‘No Hard Feelings’ Is an Unfunny Crude and Cringy Comedy

‘No Hard Feelings’ Is an Unfunny Crude and Cringy Comedy

By Lynn Venhaus
The crude and cringy comedy “No Hard Feelings” is a hot mess. If trying to be a throwback to ‘80s sex comedies, but for modern audiences twisted with a gender-reversed protagonist, it’s a painful reminder that arrested development isn’t always a gut buster.

A down-on-her-luck local, Maddie (Jennifer Lawrence) has long-festering daddy issues and a chip on her shoulder the size of the Rock of Gibraltar. She ekes out a living by driving the ‘haves’ around and bartending, barely containing her contempt for the seasonal residents who summer in Montauk, her homestead, on Long Island. With all the new money’d elite in town, she can’t afford her property taxes, thus the bind she’s in, calling for desperate measures.

Maddie answers a Craigslist ad to resolve her financial troubles. Wealthy helicopter parents Laird and Allison (Matthew Broderick and Laura Benanti) want to hire someone to ‘date’ their introverted 19-year-old son Percy (Andrew Barth Feldman) before he begins his freshman year at Princeton. Their promise of a car is appealing, for her vehicle was recently repossessed and she’s an Uber driver. But awkward Percy is more of a challenge than she expected.

Lawrence goes full frontal and full throttle as a combative, mean-spirited, deceitful and stuck-in-a-rut 32-year-old hedonist. She’s a commitment-phobe and harbors lots of resentments.

That’s right, “America’s sweetheart.” It’s not a good look for the Oscar winner, although she’s adept at physical comedy. With so few redeeming qualities, Maddie is hard to like, and her actions, for the most part, made me feel increasingly uncomfortable.

Not that you must be likable to carry a film, but sheesh, co-writers Gene Stupnitsky, who directed with a heavy hand, and John Phillips go for the cheap laugh every time. And the age difference is icky, no matter if it’s not condoned nor a transaction.

Mocking helicopter parents, however, is fertile comedic ground, and while Broderick and Benanti are known for their comic flair, they are underused as the couple who have smothered their kid in a detrimental way. And distraught, turn to Craigslist (!?!)  and offer a Buick Regal to an older woman who will ‘make’ their introverted son a man before he goes off to the Ivy League.

As played winningly by Andrew Barth Feldman, Percy is not as clueless as everyone thinks, and he becomes more engaging and sympathetic as the flimsy plot starts fraying. In fact, the saving grace is that he and Lawrence develop a sweet chemistry after she stops aggressively throwing herself at him.

With jerky tonal shifts to make you feel as though you’re experiencing repeated whiplash, the movie veers off course in several directions that don’t make very much sense – not that we expect this format to be remotely plausible.

Much has been made about its R-rated double entendres, but filmmakers never figure out what they want this comedy to be – a light-hearted romp, a laugh-out-loud raunchy farce, a spoof of juvenile teen-centered movies, or a “very special episode” with a message about growing up.

This blend of familiar plot threads borrowing from “Risky Business,” “Superbad” and “The Graduate” has some funny physical comedy, but mostly, the harder Maddie tries to hook up with the virginal teen, the more uneasy it feels. Are we making fun of him because he is so socially awkward, or are we laughing at her because she is a trainwreck? Either way, not encouraging.

Some of the broad physical comedy lands, but mostly, they lob all sorts of goofiness to see what sticks. And Kyle Mooney is wasted as a former nanny who’s become friends with the shy kid.

Feldman’s ease at conveying genuine emotion is a plus. He’s reminiscent of an early Michael Cera and a pleasant surprise in his first major movie role following a streaming piece on Netflix, “A Tourist’s Guide to Love.”

It’s the kind of film breakthrough that bodes well for the future. In real life, Feldman’s meteoric rise in musical theater is like a movie plot – winner of the 2018 Jimmy Award, aka National High School Musical Theatre Award, he was noticed by a producer of “Dear Evan Hansen,” and wound up as a Broadway replacement in the title role.

While the film is more of a ‘bait-and-switch’ than a rowdy low-brow comedy, its sweet and sentimental moments are when it engages in a sincere way. After 1 hour, 43 minutes of scattershot cinema, everything’s tied up neatly and the future’s so bright, they’ll have to wear shades.

That friendship movie, without the careening cars, vomit scenes, teen hijinks, house parties and one-nightstands, would have been worth the time.

“No Hard Feelings” is a 2023 comedy directed by Gene Stupnitsky and starring Jennifer Lawrence, Andrew Barth Feldman, Laura Benanti, and Matthew Broderick Rated: R for sexual content, language, some graphic nudity, and brief drug use, its runtime is 1 hour, 43-minutes. It opened in theaters June 23. Lynn’s Grade: C-.

