the vocal load the lead must carry is daunting, as Jill must sing solo: “Do What Makes Your Heart Sing,” “Southern Side of Jackson,” “All That Matters,” and “To Be Queen,” and duos with Mama in “Sears,” Tyler in “We Had Some Good Times,” and the others in ensemble pieces. With that much to sing, Noah struggled at times, and her voice seemed strained because of the role’s demands the farther the show progressed. Perhaps Amukele’s guidance will help on the rough spots. But even for the most accomplished vocalist, that’s a herculean effort.

The book By Rupert Holmes lovingly spotlights the characters for their strength, grace under pressure, and their willingness to be audacious. Holmes won multiple Tony Awards for the book music and lyrics, all solo acknowledgements, for “The Mystery of Edwin Drood.” He’s known for the pop song “Escape (The Pina Colada Song).”

According to press material, “The team continues to work on the show. The St. Louis production will be the fifth production of the show so far.” While entertaining, it does appear to be a work in progress, and the rough-around-the-edges effort is well-meaning and good-hearted, but some tightening up would make it zing.

Rob Lippert’s minimal set design emphasizes the vibrant spirit of the production, with the iconic pink sunglasses as a major focal point. Matt Stuckel and Ryan Day capably handled the lighting and sound.

Ann Hier Brown and Mara Bollini. Photo by Jill Ritter Lindberg.

Zachary Phelps designed the flashy and curvy baby-doll SPQ anthem costumes as well as the everyday attire of the cast. The shiny pink-and-green outfits look like a vamped-up creation crossing “Amazon Women of the Moon” with “Barbarella” and John Waters’ movies.

For anyone who has experienced dreams-deferred, “Sweet Potato Queens” is a reminder to believe in your potential and stay true to your ideals. It does so with an energetic mindset, a desire to spread goodwill, and a celebratory, humorous spirit. After all, real queens adjust each other’s crowns.

Addendum: To follow in the footsteps of other SPQs across the land, Browne recommends Revlon® “Love That Pink” lipstick, flowing red wigs, and majorette boots. They wore green hand-me-down ball gowns and tiaras for their first St. Patrick’s Day Parade, and said when she discovered she lived near Vardaman, Miss., the self-proclaimed Sweet Potato Capital of the World, that was all it took to offer herself as the queen for the farmers’ annual festival.

Bethany Barr as Mama. Photo by Jill Ritter Lindberg.

New Line Theatre presents “Sweet Potato Queens” from Feb. 29 to March 23, Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive.

Tickets are $25 for adults and $20 for students/seniors for the preview; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

For more information about discounts, visit the website: www.newlinetheatre.com

The Queen herself, Jill Conner Browne. Lynn Venhaus Photo.
Sweet Potato Queens in the audience March 9. Lynn Venhaus Photo.

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.

Super-Sized Yet Old-Fashioned, ‘Wonka’ Prequel Is A Sweet Treat

Super-Sized Yet Old-Fashioned, ‘Wonka’ Prequel Is A Sweet Treat

Film now available on DVD, Blu-Ray and Digital

By Lynn Venhaus

A charming origin story with a winsome Timothee Chalamet as a joyful chocolatier with grand ambitions, “Wonka” is a super-sized old-fashioned musical. It’s a sweet treat for families, but also anyone who is captivated by pure imagination.

While the British-based film might not soar to exciting uncharted horizons, it has a comfortable, whimsical feel amid its eye-popping magical world.

After traveling the seven seas gathering exotic ingredients, a young and poor Willy Wonka (Timothee Chalamet) dreams of setting up a candy shop in London, but discovers that the industry is run by a cartel of greedy chocolatiers.

As a prequel, there is no foreshadowing of a darker candy emperor, but a hint of the eccentricity and mischief Gene Wilder displayed in 1971’s now beloved “Willy Wonka & The Chocolate Factory,” or Tim Burton’s weirdness in the 2005 Johnny Depp take “Charlie and the Chocolate Factory” — just a sincere motherless son who will need pluck and luck to overcome the many hurdles in his path.

Inventive writer-director Paul King gave us a most enchanting double-shot of “Paddington” and “Paddington 2” that we didn’t know we needed in 2014 and 2017 — but were so grateful to receive (don’t miss the sequel and thank me later).

Inspired with the best of intentions, he approached Roald Dahl’s 1964 novel, “Charlie and the Chocolate Factory” with a big-sized heart.

Leaning into the anticipation of a fanciful adventure, he gives us a storybook tableau that’s part Dickensian London and part funhouse.

He’s also enlisted a splendid supporting cast to boost the entertainment value, with Keegan-Michael Key as the shady police chief who has a chocolate addiction and Rowan Atkinson, aka “Mr. Bean,” as a chocoholic priest.

Featuring exaggerated performances by a cadre of villains, the meanies are just obnoxious, not terrifying, starting with Oscar winner Olivia Colman as a cruel captor, Mrs. Scrubbit, who foils lodgers into signing rigged long term labor contracts. Character actor Tom Davis plays her boyfriend, “Bleacher,” a hulking enforcer.

The main trio of bad guys are a chocolate cartel straight out of old-timey melodramas – Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton). They can’t have competition in the form of a wide-eyed world traveler, eager to elevate candy-making to high art.

They do everything they can to block him. But Chalamet’s Wonka is such a charming dreamer that he quickly forms friendships with the other downtrodden captives, and their newfound family bond will help him through many pickles he gets into while trying to succeed.

