Sightlines: Hawthorne Players’ ‘Curious Incident’ Shows The Artistic Possibilities That Can Happen Here

Sightlines: Hawthorne Players’ ‘Curious Incident’ Shows The Artistic Possibilities That Can Happen Here

By Lynn Venhaus
Area theatergoers, you must see “Curious Incident of the Dog in the Night-Time,” now playing at the recently renamed Florissant Performing Arts Center, presented by Hawthorne Players through Nov. 13.

Opening night Friday was a testament to a production fulfilling its promise and meeting the moment, truly raising the bar for the entire St. Louis theater scene.

Knowing what Ken Clark is capable of as a director and scenic designer, and recognizing members of the cast and creative team, I purchased tickets to see it as a patron, not as a professional critic (do not review community/school theater) or an AFL judge (which I did for 10 years, but no longer in that role). My schedule does not permit me to get to everything I’d like to see, but lo and behold, Nov. 4 opened up.

Winner of five Tony Awards in 2015 and seven Olivier Awards in London, this immersive drama is one of the most unique theatrical experiences you will ever see — and also one of the most moving. Simon Stephens adapted the book by Mark Haddon, which takes us on a journey inside the brilliant mind of Christopher, who struggles to process everyday information, and has sensory perception issues.

Recent upgrades to the theater — the auditorium is part of the Florissant Civic Center — have enabled next-level technical work. The ‘Curious Incident’ creative team is the first to use the new projectors, and it adds so much.

However, technological bells and whistles are only as good as the creative minds behind the set, sound and lighting designs — bravo to lighting designer Eric Wennlund (his “The Spitfire Grill” was sublime, an AFL award winner), sound designer Jacob Baxley, who also composed the music score (!), and scenic and projection designer Ken Clark. Remarkable work.

Mike De Pope, Daniel Wolfe. Photo by Wolfe Creative Media Services.

Delivering the show’s heart, getting the ‘mind’ of the material right, is a tight ensemble. Dan Wolfe is exceptional as Christopher, and you can’t get up to leave immediately after the curtain call (standing O Friday), or you’ll miss his terrific coda. The youngster, who won a Best Performance Award from AFL last summer for “Annie,” displays how much effort he put into making Christopher as authentic as possible. It’s a tour de force.

Mike De Pope and Jennelle Gilreath Owens are strong as the parents, Natalee Damron is the sympathetic and firm teacher Siobhan, and a fine group of local actors perform multiple roles, including Jeff Kargus, Marian Holtz, Elle Harlow, Patrick Brueggen, Hunter Fredrick and Jessica Kelly.

The dialect work is superb — and consistent, and the coaches, with UK roots, are Robert Ashton and Gwynneth Rausch. Special mention to assistant director and choreographer Stefanie Kluba for staging the crisp movements that add to this show’s tapestry, and to ace veteran costume designer Jean Heckmann.

Lobby photo.\ by Lynn Venhaus

It’s indeed a triumph for all involved, and especially for the Hawthorne board of directors, for greenlighting such a challenging work.

Now in its 75th season, the group has been celebrating throughout the year. Take time to look at all the historical items in the lobby — and you can take a chance on a stunning quilt Jean Heckmann made including some of their shows. The quilt drawing is set for after their final show of the year, “Cowboy Christmas,” on Dec. 10.

This show’s level of difficulty is high, and anyone who has seen it before — whether Broadway, London or locally, is aware of its demands. In 2017, The Repertory Theatre of St Louis’s production blew me away. Several months later, it was honored as Outstanding Drama Production by the St. Louis Theater Circle, of which I am a founding member.

Dan Wolfe. Photo by Wolfe Creative Media Services.

I remember talking to Steve Woolf, the late great artistic director of The Rep, who had seen the show in London , and felt he had ‘cracked the code’ on how to make it work at the Rep.

In a column after his untimely death in 2021, I wrote:

“During rehearsals for the stellar “All the Way” in 2015 (I was there to interview Brian Dykstra, playing LBJ, and Woolf, who was directing — https://www.bnd.com/living/magazine/article34672659.html), he told me about his experience seeing “The Curious Incident of the Dog in the Night-time” in London.

He had been gobsmacked. He didn’t think The Rep could do it — very technical show, intricate — but the wheels were turning. He was so excited about trying to bring it to The Rep. “I think I’ve found a way we can do it,” he said to me later. (more of that article, https://www.poplifestl.com/sightlines-remembering-steve-woolf/

In 2019, Actors Attic, a youth-focused theater group in Columbia, Ill., won several Theatre Mask Awards, presented by Arts for Life, for its ambitious production directed by MaryBeth Scherr Babcock. As far as I know, they’ve been the only local group to tackle it until now.

Yes, this is high praise. And yes, it’s that good. This column isn’t intended to review the show, only to urge people to fill seats of Flo PAC. It takes a village to put on a show as risky and rewarding as this, and they pulled it off in spectacular fashion, so I wanted to honor their efforts. All that work was worth it — but they deserve an audience.

GO SEE IT and support live theater. We need the arts and how it connects people more than we ever have.

(Fun Fact: As a news reporter and feature writer at the St. Louis Globe-Democrat, I told then-entertainment editor Frank Hunter that I had a theater background and would be available to review local theater if he needed a hand. One of my earliest assignments that I recall was “Carousel” at Hawthorne Players in 1984.)

