Encore! Theater Presents Hard-Hitting August Wilson’s ‘The Piano Lesson’

Encore! Theater Presents Hard-Hitting August Wilson’s ‘The Piano Lesson’

By Lynn Venhaus

August Wilson’s powerful, haunting “The Piano Lesson” is an ambitious kick-off for an emerging theater company’s inaugural production in their new home at South Side Spaces.

The Encore Theater Group may lack resources, as a low-budget scenic design in a church basement indicates, but they are not short on effort and drive.

Wilson’s drama, his fourth play of the Pittsburgh, or Century, Cycle, is set in the Hill District in 1936, after the Great Depression, and focuses on themes of legacy, identity, and healing.

The renowned Wilson wrote a series of 10 plays chronicling the black experience in 20th century America, and each one is set in a different decade, with nine of them in the same Pittsburgh neighborhood where Wilson grew up. For this play, he won the Pulitzer Prize for Drama in 1990, and it was originally produced on Broadway in 1987.

In the Doaker Charles household, a battle is brewing between strong-willed siblings. At the center is the family’s prized piano, an heirloom because carvings of enslaved relatives are in the design.

Entrepreneur-ish sharecropper Boy Willie (Zachary Clark) wants to sell it to build the family fortune and has just arrived from Mississippi with a truck full of watermelons. His sister Berniece (understudy Angel Carter stepped in for Atiera “Tarrah” Currie) plans to go to any length to keep it and preserve their family history, for the images of their great-grandfather’s wife and son are on it. Their uncle (Don McClendon) stands in between, acting as the family storyteller, and the ghosts of the past resurface, for apparently, their home is haunted.

Wilson’s themes are universal, and Encore! director Jason J. Little concentrates on the family dynamics to present an intimate view of the African American experience — reflecting progress and change (or not).

Clark excels as the impulsive Boy Willie, who makes a strong case for using the money to buy the land where their ancestors worked as slaves. That way, they can honor them by taking back what their ancestors couldn’t own in their lifetime. But his family will be the voice of reason, talking about the importance of legacy and learning from the past.

The core male actors click when together on stage. Dennis Jethroe II is notable as comical Wining Boy, the elder brother of Doaker, who is a smooth-talking piano player and a gambler. He has a funny scene slickly selling shy Lymon spiffy clothes to go out on the town in, and often provides comic relief.

Alexander “Smoogie” Christian is a charmer as the well-meaning Lymon, who is trying to find his way in the world.  Larry Green is genuine in his portrayal of the good-natured, sensible preacher Avery, who is sweet on Berniece. Don McClendon, a St. Louis stalwart with a lengthy stage and screen resume, lends gravitas as the head of household, trying to impart the wisdom of experience.

Their characters’ struggle to reconcile the past with their ancestral heritage needs to make a potent connection because Wilson had a lot to say here. Overall, more character-building would have helped to understand the conflicts and gradually feel the rationale of their choices and behaviors.

The supporting cast included Arriel Cummings as a lively gal pal Grace and Jada Little as Berniece’s dutiful but frightened 11-year-old daughter Maretha.

As the understudy, Angel Clark had to do the heavy lifting on opening night, and it is not easy to slip into such a demanding role. At first, she yells a lot at her brother, so you know there is underlying tension, things not spoken, and it’s crucial to understand their complicated relationship. She blames him for her husband Crawley’s death three years earlier.

Understanding the depth of the backstories is important to bring out the emotions, and confronting the ghosts of slavery makes for a hard-hitting show.

On opening night, just before curtain, a noisy thunderstorm unleashed a torrential downpour, and the thunder rolled and lightning struck outside for several hours, which could be heard, and somewhat hampered sound. That additional challenge could have affected the action on stage.

Pacing was an issue, as a planned runtime of 2 hours, 20 minutes took well over 3 and a half hours to complete (not counting late start because of storm). With a less-than-perfect first night under their belt, it is hoped that the rest of the run was less bumpy.

I saw this play during its second go-round by the Black Repertory Theatre of St. Louis in 2013, and it has stayed with me ever since that night in the Grandel. The Black Rep famously completed the Century Cycle – only the third company in the U.S. to do so – from 1988 to 2003 and has been repeating it. Their first production of “The Piano Lesson” was in 1992.