High-Spirited Cast Makes ‘Clash Of The Titans’ Parody A Jolly Time

High-Spirited Cast Makes ‘Clash Of The Titans’ Parody A Jolly Time

By Lynn Venhaus
Funny and fast-paced, “The Clash of the Titans Live Parody” showcases an obliging cast goofing off as famous Greek mythology characters, from Zeus to the Kraken. This is not your high school literature teacher’s reference guide.

The good-natured production is full-throttle silliness, crafted by the Cherokee Street Theatre Company’s brain trust, and they have the skills and collaborative spirit of an improv troupe.

The performers focus on the absurdity while trying not to break character, but hey, it happens. Using the framework mainly of the 1981 film and not the 2010 remake, they lean into the cheesiest elements of the pseudo-prestige epic that starred Laurence Olivier as Zeus, a young and virile Harry Hamlin as Perseus. Ursula Andress had one line as Aphrodite. (The reboot starred Liam Neeson as Zeus and Sam Worthington as Perseus).

The short version is that Perseus must prove his worth to his daddy, foil his stepmom, complete heroic tests, and battle Medusa and the Kraken all to save the lovely Princess Andromeda from a terrible fate.

For those wanting to refresh their Greek Gods and Heroes backstory, Perseus, the favored son of the god Zeus, has not only angered the sea goddess Thetis, but also fallen in love with Princess Andromeda. She had been engaged to Thetis’ son, Calibos. As Perseus goes on one quest after another, people come to a watery demise or are stabbed, or involved in other mayhem.

The adventure movie’s claim to fame is that it was the last film produced by Ray Harryhausen, the legendary special effects creator who was known for stop-motion animation. His Kraken did not disappoint!

One of the pluses about the company moving to Westport Playhouse for the last leg of their run is that they benefit from its large LED screen and are able to show panoramic scenes from the film that help visualize this odyssey – especially when the Kraken is released.

When that happens, the cast takes a moment to splash audience members with water, which is like a few raindrops falling on your head.

Because this company often uses the same repertory of players, the ensemble is a cheerful tight-knit bunch who wrings every possible laugh from these epic characters.

Ronald Dean Strawbridge goes for the gusto as imposing Zeus, while Ryan Lawson-Maeske shows off his acrobatic moves as the swaggering Perseus. Fox Smith has fun as both Hera and Medusa, complete with a daffy snake headtopper.

Patience Davis exaggerates Thetis as only Dame Maggie Smith could and Payton Gillam adds merriment as the sweet love interest Princess Andromeda and a sultry Aphrodite.

Perhaps the most playful in this madcap romp is Joseph Garner, feisty as Calibos and frisky as Bubo, no action too broad.

Supporting players include Nancy Nigh as Athena and Cassiopeia, Rob McLemore as Ammon, Stan Davis as Poseidon and Thallo, and Chuck Brinkley as King Acrisius and Hades.

Even you don’t remember the gods’ playlist or saw either movie, it does not matter. This is just all in good fun, and a terrific escape to watch some skilled performers clown around.

Company founder Suki Peters directed with a light touch and adapted the film to the stage with jokes in mind.

The technical elements are all first-rate, with Joel Wilper’s lighting design and Ted Drury and Morgan Maul-Smith’s sound design enhancing the Westport Playhouse production. The choice of pop-rock hits add to the high spirits.

Video designer Dan Foster seamlessly integrated the film footage to expand our vistas, and it really adds a pleasant viewpoint.

Costume Coordinator Kayla Lindsay celebrated the ancient period, accessorizing many riffs on togas to emphasize the parody. Stan Davis’s props were one of the highlights, adding to the ‘anything goes’ spirit.

Performances take place through June 1 Upstairs at The Golden Record, 2720 Cherokee, and June 9 through 17 at the Playhouse at Westport Plaza. For more information: www.cherokeestreettheatercompany.com.

For June 16 and 17 performances, use promo code “kraken” to save $10 per ticket.  

Photo by Anastasiya Vasyuta and show poster by Stan Davis

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer

‘The Flash’ Entertains With Clever Cameos and Fun Fan Service

‘The Flash’ Entertains With Clever Cameos and Fun Fan Service

By Lynn Venhaus

Worlds collide in a standard superhero spectacle involving the multiverse and time travel. But “The Flash” film wisely capitalizes on personalities, thus the intrigue builds in smart cameos, bounteous Easter eggs, and captivating performances both sentimental and sassy.

As DC Comics Universe superhero “The Flash,” Barry Allen (Ezra Miller) uses his super speed to change the past, but his attempt to save his family creates a world without superheroes, forcing him to rally help to save the future.

For someone whose childhood introduction to Batman was Adam West (1966-68) and Superman was George Reeves (1952-58) in the first television series of those classic comic book characters, “The Flash” feels both familiar and fresh in its use of Justice League mythology.

Flash’s first DC Comics was in 1940, and the Scarlet Speedster has smoothly transitioned to a number of film and TV series. Barry Allen’s superpower is superspeed, which occurred when he was struck by a bolt of lightning in a lab, resulting in a chemical bath.

