A fascinating piece that combines intricate magic feats with intimate storytelling, “Forget Me Not” is an uncommon presentation.
Illusionist Kyle Marlett engages with an original and autobiographical one-man show that is much more than sleight of hand magic tricks and stunning visuals. As nifty as those inspired bits are, they are part of a bigger picture.
This is not your flashy extravaganza with pulsating music and fancy lighting that you often see as show biz spectacles — nor is it lacking artistry. Quite the contrary. It’s a one-of-a-kind rumination on learning, living, and leaving a mark, done with tender care.
This ambitious production appears to be a solo enterprise, but it’s not, for he has an accomplished cohort. Gunnar Sizemore, an actor who has appeared as Micah in the TV series “Nashville,” is Marlett’s co-creator. He is a director and voice actor, too, known for voicing Bao in the TV series “Kung Fu Panda: The Paws of Destiny,” among others.
The unusual set design – walls of boxes, some opening for effect, was co-designed with Patrick Huber. Several boxes hang from the ceiling, and are timed to drop as part of the show.
Kyle Marlett “Forget-Me-Not”
The subdued atmosphere includes low lighting and smoky effects, and the sound is soft. Huber was the lighting designer, too, and Marlett designed the sound.
Wearing his heart on his sleeve, Marlett shares his life story in a measured tone, with striking visual flourishes along the journey – such as recounting the times he and his brother shared giant bowls of cereal after school.
He has been estranged from that brother because of drugs. His brother’s woes and his father’s alcoholism didn’t make for a happy childhood, and he grew up escaping into his own fantasy world.
Magic enthralled him from the get-go and determined his path. His story’s unique, yet familiar, and that’s the endgame goal here – to engage people in a memorable way.
It’s doubtful that you’ve seen anything like it before. I know I haven’t.
Marlett has more than 1.5 million followers online and has been on such television shows as “The Tonight Show,” “Penn and Teller’s Fool Us,” and “RuPaul’s Drag Race.” He has also produced magic for movies and streaming series. A few years ago, he appeared at The Gaslight Theatre “in a very different show,” he told me.
Now, this show’s purpose is to focus on more meaningful connections. You know, the heavy stuff – Why are we here? What happens after we’re gone – who will tell our stories? What impact can we have? The clock is ticking, so how do we go about being remembered?
Marlett respectfully asked the audience for their thoughts, and to share some details, while he incorporated magic into the structure. Without razzle-dazzle, they were quite impressive – and the audience reacted warmly.
This is a departure from the customary fare at St. Louis Actors’ Studio but follows that theme of connection that’s been ever-present in our post-pandemic (well, post-vaccine) world.
The feeling of a shared experience, like live theater represents, remains.
The St. Louis Actors’ Studio presents “Forget Me Not,” Dec. 3-18, Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. in The Gaslight Theatre. It is 75 minutes without an intermission. Box office 314-458-2978 or www.ticketmaster, or one-hour before each show. For more information, visit www.stlas.org or contact help@stlas.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Hall will be in concert with Special Guest Todd Rundgren on Thursday, Dec. 1, at 7:30 p.m. at Stifel Theatre in St. Louis
By Lynn Venhaus
A soul survivor spanning 50 years in the music business, Daryl Hall still gets excited talking about performing live.
You can hear the enthusiasm about his latest venture in his voice during a recent phone interview. He embarked on the BeforeAfter Tour April 1 in Chicago, his first solo tour in more than a decade, and it’s been extended twice, launching again on Nov. 19, and wrapping up this week.
He will appear in concert on Thursday, Dec. 1, at Stifel Theatre in St. Louis, along with his special guest — old friend and fellow Philadelphian, Todd Rundgren.
Tickets are available for the show that starts at 7:30 p.m.: https://www.ticketmaster.com/daryl-hall-and-the-daryls-house-st-louis-missouri-12-01-2022/event/06005D2F8AF11B70
The last show for this year is Dec. 3 in Evansville, Ind.
“We are so happy because it’s been beyond our expectations,” he said from his home in Connecticut. “People are loving the show. It’s a big departure for me being out on my own and starting this new thing.”
Before After
Hall has released his first-ever solo retrospective, “Before After,” which features 30 selections from his five solo albums, from “Sacred Songs” in 1980 through “Laughing Down Crying” in 2011. In addition, the collection features six never-released performances from “Live from Daryl’s House,” his acclaimed web and television series.
The current Daryl’s House Band accompanies Hall and Rundgren, and includes guitarist Shane Theriot, bassist Klyde Jones, saxophonist Charlie DeChant, keyboardist Elliott Lewis, drummer Brian Dunne and percussionist/singer Porter Carroll.
“I have the best band in the world,” he exclaimed. “They travel with me all the time. Their experience shows on stage.”
Two new episodes of “Live from Daryl’s House” have been recorded and he said they’re getting ready to do a third, so stay tuned.
Todd on Live From Daryl’s House
Hall, 76, and Rundgren, 74, continue to thrive on the music paths they started as teenagers.
Both singer-songwriters and multi-faceted musicians, they have produced and arranged recordings for much of their Hall of Fame careers.
For this tour’s setlist, Rundgren starts off with an individual set, followed by an intermission, then by Hall. Then, they come together for the grand finale.
During the pre-vaccine part of the pandemic, when the world shutdown, so did he.
“I didn’t write a song. I hardly left the house. I slowed down,” Hall said.
But working on the retrospective and mapping out a tour was the impetus he needed to get back to doing what he loves to do.
Why take to the road after having such a long illustrious career?
“I am a working musician,” he said. “I live to work. I also have these guys (the band) to take care of. It is hard to challenge just yourself. This tour is a labor of love. I enjoy the work.”
Hall was thrilled to play at Carnegie Hall in New York City and Ryman Auditorium in Nashville for the first time.
Grateful to be connecting again with live music, he’s as invigorated as the fans.
“People are ready to go out and have a good time, relax. We’ve tapped into that need for human connection after the past couple of years,” he said.
That Philly Soul
Bonded by their Philly roots and simpatico relationship, Hall and Rundgren are a match that fans have responded to, described as a ‘dream team.’