‘Curious Incident’ is performed Nov 4, 5, 11 and 12 at 7:30 pm, with a matinee on Nov. 13 at 2 pm at the Florissant Performing Arts Center.
Tickets may be purchased online at https://florissantmo.thundertix.com/events/199113
For more information and sensitivity warnings, go to www.HawthornePlayers.com

Cover photo by Wolfe Creative Media Services

Ensemble on the train. Photo by Wolfe Creative Media Services.
Dan Wolfe, Jennelle Gilreath Owens. Photo by Wolfe Creative Media Services.

Alex Winter Returns to SLIFF With ‘The YouTube Effect’ documentary

Alex Winter Returns to SLIFF With ‘The YouTube Effect’ documentary

By Lynn Venhaus

After decades in the entertainment business, Alex Winter has become a multi-hyphenated mainstay, renowned for his work in front of and behind the camera.

Now 57, he remains the face of Bill S. Preston, Esq., in pop culture, but has directed notably high-profile documentaries “Zappa,” “Showbiz Kids” and his tech trilogy, “Downloaded,” “Deep Web” and his latest, “The YouTube Effect.”

“The YouTube Effect” will be one of the opening night films of the 31st annual Whitaker St. Louis International Film Festival. It will be shown at 6:45 p.m. on Thursday, Nov. 3, at the Galleria 6 Cinemas.

This cautionary tale is meant to be a nuanced look at the tech revolution, how it has evolved, good and bad.

Produced with Gale Anne Hurd, the film examines the impact of YouTube on society, how it has made our lives easier and more enriched, while also presenting dangers that make the world a more perilous place.

“The growth of the online community since I made ‘Downloaded’ and ‘Deep Web’ has made a big impact on society, and Gale and I were looking to tell a story about the changes occurring, and where do we go from here,” he said during a phone interview.

The film had its world premiere at the Tribeca Film Festival in June and is currently on the festival circuit, most recently at the Montclair Film Festival.

“It’s been going great,” he said. “We’re bringing it to a lot of festivals, and really happy with the reception.”

Winter is pleased that it’s included in this year’s fest in St. Louis, where his previous films “Downloaded,” “Deep Web” and “Zappa” were also screened.

“I love the festival. It’s my third time in it. I’m always really happy to be part of it and I’m grateful for the film to be shown there so that people in St. Louis can see it,” he said. “I’m not able to be there, things didn’t work out with my schedule, but I’m long overdue for a visit back. I have family and friends there.”

Winter lived in St. Louis as a child, and his first acting gig, a commercial for Kentucky Fried Chicken, was filmed under the Arch, while his first stage role was at the Muny, when he was 10, as one of the orphans in “Oliver!” that starred Vincent Price as Fagin.

His father co-founded Mid-America Dance Company (MADCO) and his mother worked in the dance department at Washington University.

In a previous interview, he spoke about his bond with St. Louis.

“I have a special place in my heart for the city. I’ve always considered myself a Midwesterner. The Midwest has a strong cultural identity, and I have an affinity for it, those core values. I still have a lot of friends there. I spent my formative years there, from 5 to 12, and my dad and brother stayed there, so I was back a lot. It’s always been a second home to me. I feel anchored there,” he said during a phone interview in 2015.

The YouTube Effect

Looking at YouTube

Self-described as a research fanatic, he eagerly dove into this expansive subject.

While he thinks YouTube has been “very equitable in its business model,” for people being able to monetize it as a platform, there needs to be safeguards.

“So that people can have the full spectrum of experiences. There needs to be accountability. It’s not going to happen overnight, but it’s good for people to be aware about it,” he said.

Winter thinks the public needs to take more responsibility about the input and influence, and push for more regulations, not be passive about it.

Winter said he is concerned about “the misinformation apocalypse” and the negative fallout from political ideologies, especially conspiracy theories.

“There is a lot of power in that,” he said, noting how social media gave voice to marginalized people.

YouTube has been singled out as how the Christ Church mass shooter in New Zealand in 2020 (51 people in two mosques) became radicalized.

The movie seeks to find a balance, he said.

“There are a lot of good things going on on You Tube. I’m not wagging a finger at them,” he said. “I respect technology. It’s here to stay. We need to figure out safeguards, changes need to be made.”

Here’s the trailer: https://www.facebook.com/YouTubeEffect/videos/1137513703766536/

Winter said he is in negotiations for the film to become available on streaming services.

“I can’t talk about it, but we’re hoping to have it wide in early January-February,” he said.

For more information, visit: https://www.cinemastlouis.org/sliff/festival-home

Alex Winter (left) and Keanu Reeves in a promotional photo for Bill and Ted’s Excellent Adventure

Fest Favorite

Winter appeared at the festival in 2015, when he received the prestigious Charles Guggenheim Cinema St. Louis Award after his documentary, “Deep Web,” kicked off that year’s St. Louis International Film Festival.

“Deep Web” is the inside story of a digital crime saga that caught his attention. With access to the Ulbricht family, he told the story of  Ross William Ulbricht, the 30-year-old entrepreneur who was accused of being “Dread Pirate Roberts” as the creator and operator of the online black market Silk Road. He looked at the thought leaders behind the so-called Deep Web and its future.

A finalist for a distinguished Cinema Eye Honors Award, “Deep Web” was produced and narrated by Keanu Reeves, Winter’s good friend since they portrayed Bill and Ted.

He was also in attendance to present the 1989 cult classic that catapulted him into pop culture history, “Bill & Ted’s Excellent Adventure,” recounting anecdotes about the making of the movie prior to its late-night showing at the Tivoli.

The fest also showed acclaimed 2013 documentary, “Downloaded,” about the rise and fall of Napster and a look at the digital revolution.