Barry Allen and Barry ALlen

In the latest franchise reinvention, Ezra Miller first appeared in “Batman v Superman: Dawn of Justice” in 2016, and subsequently in “Suicide Squad: (2016), “Justice League” (2017) and “Zack Snyder’s Justice League” (2021).

In this stand-alone, their portrayal is actually spot-on, deftly depicting the nerdy, annoying, hyperactive young guy trying to come to grips with his abilities – his insatiable appetite is a running gag – and the responsibilities of coming to the rescue. They easily transition from snarky encounters to poignant interactions with his mother before her death, and his concern for his father in jail for her murder.

The elephant in the room is that Miller, 30, has made headlines for being arrested and charged with crimes, and later, sought professional help for mental health issues. Warner Brothers and the DC powers-at-be stuck with them for the role.

As an interesting artist, they made a mark as insecure outcast Credence Barebone (Aurelius Dumbledore) in the “Fantastic Beasts” movie trilogy, and their haunting breakthrough role was in 2011 as the evil Kevin in “We Need to Talk About Kevin,” following up that critical acclaim as Patrick in “The Perks of Being a Wallflower.”

As The Flash, they are spry in scenes with superheroes and villains alike but tugs at the heartstrings in the family flashbacks to give the film some emotional depth.

Sasha Calle as Supergirl

Using his powers to go back in time and save his mother, Barry unwittingly creates a world without heroes. Oh, General Zod (Michael Shannon) has returned, ready to wreak planetary havoc. The Flash enlists a Bruce Wayne, retired as Batman, another incarnation of himself, and an imprisoned stranger to help right the world.

Inspired by DC Comics’ 2011 “Flashpoint,” co-screenwriters Christina Hodson and Joby Harold have crafted a different type of Supergirl, aka Kara Zor-El, Superman’s cousin. Sasha Calle is impressive as the endangered Kryptonian.

Hodson, who was behind “Birds of Prey,” has cleverly twisted some of the old-fashioned tropes.

Director Andy Muschietti, who directed “It” and its sequel, has delivered an entertaining story, giving fans reason to cheer throughout the 2-hour, 24-minute film, but it does eventually run out of steam in those climactic bombastic battles.

However, the finale’s big reveal is a good one, and there is the proverbial end-credits scene to stay for, although not as thrilling as some of Marvel’s best.

But any film with the extraordinary Michael Keaton as Batman, scene-stealer that he is, is worth the admission price.

This is a spoiler-free review, but some of those superheroes who show up briefly in the galaxy made my heart happy.

“The Flash” may be imperfect, but it’s far from the dud other franchises have unsuccessfully mounted in the past two years (u,e, “Black Adam,” “Shazam: Fury of the Gods”).

Michael Keaton as “Batman”

“The Flash” is a 2023 action-adventure-fantasy film directed by Andy Muschietti and starring Ezra Miller, Michael Keaton, Ron Livingston, Sasha Calle, Ben Affleck, Maribel Verdu and Michael Shannon. Rated: PG-13 for sequences of violence and action, some strong language and partial nudity, it runs 2 hours and 24 minutes. It opens in theaters on June 16. Lynn’s Grade: B

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

By Lynn Venhaus

Once upon a time, “A Funny Thing Happened on the Way to the Forum” was the gold standard of a playful musical comedy, crafted by skilled vaudevillians with the early musicality of Stephen Sondheim, who would mature into a bona fide theatrical titan. But 61 years since its debut, as seen through a modern lens, it doesn’t have the same pop it once did.

Nevertheless, New Line Theatre’s latest interpretation has several main performers nimble at slapstick and well-versed in comic timing, and the ensemble is spirited in its farcical delivery.

They try mightily to earn laughs, and it mostly succeeds – except for some problematic “frozen in time” dialogue and lyrics. Case in point – “Bring Me My Bride,” with the line: “I have no time to lose, there are towns to plunder, temples to burn and women to abuse.”

OK, I know, it’s supposed to be jokey and satirical, but…And yes, “Everybody Ought to Have a Maid” is cringy, no matter how many clever rhymes.

This 1962 smash hit was Sondheim’s first show as composer and lyricist, after breaking through as lyricist to Leonard Bernstein on “West Side Story” in 1957 and Jule Styne on “Gypsy” in 1959.

Sarah Wilkinson, Ian McCreary, Photo by Jill Ritter Lindberg

Patterned after Borscht Belt schtick and burlesque back in the day, plus a nod to its centuries-old comic roots, the bawdy material doesn’t bother some folks while others find sexual innuendo offensive.

The book, written by Burt Schevelove (“No, No Nanette”) and Larry Gelbart, creator of “M*A*S*H” who wrote for “Caesar’s Hour” (1954-57), the successor to legendary Sid Caesar’s writing stable on “Your Show of Shows,” “Forum” recalls variety show sketches du jour, often centering on nubile women as sex objects and other stereotypes.