Todd, Oates, Hall in 1974 (see info below)
“We grew up 20 miles from each other in Chester County (southeast Pennsylvania, part of Philadelphia metro area, Hall in Pottstown and Rundgren in Upper Darby),” he said. “We were aware of each other, but we didn’t meet until we both had moved to New York City at the same time.”
Where they met still makes him smile.
“We met at a showing of the movie ‘Fantasia,’ which is just so perfect, and we talked about how we should record together,” he said.
That led to Rundgren producing Hall & Oates’ third album, “War Babies,” in 1974.
“We continued to work together. He’s a real kindred spirit,” he said. “Todd’s music is so soulful, eclectic. He’s a maverick. We literally come from the same place. We were made to work together.”
Fans already know how good the blue-eyed soul pair sound together, for they’ve created magic both at Daryl’s home studio and at Todd’s place in Hawaii.
Their music has been flavored with the Sound of Philadelphia – noted for its funk and rhythm and blues fusion with pop, with a jazzy melodic structure, often including horns and strings in the instrumental arrangements. Philly soul can be heard in such acts as The Spinners, O’Jays, Delfonics and Stylistics.
“It was a very big influence in my music. You can’t help but have pride in the Philly Sound, it’s still a major influence in the world,” he said.
As the best-selling duo of all-time with John Oates, Hall had six no. 1 hits in the 1970s and 1980s. Hall & Oates’ accessible pop has stood the test of time – and you can hear their greatest hits used in current commercial campaigns.
Inducted into the Rock and Roll Hall of Fame with Oates in 2014, they team up from time to time, including several concerts this past year.
Hall, whose mom was a vocal teacher and choir director, said he can’t remember a time when he wasn’t singing. While in college at Temple University, he recorded his first song with a group he formed, The Temptones. He was 18, and he’s been recording ever since.
In the early days of Hall & Oates, they didn’t break through with major success until “Sara Smile,” was released as a single in 1975.
“That song is very significant to me,” he said. “It was very exciting to hear it on the radio. It was an indescribable feeling.”
(“Sara Smile” was about his girlfriend at the time, Sara Allen, who contributed to some of Hall & Oates’ most popular songs – “You Make My Dreams,” “Maneater,” “Private Eyes” and “I Can’t Go for That” among them. They were in a long-term relationship for about 30 years, breaking up in 2001).
Live from Daryl’s House
Just as Hall & Oates had their many successes during the early days of MTV, embracing music videos as a promotional tool, Hall has managed to reinvent himself in the digital age through his award-winning series.
He launched LFDH as a free monthly show on the internet in 2007 and played music with friends. He wanted it to have a relaxed vibe of hanging out and having a good time jamming. It also ran on television, including Viacom’s Palladia channel.
“It’s been phenomenal. It was an idea whose time had come. Nobody was watching the internet then. How times have changed since then,” he said.
Fans new and old responded to his collaborations with the latest generation of musicians as well as his contemporaries – and a variety of genres. He’s played with Neon Trees, Jason Mraz, Smokey Robinson, The Spinners, Tommy Shaw, Kenny Loggins, Joe Walsh, and The Goo Goo Dolls.
Winner of a Webby Award for best variety series and O Music Award from MTV for best performance series, LFDH has recorded 82 episodes, some of which are archived on his website, while others are available on YouTube.com
For many years, he recorded the show in the 18th century home he rehabbed in New York’s Hudson Valley, in Millerton, but then moved to Connecticut. For a new place starting with the 66th episode, he renovated the former Towne Crier nightclub in Pawling, N.Y., into a restaurant-and-live-music venue, which opened in 2014. It is currently open for business and offering live entertainment.
They met in 1970 while students at Temple University, and recorded their first album, “Whole Oats,” in 1972. A year later, “Abandoned Luncheonette” followed, featuring the hit “She’s Gone.”
With the release of “Sara Smile” from what’s known as “The Silver Album” in 1976, they became superstars. In 1987, the Recording Industry Association of America declared they were the best-selling musical duo of all-time and have maintained that record.
Hall would be a part of “We Are the World” and the duo was on the stage during Live Aid in Philadelphia in 1985. They also backed up Tina Turner and Mick Jagger.
As for his description of St. Louis legend Turner, Hall said: “She’s great. She’s very gracious and kind,” he said, noting that the first record he bought at age 12 was Turner’s.
Todd Rundgren
Todd Rundgren
Rundgren began playing guitar as a teenager and formed the psychedelic garage rock quartet Nazz in 1967, releasing three albums between 1968 and 1971. He re-recorded his hit song, “Hello It’s Me” as a solo artist. He released “Runt,” his first solo album, in 1970, and learned how to produce an album himself.
A production deal led him to projects with Janis Joplin, the Band, Patti Smith, and others. He also produced albums for the New York Dolls, Grand Funk Railroad, Meat Loaf and Daryl Hall & John Oates.
For his 2-disc masterpiece, “Something/Anything?” in 1972, he sang all the vocal parts and played all the instruments on three of the four sides. He has released 25 solo albums and 10 with Utopia. His latest, “Space Force,” was released on Oct. 14.
His music video for ‘Time Heals” was the eighth one played when MTV launched on Aug. 1, 1981.
He is genuinely regarded as an innovative and resourceful singer, songwriter, musician, sound engineer and record producer. A multimedia artist, he is considered a pioneer in the fields of electronic music, progressive rock, music videos, computer software, and Internet music delivery. By the mid-90s, he was experimenting with interactive CD-ROM and new video technology.
He was inducted into the Rock ‘n Roll Hall of Fame in 2021, although he refused to attend the ceremony.
He has toured with Ringo Starr and the All-Star Band, the new Cars and recently appeared on the Celebrating David Bowie tribute tour in October and November.
Photos: Todd Rundgren, on his 26th birthday, on June 22, 1974, was in concert at the Wollman Rink in Central Park, and Daryl Hall and John Oates were part of his ‘chorus.’ He was producing their “War Babies” album then. (Photo posted on YouTube, with audio, from the 1974 concert: https://youtu.be/ls0Yje9-woI)
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
What a pleasant surprise the leap of faith “Ordinary Days” is – as the inaugural musical presentation of Tesseract Theatre Company, as an original musical by Adam Gwon, as a coda to this year and as a reflective piece for our third winter of a pandemic.