“I was fascinated by the online communities that started in the late 1980s. It was clear that this was a major shift in communication. Bitcoin, Silk Road and other anonymous digital sites were the first on a large scale,” he said in 2015.

In 2020, when the fest went virtual, his documentary, “Zappa,” was in the line-up.

His look at the complex and visionary iconoclast Frank Zappa took six years to make, and he received cooperation from the family.

“Getting the family’s support was vital to the project,” he said. “There has never been a definitive biography about him. I am extremely happy to do it. He was a great artist at a turbulent time in history.”

It is available to watch on Hulu and can be rented or purchased on several platforms.

The year “Zappa” came out, during the global coronavirus pandemic, was also the year his very personal documentary, “Showbiz Kids,” premiered on HBO, and the third installment of “Bill and Ted,” “Face the Music” was one of the most anticipated films in 2020.

“That was a very strange year,” he said. “Things I had been working on all popped out at once.”

“Face the Music” shot to no. 1 in U.S.

“It came out at the right time, and a lot of people got to see it. I’m glad it gave fans some fun then,” he said.

Winter said he and Keanu had a great time making the film and won’t shut the door on another one.

“It was a lot of fun,” he said. “We’re always playing around with ideas on where the story could go, what are the possibilities. I always say never say never.”

Other Career Highlights

His movie career took off with “The Lost Boys” in 1987, then came the juggernaut of Bill & Ted, and they reunited for a sequel in 1991.

His 1993 science fiction-horror-comedy “Freaked,” which he co-wrote and co-directed with his college pal-collaborator Tom Stern, is revered as another cult classic.

Another feature he wrote and directed, “Fever,” a 1998 dark tale starring Henry Thomas and Teri Hatcher, was selected for the Directors’ Fortnight at the Cannes Film Festival.

His work on Cartoon Network, where he voiced the Adult Swim character the King Mole Man, was on two episodes of “Robot Chicken,” and MTV’s “The Idiot Box,” a sketch comedy series he developed with Stern, was also highly regarded.

He is a graduate of New York University’s film school. Today, his production company is behind commercials for Ford, Peugeot, Kellogg’s Frosted Flakes, Nickelodeon and 1800 Tequila.

He’s directed music videos for Red Hot Chili Peppers, Ice Cube, Extreme and Helmet.

He was on Broadway in productions of “The King & I” with Yul Brynner, and “Peter Pan” with Sandy Duncan.

With Stern, Winter starred in, co-directed and co-wrote the hit MTV comedy series, “The Idiot Box” and starred in their theatrical co-directing debut, “Freaked,” released by Twentieth Century Fox.

Another documentary was “The Panama Papers,” about the corruption scandal and the journalists who broke the story.

Next up is a cameo role as a cab driver in “Blue’s Big City Adventure,” to be streamed on Paramount Plus on Nov. 18. He’ll be seen in “Absolute Dominion” on Netflix next year, and a film “Destroy All Neighbors” on Shudder.

For the 2015 BND feature: https://www.bnd.com/living/magazine/article42065412.html

Cover Photo by Eric Charbonneau/Invision for AwesomenessTV/AP Images

NEW YORK, NY – APRIL 30: Director Alex Winter speaks onstage at the TechCrunch Disrupt NY 2013 at The Manhattan Center on April 30, 2013 in New York City. (Photo by Brian Ach/Getty Images for TechCrunch)

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

By Lynn Venhaus

With its jaunty game-show music and kicky retro fashions, Moonstone Theatre Company’s staging of Neil Simon’s “Barefoot in the Park” is a throwback to amiable, innocuous 1960s-era sitcoms.

Only the Wayback Machine hasn’t been kind to Simon’s first major success in 1963, a fluffy lighthearted comedy about a couple with opposite personalities starting married life. They live in a fifth-floor walk-up apartment in Manhattan’s Greenwich Village, which becomes a running gag.

A smash hit that ran four years on Broadway, the breezy trifle was directed by Mike Nichols, garnered four Tony nominations and he won for directing. In 1967, the popular movie adaptation paired Robert Redford, the original Paul on stage, with Jane Fonda as the ditzy Corie, and the sublime Mildred Natwick recreated her scene-stealing timid mother role. The play went on to be a beloved staple of school, community, and dinner theater. It was a go-to during high school speech meets for duet-acting partners back in my day.

But that was then, and this is now.

Sixty years later, it’s flimsy rather than frothy — a period piece that probably wouldn’t make the cut for a 1960s-time capsule if selections were today, despite Simon’s hit-making machine status.

The antiquated attitudes on wives and mothers are hard to surmount – we’ve come a long way, baby. I suppose looking back at the pre-feminism years reinforces how times have changed. But engaging? Not so much.

The dialogue reflecting the time’s societal mores is sometimes cringy. Corie’s widowed mom advises: “Make him feel important. Give up a little of yourself. If you do that, you’ll have a happy and wonderful marriage — like two out of every 10 couples.”

Moonstone has set the show in 1966. The cast tries hard to toss off one-liners with some pizzazz but are hampered by how dated the wisecracks sound.

However, the cast gets the rhythm of Simon’s trademark patter, and the genial performers supply several bright spots because of their commitment to the characters.

Particularly funny are well-known veteran actors Chuck Brinkley, who plays the jovial telephone repairman – back when rotary dial was standard, and a Princess phone was fancy — and Bob Harvey, doing funny physical schtick as a huffing-and-puffing delivery man. Ever reliable, the old pros’ brief bits are amusing.