The basic premise is taken from playwright Plautus (251 – 183 B.C.) In ancient Rome, a wily slave, desperate to earn his freedom, wants to hook up a virgin courtesan with his young master, but she has been sold to warrior Miles Gloriosus, who will arrive soon. In the meantime, another neighbor, Erronius, returns after searching for his two children, who were kidnapped by pirates.

Even with changing comedic tastes, people who have enjoyed this musical before, either in the audience or as players, look back at it fondly, because it does need a cohesive team to convey the zaniness, and that’s where the fun can be found.

Lively performers Kent Coffel, as crafty Pseudolus, and Chris Moore, as worrywart Hysterium, hatch schemes that get sillier and stickier, and mistaken identities are a key element to the humor, so is crossdressing.

Kent Coffel, Danny Brown. Photo by Jill Ritter Lindberg

The principal singers are all gifted vocalists, especially Ann Hier Brown, who plays the shrew Domina, Hero’s mom. She does effectively turn the tables on “That Dirty Old Man.”

The score’s highlight is the vigorous opening “Comedy Tonight,” a can’t miss showy number. Tragedy can wait, are you ready for some fluff?

Sarah Wilkinson, memorable in New Line’s “Nine” last March, is a sweet Philia and Ian McCreary is an earnest Hero, as the young lovers everyone is rooting for, despite all the wacky complications that ensue. Their duet of “Lovely,” is well, lovely.

A standout is Danny Brown as the swaggering brute Miles Gloriosus, surprising in his robust delivery and rugged appearance.

Without firmly landing punchlines, Robert Doyle seems miscast as the lecherous Senex and Gary Cox is the befuddled Erronius, who has returned after searching for his two children, who were kidnapped by pirates.

Lending support are Jason Blackburn as Marcus Lycus and Nathan Hakenewerth, Brittany Kohl Hester, and Aarin Kamphoefner as the Proteans.

Ann Hier Brown, Chris Moore. Photo by Jill Ritter Lindberg

Co-directors Scott Miller and Chris Kernan have fluidly staged the performers to maximize the madcap movements required, especially in frantic chase scenes.

And Rob Lippert has designed a three-house set that makes entrances and exits breezy, with lighting design by Matt Stuckel and sound design by Ryan Day.

Eileen Engel’s costume design may appear simple, with widespread togas and sandals on hand, but considering the character disguises, she had to duplicate outfits in various sizes so that the apparel would elicit laughs, too.

The conductor/keyboard player is Matthew Kauzlarich, with Kelly Austermann on reeds, Tyler Davis on cello, Ron Foster on trumpet, John Gerdes on brass, Adam Levin on trombone and Clancy Newell on percussion. Joe Simpson is music director.

“Forum” closes out New Line’s 31st season, and they have tackled demanding Stephen Sondheim works before (“Anyone Can Whistle,” “Assassins,” “Company,” “Into the Woods,” “Passion,” “Sunday in the Park with George,” and “Sweeney Todd”),

The original 1962 production of “Forum” was nominated for eight Tony Awards and won six, including best musical, producer, book, and director. Multiple Broadway revivals were well-received, in 1972 with Phil Silvers and in 1996 with Nathan Lane (and later in the run, with Whoopi Goldberg. All three actors who have opened in the role of Pseudolus on Broadway have won Best Actor Tony Awards (Zero Mostel, Silvers and Lane).

This throwback has a cast merrily cavorting on stage, zipping along to keep it from sagging, that helps carry it across the finish line. I just wish the material was fresher. This only works as a period piece, recreating an outdated style.

In recent years, New Line’s impressive choices have moved the needle on local musical offerings – especially “Something Rotten!” “Urinetown,” “Be More Chill,” “Lizzie,” “Head Over Heels,” “Bonnie and Clyde,” “Heathers,”  and others.

Proteans and Miles. Photo by Jill Ritter Lindberg.

New Line Theatre’s production of “A Funny Thing Happened on the Way to the Forum” is from June 1 to June 24, on Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center Arts District.

Tickets are $25 for adults and $20 for students/seniors on the first Thursday; 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.

Discounts are available for high school students (check Facebook page for code), educators and military personnel, and college students are offered the chance to get a free seat (10 per performance) They are available only at the door, and subject to availability.

Cover Photo by Jill Ritter Lindberg

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

By Lynn Venhaus

Your first clue that we’re not in Missouri anymore is the palm trees jutting out from a swanky home’s backyard pool and patio right here in St. Louis’ own Forest Park.

That au-currant set design by Regina Garcia tips us off that we’re being transported to the vibrant cultural confluence that is a Latin-infused coastal town, aka Illyria (nod to Miami), where romance, music and festive fun are priorities.

Funny, flamboyant, and even frivolous at times, “Twelfth Night” is given a fresh spin by St. Louis Shakespeare Festival that is ideally suited for the outdoor month-long production at Shakespeare Glen.

Considered William Shakespeare’s “greatest comedy,” it’s certainly one of his most accessible – and director Lisa Portes has set it in a modern celebrity-filled metropolis, creating vivid characters and a glitzy vibe.