In their mission to bring another round of the American Century Cycle to St. Louis, they’ve earned St. Louis Theater Circle awards for outstanding production of a drama with “Two Trains Running” in 2022 and “Jitney” in 2023, and they’ve presented “Seven Guitars” in 2017 and “Fences” in 2018. The Clayton Community Theatre has also performed Wilson’s works, most recently “Ma Rainey’s Black Bottom” in 2021. They have been my introduction into the celebrated playwright’s works, and much appreciated.

Any opportunity to bring Wilson to St. Louis audience in today’s political climate is a good one, but the technical aspects need to be crisp, especially sound and lighting. The company’s executive director Effrem Grettenberger’s specialized lighting design and Jay B. Saffold’s sound design to mimic the supernatural happenings are effective, but there were some technical issues with cues and hard-to-hear dialogue at other times.

Currie, the company’s artistic director, assembled the modest scenic design and handled the costume design with flair, creating character statements through bold color choices and vintage wear. The hats were terrific.

Encore! is well-intentioned about art nourishing the soul, and offering a sense of community, inclusion, and diversity. Their next production is “Cuentame,” in which people will share their personal stories, in November.

Just FYI: To explore “The Piano Lesson” further, Netflix will stream a filmed production of the recent Broadway revival starring Samuel L. Jackson as Doaker and John David Washington as Boy Willie, produced by Denzel Washington, sometime either later this year or early in 2024.

Encore Theatre Group presents August Wilson’s “The Piano Lesson” June 30 – July 9, with Friday and Saturday performances at 8 p.m. and Sunday matinees at 2:30 p.m. at 2607 Potomac in south St. Louis (South Side Spaces). For more information: www.encorestl.org. You can learn more about the cast and crew here:. https://our.show/pianolesson

Indiana Jones Is Back in Grand But Bumpy Globe-Trotting Finale

Indiana Jones Is Back in Grand But Bumpy Globe-Trotting Finale

By Lynn Venhaus

The man, the myths, and the legend are back, and there’s both a rueful twinge and wave of nostalgia at the sight of the brown fedora and 80-year-old Harrison Ford trying so hard to be swashbuckling in “Indiana Jones and the Dial of Destiny.”

Ford, whose laconic delivery and devil-may-care charm secured his place in cinematic history long ago, has played his share of men of action, giving us two cultural icons in Han Solo of the “Star Wars” franchise and archeological adventurer Dr. Henry Jones in the Raiders/Indiana Jones series.

In this fifth installment, the famous archeologist races against time to retrieve a legendary artifact that can change the course of history.

As Indy, Ford puts the whip in whip-smart, and it’s a treat to see him return to heroic form. And how sentimental is seeing a reunion with Karen Allen as Marion, his one true love?

However, she’s but a blip in this new universe. What is generally regarded as the final installment in the venerable 42-year-old series is an overstuffed globe-trotting adventure involving Archimedes, the Antikythera, Apollo 11, the U.S.- Soviet Union space race, World War II, Nazis, and the Vietnam War. And changing times and technology. And time travel. Whew.

It’s both overwhelming and underwhelming – a whole lot of whelm, or lack thereof, in 2 hours, 34 minutes, as they continent-hop in planes, trains, and automobiles — and there’s even a horse to ride in New York City.

The production’s artisans are masters at establishing an atmosphere, from academia’s dusty bookshelves to scary ancient caves where peril’s an instant away. Oscar-winning production designer Adam Stockhausen, for “The Grand Budapest Hotel” in 2015, and cinematographer Phedon Papamichael, Oscar nominee for “The Trial of the Chicago 7” and “Nebraska,” smoothly move between years, wars, conflicts and high-speed chases.

(Clockwise from right): Colonel Weber (Thomas Kretschmann) and Doctor Jürgen Voller (Mads Mikkelsen) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

Indy’s now being pulled in a direction he thought he was done with, but he finds himself battling against not-dormant foes – very present Nazis, tying Third Reich masterminds to 1960s NASA scientists.

And by default, linking his life’s work studying the Siege of Syracuse in Sicily (213-212 B.C.) with the evil he’s facing at present, and coming face to face with Archimedes. Yes, Archimedes – the Greek mathematician, physicist, engineer, astronomer, and inventor. His dial becomes a hot potato, an artifact that propels this chapter. You may want to brush up beforehand on antiquity.