Appealing performers Luis Aguilar and Rhiannon Creighton convey the newlyweds and do what they can to enliven the creaky conversations, but the thinly drawn Mr. and Mrs. Bratter roles have never seemed so bland. They move in after a 6-day honeymoon, and all the character tics appear to aggravate.

This depiction, when the man was the breadwinner and the woman was the happy homemaker, is simply stale.

While cheery and sweet at times, bride Corie does come off as clingy, whiny, and shallow in other moments. Intended as an early image of Simon’s adored first wife Joan, Corie is not as interesting as screwball heroines of days gone by because there’s not much character development. She’s advertised as a ‘free spirit’ but seems tamer in retrospect.

Domestic bliss is threatened because she fears her fuddy-duddy lawyer husband, who is trying to concentrate on his job, will never be spontaneous, like she is. For instance, he wouldn’t walk barefoot in Central Park on a frigid winter day.

Luis Aguilar and Rhiannon Creighton. Photo by Jon Gitchoff

Faring better, although stuck in the tired stereotype of hovering suburban mom, is Jilanne Klaus as widowed Ethel. She’s in her 50s, an empty nester in New Jersey, and dull as dishwater. But she will soften and lighten up. Oh, the agism jokes! Let’s get the retirement home ready!

Corie’s perturbed that mom keeps sending wedding presents almost daily from Lord and Taylor. Oh, the horror.

The hijinks ramp up when Corie fixes up her uptight mother with the nutty neighbor Victor Velasco for a dinner double date. Starting off with exotic gourmet food and braggadocio, the eccentric Hungarian charms the ladies, but Paul immediately dislikes the international man of mystery.

And the night, fueled by assorted alcoholic beverages and dinner in Staten Island (offstage), gets wild and crazy – especially for the stick-in-the-mud mom and husband. But Corie and Victor are kindred spirits.

Slapstick-y wackiness ensues, and Aguilar deftly displays a flair for physical comedy. TJ Lancaster wisely decides not to go too over-the-top playing the live-wire lothario who lives in the attic. He and Klaus demonstrate they are smart, instinctual performers whose crisp comic timing and ease on stage is a plus.

Those two gave a master class in recalibrating their moves when the pair, mindful of a hump in the set’s area rug, acted nonplussed and went on with the show, careful where they stepped during Friday night’s third act.

When the inevitable blow-up occurs in act two – because Paul is a “watcher” and Corie is a “doer,” the couple’s bickering becomes tedious while we’re waiting for the happy-ever-after resolution. No suspense there. Although the fact they didn’t realize their differences before wouldn’t seem to bode well for the future (nevertheless, the Simons were married for 20 years until Joan’s death from cancer at age 41).

One of the most commercially successful playwrights of all-time, Simon, who started writing comedy sketches in the pioneering days of early television, made a career out of first world problems – only the world never really intruded into his work until the brilliant Eugene trilogy, starting with “Brighton Beach Memoirs.”

His customary white middle-class struggles were usually connected to relationship clashes, poking fun at human foibles and using self-deprecating humor, which frequently included Jewish characters in urban settings.

So, the pleasant bon mots and jokes on the squalor of a tiny big-city apartment are expected.

Only, the set isn’t so small. While acclaimed scenic designer Dunsi Dai’s work is a perfect palette of pastels reflecting the time, and his skylight is certainly a “Wow,” it’s too spacious for a supposedly cramped one-bedroom apartment. (If you have been in modest New York City apartments, you know, unless you assume they’re all like “Friends.”)

And the setting is not practical for stage movement, for Creighton must scamper quite a bit – it’s a good thing she’s energetic because we watch her take a lot of steps as she crisscrosses for unpacking, decorating and scene requirements. In a modern setting, she’d be killing it on Fitbit. Director Sharon Hunter’s blocking seems clunky because of the larger dimensions.

Patrick Sullivan’s striking lighting design capably illuminates the night sky, and Amanda Werre’s sound design is smooth.

Michele Siler’s costume designs are noteworthy, having ideally captured the period’s everyday apparel for the women, and Emily Fluchel nails the props – the suitcases, kitchen wares and knickknacks.

Despite it being Simon’s longest-running hit, this would be difficult to pull off in any 21st century theater because it feels synthetic. Nevertheless, the performers’ chemistry and nimble line delivery elicit laughs.

Like so many other plays that depend on a mundane premise to begin with, “Barefoot in the Park” is an unusual classic to present because of the shift in male-female dynamics. No amount of rejuvenation can resuscitate it, despite this likable ensemble and their earnest efforts.

Moonstone Theatre Company presents Neil Simon’s comedy “Barefoot in the Park” from Oct. 27 through Nov. 13 at the Kirkwood Performing Arts Center’s black box theatre, 210 E. Monroe Ave. Showtimes are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m., except there is no show on Friday, Nov. 11, and two shows on Saturday, Nov. 12, at 3 p.m. and 7:30 p.m. For tickets or for more information, visit: www.moonstonetheatrecompany.com.

Jilanne Klaus, Rhiannon Creighton, Luis Aguilar. Photo by Jon Gitchoff

Popster Picks for Monday, Oct. 31

Popster Picks for Monday, Oct. 31

By Lynn Venhaus

Local Spotlight: Haunted Restaurant

Yes, Papa Vito’s restaurant in downtown Belleville is in a haunted historic building. It has a colorful history, but more importantly, the ghosts remain active. I was just there Saturday evening at a birthday party, and we heard from employees who have had encounters.