Portes, who heads the MFA directing program at The Theatre School at DePaul University in Chicago, framed it as an exile story. Her father came over to America from Cuba when he was 15, during the Cuban Revolution.

It’s a tale of young Viola (Gabriela Saker) who is rescued after being shipwrecked, and she believes her twin brother Sebastian (Avi Roque) has succumbed to a tragic fate, lost at sea.

Ryan Garbayo as Malvolio who flips for Olivia. Photo by Phillip Hamer.

After separation, each has reinvented themselves, trying to find their way in a strange new world. Disguising herself as a male, “Cesario,” so she can work for soccer celeb Orsino, Viola discovers love at first sight with the affluent jock, now her boss – and is thrust into a poolside whirlwind journey.

For the most part, a crackerjack ensemble weaves a merry tale of mistaken identities with aplomb.

Scene-stealers Ricki Franklin, funny as the loud party girl Dame Toby (a gender switch from Sir Toby Belcher), and Cassidy Flynn, reminiscent of comic actor Charlie Day in his chaotic antics as Sir Andrew Aguecheek, are standouts. As the obnoxious ringleaders of revelry, they elicit shrieks of laughter from the engaged crowd.

Unfortunately, the cast was uneven early in the run (on June 2), and there are a few trouble spots (chalk it up to the demands of a large outdoor show?). Orsino is supposed to be a robust figure, yet Felipe Carrasco, who physically looked the part, seemed rather nondescript in the role.

Feste, the fool, is usually wacky on stage, and Esteban Andres Cruz is daffy in demeanor, but the downfall here was that they were flat and offkey singing some of the Latin-infused melodies, including a pitchy duet with Viola. However, they projected a flashy personality in the costumes designed by Danielle Nieves.

Nevertheless, the instrumental rhythms arranged by Music Director David Molina, including traditional Latin songs with contagious beats, was superbly performed by band leader Phil Gomez and Clave Sol (Gomez on piano, Tung on bass, Thor Anderson on Congas and Herman Semidey on timbales and percussion). Molina was the sound designer as well.

Photo by Phillip Hamer

With such a glamorous setting, of course Nieves’ costumes would reflect a hot and hip attitude, and none more so than Jasmine Cheri Rush, who looks and moves like Beyonce.

Her comical outfitting of a lovesick Malvolio (a delightful Ryan Garbayo) is one of the evening’s biggest laughs.

Alisha Espinosa as Maria, Adam Flores as Fabian, and Christina Rios as Captain offer fine support as Olivia’s team (Rios also returns as a priest), while Adam Poss plays Valentine and Femi Aiyesgbusi is Curio, two of Orsino’s attendants. Poss also plays Antonio, who falls in love with Sebastian after rescuing him.

The coupling – Antonio loves Sebastian, Viola loves Orsino, Orsino loves Olivia, Malvolio loves Olivia, and Olivia loves Roderigo (aka Sebastian) – gets very complicated with the mistaken identities and unrequited love (which, if seem familiar, are plot threads copied from Shakespeare for centuries). It might be helpful to read the large graphics board set up on the grounds to explain the players and what happens.

Olivia and Viola aka “Cesario”

As Shakespeare once wrote in another play, all’s well that ends well, and love is love – and indeed will eventually triumph in certain cases.

The sleek designs – John Wylie’s cool lighting really makes the set pop – amplify the culture and community for a most pleasant summer evening.

The expressed joie de vivre makes this one of the liveliest Shakespeare in Forest Park productions in tone and tempo, and its heartfelt message about acceptance and identity a hopeful takeaway.

St. Louis Shakespeare Festival presents the comedy “Twelfth Night” Tuesdays through Sundays at 8 p.m. except on Mondays, from May 31 to June 25, in Shakespeare Glen in Forest Park. (Across from the Art Museum). The grounds open at 6:30 p.m., and the show is 2 hours, 30 minutes, with an intermission. For more information, www.stlshakes.org.


Orsino and bodyguard. Photo by Phillip Hamer.

‘Spider-Man: Across the Spider-Verse’ Is A Dazzling, Incomplete Spectacle

‘Spider-Man: Across the Spider-Verse’ Is A Dazzling, Incomplete Spectacle

By Alex McPherson

An eye-popping feast for the senses whose visual inventiveness can’t compensate for a restrictive middle-chapter narrative, “Spider-Man: Across the Spider-Verse” is consistently engaging but will play best for those already well-versed in Spider-Man lore.

Taking place 16 months after the events of “Into the Spider-Verse,” the film follows the exploits of 15-year-old Miles Morales (Shameik Moore), who struggles to balance his superhero role as Spider-Man with the more traditional responsibilities (i.e., attending classes) expected by his strict yet loving parents, Rio (Luna Lauren Velez) and the soon-to-be-police-chief Jeff (Brian Tyree Henry), who are unaware of his alter ego.