As Indy, Ford retreats into a loner role, hiding from the world, grieving the loss of his son and marriage, retiring as a professor, and trying to adapt to a different time..

Nevertheless, his past as a heroic Allied Forces intelligence officer, comes rip-roaring back into focus when Voller shows up, a character partly inspired by German engineer Wernher von Braun. Mads Mikkelsen, always a formidable screen presence, excels as a power-hungry villain (the best kind), ready to lead a new world order when authoritarians are in charge.

You may recall the original film featured Nazis as the villains, set in 1936. So, cut to 33 years later and Indy is a little ambivalent about his enemy helping in the space mission.

The sprawling cast represents a bridge to the past, with John Rhys-Davies returning as Sallah, Toby Jones as fellow archeologist Basil Shaw, and Antonio Banderas briefly as Indy’s old friend, sailor and diver Renaldo. Phoebe Waller-Bridge brings a modern edge as Basil’s sassy, smart daughter Helena, Indy’s goddaughter.

Noteworthy supporting roles include Boyd Holbrook as Voller’s nihilistic trigger-happy henchman Klabor, and young Ethann Isidore as Helena’s handy street-smart helper.

James Mangold knows how to direct crowd-pleasing fare – he’s helmed “Ford v. Ferrari,” “Logan,” “Walk the Line” and “3:10 to Yuma,” to name a few. He starts off strong, capturing thrilling derring-do in wartime espionage action as a flashback, with a de-aged Harrison Ford for 24 minutes, followed by a zippy chaotic chase scene through crowded Manhattan streets during the ticker-tape parade honoring the Apollo 11 astronauts, all the while establishing Indy’s resourcefulness then and now.

However, the movie gets bogged down by its exposition. The dense screenplay, written by Jez Butterworth, John-Henry Butterworth, and David Koeppe (Crystal Skull), all veterans behind major movies, focuses on the precious dial mechanism, but must throw in obstacles that stretch the story beyond believability.

To keep us invested, we need to sort out why it’s sought after, what happens in the wrong hands, and what are the consequences either way. If you just want to see Indy save one world, never mind what happened in the past or is ahead in the future, settle in for a bumpy ride.

Phoebe Waller-Bridge as Indy’s goddaughter Helena.

Hence, herein lies the problem. While interesting in spurts, “Dial of Destiny” is a bridge too far — noble in thought but too tangled in execution.

Steven Spielberg and George Lucas are executive producers, but this is the first one Spielberg hasn’t directed. Lucas was the catalyst for the first story, conceived in the early 1970s and meant to be a homage to action-packed early 20th century serials. Philip Kaufman helped develop it, Spielberg came aboard, and ‘80s hotshot Lawrence Kasdan, who wrote “The Empire Strikes Back,” was brought in to write the script.

In the prequel ‘Temple of Doom,’ set in 1935, Indy is hired to find a gem and rescue a village’s children from a cult leader.

In ‘Last Crusade,’ a sequel to Raiders (set in ’36, this is ’38), Indy is searching for his kidnapped father, played by Sean Connery, and hoping to find the Holy Grail before the Nazis do.

Set in 1957, ‘Crystal Skull’ was meant to be a tribute to sci-fi B-movies of that era, with Soviet villains also searching in Peru for a telepathic crystal skull, and Indy reuniting with Marion, who introduces their son, Mutt Williams (Shia LeBeouf).

If ranking the series, the instant classic “Raiders of the Lost Ark” (1981) would be at the top, followed by “Indiana Jones and the Last Crusade” (1989). “Indiana Jones and the Temple of Doom” (1984) and “Indiana Jones and the Kingdom of the Crystal Skull” (2008) are my least favorite, putting this one in the middle.

That’s what we have to factor in to how we enjoy this fifth film – our response to the previous four. When you hear that magnificent theme written by John Williams, who has scored each Indy adventure since the original, you are swept away again.

We can base this new adventure on our appreciation for the rip-roaring escapism, Ford as one of our national treasures, and the visionary minds that brought this classic throwback into our lives.