Calah Lane plays his orphaned wingman, Noodle, and they are a beguiling duo. Jim Carter, familiar to “Downtown Abbey” fans, is a kind leader in the sweat shop, Abacus Crunch.

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Stealing the show, however, is Hugh Grant as an annoyed Oompa Loompa, sporting a green wig – yet dances with glee.

The script was co-written by King’s frequent collaborator Simon Farnaby, who is also an actor known for the British version of “Ghosts.” He plays a goofy zoo security guard here. There are many good-natured dollops of humor, especially sight gags.

Six original songs are featured in the movie, composed by Joby Talbot, who worked on “Sing” and its sequel, and his former Divine Comedy bandmate, lyricist Neil Hannon. “A World of Your Own,” “A Hatful of Dreams,” and “For a Moment” are solid tunes that add flavor to the story.

While no one is going to mistake Chalamet for Josh Groban, he does an adequate job, eliciting a few tears from me with his heartfelt rendition of “Pure Imagination.” Anthony Newley and Leslie Bricusse’s classic is evergreen.

The big number establishing the chocolate rivalry is “You’ve Never Had Chocolate Like This (Hoverchocs)” and it’s a dandy in execution.

This new release is somewhere in the middle between the 1971 and 2005 films but offers an amusing and fresh perspective on a delightful story. And was a pleasant diversion amid more bombastic and edgy fare.

And if you didn’t get any candy at the concession stand beforehand, you’ll be craving a confection soon enough. An Everlasting Gobstopper won’t suffice – must involve a cacao bean,

If you want to view paradise, simply look around and view it, Anything you want to, do it. Want to change the world? There’s nothing to it…

A sentimental, nostalgic and earnest “Wonka” has all the ingredients to be a big crowd-pleaser, especially with its adorable reveal in the finale.

“Wonka” is a 2023 musical fantasy adventure film directed by Paul King and starring Timothee Chalamet, Hugh Grant, Olivia Colman, Keegan Michael Key, Rowan Atkinson, Sally Hawkins and.Calah Lane. It is rated PG for some violence, mild language and thematic elements and the runtime is 1 hour, 55 minutes. It was released in theaters Dec. 15 and as of Feb. 27, is now available on DVD, Blu-ray and Digital Code, 4K Ultra HD + Digital Doe, VOD and Digital. Lynn’s Grade: B

Blu-ray extras: “Unwrapping Wonka: Paul King’s Vision”; “The Whimsical Music of Wonka”; “Welcome to Wonka Land”; “Hats Off to Wonka”; “Wonka’s Chocolatier”: Chocolatier Gabriella Cugno provides an in-depth look at the creation of the beautiful chocolates seen in “Wonka.”

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Source: JustWatch

Uplifting ‘Ordinary Angels’ Spotlights Community Empathy, Kindness

Uplifting ‘Ordinary Angels’ Spotlights Community Empathy, Kindness

By Lynn Venhaus

If you didn’t know it really happened, “Ordinary Angels” is the type of schmaltzy movie aiming straight for the heart that some would scoff at, yet even though cynics will pick it apart, people seeking an uplifting jolt will be touched by the selfless acts of human kindness.

Inspired by the true story of Kentucky hairdresser Sharon Stevens (Hilary Swank) who single-handedly rallied an entire community to help a widowed father Edward Schmitt Jr. (Alan Ritchson) save the life of his critically ill young daughter Michelle (Emily Mitchell), who needed a liver transplant.

Those who need their faith in humanity restored can find plenty to respond to in this tearjerking drama, from the heartfelt performances to the duplication of a harrowing effort by a community responding to a life-or-death situation that really took place in Louisville, Kentucky, during an historic snowstorm when 17 inches fell on Jan. 17, 1994.

Two-time Oscar winner Swank plays a hot mess of a hairstylist who decides to help a widowed father and his two daughters after she reads a newspaper article detailing the youngest’s battle with an incurable liver disease. As brassy as she is, Sharon finds purpose in this mission and gets things done.

You know the adage, “People come into your life for a season or a reason,” well this is that moment. Thirty years ago, in one of Kentucky’s worst blizzards, a life was saved by people going the extra mile, coming together, and making things happen against impossible odds.

Alan Ritchson as Ed and Emily Mitchell as Michelle in Ordinary Angels. Photo Credit: Allen Fraser

Not that life was easy for the Schmitts under any circumstance. Think: The Book of Job. Or Stevens, for that matter.

The film is set mostly in 1993. Ed’s beloved Theresa (Amy Acker) has died of a congenital liver disease, biliary atresia, which their daughters have, Ashley (who received a transplant in 1991, which the film leaves out), and Michelle, who is in desperate need of a transplant, as medical bills mount, and her condition worsens. The film is at its best when focusing on the not-enough time and money scenario.

And then the cavalry arrives when Stevens becomes their lifeline, starting a fundraiser and then crusading for financial breaks, corporate donations and helping Ed find more work as a roofer.

 It is one of these incredulous examples of divine intervention. The film, in partnership with Kingdom Story Company, a faith-based operation responsible for Kurt Warner’s story “American Underdog,” isn’t preachy, in case you were wondering, or pandering. The filmmakers display earnest intentions, and it’s a terrific public service announcement for organ donors.

Stevens is fictitiously written as an alcoholic with an estranged grown son, and Swank sympathetically shows a tormented woman masking her pain by throwing herself into the role of miracle worker. She leans in as this sassy, saucy do-gooder who won’t take no for an answer, but her undivided attention and tenacity help a grieving family in need.