Here’s the backstory published in the Belleville News-Democrat today:

https://www.bnd.com/living/article267998297.html?utm_source=pushly&intcid=pushly_2462030

Streaming: Halloween movies for tonight (and anytime you want something spooky)

This is a good comprehensive list of what’s available on the streaming services – classics and new horror films:
https://www.tvguide.com/news/best-halloween-movies-to-watch-2022-hbo-max-netflix-hulu-disney-plus/?ftag=NLS-04-10aaa1a&mid=14045866&cid=2365088847

Theater: Shining Local Star

What a delightful young woman! I was thrilled to be able to write about Berklea Going for last week’s Webster-Kirkwood Times. The Nerinx Hall graduate and Muny veteran of 19 summers is in the national tour of “Frozen” and will be at the Fox as soon as her run in “42nd Street” at the Goodspeed Opera House is over this weekend. Here is my feature on this talented St. Louis native

Here is my feature in Friday’s print edition of the Webster-Kirkwood Times:

https://www.timesnewspapers.com/webster-kirkwoodtimes/i-want-to-take-it-all-in/article_8bf8c7a4-5601-11ed-b8f2-db9cc1105a7c.html

Food: The McRib Farewell Tour

Yes, the McRib is available at participating McDonald’s starting today – but it’s a limited time, and yes, the final countdown.

https://www.mcdonalds.com/us/en-us/product/mcrib.html

Playlist: Who You Gonna Call?

Ray Parker Jr. performed his classic “Ghostbusters” song on “The Talk” today.

Word: “It’s as much fun to scare as to be scared.” – Vincent Price

May you have a safe and fun Halloween!

Popster Picks for Weekend Oct 28-30

Popster Picks for Weekend Oct 28-30

By Lynn Venhaus

What a weekend ahead – especially all the festivities to celebrate Halloween. Here’ s a round-up of events, movies, music, TV and more.

Local Spotlight: Our National Landmark

Our Gateway Arch was completed on Oct. 28 in 1965. America’s tallest monument, The Gateway to the West, the Jefferson National Expansion Memorial, is the grand symbol of our region and riverfront.

I was 10 when they put the final link in place. Now it’s 57! I remember coming home from college, and as soon as I saw the Arch, I knew I was home.

Here’s more from the History Channel about this day in history: https://www.history.com/this-day-in-history


Movies: Slashfest at the Skyview Drive-In

Belleville Oct. 28 and 29, box office opens at 6 p.m.

Screen 1 – Family Slashfest – Hotel Transylvania PG 8:00 and Gremlins 2 PG13 9:40              Midnight – Rocky Horror Picture Show

Screen 2 – Hardcore Slashfest – Texas Chainsaw Massacre R 7:15, Friday the 13th 7: New Blood R 8:50, The Fog R 10:25 and Killer Klowns from Outer Space R 12:00

They will start the Hardcore Slashfest at 7:15 and the Family Slashfest will start at 8:00.  This is so they can play four movies on the Hardcore side. At midnight, you can choose to stay on screen 2 or move up to screen 1 to see RHPS.


Live and Local: Saint Charles Legends & Lanterns® is taking over Main Street this weekend – Saturday from 11 a.m. to 8 p.m. and Sunday from noon to 5 p.m.  

More info: https://www.discoverstcharles.com/events/legends-lanterns/

Local Content: Broken Strings

The first episode of a planned local series on artists’ journeys as they search for harmony will be screened at The .ZACK, 3224 Locust Avenue, at 7 p.m. this Saturday and Sunday.

Created as a part of the Kranzberg Artist in Residency program, writer/director Catherine Dudley-Rose has gathered multiple local artists and activists. First one features Dr. Marty K. Casey, Don McClendon, Sydney Russell, and Chrissie Watkins along with supporting cast. Crew: cinematography by Mallory Ingles, edited by Abbey Heise, sound by Bailey Hilmes and assisted by Once Films, and the Regional Arts Commission. Find out more about the development of this community series and how you can participate. Tickets are $15.

More info: https://www.kranzbergartsfoundation.org/events/broken-strings-preview-screenings/

Live: St. Louis Symphony Orchestra “Psycho”

Oct. 30, 7 p.m., Powell Hall, 718 N. Grand Blvd.

SLSO is checking into the Bates Motel as Alfred Hitchcock’s classic psychological thriller “Psycho” will be on the big screen, and they will play Bernard Herrmann’s suspenseful score – with its shrieking strings and slashing chords – live.

Beforehand, a costume contest will take place in the foyer, with prizes for best overall, scariest and most creative.

Tickets: https://shop.slso.org/7612

Streaming: “Stars at Noon” on Hulu

Here’s PopLifeSTL film critic Alex McPherson’s review of “Stars at Noon,” currently streaming on Hulu.

‘Stars at Noon’ Is A Provocative, Challenging Love Story

TV Movies: Hallmark Channel’s Countdown to Christmas

Every Friday, Saturday and Sunday night, there is a new Christmas film to view. Here’s this weekend’s line-up:

Friday – A Cozy Christmas Inn
Saturday – Jolly Good Christmas
Sunday – Ghost of Christmas Always

Movie: “Decision to Leave”

Now playing at Plaza Frontenac, writer-director Park Chan-wook’s mystery-thriller uses his distinct visual style to weave a love story and murder case, with flashes of Hitchcock’s “Vertigo” and using nature as a character. The official South Korean selection for the Oscar’s Best International Feature, this will indeed be in the awards conversation at year’s end. Park won best director for this at the Cannes Film Festival in May.