An intimate, affecting sung-through musical that intersects the lives of four young New Yorkers, “Ordinary Days” resonates with its struggles, search for fulfillment and the palpable sense of yearning from the new-to-me quartet.
Discovering the vocal talents and comedic timing of Brittani O’Connell, Jacob Schmidt, Micheal Lowe, and Lauren Tenenbaum is also part of the fresh-and-fun experience.
As directed by veteran Elisabeth Wurm, the cast maneuvers like the New Yorkers they portray. There’s a certain rhythm to moving around the city, and the four performers nail the aptitude and the attitude. (Full disclosure: my youngest son has lived there since 2011, so I have visited over the years, and have observed the natives, transplants, and tourists.)
When navigating the hustle and bustle, I am often reminded of Stephen Sondheim’s lyrics to “Another Hundred People” in “Company”: “It’s a city of strangers, Some come to work, some to play… Some come to stare, some to stay And every day The ones who stay Can find each other in the crowded streets and the guarded parks…”
Worried about their futures while still clinging to their hopes and dreams, these two pairs have found each other in a city misrepresented by a cold-hearted perception. It’s not, but you must learn survival — “If I can make it there, I can make it anywhere” is pretty much true.
Tenenbaum is Deb, a small-town girl with dreams of more, who is in grad school and misplaces a notebook crucial to her thesis. It’s found by Warren, a guileless goofy guy played by Schmidt, who is too pleasant and agreeable for his own good, for he’s one of those random guys passing out flyers on the street who is repeatedly ignored. His job is cat-sitting but he’s the proverbial struggling artist. He’s desperate to fit in – can he still be chipper when trying not to get swallowed whole by the city?
Frazzled high-strung Deb is always in a hurry, and will eventually learn to be in the moment, or else the treasured little things in life will pass her by. She thinks Warren is weird, but eventually they become good friends.
Jacob Schmidt, Lauren Tenenbaum
The other couple is romantically linked. They have been together for a while but mulling over taking it to the next level, as Jason moves his things in to Claire’s. But something isn’t quite right. O’Connell plays Claire, whose backstory includes a 9-11 casualty, and Lowe is Jason, whose journey leads to commitment, but is Claire ready?
Learning to appreciate the simple things of life – while feeling lonely, isolated, and out of sorts – has been a common theme during the coronavirus pandemic, which has brought a gamut of emotions to the surface since March 2020.
So, Adam Gwon’s play, written in 2008, takes place in 2005, which is important for the actions and transitions. It is a marvel of relatable key moments – Oh, youth! The 30s! – and somehow, reverberates with the same contemplations we’ve had during this pandemic era of uncertainty.
Gwon is a noteworthy talent, included in Dramatists Magazine’s “50 to Watch,” and “Ordinary Days” put him on the map. His lyrics are sharp and vibrant, have an everyman quality and universal appeal. (He also wrote the revue “Old Jews Telling Jokes,” which was presented by New Jewish Theatre in 2014.)
Tesseract’s presentation of “Ordinary Days” is a fine introduction to his music, and Music Director Zach Neumann deftly plays the keyboards and keeps the pace brisk for the singers, whose strong enunciations and interpretations really make the vivid lyrics hit home.
Schmidt sets a convivial tone with “One By One By One,” then shades his character’s personality through “Life Story” – his heart and his humor apparent.
Tenenbaum, also quirky but bursting with possibilities, explains her life to date in “Don’t Wanna Be Here” and her mojo in “Dear Professor Thompson, Part I” – continuing her funny bundle of nerves.
Deb and Warren’s meet-cute at The Metropolitan Museum of Art turns into a sweet duet “Sort of Fairy Tale” – ‘violent punctuation”! And continues with “Big Picture.”
Brittani O’Connell, Micheal Lowe
The Met figures into Claire and Jason’s relationship, but not as positive as the other pair’s.
While moving in, gifted vocalists O’Connell and Lowe explore their next-step feelings in “Let Things Go” and “The Space Between,” and go through their stuff in “I’m Trying.” They succinctly sum up a couple’s argument with a lighter humorous touch in “Fine.”
Among the most poignant is O’Connell’s “I’ll Be Here” – which should elicit leaky eyes from nearly everyone – and Lowe’s simple but so eloquent “Favorite Places.”
The hits just keep on coming — “Hundred-Story City” captures the love-hate relationship that New Yorkers have with the concrete jungle. And “Rooftop Duet/Falling” ties the show together.
Claire has realized she must let go of the past before she can move on, and O’Connell’s character arc is the deepest felt, but all performances are warm and captivating. They harmoniously come together in the stirring finale “Beautiful.”
With the focus squarely on the individuals and how they factor in with others, the set design is simple, and relies on photographs projected on the large screen – sights of living in New York City. (NYC always feels familiar because we’ve seen it so many times in entertainment.)
If you feel that you have taken away from our recent 21st century life-and-death experience the importance of connection, like I have, then this timely and charming reminder to appreciate beauty and joy in our lives, no matter how small or fleeting, delivers its heartfelt message as only live theater can.
This may be Tesseract’s first musical, but it won’t be their last, as they are planning to present the two-hander “The Last Five Years” by Jason Robert Brown in February and the Tony Award winner for Best Musical in 2013, “Kinky Boots,” later this year.
I’m liking this leap of faith Taylor Gruenloh has set his company on – and the first step is a knockout, a memorable musical for our times. Dare I say “optimistic”?
Tesseract Theatre Company presents “Ordinary Days” Nov. 18-27 on Friday at 8 p.m., Saturday at 8 p.m., and Sunday at 4 p.m. at the. Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com or at the box office before the performance. $25 for general audience and $20 for students. For more information, visit www.tesseracttheatre.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Dear Mr. Spielberg, Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.
I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.
“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.
So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.
Maybe that adage, “Never meet your heroes” applies here.
Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.
Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.
Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.
As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.
When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.
But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.
But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.
That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.
It’s the best cameo of the year, no spoiler from me!
Gabriel LaBelle as Sammy Fabelman
Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.
The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.