This is the kind of role Swank excels at, transforming into a force of nature. It’s inspiring to watch this flawed woman’s journey as she makes a difference, called to action (my sister refers to these ‘Godwinks’ as ‘Angels with skin on”), and restores her faith – and those around her.  

Hilary Swank as Sharon in Ordinary Angels. Photo Credit: Allen Fraser

Ritchson, who has played a wide array of tough action heroes, from Aquaman on “Smallville” and Raphael in “Teenage Mutant Ninja Turtles” movie reboots to Lee Child’s retired military police officer Jack Reacher on the current Amazon Prime Video TV series, is good at depicting the strong, silent type who’s hiding his pain. He’s overwhelmed by grief, medical bills and a nagging feeling he isn’t doing enough for his family.

The conflict here – because of course we need one – is that Ed resents Sharon swooping in and helping his family when he thinks he should be the superhero. He’s wary of her pushiness and questions her motives. But as he pushes back, she pushes forward. His mom Barbara (Nancy Travis), helping with the girls, considers her a gift, and so do the kids.

The young actresses playing Ashley (Skywalker Hughes) and Michelle (Emily Mitchell) couldn’t be cuter, and the situation resonates easily (and not in a manipulative way – but have tissues nearby).

Director Jon Gunn’s filming of the race-against-the-clock sequence to get to an Omaha hospital for Michelle’s liver transplant is truly remarkable when empathy and mutual aid are tested by nature’s harsh elements. Cinematographer Maya Bankovic intensely captures the raging blizzard and editor Parker Adams’ work ramps up the tension.

Co-screenwriters Meg Tilly, the actress now retired, and Kelly Fremon Craig, who wrote and directed “Are You There God? It’s Me, Margaret” highlight the transformative power of human connection and what happens when people collectively meet a moment.

If a film celebrating community and kindness doesn’t elicit some joy during this dreary winter, then we, as a people, are in a truly sad place. We need every opportunity to see how people can respond to others in need with extraordinary compassion and resourcefulness. “Ordinary Angels” is a welcome beacon of hope in these difficult divisive modern times.

Hilary Swank as Sharon and Alan Ritchson as Ed in Ordinary Angels. Photo Credit: Allen Fraser

“Ordinary Angels” is a 2024 drama based on a true story, directed by Jon Gunn and starring Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes. It is rated PG for thematic content, brief bloody images and smoking and the run time is 1 hour, 56 minutes. The film opens in theaters Feb. 23. Lynn’s Grade: B.

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

By Lynn Venhaus

With its sinister hints of Adam-and-Eve symbolism, “Dutchman” is a daring and thought-provoking ritual drama that indicates Soul Siren Playhouse is a new group with something to say.

The gritty and raw one-act is now playing at the well-appointed Greenfinch Theatre (formerly the Way Out Club), the newest performing space in St. Louis. The intimate setting lends itself to focus on the two bravura performances by Cameron Jamarr and Eileen Engel.

Written by Amiri Baraka, aka poet activist LeRoi Jones, he had much to say about black men in ‘60s society during the heightened civil rights struggle. With its themes of racism, sexism, and discrimination, it may make people uncomfortable, but its intention is to start a dialogue, and that’s necessary.

Soul Siren’s co-directors – Jamarr, Engel, Bradford Rolen and Zahria Moore — unpacks the complexities of this revolutionary play related to bias, stereotypes, race relations in America and our social responsibility as bystanders. An interactive dramaturgy display designed by Moore is at the back of the room and illuminating the period that influenced Baraka – beat poets, emerging black artists and the avant-garde movement in a vibrant Greenwich Village.

Photo by Zak Littrell

Fast forward to the 21st century, and divisions, misinformation and social media outrage fan flames that point out that we have a long way to go towards understanding common humanity.

Jamarr and Engel are fearless in undertaking this challenging work, which is as disturbing as it was in 1964. Bakara boldly presented a distinct sociological situation, heavy on symbolism, to propel audiences into action, and the pair convey the intensity required. It’s quite the tango.

The first slave-bearing ship to America was from the Dutch, and Bakara also references the legend of “The Flying Dutchman,” a doomed ship cursed with never finding safe harbor.

In describing his short play’s metaphorical setting, Bakara wrote: “In the flying underbelly of the city, steaming hot and summer on top, outside. Underground. The subway heaped in modern myth.”

Rolen’s scenic design puts us on the subway car, and Lenny Banks’ lighting design sets the mood well. De’Janna Scales-Hand’s sound design has enhanced the experience too.

Jamarr is an unsuspecting sharp-dressed man named Clay on a mass transit train who encounters a mysterious white woman, Lula, who looks like a wild flower-child dressed in Bohemian attire. Unfiltered, Lula is obviously trying to seduce the man, who is at first wary, but then gives in to the temptation.

Engel’s character is no hippy-dippy chick, although she looks like a poster-girl for 1967’s “Summer of Love.” Presenting herself as a flirty seductress with a good time on her mind, she slowly indicates her intensions are not noble.

Calculating, with a maniacal unhinged laugh, Lula tries to manipulate, but Clay is no push-over. An eerie aspect is that Lula seems to know things about Clay and that is both mysterious and unsettling.

The confrontations become emotionally charged, compelling in a horror-movie jump-scare kind of way. This collision course of a play, unpredictable and with actions unexpected, will linger. It’s certain to spark conversations.

Photo by Zak Littrell.

That, of course, was Baraka’s point. The fact that we can still talk about social injustice in a meaningful way is a unifying message, but it also points out that much more change is needed.