Here’s my review in the Webster-Kirkwood Times:

https://www.timesnewspapers.com/webster-kirkwoodtimes/arts_and_entertainment/reel_world/decision-to-leave/article_d7231646-56e5-11ed-b004-9be9c42616d1.html


TV Mini-Series: “The White Lotus,” season 2

Sunday, 8 p.m., HBO

We move on to Sicily this time, for a take on the staff at an upscale resort and the wealthy guests who stay there. Cast includes Aubrey Plaza, F. Murray Abraham, Michael Imperioli, and Haley Lu Richardson, with Jennifer Coolidge reprising her role as the ditzy socialite Tanya McQuoid.

Playlist: Million Dollar Quartet

With the death of Jerry Lee Lewis Friday, one of the pioneers of rock ‘n roll, I am reminded of the one historic night where Johnny Cash, Carl Perkins, Elvis Presley, and Lewis gathered at Sun Studios in Memphis for one heckuva recording session on Dec. 4, 1956.

The basis for a 20120 jukebox musical

It has played at the Fox Theatre (2013) and at the Repertory Theatre of St. Louis (, and will be part of Stages St. Louis’ 37th season next summer. Here is the Broadway cast performing at the 2010 Tony Awards. Levi Kreis, who played Jerry Lee Lewis, won the Tony for best featured actor in a musical.

Word: Stephen King

“We make up horrors to help us cope with the real ones.”

Blanchett Fierce But ‘Tar’ Disturbing and Discordant Melodrama

Blanchett Fierce But ‘Tar’ Disturbing and Discordant Melodrama

By Lynn Venhaus
It is easy to be dazzled by Cate Blanchett’s virtuoso performance as a brilliant maestro whose rise in the cutthroat world of classical music will be thwarted by a spectacular fall from grace.

But overall, the excruciatingly bloated melodrama “Tar” is a pretentious exercise.

Set in the international world of classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and first-ever female music director of a major German orchestra. But just as her professional career is soaring, her personal life is going to crash, and she is in danger of getting burned.

As played by the two-time Oscar winner, the unsympathetic Lydia is at once brilliant and brittle. Haughty and vain, her carefully cultivated image is going to take big hits in the age of social media outrage and swift cancel culture, for –spoiler alert – she’s a sexual predator.

Cavalierly, she wields power over the vulnerable women she grooms while they curry favor with her. But she doesn’t attend to the messiness that will expose her true nature, and this fatal flaw, for being arrogant enough to think she is untouchable, will be her downfall.

Yet, there is no redemption and little accountability. We’re not going there, but where we’re going is a rather muddled and bumpy journey where we’re kept at arm’s length.

However, Blanchett is fierce as the formidable composer and conductor. She conducts with a ferocity, plays piano nimbly, and speaks several languages. She is on screen nearly the whole 2-hour, 38-minute runtime (which feels like 6 hours), and she’s a thoroughly unlikable character.

The acting is uniformly first-class, as are the production elements moving us between her homes, the concert hall, and the streets of Berlin, New York, and Thailand. Florian Hoffmeister’s cinematography captures the moodiness, the bleak gray skies, and growing unease as well as the upper echelon in the arts and the associated lofty lifestyles that production designer Marco Bittner Rosser has conveyed so well.

The main frustration here is that writer-director Todd Field has decided to concentrate on repetitive minutiae with a backdrop of mundane everyday life details, which drags the story.

At home, she lives with her wife Sharon, the Philharmonic’s concertmaster (an outstanding Nina Hoss), and their daughter Petra (Mila Bogojevic), but she also keeps another place.

And not only is the film’s pacing uneven, but Field is stingy with answers while questions keep proliferating. By the time it’s over – sweet relief (and some of the movie seems in real time) — there are baffling loose ends that prevent it from being a satisfying experience.

That seems indulgent, and a lengthy opening lecture with the New Yorker’s Adam Gopnik and a master class at Juilliard are in desperate need of editor Monika Willi (wait – there is an editor listed in the credits?).

Field, a three-time Oscar nominee who hasn’t made a film in 16 years, isn’t clear about his feelings for the protagonist, or how he wants us to feel. Normalizing her would be a mistake, for she’s a monster. Nor is she deserving of a pity party. Her undoing is entirely her own fault.

For those of you playing at home, do we want to watch a prickly personality pontificate for several hours?

Time and time again, life shows us that you can only run so far before fate catches up with you. What should happen – a comeuppance, criminal charges, civil lawsuit, apology?

That is not where Field is headed. Nor is he compelled to flesh out the vague backstory of Krista (Sylvia Flote), a supposedly ‘unstable’ protégé who committed suicide.

As a fan of Field’s acclaimed “In the Bedroom” (2001) and “Little Children” (2006), this was confounding. But others accept it and have lavished widespread praise. I would hope a second viewing isn’t needed for more insight and clarity.

The music, of course, is gorgeous. Composer Hildur Guðnadóttir, whose work on “Joker” won her an Oscar, may earn another nod with this sleek score. Mahler’s Fifth Symphony, as the chosen piece to record, is sumptuous.

Other noteworthy performances include Noemie Merlant as Tar’s assistant Francesca and Sophie Kauer as the hotshot young cellist.

There is a story, of course, in the intriguing take on male-female power dynamics, and out-of-control actions made worse in the era of cellphones and social media. And suspense does build, if only in fits and starts.

Full of nagging holes, “Tár” is imperfect, and that’s not acceptable, no matter how sophisticated, given the people associated with this project.