You will be remembered as one of the greatest directors of all time, and we see the effort.
I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.
Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.
Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.
Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.
Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.
When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.
That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.
A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.
Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.
Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.
Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.
But, there is just something nagging about a film that I wanted to be great, but is just good.
“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The ELO Tribute Band will Headline Show at Delmar Hall on Thanksgiving Eve Nov. 23
By Lynn Venhaus
Majestic splendor.
That’s the sight, sound and the vibe of Mr. Blue Sky, the St. Louis-based Electric Light Orchestra tribute band that makes sure every multimedia production is authentic.
With its 10 bandmates and dazzling visual imagery taking the audience both back in time and into the future, their intricate harmonies and musicianship stand out.
When Mr. Blue Sky takes the stage at the Delmar Hall on Nov. 23, the third time’s a charm for they have sold out that venue twice before (Hint: get tickets now, for the night before Thanksgiving is considered the biggest night out of the year. Tickets are available through Ticketmaster (see link at end of article). Doors open at 7 p.m., show starts at 8 p.m. Delmar Hall is at 6133 Delmar Boulevard.
Local legend Steve Ewing from the Urge (and Steve’s Hot Dogs) will open the show with his duo.
This special night will be different from their triumphant appearance at the Chesterfield Amphitheater two months ago (where they drew 1,500 people), for they like to mix it up for every appearance.
Veteran St. Louis musician Jeff Faulkner, who assembled the tribute band three years ago, said the Nov. 23 show will feature two new songs and a different setlist.
Jeff Faulkner of Mr Blue Sky
“We do all the hits — 22 top ten hits, we always play those,” Faulkner said. “Then we’ll play deeper cuts like ‘Face the Music,’ we play some Traveling Wilburys. We played the ‘Discovery’ album in entirety when we were at The Wildey.”
He enjoys introducing the symphonic rock icons to new fans and reminding longtime fans of their legacy.
“It’s really great music. I think Jeff Lynne is one of the best singer-songwriters in the history of rock ‘n roll,” he said. “He is a musical genius.”
Besides Faulkner on lead guitar and vocals, their all-star line-up includes Dave Watkins on lead guitar and vocals; Anastasia Hamilton, vocals; Abby Stahlschmidt, violin; Jessie Youngblood, violin; Jake Brookman, cello; Stephen Winter, keyboard and vocals; Charlie Brown, keyboard and vocals; Steve Bunck, drums; and Ben Moyer, bass and vocals.
The group’s musicians have performed with local heavyweights Pavlov’s Dog, That 80s Band and the St. Louis Symphony Orchestra. And have toured with The Who and Weird Al Yankovic.
Besides Delmar Hall, they’ve sold out shows at The Pageant, The Wildey Theatre, The Duck Room, and Ballpark Village. They recently performed in the Chicago area, at Impact Fuel Room in Libertyville, to a rocking crowd.
“A fair percentage of people that we’re playing for are familiar with ELO’s music – even if they don’t realize it. Probably 90% of them know ‘Mr. Blue Sky,’ Faulkner said. “They’re used in so many movies, so many commercials. Even if you don’t think you know ELO, you know ELO.”
Faulkner fell in love with the English rock band at an early age. Their fusion of modern rock and pop with classical overtones intrigued him.
ELO was formed in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan, and following Wood’s departure in 1972, Lynne became the sole leader, arranging and producing every album – and wrote nearly all their original material.
Lynne disbanded the group in 1986, but Bevan formed his own, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO wasn’t active again until 2014, when Lynne reunited with Richard Tandy as Jeff Lynne’s ELO.
During their original 13 years of active recording and touring, they sold more than 50 million records, and had 15 Top 20 songs on the Billboard Hot 100. Their most successful album, the double album “Out of the Blue” in 1977, was among their top 10 albums in the ‘70s and ‘80s. They had a disco-inspired album “Discovery” in 1979 and a science-fiction themed “Time” in 1981.
In 2017, Bevan, Lynne, Tandy, and Wood were inducted into the Rock and Roll Hall of Fame.
Faulkner discovered that there wasn’t a tribute band in St. Louis, so he decided to go in that direction.
“It hadn’t been done before. With the strings and the orchestral sound, ELO is just different. That’s what makes it unique. We have a three-piece string section,” he said.
He is very proud of the work that the band has put into capturing “the majestic splendor.” “It’s taken a lot of work to get it there, but we have gotten it there,” he said.
To hear our PopLifeSTL.com podcast with guest Jeff Faulkner, co-hosted by Carl “The Intern” Middleman and Lynn Venhaus on March 11, here is the link:
Take Ten Q&A with Jeff Faulkner:
1. Why did you choose your profession?
“It’s what I’ve been most passionate about since I was 11 years old.”
2. How would your friends describe you?
“Outgoing, and a big sense of humor.”
3. What do you like to do in your spare time?
Traveling, seeing live music and theatre
4. What is your current obsession?
Rufus Wainwright
5. What would people be surprised to find out about you?
“I’m 9-1/2 years sober.”
6. Can you share one of your most defining moments in life?
“When my son was born.”
7. What do you admire most?
“Kindness, and humility.”
8. What is at the top of your bucket list?
“Going back to Europe and visiting Germany and Italy.”
9. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part?
“It shut down my industry completely for three months. I spent a lot of time hiking various trails, and binge-watching sit coms.
10. What is your favorite thing to do in St. Louis?
Hanging out in the Loop, Forest Park, and going to Blues hockey games
11. What’s next?
Mr. Blue Sky has great shows coming in 2023!
Mr Bue Sky
More to Know About Jeff Faulkner:
Age: 47 Birthplace: St. Louis Current: Brentwood, Mo Education: 2 years of college Day job: Musician First job: Dishwasher What you like about what you do: I love everything about being a musician Dream job: I have it Awards/Honors/Achievements: Mr. Blue Sky has finished as a finalist for best cover band in St Louis Mag the last two years Favorite quote/words to live by: Carpe Diem A song that makes you happy: “Mr. Blue Sky”
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus “She Said” is a brilliant chronicle of a watershed moment in American society — an important tipping point that helped launch the #MeToo movement and gave voice to countless victims.