This production takes a timeless approach to the story – a cell-phone! – as the play will celebrate its 60th anniversary next month, of its premiere off-Broadway in March 1964 It won the Obie Award for Best Play that year.

The cast includes Jeremy Thomas and alternate DeAnte Bryant as the conductor and an annoying drunk passenger, and Donald Kidd in a brief role.

Racially explicit language is used, and physical violence is part of the piece.

One can see and feel the passion and commitment involved in this well-produced show, and I look forward to seeing what’s next on their schedule.

Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” Feb. 1 through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m. The cost is free (donations can be made), but RSVPs are necessary. For more information: www.playsiren.com

Photo by Zak Littrell

‘Moby Dick’ Triumphs At The Rep with its Fiercely Brilliant Aesthetic

‘Moby Dick’ Triumphs At The Rep with its Fiercely Brilliant Aesthetic

By Lynn Venhaus

Mesmerizingly crafted, “Moby Dick” is an astonishing triumph of sound and fury.

Through its hybrid expressionist storytelling involving aerials, acrobatics, dance, visual artistry and dramatic encounters, the aesthetically innovative staging is extraordinary.

This brilliant vision by director David Catlin, who adapted the 1851 novel by Herman Melville, has been executed fluidly with bold intentions. He has stripped an unwieldy story down to essentials — although it still takes 3 hours with 2 intermissions to tell this three act masterpiece.

Catlin immerses us as green hands on the Pequod whaling ship – you will feel as if you are on the voyage on the treacherous high seas around the world.

Perhaps comparable to a Cirque du Soleil experience, it is unlikely that you have seen anything like it, unless you were privy to its landmark 2015 debut at the Lookingglass Theatre Company in Chicago, where it was developed and mounted.

The Fates, Photo by Liz Lauren

Catlin, a longtime ensemble member, is not the only one involved in The Rep’s stunning and at times, jaw-dropping, production. An outstanding Christopher Donahue, who originated the role of Captain Ahab there, returns as the maritime officer obsessed with revenge against the great white sperm whale who bit his leg off.

A sparse high concept set designed by Courtney O’Neill, aided by assistant designer Catalina Nino, yields to an epic sea adventure that at its core is a battle between fate and free will, as Ahab goes mad in his maniacal quest while his first mate Starbuck believes that our choices fulfill our destiny.

This isn’t your English class study guide, rather a living work of art, composed stylistically with dynamic imagery and movement that creates an unrivaled seafaring adventure.

The now iconic Ishmael is the first sailor we encounter, a philosophical narrator who has worked on a merchant vessel. This time, he signs up for the Pequod, leaving Nantucket. This sea hunt is for whale oil and the byproducts used in the 19th century – the appeal of a comfortable lifestyle was at odds with the messy and grimy business of whale hunting.

Ishmael and Queequeg. Photo by Liz Lauren.

At a crowded inn, he is forced to share a room with a distinctively tattooed Polynesian harpooner, Queequeg, and that comical situation cements a friendship between the men. Muscular Kevin Aoussou is an imposing and regal Queequeg.

Walter Owen Briggs conveys Ishmael’s curious nature and sense of wonder, while looking at developments sensibly. He struggles with Ahab’s recklessness and the looming doom.

The Fates and the sailors. Photo by Liz Lauren

Ahab’s single-mindedness is his tragic flaw, and it will consume him. As the men resist, he pushes harder. He has tough altercations with brave first mate Starbuck, a fierce and agile Felipe Carrasco, that are intense and frightening.

The ensemble offers personal portraits to help identify them as crew members, and their instincts are finely tuned. In supporting roles are original castmates Micah Figueroa as Cabaco and Captain of New Bedford whaleship and Raymond Fox as Stubb as well as Captains Boomer and Gardiner, joining Julian Hester as Bulkington.

They indicate the physical aspects of their struggles with precise movements by acrobatic choreographer Sylvia Hernandez-Distasi, a founder and artistic director of The Actors Gymnasium in Chicago. She impresses with dazzling derring-do.

Three women portray the Fates – Maggie Kettering, Ayana Strutz and Bethany Thomas – and they swirl in and out, like spirits. They also present themselves as images of loved ones left behind, and townspeople in the villages.

The dexterity and physical stamina required of these performers is remarkable, and not unnoticed.

Kevin Aoussou. Photo by Liz Lauren

Costume designer Carolyn “Sully” Ratke and associate designer Stephanie Gluggish have fashioned ethereal garb for the mystical spirits, and an interesting wardrobe to create a human metaphor for Moby Dick and other whales. The other costumes are period-appropriate.

The squalls, the hunt, and the insurmountable typhoon are thrillingly staged as spectacles, diving deep into the life-or-death danger. The technology used is next-level and breathtaking, especially what Rigging Designer Isaac Schoepp has created.

(Kudos to the stagehands who participated in the curtain call, deserving a major standing ovation for their efforts), Bravo!

Lighting designer William C. Kirkham, and assistant designer Madeleine Reid, along with sound designer Rick Sims and associate sound designer Forrest Gregor, have recreated an atmospheric ocean tableau — thunderstorms, eerie nighttime shadows, blazing sun daylight, fire, the mysterious echoes of the high seas and the relentless waves.

They have captured dreamlike sequences as well as nightmares through aural and visual techniques, and Sims’ music compositions add texture.

A sequence of staggering beauty is when lanterns lit with whale oil illuminate the night sky, as they rise and seemingly float away, like fireflies.

Photo by Liz Lauren

Moments of non-traditional storytelling are effective bridging the gap between the classic text and a new way to look at a staged presentation. However, the everlasting human condition commentary is not overshadowed by the production’s technical mastery.