Miles, a rebellious teenager experiencing loneliness and heartbreak from his (literally) “out of this world” spider-people companions, including badass crush Gwen Stacy (Hailee Steinfeld), feels adrift and unable to fully express himself — yearning for freedom and belonging.

Gwen, in her own dimension, is similarly struggling to find acceptance and meaning; her father, George (Shea Whigham), a police chief, discovers her identity as Spider-Woman and blames her for the death of her timeline’s Peter Parker. After battling a monochromatic variation of The Vulture, Gwen is recruited by a team of Multiverse protectors — including the motorcycle-riding Jessica Drew (Issa Rae) and the brooding Spider-Man 2099, a.k.a. Miguel O’Hara (Oscar Isaac) — running from her now-perilous bond with her father. Soon enough, however, she’s called back into Miles’ orbit to tackle a new threat.

A bespeckled, self-deprecating foe named The Spot (Jason Schwartzman) shows up in Miles’ reality — brimming with hatred for Miles due to a past wrong that left him covered with holes through which he can teleport across great distances. He’s champing at the bit to become Miles’ “nemesis,” getting stronger by the moment in his fierce desire for revenge. 

Things get even more complicated when Gwen shows up, reigniting her situationship with Miles, and prepares to leave once The Spot teleports elsewhere. Miles ends up following her into an interdimensional portal revealing a whole society of Spider-Beings, including the jovial Spider-Man India (Karan Soni), the unruly, punk rock Hobie Brown (Daniel Kaluuya), seemingly assembled from scraps of paper, and a hulking Spider-Tyrannosaurus, each manifested through different animation styles.

It’s not all sunshine and rainbows, though, as not only has The Spot gained enough power to pose a tangible threat to the Multiverse as they know it, but Miles must continue to fight against fatalistic, predetermined beliefs that restrict his free will on a universe-altering level.

Indeed, “Across the Spider-Verse” certainly has a boatload of information to convey to viewers, and to be honest, some of it soared over my head. This remains the sequel’s greatest flaw: no matter how excellent it looks and how well the talented ensemble brings these characters to life, the film remains ham-strung by a desire to be bigger in the classic sense, leaving its most compelling thread dangling by the end as we wait for the next installment in 2024. 

Directors Joaquim Dos Santos, Justin K. Thompson, and Kemp Powers certainly have a keen sense of spectacle, seamlessly blending art styles together that reflect characters’ specific views of the world and their distinct, variably layered personalities. From a watercolor backdrop melting from mournful blue to hopeful pink with the thawing of emotions, to a brief detour into stop-motion animation straight out of “The Lego Movie,” and frantic action sequences throwing characters of all styles at the screen at once, packing in multitudes of nerd-culture references along the way, “Across the Spider-Verse” is equal parts mesmerizing and fatiguing by the end of its 136-minute runtime, boosted by a thumping, energetic score by Daniel Pemberton and a catchy soundtrack. The passion poured into this project by everyone involved is apparent from start to finish, at least from a presentation standpoint.

“Across the Spider-Verse” still falls prey to sensory overload in its second half, just like its predecessor, but is refreshingly focused on human relationships in its beginning stretch, particularly regarding Miles’ bond with his parents. Moore, Lauren, and Tyree Henry lend real pathos to their roles in these slower sequences, tenderly and believably navigating difficult choices along Miles’ transition into adulthood. Steinfeld is also excellent, particularly in early scenes with her alienated father: vulnerable and courageous, bitter and earnest. Gwen’s not defined by her will-they-won’t-they romance with Miles, but rather by her personal strength to confront her demons and fight for what she believes in.

It’s somewhat disappointing, then, that as Miles and company journey through the Multiverse, encountering bazillions of Spider-Beings, that “Across the Spider-Verse” reverts so frequently to exposition dumps and rushed characterizations that allow little time to be fleshed-out beyond the surface level.

Talk of so-called “canon events” (the expected happenings of each Spider-Man story) are interesting in a meta-textual sense, but the film leaves the concept’s thornier elements dangling, hopefully to be explored down the road, in favor of simplistic messaging. The Spot, too, idiosyncratically brought to life by Schwartzman, is sidelined for most of the second half, a Big Bad seemingly too big for the already overstuffed film to address.

No matter how likable the characters, or thrilling the animation, “Across the Spider-Verse” is unable to break free from the expectations of tradition: a story whose ideas of empowerment and individuality are only broached but not fully delved into, set-up for greater things in the future. Perhaps “Beyond the Spider-Verse” will rectify these qualms, but as it stands, “Across the Spider-Verse” can’t match its breathtaking presentation with equally strong storytelling.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Alex’s Grade: B

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

By Lynn Venhaus
Pop art, quantum physics and pathos collide in a grand superhero spectacle, resulting in this “Spider-Man: Across the Spider-Verse” sequel being a mind-blowing amalgamation of next-level animation like but surpassing the 2018 original.