It again, if anything, raises the issue about separating the art from the artist, but that opens a dialogue best served in another more succinct movie, as who wants another paradox after this disturbing – and cumbersome — portrait?

“Tar” is a 2022 drama written and directed by Todd Field. It stars Cate Blanchett, Nina Hoss, Mila Bogojevic, Noamie Merlant, Sophie Kauer and Mark Strong. It runs 2 hours, 38 minutes, and is rated R for some language and brief nudity. Locally, it opened in theatres Oct. 21. Lynn’s Grade: C.

Popster Picks For Tuesday Night, Oct. 26

Popster Picks For Tuesday Night, Oct. 26

By Lynn Venhaus

Documentary: “A Tree of Life: The Pittsburgh Synagogue Shooting”

8 p.m. on HBO  

On Oct. 27, 2018, a white nationalist gunman entered a synagogue shouting “All Jews must die!” and with four automatic weapons, killed 11 while they were praying. It was the largest antisemitic attack in American history.

Directed by and produced by Pittsburgh natives Michael Keaton, Billy Porter and Mark Cuban, the documentary interviews

An important aspect of the film is how the community came together afterwards. The process of healing, rebuilding, and moving forward

I will discuss the film with Ray Hartmann on “Mueller Furniture Presents Lynn Venhaus Goes to the Movies” on Thursday after the 10 p.m. news on KTRS, the Big 550.

Movie: Streaming Premiere for “The Good Nurse”

Netflix.

The true crime drama “The Good Nurse,” released in theaters on Oct. 19, is now streaming on Netflix.

Here’s my review: https://www.poplifestl.com/the-good-nurse-is-tension-filled-investigation-of-shocking-deaths/

Video on Demand: Studio Ghibli

Japanese animation fans, rejoice! Studio Ghibli’s catalogue of 22 films has been released by GKIDS for rental on all major digital platforms, including Apple, Amazon, Google Play, and Microsoft. Oscar winner “Spirited Away,” nominees “Howl’s Moving Castle” and are available at $4.99 per title. All are available in HD, with most being offered in the original Japanese as well as English dubbed versions.

Mini Burger Palace: A Little Hi

A Little Hi opened Sunday at 15069 Manchester on the strip in Ballwin, where one of the Silky’s Frozen Custard places once was. Hours are from 11 a.m. to 9 p.m. daily.

It’s a smaller menu than the parent – the Hi-Pointe Drive-In, with locations downtown, on McCausland, Kirkwood, Arnold and O’Fallon Ill., but still serving the trademark smash burgers, fries, milkshakes, and chef-inspired specials.

It’s also smaller in size. One of the features is a drive-thru window for pick-up orders.

Trailer: Ready for a Christmas Movie?

“Christmas With You” streams on Netflix starting Nov. 17

It’s about a pop star (Angelina, played by Aimee Garcia) who travels to a small town in New York to grant a young fan’s wish. She finds the inspiration to revitalize her career but also a shot at true love. Also stars Freddie Prinze Jr. and Deja Monique Cruz.

Word: Michael J. Fox

“Life is easier when we’re kind to each other.”

–People Magazine, “The Kindness Issue”

Twisty ‘Fiction’ Explores Blurred Lines in Relationships at Actors’ Studio

Twisty ‘Fiction’ Explores Blurred Lines in Relationships at Actors’ Studio

By Lynn Venhaus

Sympathies shift as does time in the twisty relationship drama “Fiction,” presented by the St. Louis Actors’ Studio as a study in the stories we tell ourselves.

Playwright Steven Dietz explores “What would you do if you had to live with a secret that you thought you would die with?”

That complicates life for sophisticates Linda and Michael Waterman, who are both writers, thus the verbal jousting throughout the two acts.

Their literate lives will be turned upside-down with the diagnosis of a terminal brain tumor (hers) and the revelation of an affair (his).

After Linda’s devastating news, she asks her husband to share his diaries with her. Who can refuse a dying person’s wish, right? He agrees – tearing out a page – and his entries disclose what happened at a writer’s retreat with a young Abby, an administrator at The Drake Colony. Rut-ro.

With his customary witty dialogue, Dietz examines the blurred lines between fact and fiction, truth and lies, reality and imagination. Does discretion spare pain or make betrayal worse? Can couples overcome deceit? Is “memory the better writer” as Michael states?

And what kind of mind game are we exactly in for here?

As cagily played by Lizi Watt as Linda and William Roth as Michael, their carefully constructed worlds come to a head when they are forced into edgy territory – and are backed into a corner.

The very opinionated and glib Waterman defends his journaling by describing it as fiction. A rather stressed Linda conjures up scenarios in her head, as she thinks she knows him well enough to figure out what happened. He described Abby as a lethal combination of beauty, danger, youth and wit.

As they revise facts, trust breaks down. Then Michael reads Linda’s diaries. Well, who is keeping secrets now? And what isn’t disclosed on the hand-written pages?

What a tangled web Dietz has weaved into two hours, adding plot twists – and a few contrivances to make this more confounding rather than easily filling in the blanks.

William Roth, Bryn McLaughlin, Lizi Watt. Photo by Patrick Huber.

What the Watermans have been telling themselves for 20 years is that their longtime relationship is built on honesty and candor. After all, they are writers. But the irony is that sometimes, those adept at the written word aren’t always the best communicators when it comes to expressing feelings and deep thoughts one-on-one.

Confrontations will expose vulnerabilities and appear to be ripping scabs off old wounds. And what’s with this mysterious Abby, and how long was she in contact with Michael? How does she know Linda?