In October 2017, two New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Jodi Kantor) broke the shocking story about sexual assault in Hollywood, able to get women on the record about powerful producer Harvey Weinstein’s three decades of abuse, shattering years of silence and altered American culture forever.
Framed as a scrupulous workplace account of two driven working mothers juggling their journalism careers and their young families, filmmakers infer that they helped make the world a better place for their daughters.
The absorbing narrative is as accurate as possible about journalism and the need to tell such important stories. Through vivid revelations, they show how much courage it took for people to come forward, risking their reputations and livelihoods.
With laser focus, director Maria Schrader has meticulously built a riveting drama from a sharp, incisive script by Rebecca Lenkiewicz, who adapted the 2019 nonfiction bestseller “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement” by New York Times reporters Megan Twohey and Jodi Kantor.
The filmmakers’ skill and concern detailing a reporter’s process and a newspaper’s commitment to seeking the truth without any sensationalism or exploitation has resulted in a historic record that is in the same league as “All the President’s Men” and “Spotlight.”
The cast is stellar across the board, with Zoe Kazan, as persistent Jodi Kantor, and Carey Mulligan, as resilient Megan Twohey, presenting each reporter’s dogged determination, integrity, and professionalism.
As an energetic team, they pound the pavement tracking down sources who worked for Miramax and The Weinstein Company, arrange meetings and convince people to trust them with the evidence. Women who were actresses, production assistants and employees agreed to go on record, and these truth tellers caused an explosion felt from coast to coast once articles were published in 2017.
Kantor and Twohey, who are still at the Times, won Pulitzer Prizes for their work here, along with Ronan Farrow, whose work at the New Yorker was going on at the same time.
But while the aftermath is brought up as the film’s coda, this 129-minute film stresses the diligent meat-and-potatoes work that exposed the insidiousness of rampant sexual harassment in Hollywood, and how broken the system was for women.
Schrader makes sure we hear powerful men shouting at the women, trying to intimidate them, but she also uses real voice transcriptions.
While it may not be as explosive cinematically as superhero adventures, the theme of right vs. might hits hard from people not wearing capes but whose guideposts are truth and justice. Patricia Clarkson plays conscientious Times editor Rebecca Corbett and Andrew Braugher portrays no-nonsense executive editor Dean Baquet as they make crucial decisions in covering the substantial allegations.
Fine actresses portray the brave past Weinstein employees who described his predatory sexual misconduct including Jennifer Ehle as Laura Madden, Samantha Morton as Zelda Perkins, Angela Yeoh as Rowena Chiu. Ashley Judd, who broke the dam by publicly coming forward, plays herself.
Important voice work is done by Mike Houston as Weinstein, Keilly McQuail as Rose McGowan and James Austin Johnson as Donald Trump. Johnson is best known for his interpretations on “Saturday Night Live.”
As the supportive spouses, Tom Pelphrey plays Megan’s literary-agent husband Vadim “Jim” Rutman and Adam Shapiro is Kantor’s fellow Times writer, columnist Jim Lieber. They add the emotional element of how difficult life-work balance is.
Composer Nicholas Britell’s dramatic score heightens the tension as people connected to the Weinstein empire confirm information and a deadline looms.
How many women have been helped or validated because of this story? Truly astounding what happened five years ago, and what continues. After their initial probe, more than 80 women accused Weinstein of crimes. Now a convicted rapist, the disgraced mogul eventually was sentenced to 23 years in prison and is currently on trial in another case.
“She Said” is so well-made and convincingly acted that it can’t help but continue much needed conversations at work and home. It’s an information-packed procedural with lasting impact.
“She Said” is a 2022 biographical drama directed by Maria Schrader and starring Zoe Kazan, Carey Mulligan, Andre Braugher and Patricia Clarkson. Rated R for language and descriptions of sexual assault, its run time is 2 hours, 9 minutes. It is in theaters Nov. 18. Lynn’s Grade: A
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Critics Choice Association Women’s Committee is pleased to announce the third round of recipients of the newly launched Seal of Female Empowerment in Entertainment. Called the “SOFEE,” the Seal recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories.
The newest titles earning the SOFEE are: Feature Film: “Causeway” (A24 and Apple TV+) Feature Film: “She Said” (Universal) Documentary: “Selena Gomez: My Mind & Me” (Apple TV+)
Starring and produced by Jennifer Lawrence, “Causeway” is an intimate portrait of a soldier struggling to adjust to her life after returning home to New Orleans.
“It’s a tremendous honor for the film to receive this recognition from the Critics Choice Association’s Women’s Committee,” said “Causeway” director Lila Neugebauer. “I’m sending enduring gratitude to the remarkable team who worked tenaciously to bring this movie to fruition.”
“She Said” recounts the tenacity of New York Times reporters Megan Twohey and Jodi Kantor as they expose decades of institutional sexual harassment and assault in Hollywood, and the system built around protecting abusers. Their dedicated reporting led to the #MeToo movement and created meaningful change in how women are treated in and outside the workplace. “She Said” is led by an incredible group of female filmmakers in front of and behind the camera, including director Maria Schrader and screenwriter Rebecca Lenkiewicz, and is based on TheNewYork Times investigation by Jodi Kantor, Megan Twohey and Rebecca Corbett and The New York Times bestseller, She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement by Jodi Kantor and Megan Twohey. The film is produced by Dede Gardner and Jeremy Kleiner for Plan B Entertainment and is executive produced by Brad Pitt and Lila Yacoub and by Megan Ellison and Sue Naegle for Annapurna Pictures.
‘“She Said” is more than a film, it’s a public record. Filmed so close to the actual events, it’s a visual synopsis that can be revisited in 100 years to show audiences how women ‘jumped together’ to stop a predator, and a predatory system,” said Tara McNamara, Chair of the CCA Women’s Committee. “The drama is exceptional for featuring fully realized female characters who reflect expressions of gender that are rarely seen in film.”
Both “She Said” and “Causeway” received a perfect score in the numerical formula that is used to determine if new titles, which are nominated by CCA Women’s Committee members, are eligible for a SOFEE. Qualifying projects will have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test. To be considered, new film and television releases must possess an artistic and storytelling value and exceptionality, and score at least 7 out of a possible 10 points in the SOFEE rubric, which can be found at CriticsChoice.com. There are no limits or quotas governing the number of SOFEE seals the CCA may grant.