Now, this show can be a challenge to navigate, particularly if you have never read “Moby Dick” or only made it through a few pages – it is not an easily digested drama. But stick with it, let the experience sweep you away, and you will be rewarded handsomely. (And you may want to read some Cliff Notes or Wikipedia information beforehand).

It’s exciting to watch something so significantly singular swing for the fences and achieve a greatness that people will be talking about for years.

The Repertory Theatre of St. Louis presents “Moby Dick,” adapted from the book by Herman Melville and directed by David Catlin of the Lookingglass Theatre Company through Feb. 25. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

Christopher Donahue as Captain Ahab. Liz Lauren photo.

Take Ten with Amadeo Fusca

Take Ten with Amadeo Fusca

By Lynn Venhaus

A career path that includes comedy, live theatrical performances and an upcoming Robert DeNiro film has taught Amadeo Fusca to be open to challenges that come your way. Known for his energy and quick wit, the actor says that getting laughs from an audience is always the cherry on top to making a live connection.

Recently in town for “Men Are From Mars Women Are From Venus Live” at the Playhouse at West Port Plaza, Fusca explained the part play-part stand-up comedy based on the 1992 best-selling self-help book by John Gray is a revised version of the one-man show now celebrating its 10th anniversary, the Evolution Tour. He was here before, in 2016, and last year at The Pageant. He will be in other major cities this spring with the revamped version.

Gray’s book exploring the differences between the sexes has sold in excess of 50 million copies, been translated into 40 different languages and is one of the most recognizable titles in the world.

He said you can expect the same delightful, light-hearted comedy that is definitely for adults. Eric Coble, the original writer, and director Mindy Cooper are back to inject new life into the script, ensuring its relevance and resonance with today’s audiences. Moving swiftly through a series of vignettes, Fusca covers everything from dating and marriage to the bedroom. 

Fusca does his homework, using local references, works in ad-libs and improvises, too — he’s so familiar with the material, and how audiences will respond.

He enjoys engaging an audience, hearing all the laughs and giggles, and seeing couples elbow each other as they see themselves on stage. Fusca said it’s a great night out – combining storytelling, comedy and some sage wisdom from the book.

“Men Are From Mars, Women Are From Venus” at Westport in 2016

Originally from Pittsburgh, Amadeo has now performed “Men are From Mars Women are From Venus Live!” in over 60 cities, across 30+ states and in front of 75,000 people and counting.

In 2013, he won the legendary Friars Club “So You Think You Can Roast?” competition beating out 55 other comedians roasting ‘80s child star Ricky Schroeder and NBA Hall of Famer Dennis Rodman in the process. As the winner, Amadeo was among the dais to roast Jack Black along with comic legends such as “Roastmaster” General Jeff Ross, Sarah Silverman, Amy Schumer, Bob Saget, Jerry Lewis and more!

In addition to his theatrical comedy, Amadeo can also be seen in various television and film productions including: “Princess Cut” on HBO MAX, “NCIS” on CBS, “That Damn Michael Che” on HBO MAX, Marvel’s “Daredevil” on Netflix, “Boardwalk Empire” on HBO, “The Holiday Dating Guide” on Lifetime, “Almost Family” on FOX and “As the World Turns” on CBS.

Sometime this year, you can catch him as Lucky Luciano in the new Robert DeNiro film “Alto Knights” directed by Barry Levinson. 

He had been performing his infamous character World Renowned Conductor Salvatore Giovanni across the globe to roaring reactions in the world’s greatest variety show run by Zach Zucker called “Stamptown,” which played at the Edinburgh Fringe Festival.

But now, he has developed Salvatore into a solo show that may just play on this stage one day as well…

For more information, please visit his website at www.amadeofusca.com.

Take Ten Q&A with Amadeo Fusca

1. Why did you choose your profession/pursue the arts?
I grew up in a household where we followed the Oscars very closely every year. I would watch all the best dramas and analyze who I thought should win.  On top of that, we just watched a lot of great TV shows at my house as well. Including classics like Taxi. I always admired the work and felt good doing it. 

2. How would your friends describe you?
Nocturnal

3. How do you like to spend your spare time?
Seeing shows, gambling on sports and word games.

4. What is your current obsession?
Fanduel Faceoff – A betting app with games

5. What would people be surprised to find out about you?
I never learned how to ride a bike

6. Can you share one of your most defining moments in life?
When I was awarded the winner of the Friars Club “So You Think You Can Roast?” Competition and got to Roast Jack Black.

7. Who do you admire most?
My Mom for everything she’s endured in life and keeps on persevering through. 

8. What is at the top of on your bucket list?
“Go into Outer Space”

9. What is your favorite thing to do in St. Louis?
Perform (:

10. What’s next?
Heading to London to perform some shows with my World Renowned Conductor Character Salvatore Giovanni and then shows in Davenport, IA, Cincinnati, OH, Burnsville, MN and Sioux Falls, SD.


More About Amadeo

Age: 37
Birthplace: Pittsburgh, PA
Current location: Los Angeles, CA
Education: BA in Acting from Point Park University Conservatory of Performing Arts
Day job: Acting
First job: Busboy
First role: Albert Peterson in “Bye Bye Birdie”
Favorite roles/plays: Jerusalem – Mark Rylance
Dream role/play: Something Funny & Serious that hasn’t been made just yet. 
Awards/Honors/Achievements: Friars Club Roast Competition Winner
Favorite quote/words to live by: “All I know is I don’t know” 
A song that makes you happy: “Good Riddance” by Green Day

The producer of the “Men Are From Mars, Women Are From Venus” Evolution Tour is St. Louis based Emery Entertainment has produced and promoted thousands of events around the globe, including superstar attractions Blue Man Group, David Copperfield and James Taylor. The talented team assembled for this production continues with the award-winning playwright Eric Coble, direction by Broadway veteran Mindy Cooper, and animation & video production by the talented animators at Bazillion Productions.