“Indiana Jones and the Dial of Destiny” can’t stand on its own merit without the others, but will have to suffice as a pleasant waltz down memory lane. And Ford reminds us of his famous line in ‘81: “It’s not the years, it’s the mileage.”

Harrison Ford in Indiana Jones 5.

“”Indiana Jones and the Dial of Destiny” is a 2023 action-adventure directed by James Mangold and starring Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Karen Allen, Antonio Banderas and Boyd Holbrook. It is Rated PG-13 for sequences of violence and action, language and smoking and runs 2 hours, 34 minutes. It opens in theaters June 30. Lynn’s Grade: B-.

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

By Lynn Venhaus

The fourth time is indeed the charm. Infused with extra Muny Magic, this “Disney’s Beauty and the Beast” makes you believe in happily ever after.

Under the brilliant direction of John Tartaglia, this imaginatively staged, and elegantly crafted musical will make you laugh out loud and shed a tear, for it grabs your heart in the opening number “Belle” and never loosens its grip on your emotions until the final bow.

This beloved romantic fantasy has endured since the 18th century, first as a French fairy tale, then as a 1946 film by Jeanne Cocteau where an arrogant prince is cursed to spend his days as a hideous monster but has a chance to regain his humanity by earning a young woman’s love.

In 1991, modern audiences fell in love with Disney’s 30th animated feature that went on to make history as the first animated feature to be Oscar-nominated for Best Picture. With its Academy Award-winning original score and touching title song, the script was tailor-made to be adapted into a stage musical, which happened in 1994, and played on Broadway for 13 more years. Screenplay writer Linda Woolverton is credited with the book and Tim Rice wrote additional lyrics, and the stage version has become a global sensation.

A bona fide classic with its iconic characters, lush score and engaging blend of romance, comedy, and drama, Muny audiences have enjoyed presentations in 2005 (the attendance record holder for nearly five years), 2010, and an outstanding one in 2015.

Because it’s a perennial family favorite, honestly this production didn’t have to be as good as it is – because we’d be enchanted anyway, and all those little girls who showed up in yellow gowns wouldn’t be disappointed.

Photo by Phillip Hamer

Yet, this is an extraordinary effort. The best one to date under the stars is inspired because Tartaglia knows how to spark joy. An expert at finessing humorous moments with a flair for the dramatic, Tartaglia showcases his versatile talents as a director and his experience as a musical comedy performer. After all, he joined the Broadway company as Lumiere in 2006.

A true visionary, Tartaglia has brought out the whimsy, charm, sense of family, and genuine feelings in this Disney classic. On this stage before, he’s directed “Shrek,” “Matilda,” “Annie,” Disney’s “Tarzan,” “Wizard of Oz” and last year’s “Mary Poppins.”

A puppeteer and “Sesame Street” alumni, he’s best known as a creative and Tony-nominated star of the original Broadway cast of “Avenue Q.” He’s played memorable roles at The Muny, including the Genie in the pre-Broadway tryout of “Aladdin” in 2012, The Cat in the Hat in “Seussical” in 2014 and won the St. Louis Theater Circle Award as Outstanding Supporting Actor in a Musical as Hysterium in “A Funny Thing Happened on the Way to the Forum” in 2017.

He loves the Muny and the Muny loves him, and we are the richer for this mutual admiration society. His ability to create one-of-a-kind storytelling outdoors shines through, from the pep in the step of the ensemble to his dazzling use of pyrotechnics.

Incorporating a cast of 85 in super-sized renditions of the showstopper “Be Our Guest” and an amusing, rousing “Gaston,” the creative team is in sync and up to the challenge. Choreographer Patrick O’Neill and associate choreographer Bryan Thomas Hunt go for big and bold, and music director Ben Whiteley, who has held the Muny baton for all four “Beauty and the Beast” shows, brings out all the textures in the timeless songs by Alan Menken and Howard Ashman.

The performers have put their heart and soul into this show, from an acrobatic Tommy Bracco cavorting as buffoonish LeFou to Debby Lennon’s virtuoso vocals as excitable diva Madame de la Grande Bouche.

Ashley Blanchet as Belle. Photo by Phillip Hamer.

Ashley Blanchet is the epitome of a Disney Princess. As the lovable independent Belle, she is a savvy combination of sweet and spunky, heart-tugging in a glorious “Home” and the hopeful “A Change in Me.” The way she stands up for herself is refreshing.