In the documentary category, “Selena Gomez: My Mind & Me” follows the singer-actress for six years as she opens up to reveal her struggles with anxiety, depression, Lupus, and bipolar disorder. Through her bravery in sharing her diagnoses, and as one of the first internationally known public figures to do so in this way, Gomez finds purpose in her effort to destigmatize mental illness and demonstrates to viewers that those struggling with their mental health are not alone. Directed and co-written by Alek Keshishian, the film clearly expresses Gomez’s voice and point-of-view.
“Our desire is that female writers and directors are given more opportunities to tell women’s stories, however, at this moment, more than 80 percent of working directors are men,” said McNamara. “‘Selena Gomez: My Mind & Me’ is a fantastic example of male filmmakers collaborating with a female subject to tell her unique experience with honesty and accuracy.”
The Seal of Female Empowerment in Entertainment is issued by the CCA Women’s Committee. Members include Tara McNamara (Chair), Hillary Atkin, Semira Ben-Amor, Christina Birro, Lauren Bradshaw, TJ Callahan, Natasha Gargiulo, Toni Gonzales, Teri Hart, Laura Hurley, Susan Kamyab, Louisa Moore, Gayl Murphy, Mary Murphy, Patricia Puentes, Christina Radish, Amanda Salas, Rachel Smith, Sammi Turano, and Lynn Venhaus, as well as CCA board member Paulette Cohn. About the Critics Choice Association (CCA) The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Visually engaging and girl-power savvy, “Black Panther: Wakanda Forever” is at its most heartfelt grieving for its king, and the larger-than-life actor whose absence is deeply felt.
After the untimely death of King T’Challa’s death, Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje fight to protect their nation from intervening world powers and a hidden undersea nation. They work on forging a new path for the future of Wakanda.
There is so much goodwill for the cultural phenomenon that is Marvel’s first black superhero and the groundbreaking big, bold spectacle released in 2018 to universal acclaim, that it’s unfortunate the sequel suffers from sensory overload.
Technically, it’s dazzling, and the same elements that were so noteworthy in the first – seamless state-of-the-art visual effects, the cultural rhythms in Ludwig Goransson’s score, breathtaking production design by Hannah Beachler and costume designer Ruth E. Carter’s striking looks retain their grandeur.
New cinematographer Autumn Durald Arkapaw, an Emmy nominee for Marvel’s “Loki,” showcases fictional Wakanda’s natural beauty and makes the panoramic vistas shimmer.
At the 2019 Academy Awards, “Black Panther” won three Oscars – first ever for Marvel Studios — and also made history for Carter becoming the first African American woman to win in costume design, and Beachler, who was the first woman of color to not only win for production design but to be nominated. Goransson won for his score.
Lupita Nyong’o, Letitia Wright
With his keen eye for nature and scientific wonder, director Ryan Coogler is also mindful of presenting Wakanda’s customs and heritage as something very special.
Because the original was a game-changer, it was such a joyous experience along with other awed moviegoers. But now, after Chadwick Boseman’s tragic death from colon cancer in August 2020, the void is overwhelming and casts a large shadow over the film.
Coogler, who co-wrote the screenplay (and original) with Joe Robert Cole, offers a fitting tribute to Chadwick as T’Challa throughout the film, using footage of the actor in all his regal glory. That loss is inescapable – and the sadness is conveyed in the film’s characters, the actors playing the roles, and touching the audience.
It’s as if the film has the weight of the world on its shoulders and can’t transcend the reality that they were faced with in making the follow-up.
Then, there is the mammoth plot Coogler and Cole have crafted, turning the sequel into a very busy geopolitical thriller. To preserve their nation’s currency that is Vibranium, the royal family and warriors go to great lengths to protect their country. They must deal with shady U.S. operatives and a hidden under-the-sea nation not unlike the Aquaman lair.
As the enemies and conflicts become very complicated, it’s a chore to watch massive CGI battles with only perfunctory character interaction and only a smidgen of humor, especially for its 2 hours, 41 minutes runtime.
Tenoch Huerta
Nevertheless, the cast is strong top to bottom, with the spotlight on the extraordinary women. In fact, it might be the greatest advertisement for women to pursue STEM careers ever, showcasing their big brains using technology to solve problems and advance heroism.
In a much larger role, Angela Bassett is superb as smart and strong Queen Ramonda, with fearless Letitia Wright meeting her moment as brilliant scientist Shuri, a very different kind of princess.
Other forces to be reckoned with include fierce Danai Gurira as Okoye, resilient Lupita Nyong’o as Nakia and the new character, Dominique Thorne as Riri Williams, an MIT math whiz and innovative inventor.
Also impressive is Tenoch Huerta as Namor, the underwater kingdom ruler.
It goes without saying that you must stay for the additional scene after the first batch of credits, and yes, there are some surprising twists revealed throughout.
While the sequel seems to be more of everything, including its overstuffed plot that has three separate storylines colliding in messy fashion, it is still riveting.
Being an action-adventure based on a Marvel comic book has formula limitations, but “Black Panther: Wakanda Forever” surmounted the challenges faced by Boseman’s death as best it could. It’s just facing the harsh reality of T’Challa’s demise that brings it crashing down to earth.
“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke. Rated PG-13 for sequences of strong violence, action and some language, and 2 hours, 41 minutes’ long. It opens in theatres on Nov. 11. Lynn’s Grade: B
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Whether you embrace the holiday season by turning on Christmas music soon after Halloween or are in the “Bah, Humbug” camp year-round, “Spirited” may surprise you as a sweet-and-salty confection that’s both playful and parody.
A merry musical comedy that offers a fresh twist on the evergreen “A Christmas Carol” from the ghosts’ point of view also mocks the endless parade of holiday entertainment and its conventions.
And that’s refreshing, given that the Hallmark Channel has started its festive onslaught and other streaming services will churn out dozens of films before the new year. We all have our annual favorites, of course, and I wouldn’t be surprised if “Spirited” is among the perennials in years to come.