Westport Playhouse is back, hosting plays, musicals, films, comedy, private events and much more. Enhanced with a new 40-foot video screen backdrop, upgraded lighting and a new sound system, Westport Playhouse is located at 635 Westport Plaza in Maryland Heights. For more information or to see a list of nearby restaurants,

Performance times are February 14-16 at 7:30 p.m.; February 17 at 2 p.m. & 7:30 p.m.; and February 18 at 2 p.m. Tickets may be purchased through MetroTix at www.metrotix.com or by calling 314/534-1111.  Additionally, tickets will be available at The Westport Playhouse box office one hour prior to show time. All seats are $67. Use promo code MARS to save half-off.

visit www.westportplay.com. For more information on the tour, visit www.marsvenuslive.com.       

Take Ten with Cameron Jamarr Davis

Take Ten with Cameron Jamarr Davis

By Lynn Venhaus
Seeking his own creative lane in St. Louis, multi-hyphenate Cameron Jamarr Davis is making some noise as founding artistic director of Soul Siren Playhouse, whose inaugural production is Amira Baraka’s “Dutchman.”

The 60-year-old revolutionary play is running from Feb. 1 to Feb. 18 at the new venue, Greenfinch Theater and Dive.

An American nonprofit arts and cultural enrichment organization committed to social outreach, activism, and artistic development through the medium of dramatic and artistic expression, Soul Siren Playhouse aims to challenge and provoke thought, thus change, through artistic exploration and dramatic encounters — while holding space for safe, civil, proactive communication and collaboration on polarizing issues, he said.

The past five years have been a journey for Cameron. “One riddled with lessons, setbacks, successes, and various trials of patience, determination and faith,” he said.

After starting Soul Siren in Los Angeles in 2019, he relocated back to St. Louis and weathered the pandemic. In 2022, he was named a directing fellow at St Louis Shakespeare Festival and played James Hewlett, the first black Shakespearean actor in the U.S., in “The African Company Presents Richard III” at The Black Rep..

In 2023, he won the St. Louis Theater Circle Award for Outstanding Supporting Performer in a Drama, Male or Non-Binary Role, for that role.

Cameron Jamarr Davis as James Hewlett, the first black Shakespearean actor in the U.S. Photo by Phillip Hamer.

He also portrayed Hector MacQueen in “Murder on the Orient Express” at The Rep and was the cop, among other roles, in “Clue” at Stages St. Louis.

“Clue” and “Murder on the Orient Express” are both nominated for Outstanding Ensemble in a Comedy, and “Clue” leads all St. Louis Theater Circle Awards nominations with 11. (Ceremony on March 25).

“Cameron said “Clue” was the highlight of 2023 on stage for him.

“It was one of those productions that actors dream to be a part of because it was the definition of ‘theater magic’ — all the elements came together so perfectly, you could feel the pure, unrelenting joy that the audience was experiencing. That, in turn, reminded me of the joy I experience onstage as an actor, and the gift of light that theater is capable of bringing to people’s lives,” he said.

“To work with such skilled, hilarious actors, I was on stage legit trying not to break every night. And would bow at the end of every performance not only taking pride in what I do, but beaming with sincere joyfulness. That show truly was a gift, and redeemed something for me I didn’t know I needed,” he said.

The cast of “Clue” at Stages St. Louis, with Cameron third from left. Phillip Hamer photo.

Davis is currently an artist-in-residence at the Kranzberg Arts Foundation, and has rebuilt Soul Siren from the ground up, along with a collective of committed artisans. He is a graduate of Clayton High School and earned a BFA in Dramatic Performance at the University of Cincinnati College Conservatory of Music.

For Soul Siren’s first show, Cameron wanted to celebrate the timeless artistry of “Dutchman.” When he read it in college, he identified with its passion, rawness and abstract chaotic nature.

“Unfiltered and unapologetic, Baraka’s writing sirens the soul of the artist as strongly as it does the revolutionary,” he said.

He describes the 65-minute show as an emotionally charged and highly symbolic version of the Adam and Eve story, where an unsuspecting black man is encountered by a mysterious and calculating white seductress alone on an underground train.. It won the Obie Award for Best Play in 1964.

“The show is gritty, raw, and provocative. It is a clear affirmation of a counter-cultural identity that demands to be seen, felt, heard and understood,” he said.

“We aim to assume a timeless approach to this story that is coming upon the 60th Anniversary of its premiere off-Broadway in March 1964. We also have an interactive dramaturgy display, educating audiences on the playwright, the Black Arts Movement of the 70’s, and the genre of beat poetry, which came about at this time that also has influence on the play’s script,” he said.

Cameron Jamarr as Clay and Eileen Engel as Lula in “Dutchman.” Photo by Zak Littrell.

“A provocative drama that rests between allegory and realism, I believe the danger of this play lies in its fearless attempt to explore what lies at the heart of America’s subconscious and collective identity. Its subterranean setting grants two complete strangers the freedom to encounter their hidden natures as well as one another. A clamorous racing train serves as the vessel for its action as well as the thoughts of its passionate playwright,” he said.