In this second installment of an animated film trilogy, Miles Morales (Shameik Moore) catapults across the multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero.

However inventive and clever it is, though, about half of the storyline is incoherent and panders to fan service — and the sensory-overload-on-steroids style is overwhelming and exhausting. Yet, we’re all locked in.

This 2 hour and 20- minute eye-popping extravaganza takes place across six dimensions, has 240 characters in it and had over 1,000 animators working on it – the most ever.

The Spider-Man mythology, easily relatable for teens who understood creator Stan Lee’s metaphors for figuring out their place in the world, began as a socially inept high school student who was bitten by a radioactive spider, and thus developed superpowers. That was in 1962, and in fighting crime in his subsequent Marvel Comics issues, Peter Parker would eventually learn “with great power comes great responsibility.”

Since 2002, there have been eight live-action Spider-Man movies, plus his role in “The Avengers” franchise, not to mention a past TV series, Broadway musical, video games and books.

The three co-directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson mash parts of the old films with elements of the comic books. That comic imagery, added in with drawing and painting styles of the 20th and 21st centuries, results in a visually stunning work. Art historians will be in for a treat.

And comic book fans will be delirious about the Easter eggs – no doubt courtesy of cheeky producers Phil Lord and Chris Miller who finally won an Oscar for directing the first movie (previously robbed for “The Lego Movie”) but only co-wrote this script with David Callaham, a veteran of the first and “Shang-Chi and the Legend of the Ten Rings.”

I understand their desire to throw in as many gags for the super-fans, but that darn muddled narrative lets the rest of us down. And their need to fiddle with the Spider-Man canon to keep it fresh and interesting. Sure, there are compelling human emotional touches (dead relatives, loved ones in peril), but the hyper-kinetic storytelling weakens the overall effect for those ‘not in the zone.’

Another sticking point is that the middle entry in this animated world ends with a cliffhanger, then states Miles will return in “Spider-Man: Beyond the Spider-Verse.” It is set for a March 29, 2024, release — frustrating to viewers who like things resolved before waiting for another one, because this one just ends without a resolution.

And if you did not see “Spider-Man: Into the Spider-Verse” released four and a half years ago, you will be lost here. As a quick recap, Miles Morales, a black Hispanic Brooklynite, was juggling his life between being in high school and a Spider-Man, but when Wilson “Kingpin” Fisk uses a super collider, he finds out that others from across the Spider-Verse have been transported to his dimension.

This time, 15-year-old Miles remains on Earth – 42, but as he discovers more multi-verses, he meets dozens of other Spider-People. In this global take, we meet a Spider-Man India (Karan Soni), a cockney street punk Spidey named Hobie (Daniel Kaluuya), a snarling, hulking vampire Spidey Miguel O’Hara (Oscar Isaac), and a pregnant Spider-Woman, motorcycle mama Jessica Drew (Issa Rae). Saving the world is tough business, and there are existential crises happening.

Miles’ mentor, Peter Parker (Jake Johnson), is shown as a young father, married to MJ (Zoe Kravitz), who brings his baby along for the adventures. Sad girl Gwen Stacy (Hailee Steinfeld) is a combo grrrl rocker and a Spider-Girl whose anguished storyline is equal to Miles’.

Spidey and The Spot

While one can applaud the energy and the dazzling visuals of non-stop action, characters are often frazzled, and the pace is so frenetic that you feel like you are trapped in this parallel universe too. Who’s good, who’s evil, and who may be both?

Shameik Moore has returned to voice Miles, and he’s dandy as the angsty teen who is exasperating to his parents because of his time-management skills (they don’t know he’s keeping the bad guys in check, at least in his neighborhood).

His parents are voiced by Brian Tyree Henry and Luna Loren Valdez, joining a slate of major talent whose vocal work is solid but does not immediately identify them. Yet, it’s easy to place J.K. Simmons as J. Jonah Jameson, SNL’s Rachel Dratch as the principal, and Jason Schwartman as the revenge-seeking villain “The Spot” (a standout).

Hyper and hypnotic, “Spider-Man: Across the Spider-Verse ” has pushed forward the genre and is a fun fan experience. The propulsive score by composer Daniel Pemberton is also a plus. I give the animation an A+ but the story a B-.

It’s a lot to juggle sci-fi, action, adventure, family, comedy, drama, and fantasy in one animated feature, and this film does display heart, even if the movie can’t stand on its own.

After two decades of superhero comics ruling the bombastic blockbuster box office, what’s next? Has art opened another dimension? One of the Spider-Verse’s greatest strengths is that it still surprises, and these multiverses show no signs of maxing out.

One thing is for certain, the enthusiasm for this head-spinning series is not waning anytime soon (even with the grumbling about waiting for the next sequel). It’s as if we’ve hopped on one of the wildest amusement parks rides ever, and we need to see where it leads.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Lynn’s Grade: B

This review also appeared in the Webster-Kirkwood Times’ Reel World with Kent Tentschert.