This flip on Charles Dickens’ 1843 novella is that the Ghost of Christmas Present (Will Ferrell, in charming doofus mode) selects one dark soul to be reformed by a visit from spirits on Christmas Eve. Sunita Mani is Past, Tracy Morgan is Yet to Come (in voice only), and Patrick Page is Jacob Marley.
He must find a selfish man who will see why he ended up miserable and alone, and why he should change. But his choice, an “unredeemable” marketing shark Clint Briggs (Ryan Reynolds doing his slick, sardonic persona) turns the tables and suddenly, Present is reexamining his life.
This bros-meets-Scrooged affair, co-written by Sean Anders and John Morris, is funny and clever, blending the 19th century behaviors with 22nd century attitudes, and Ferrell and Reynolds are quick with the quips and the wisecracks. Featuring Christmas movie Easter Eggs, there’s even an “Elf” nod, of course.
Anders and Morris are the writing team behind a string of genial just-folks comedies like “Instant Family,” “Daddy’s Home,” “We’re the Millers” and “Horrible Bosses 2.” They’re not re-inventing the wheel here, and this is entertaining enough to survive repeat viewings.
While kidding about “the afterlife is a musical!” and having a jaunty tone about the insertion of music numbers, “Spirited” is committed to the format. They’ve staged snappy song-and-dance numbers by choreographer Chloe Arnold, who’s been doing those delightful “Crosswalk musicals” and other numbers on James Corden’s “The Late Late Show.”
She knows what’s required of big splashy numbers, and the smiling dancers have pep in their steps – these are spirited homages on a major scale.
The songs are written by the current showtune golden boys Benji Pasek and Justin Paul, who recently produced and wrote original material for “Lyle, Lyle Crocodile.”
Pasek and Paul, who adapted “A Christmas Story” into a Broadway musical in 2009, are one award shy of an EGOT. They are Oscar winners for “La La Land,” Tony winners for “Dear Evan Hansen,” and their “The Greatest Showman” soundtrack won a Grammy Award and has sold over 7 million copies worldwide.
The funniest song here, not unlike the ironic “South Park” numbers, is “Good Afternoon.” The movie is bracketed by the tap-happy “That Christmas Morning Feelin,’” which is likely the catchiest takeaway. “Do a Little Good” is memorable and Spencer has a genuinely touching ballad “The View From Here.” Who knew she could sing? Or for that matter, Reynolds!
Ferrell, who showed his ease with music on “Saturday Night Live” — in such classic sketches as Marty Culp, along with Ana Gasteyer as his wife Bobbi Mohan Culp, who taught music at the Altadena Middle School, and the best-ever “More Cowbell” — is a natural, and Reynolds also demonstrates his willingness to have fun performing. (And he certainly fares better than Pierce Brosnan in “Mamma Mia!”)
The sweet part of the story is the Briggs family connections, and the director’s sister, Andrea Anders, a veteran of sitcoms including “Joey,” “Ted Lasso” and “Young Sheldon,” plays Reynolds’ sister Carrie, while Joe Tippett plays baby brother Owen and Marlow Barkley is the young niece.
This is a cheery, we’re not taking ourselves too seriously holiday offering where there seemed to be much effort made in getting all the elements right.
So, heat up the cocoa, haul the ugly sweater out of storage, and enjoy getting into the holiday spirit. May you have one of the the hap, hap, happiest Christmas movie watches since Bing Crosby tap-danced with Danny Kaye.
“Spirited” is a 2022 musical comedy directed by Sean Anders starring Will Ferrell, Ryan Reynolds, Octavia Spencer, Sunita Mani and Patrick Page. It’s Rated PG-13 for language, some suggestive material, and thematic elements, and the run time is 2 hours, 7 minutes. In theaters Nov. 11 and streaming on Apple TV + starting Nov. 18. Lynn’s Grade: B
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
‘A New Home’ Celebrates St. Louis’ Bosnian Community
By Lynn Venhaus
In “A New Home,” St. Louis documentary filmmaker Joey Puleo examines the story of Bosnian War refugees fleeing here 30 years ago.
The film, winner of the Best Documentary Feature at this summer’s St. Louis Filmmakers Showcase, will be presented on Sunday, Nov. 6, at 2:15 p.m. at the Galleria 6 Cinemas, as part of the St. Louis International Film Festival.
“This film was made as a complete labor of love. To be trusted with telling the harrowing and triumphant story of the Bosnians in St. Louis was not a responsibility that I took lightly,” Puleo said. “Their courageous resolve inspired me to give this film all I could give and I cannot wait for the opportunity to share this film with them and the St. Louis area.”
Puleo explained that when Bosnians fled their homes to escape the war in 1992, many ended up in St. Louis, largely because of its affordable housing and available jobs. The new arrivals began assimilating, starting their own businesses, and transforming a once dilapidated South City neighborhood in the shadow of the Bevo Mill into a thriving “Little Bosnia.”
Over the ensuing three decades, an estimated 70,000 Bosnians have migrated to St. Louis, making it the most inhabited area for Bosnians outside of Bosnia itself. A New Home tells the story of these refugees’ perseverance and determination to not only start life over but prosper.
Puleo said nearly all the interview subjects will be on hand, including former Missouri Congressman Russ Carnahan, who is featured in the documentary.
Other luminaries in the film include Francis Slay, former mayor of St. Louis; Anna Crosslin, past president of the International Institute of St. Louis; Doug Moore, a former journalist at the St. Louis Post-Dispatch; Patrick McCarthy, author of “After the Fall: Srebrenica Survivors in St. Louis”; Ben Moore, Senior Researcher at the Center for Bosnian Studies; and five Bosnian War survivors and refugees.
When it premiered in July as part of the Showcase, it received an enthusiastic reception, and won Best Documentary Feature, with a selection for SLIFF.
“The audience response so far has been overwhelmingly positive, and we cannot wait for more people to get the opportunity to see ‘A New Home’ at the St. Louis International Festival,” Puleo said.
“With the war in Ukraine currently raging and thousands of its citizens displaced and seeking new homes, the plight of the Bosnians remains as relevant as ever,” Puleo said.