“Though Baraka, the individual, does not fully represent the philosophy, truth, and ideals of Soul Siren Playhouse; the fearless and socially conscious instincts represented in ‘Dutchman’ speak directly to the foundation of our goals as a cultural institution,” he explained.

“We want to facilitate community dialogue on the challenging questions the play continues to present, Our intention is to unify, harmonize and most importantly, entertain, with this bold, challenging story,” he said.

The cast features Cameron Jamarr, Eileen Engel, Jeremy Thomas and alternates DeAnte Bryant and Donald Kidd in a brief role. The creative team includes Scenic Design by Bradford Rolen, Lighting Design by Lenny Banks, Sound Design and Hair Design by De’Janna Scales-Hand, and Dramaturgy by Zahria Moore. Bradford Rolen is also the Stage Manager. The show was co-directed by Cameron, Eileen, Rolen and Moore.

So far, the word he hears most from audiences is “unexpected.” You’ll want to join the conversation.

Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson, St. Louis.

Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m.

The cost is free (donations can be made), but RSVPs are necessary. For RSVPs/tickets, visit: https://a.purplepass.com/organizer/67544

For more information: www.playsiren.com.

There will be talkbacks following the shows Thursday 2/8 and 2/15.

Our Take Ten Q&A with Cameron Jamarr Davis

1. What is special about your latest project?

“Our first show ‘Dutchman’ has been five years in the making to get to this point, and we have made personal history by presenting our inaugural production as a black inspired theater company on the first day of Black History Month.” 

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

“It very much chose me. I was torn between going to college to study acting professionally or pursuing a degree in English. After inadvertently booking my first professional gig at 17 with St. Louis Shakespeare Festival in “Richard lll,” I took that as a sign to pursue the arts as a professional actor.” 

3. How would your friends describe you? 
Passionate. Loving. Crazy. Soulful. Intelligent. Wild. 

Portraying Richard III and the actor James Hewlett at The Black Rep. Phillip Hamer photo.

4. How do you like to spend your spare time?
Baking. Writing. Learning how to DJ.  Plotting how to take over the world. 

5. What is your current obsession?
 Creating my own professional, creative lane in this city. 

6. What would people be surprised to find out about you?
 I’ve had the honor of dining with Prime Ministers of the United Nations in Nairobi, Kenya. Good God, the food was incredible! 

7. Can you share one of your most defining moments in life? 
Unexpectedly losing my mom at the age of 24. Until then, I’d taken so much of my life, life in general, for granted. In light of her death, I was forced to choose new Life. 

8. Who do you admire most?
 My friends. Their resilience. Their loyalty. The capacity and magnitude of their hearts. 

9. What is at the top of your bucket list?
 Participation in a traditional ayahuasca ceremony led by an indigenous shaman.  

The cast of “Murder on the Orient Express” at The Rep. Davis, fifth from right, played Hector MacQueen, the personal secretary and translator to Samuel Ratchett, who is murdered (spoiler alert). Photo by Phillip Hamer.

10. How were you affected by the pandemic years, and anything you would like to share about what got you through, and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward? 

If it weren’t for the pandemic I probably would not have moved back to St. Louis. Sustaining myself creatively was essential in navigating and enduring the uncertainties of the pandemic. In this time I learned patient persistence and the power of the pivot. I created a spoken word album and decided to relocate to St. Louis to restart Soul Siren Playhouse from the ground up, yet did not want to produce theater that required mask mandates. I watched theater become an unidentifiable shadow of itself; actors and audiences in masks, plus various barriers between Art, the Artist and Community. I watched art become increasingly self-serving as a means of survival.

Moving forward I believe that theater’s primary objective should be to entertain, and to be of service to its local community via artistic expression or creative intent (free tickets, child care at shows, pay with a can performances to support food banks, etc). I believe theater can take a greater responsibility in the role of social elevation and enrichment. How can theater meet the needs of audiences and return value as opposed to the self-serving nature of exploitation I commonly see as a detriment. 

11. What is your favorite thing to do in St. Louis?
Grocery shop at Soulard Market on Saturday mornings. 

12. What’s next? 
Developing my one-man show, “Death Jam” as an Artist in Residence with the Kranzberg Arts Foundation. 

With the cast of “Clue,” at left, as a police officer, at Stages St Louis last summer. Phillip Hamer photo.

More About Cameron Jamarr Davis


Age: 33
Birthplace: St. Louis,
Current location: St. Louis
Family: Only Child / Fairy God Cousin / Cool “Uncle” with no kids or siblings 
Education: BFA Dramatic Performance from the University of Cincinnati College-Conservatory of Music (CCM)
Day job: Substitute Teacher, Clayton School District 
First job: Busser/Dishwasher, Outback Steakhouse (age 16) 
First movie you were involved in or made: “Fenced Off” – Rebel Pilgrim Productions in Cincinnati, Ohio
Favorite jobs/roles/plays or work in your medium? Oberon in “A Midsummer Night’s Dream” / Leontes + The Bear  in “A Winter’s Tale “/ Kendrick Lamar in Lil Wayne’s “Mona Lisa” 
Dream job/opportunity: Producing Artistic Director of my own theater company 
Awards/Honors/Achievements: 2023 STL Theater Circle Winner (Best supporting actor in a drama for “The African Company Presents Richard lll” at the STL Black Rep), 2024 Artist in Residence of the Kranzberg Arts Foundation, 2022 Directing Fellow with St. Louis Shakespeare Festival, 2023 Community Arts Training (CAT) Cohort 
Favorite quote/words to live by:
call it our craziness even,
call it anything.
it is the life thing in us
that will not let us die…
it is the light in us
it is the light of us
it is the light…
– Lucille Clifton, “Roots” 
A song that makes you happy: “Built for Greatness” – Marieme 
Marieme is a Soul Siren Playhouse board member and this song is featured as a promo for Michelle Obama’s Netflix special. This song is GREAT and will make anyone feel like they can conquer anything.