As the imposing, bitter Beast, Ben Crawford’s rich, robust voice is one of the evening’s most pleasant surprises, and he brings a depth of yearning and regret to the role that’s palpable. Even under his involved make-up, you feel his change from a sullen prince cursed for being cavalier and haughty to someone trying to change for the better. His powerful “If I Can’t Love Her” brought down the house to close the first act.

Crawford has portrayed the legendary Phantom on Broadway, but his last role at the Muny hardly tipped us off to his capabilities, for he played the cruel and cocky Chuck in “Footloose” four years ago. He and Blanchet have a believable chemistry, carrying off the opposites attract tension and tenderness with touching sincerity.

The castle’s support staff provided crowd-pleasing antics, with the delightful duo of Kelvin Moon Lo as kind-hearted candelabra Lumiere and Eric Jordan Young as fussy butler-turned-mantel clock Cogsworth leading the pack.

While good-natured Ann Harada has the comedic chops and warmth to play motherly cook Mrs. Potts, her rendition of the Oscar-winning title song is shriller than satisfying as a major moment.

Michael Hobin is an adorable Chip, and Holly Ann Butler has fun as the saucy Babette. The group’s rendition of “Human Again” is a wistful beauty.

Blanchet, Claybourne Elder. Phillip Hamer photo.

Broadway veteran Claybourne Elder is a standout as swaggering narcissist Gaston, emphasizing the blowhard’s ridiculous vanity while eventually turning into a spiteful, vicious bully, first targeting Belle’s eccentric dad Maurice (Harrison White). When Belle slapped him, the crowd erupted in applause.

A highly skilled visual design team has crafted a stunning castle and quaint Old-World village, with Belleville, Ill., native Ann Beyersdorfer’s opulent scenic design, Greg Emetaz’s expressive video design and Jason Lyons’ effective lighting design. The only thing that felt out of place was a jarring depiction of Gaston losing his footing in the climactic fight scene on screen.

Accenting the characters are Robin McGee’s luxurious and intricately embellished costume designs and Ashley Rae Callahan’s period wig designs. McGee, who grew up in Highland, Ill., designed the 2015 show, but didn’t rely on any previous outfits this time, and elevated the looks here with an accomplished team of seamstresses working overtime in the costume shop. Belle’s pillowy, shimmering ballgown is jaw-dropping.

Noteworthy are the puppet designs by Dorothy James and Andy Manjuck, especially in making the scary wolves’ eyes glow bright red as they roamed the woods.

This lavish production has all the elements to succeed as an unforgettable evening of entertainment, especially for a wide audience. Typically, the ‘children’s show’ introduces a new generation to the unique experience the Muny offers..

On Friday night, it appeared to win over many youngsters who remained rapt through the entire two acts – particularly one young man a few rows in front of me. His view was blocked by a rather large adult at curtain call, so he moved to the aisle to stand and cheer.

He made me smile wider, recalling watching other youths mesmerized over the years (reviewing since 2009). I’m one of those kids who first came with my grandmother, about 10 years old, awestruck by the grandeur. How many of us became forever fans that way?

The Muny triumphs once more with a deluxe and endearing “Disney’s Beauty and the Beast,” a heart-warming reminder that we get to connect again because of this 105-year St. Louis tradition. Don’t miss your chance to get sprinkled with pixie dust on a splendid summer evening.

Be Our Guest. Phillip Hamer Photography.

“Disney’s Beauty and the Beast” runs from June 22 to 30 in Forest Park, nightly at 8:15 p.m. For more information, visit www.muny.org

Notes: Show sponsor Ameren and The Muny are promoting Ready Readers, a nonprofit supporting literacy, by collecting new and gently used children’s books, suitable for readers aged 12 and under. A table has been set up near the box office so that patrons can drop off books before the show.

For a deeper dive into the Disney Animation Renaissance, the documentary “Waking Sleeping Beauty” is currently streaming on Disney +, as is the poignant documentary “Howard,” which honors the late lyricist Howard Ashman for his tremendous contributions to music. He died at age 40 from AIDS complications, in 1991.

Phillip Hamer Photography.

The company of Beauty and the Beast. Phillip Hamer Photography

‘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