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

By Lynn Venhaus

“From the Garden” is a clever topical one-act play that deserves to be seen. Its brief weekend run revealed a local writer’s biting wit and sharp observations that were realized by a zealous cast.

Whip-smart playwright Donald C. Miller directed his own show earlier this month (May 5-7) for four performances at the intimate venue, The Chapel, a modest production by Wee Laddie Theatrics.

It may have been staged on a shoestring budget, but the satire had big ideas and pointed barbs delivered by a taut ensemble of veteran performers, whose natural abilities carried over the message.

The three sold-out and one near-capacity matinee crowds got the jokes, so merry laughter ensued. Whether or not you know the real-life community conflict that sparked Miller to put pen to paper, tongue firmly in cheek in this “work of fiction,” you’ll mull over the points he’s making that are far from heavy-handed.

This is not a preachy diatribe about well-meaning citizens whose self-righteous stances can derail compassionate acts for ‘the greater good.’ It’s far more insightful about hypocrisy and personal agendas, pegging the democratic divide between old-school liberals and uberleft progressives.

And how some decent folks who want to avoid drama in their daily lives are unwittingly caught up in the maelstrom. And made very uncomfortable by those purporting to know what’s best for everyone.

We are familiar with the modern political climate of loud extremists, the right and left often far apart and unwilling to compromise or work together. It’s not just at the national and state level, but in our fair city’s distinct neighborhoods – and lines are drawn between left and far-left in the Democratic Party (and right and far-right in Republican circles).

This is an ‘across the aisle’ situation, only it’s set in an outdoor community garden tended to by neighbors and civic-minded people.

You’ll be able to recognize numerous characters as the cast nails the nimble wordplay. They are playing relatable people, not overly complicated roles.

Donald Kidd, Brenda Morrison, Mara Bollini and Camille Elena Fensterman

Playing against type, Ann Hier Brown is amusingly annoying as Lisbeth Stanton, an upper middle class urban housewife that has cultivated an activist-advocate persona through curated social media posts.

She considers herself a feminist but is not seeking equality, for she is a control-freak do-gooder. As the comedic melodrama unfolds, she agitates her neighbors who want to get involved but eventually are put off by her sanctimonious lectures – and her assortment of chic bandanas. She is not above escalating conflicts for her personal gain.

It’s no coincidence her name resembles the great woman’s suffragette Elizabeth Cady Stanton. Miller is not anti-women’s rights at all, just pointing out how some folks take charge and then play martyrs or victims when they don’t get their way.

He provides more Easter Eggs, for other characters are given the last names of Nixon, Carter, Monroe and Ford. Ring a bell?

Funny guy Jason Meyers plays her husband Kirk, who tries to be supportive but is often a referee between mother and daughter. Teenager Emmy, conveyed by Nadja Kapetanovich in a defiant and questioning way, is like oil and water with her mom, who gets snippy and defensive in interactions.

Lisbeth also tussles with her no-nonsense natty mom, Sylvia Ford, played shrewdly by Margeau Steinau. Sylvia, with a deep pocketbook, travels in important circles and is organizing a benefit that Lisbeth is loath to attend.

Donald Kidd is well-suited to play Dwayne Jenkins, a committed activist who is running for the city council, but Lisbeth attempts to pull the strings and back another candidate. Rut-ro.

Neighbors who want to make a difference, but not necessarily get into a toxic situation, include Mara Bollini as Kate Carter, Camille Elena Fensterman as Xiomara Monroe, and Brenda Morrison as Ruth Nixon. They toss off snappy remarks with ease – and can spot a Karen lurking on the tree-lined streets – and don’t buy the disingenuous Lisbeth’s savior schtick.

Calvin Chambers was the technical coordinator and stage manager Ann Rapko.

The scenes are divided into soil preparation, weed prevention, watering and care, infestation, harvest, and dormancy. Of course, these are structured so that people can read between the lines.

The scene changes were a tad cumbersome, given the short time-length and the small performance space. But the sets were simple, reflecting the low-budget labor of love.

Nevertheless, small technical issues – like some performers being easier to hear than others – would be worked out in an encore presentation.

Hopefully, the play will have some staying power and there will be an opportunity for more theatergoers to enjoy it. Because an examination of identity politics is a good thing, exposing how unproductive it can be.

For background on playwright motivation, read this article in the Riverfront Times:

https://www.riverfronttimes.com/news/andoes-society-page-its-left-vs-far-left-in-maplewood-politics-39605670?media=AMP%20HTML&fbclid=IwAR1tU88TYee-aMpt9BK_yUxpL_y2libTFCqj52gq5_jSabftcc009Gvzk9E

Because after all, not conforming and speaking out instead is always the preferable way to go, especially someone as skilled as Miller in expressing himself. In “From the Garden,” he mocks the obvious – and is not so subtle in a very funny way.

Margeau Steinau and Ann Hier Brown

Cover Photo: Nadja Kapetanovich and Jason Meyers