Eileen Engel, Bradford Lewis Rolen, and Cameron Jamarr Davis. Photo provided.

Cover photo by Zak Littrell

Masterful Turn by Kingsley Ben-Adir In Disjointed ‘Bob Marley: One Love’

Masterful Turn by Kingsley Ben-Adir In Disjointed ‘Bob Marley: One Love’

By Lynn Venhaus

As good as Kingsley Ben-Adir is portraying the reggae icon in “Bob Marley: One Love,” the movie’s script fails to hit the right notes, and the result is a disjointed, unsatisfying profile.

Made in partnership with Marley’s widow Rita and two children Ziggy and Cedella, the film celebrates Marley’s life and music as Jamaica’s most famous citizen who never wavered in his message of love and unity, broke boundaries and promoted healing in his country – although the timeline is wonky here.

The trio of screenwriters Zach Baylin, Frank E. Flowers and Terence Winter plus director Reinaldo Marcus Green narrowly focused on the years 1976-1978, when Marley was at the height of his career, and then he learned he had cancer. Now, granted, this isn’t a documentary, it’s “inspired by a true story,” but they have left out some key details of his life.

At the onset, the film explains that warring political factions heightened danger on the island, and an assassination attempt was made on Marley’s life. On Dec. 3, 1976, two days before the free Smile Jamaica Concert he organized, he was wounded, Rita was shot in the head, and manager Don Taylor had serious injuries.

He moved to London to escape, toured Europe, and recorded his acclaimed album “Exodus.” (He also made “Kaya” then, but that’s omitted).

When a toe injury didn’t heal, he was diagnosed with acral lentiginous melanoma, a rare skin cancer, but didn’t stop touring – for a while. (Tragically, he died at age 36 in 1981, after cancer spread to other areas).

Green, who directed “King Richard” about Venus and Serena Williams’ father, presents part of Marley’s journey in flashbacks that focus on imagery without context – his childhood years with a white absentee father, and he leaves with his mother, plus nods to his faith in Rastafari. Those, in repetition, cloud the story instead of illuminate.

The film mentions Haile Selassie I, the emperor of Ethiopia who was considered a god in the religion, but doesn’t explain much about it. Rastafari originated in poor Afro-Jamaican communities in the 1930s as reaction to British Colonial culture and is rooted in Protestant Christianity and mysticism.

Marley’s relationship with his wife, Rita, well-played by Lashana Lynch, began as teenagers, and she was also in his band, The Wailers, as one of the back-up singers of “I Threes” after Peter Tosh and Bunny Wailer left. They married in 1966. Both came from the Trenchtown neighborhood in Kingston.

It is not clear that the three children they had together are among the 11 recognized as Marley’s, for they both had extramarital affairs.  Cedella, David “Ziggy,” and Stephen are theirs, and Bob adopted Sharon, Rita’s daughter from a previous relationship. There is no mention that he had six other children with six different women between 1972 and 1978.

How Marley became a music legend, with his unique blend of reggae, rocksteady, and ska, isn’t given much air either – you’ll have to either be familiar with his rise in the music business or read about it later.

Marley returned to Jamaica in April 1978 to much fanfare, and presented the One Love Peace Concert, his attempt to unite opposing political parties. It is only in the archival footage at the film’s end that the political leaders shake hands – populist prime minister Michael Manley and Edward Seaga, head of the opposing Jamaica Labour Party, but it did not end the island’s violence and political tensions.

In fact, what the movie doesn’t say is that the concert’s two organizers were killed in the years following, and 1,000 more people died in 1979-80.

Now the music is a high point, as expected. Many of the hits, including “Jamming,” “Get Up/Stand Up,” “I Shot the Sheriff,” “One Love/People Get Ready,” and “This Is Love” are included in the soundtrack.

One of the most touching scenes is when Marley plays “The Redemption Song” for his family while sitting around a fire, and his wife asks him: “When did you write that?” and he answers: “All my life.”

Ben-Adir, who was impressive as Malcolm X in “One Night in Miami” and amusing as one of the Kens in “Barbie,” immerses himself in a virtuoso performance. Not only did he nail the accent, speech pattern and movements of the man, but he also sang and played guitar.

Kris Bowers composed the film’s score, using Marley’s music as a foundation. Costume designer Anna B. Sheppard captured the culture and the period well, as did production designer Chris Lowe.

Despite the appealing music and the mega-watt turn by Ben-Adir, “Bob Marley: One Love” is too fragmented. It fails to offer something more scintillating overall, and lands merely as an average Hollywood biography.

“Bob Marley: One Love” is a 2024 biopic directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir, Lashana Lynch, and James Norton. It is rated PG-13 and the runtime is 1 hour, 47 minutes. It opens on Wednesday, Feb. 14. Lynn’s Grade: C.

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

By Lynn Venhaus
A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.

As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.  

In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.

The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.

Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb

It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.

Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.

Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).

The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.

Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.

Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb

When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.

Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.

As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.

The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.

It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .

Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.

A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.

Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.

This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.

Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb

Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.

ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Hanging at Monkswell Manor. Photo by John Lamb