This film is his follow-up to “America’s Last Little Italy: The Hill,” which holds the record for most popular film ever screened at the St. Louis festival.
“America’s Last Little Italy: The Hill” was shown on Nine PBS and is available to stream on Amazon Prime and other platforms. It is also available for purchase as a DVD at local outlets, such as Schnucks grocery stores.
“A New Home” will be made available late November, Puleo said.
“Our plan is to have it available on Amazon Prime Video to either rent or purchase,” he said.
Executive Producer Rio Vitale and Puleo began pre-production in the spring of 2021, with hours of VHS footage and more than a thousand photographs generously donated to the project to utilize during the editing process.
A New Home
About The Creators:
Joseph Puleo, Director/Producer
Joseph Puleo was born on July 13, 1992, in St. Louis. He attended Lindenwood University and graduated from their school of film in 2014.
His short film, “Top Son” (2016) was a Top 5 finalist in Kevin Hart’s LOL Network “Eat My Shorts Competition” where it screened at the Just For Laughs festival in Montreal.
His debut feature-length documentary, “America’s Last Little Italy: The Hill” (2020) was shown on PBS stations across the country and received multiple awards.
Rio Vitale, Executive Producer
Rio Vitale was born in St. Louis, and has 40 years of experience in the financial brokerage industry. In 2014, Vitale published his first book, St. Louis’s The Hill. In 2016, he was knighted by the Italian government for his extensive work in the Italian community. In 2020, Vitale began a new venture into film production, executive producing the award-winning feature-length documentary, America’s Last Little Italy: The Hill.
Joey films Medina and Adis Hasanagic and their children
Here is our Take Ten with Joey:
1. What is special about your latest project?
“The story. My new documentary “A New Home,” is about Bosnian War refugees fleeing to St. Louis, which is now home to more displaced Bosnians than any other city in the world.
I think this film is going to be an eye-opening experience for a lot of people in the St. Louis area and I hope that everyone who watches the documentary leaves with a newfound respect for our Bosnian neighbors, I know I did making it.”
2. Why did you choose your profession/pursue the arts?
“I fell in love with the cinema going to the movies every Sunday with my Dad. From a young age, I knew that I wanted to be a filmmaker and my parents were always incredibly supportive of me and my dreams.”
3. How would your friends describe you?
“I think my friends would say that I’m an extremely, driven, focused, and intense person. They’d also probably reference my sense of humor as well which can be very sarcastic.”
4. How do you like to spend your spare time?
“Well, I haven’t really had any spare time at all in the last year since I’ve been so focused on finishing ‘A New Home’ in time for the St. Louis Filmmakers Showcase. But I am looking forward to taking it easy for a while and trying to relax and spend some time with my wife and our dog.”
5. What is your current obsession?
“I’m good for an Elvis kick about once a year, so with all of the buzz around the new Elvis movie I’ve been subjecting my wife to a lot of the King. “
6. What would people be surprised to find out about you?
Probably that I didn’t start out wanting to be a documentarian, but instead a comedic screenwriter/director. My first short film was a mockumentary called ‘Top Son,’ which was about a Tom Cruise impersonator. That film ended up being picked up by Kevin Hart’s LOL Network and showing at the Just For Laughs festival. So, I think I took a lot of people by surprise in the St. Louis film scene with ‘America’s Last Little Italy: The Hill’ being a historical documentary.
7. Can you share one of your most defining moments in life?
“I originally went to Lindenwood University to study sports broadcasting/journalism. In my second semester, I was taking a class called “Intro to Television” that was taught by Rift Fournier, who had been a writer in Hollywood for 40 years working on TV shows like NYPD Blue and Charlie’s Angels.
After reading a few papers of mine, Rift called me into his office and told me that he thought I showed a lot of promise as a writer and a storyteller and persuaded me to change my major to film.
Being a filmmaker had always been a dream of mine, but being from the Midwest and coming from a middle-class family with no connection to Hollywood, I always thought it was too much of a long shot. Having someone like Rift tell me that he thought I had the talent changed the course of my life and I’ll forever be indebted to him.”
8. Who do you admire most?
“My dad, Joseph Sr. – He instilled his work ethic in me and made sure that I always gave my best effort in anything I tried.”
9. What is at the top of your bucket list?
Professionally, to win an Oscar. Personally, to visit Sicily, specifically Cinisi, where my family is from.
10. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part, with shutdowns, and any lesson learned during the isolation periods?
“The pandemic happened right as we were completing, ‘America’s Last Little Italy: The Hill,’ so we had to make the very difficult decision of releasing that film knowing we weren’t going to be able to partake in any public screenings and forego having an in-person festival run.
But what got us through that time period was the incredible outpouring of support that we received from the St. Louis area and beyond. They really made us feel appreciated for this film that we had worked so hard on for two years. That was a very gratifying experience, although not the one that we had initially hoped for.”
11. What is your favorite thing to do in St. Louis?
It should come as no surprise, to visit The Hill and have a meal at any of the incredible restaurants.
12. What’s next?
Right now, I’m focused on our festival run for ‘A New Home.’ We are in talks with Nine PBS to possibly have the film be exclusively available to stream on their website for a period of time and then ultimately have the film end up on Amazon Prime. So. I’ve got a busy next few months ahead of me.”
More about Joseph Puleo
Age: 30 Birthplace: (South) Saint Louis, Mo Current location: Affton, Mo Family: Wife, Julia, and dog, Birdie Education: BFA in Digital Cinema Arts from Lindenwood University in 2014 Day job: Filmmaker First job: Bag Boy at a grocery store
First movie you were involved in or made: Top Son, was my first “real” short film outside of college.
Favorite jobs/roles/plays or work in your medium? – The best documentary I have ever seen is Ezra Edelman’s, ‘O.J. : Made in America’
Dream job/opportunity: I’m living my dream
Awards/Honors/Achievements: Silver Telly Award for Best Historical Documentary, Nominated for Best Director & Best Documentary by the Mid-America Emmy’s
Favorite quote/words to live by: “Your job is to get your audience to care about your obsessions.” – Martin Scorsese
A song that makes you happy: “Hold Me,” Fleetwood Mac
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