Agile at rapid-fire banter, Watts and Roth are convincing, if not enitrely relatable, as the pair – his character tends to pontificate, and her healthy self can get snippy, but you do feel for her current predicament. His novels are so popular they’re made into movies while her one acclaimed book, “At the Cape,” a fictionalized account of her sexual assault in South Africa, is long in the rearview mirror, and she now teaches creative writing. Linda is tough and confident, not a pushover.

As Abby, Bryn McLaughlin plays her close to the vest when she appears before and present, shading her ambiguously. She holds her own in scenes with the older established characters.

This three-hander, deftly staged by Wayne Salomon, digs deeper into the gray areas of relationships that aren’t so black-and-white. Salomon’s a master at dissecting ordinary people and their motivations, as he has shown in an illustrious career spanning 50 years.

In recent years at STLAS, he’s done sharply defined work with “August: Osage County,” “Three Tall Women,” and “Farragut North.” This one, with its enigmatic premise, is indeed a challenge.

While the actors are smooth and obviously well-rehearsed, given the dexterity on display and their earnest analysis to make the material understandable, the stumbling block is the play’s structure.

The time shifts are not always clear, which is intentional. There are minor changes in costumes to reflect the year depicted, a smart move by costume designer Carla Landis Evans.

When we first meet the couple at a café in Paris (really?), they seem to have a comfy rapport. Dietz’s idea to start with a high-spirited argument on best rock vocal performance is clever, for we immediately ascertain they’re Boomers, with each taking a side – he’s adamant it’s John Lennon in “Twist and Shout,” and she’s making a case for Janis Joplin for “Piece of My Heart.”

Music, being the universal language, helps us size up the characters. But turns out, this is their first meeting, and they eventually marry. It sets up their rhythms, for couples tend to have their own shorthand..

This shift in time will keep us off-guard, particularly with the back-and-forth on the Abby sequences, and perhaps more at a distance that we should be as we’re trying to keep straight what’s accurate.

Then, there is the matter of mortality. The reason she’s reading his diaries is that she’s going to die soon (three weeks, or as she puts it, “twenty meals.”) Spoiler alert: But then, lo and behold, doctors say ‘oops!’ and never mind — due to an “oncological misapprehension,” she’s given a reprieve, so that makes things stickier for what’s out in the open. But then… (won’t spoil the rest). And if she has a malignancy tumor, undergoing treatment, wouldn’t that affect her behavior?

These choices are debatable, and the off-kilter nature can be frustrating, if that’s how you sense it. I can see where deciphering the relationships can become chore-like.

In all narratives, talking about writing can get in the weeds with theatergoers, while showing the writing process is even trickier. I can see responses vary about the two.

Should our lives be an open book in our intimate relationships? Dietz brings up questions, but are his points persuasive?

Are the characters unreliable narrators? Things are open to interpretation, depending on your viewpoint. And given human nature, perspectives will vary.

The setting, designed by Patrick Huber and carried out by Andy Cross and Sarah Frost, is minimally staged to focus on the verbal fireworks. No bookshelves, such as those artfully staged for Zoom, for the backdrop.

St. Louis Actors’ Studio, now in its 15th season, is looking through the lens of life’s fundamentals in several productions this year.

Their selections always bring up provocative issues that make a viewer consider how they think and feel, which results in an interesting experience worthy of discussion.

“Fiction” was produced in a workshop setting through ACT Theatre in Seattle in 2002, then presented at the McCarter Theatre in Princeton, N.J., and later, off-Broadway by the Roundabout Theatre in 2004.

Active for 30 years, the prolific Dietz is one of the most widely produced playwrights in the U.S. Locally, his works “Bloomsday” and “This Random World” have been performed by the West End Players Guild. “God’s Country,” “The Nina Variations,” “Lonely Planet,” “Shooting Star” and “Private Eye” are among his many plays, often staged in regional theaters. Always witty and frequently insightful, Dietz’ comedy-dramas intrigue.

This much I know is true – the truth is uncomfortable but lies are worse. Although this brings up thought-provoking topics, whatever Dietz was going for in “Fiction” doesn’t land wholly satisfactorily, although the performances are genuine and the production work sincere.

William Roth, Lizi Watt. Photo by Patrick Huber

The St. Louis Actors’ Studio presents “Fiction” by Steven Dietz from Oct. 7 to Oct. 23, on Fridays and Saturdays at 8 pm and Sundays at 3 p.m. at The Gaslight Theater at 358 N. Boyle in the Central West End.

For tickets, visit https://www.ticketmaster.com/the-gaslight-theater-tickets-st-louis/venue/50324 or purchase at the box office prior to showtime. For more information: www.stlas.org

Popster Picks for Oct. 21 (And More)

Popster Picks for Oct. 21 (And More)

By Lynn Venhaus

Local Spotlight: Legends and Lanterns

A fun weekend can be had on Main Street in St. Charles.

Legends & Lanterns® is a “spirited” journey through Halloween History is an annual event that finds its inspiration from the past.

“From the vintage charm of Halloween in the 1910s-1930s, to the historical rituals and customs brought to the holiday by the Druids and Victorians, to the ethereal atmosphere depicted in American ghost stories and Brothers Grimm fairy tales; this event will offer treats and tricks for guests of all ages. A little bit silly. A little bit macabre. But all in fun,” so it states on the website.

Dates and Times
Sat, 10/22:     11am to 6pm

Sun, 10/23:    Noon to 5pm

Fri, 10/28:      5pm to 8pm

Sat, 10/29:     11am to 8pm

Sun, 10/30:    Noon to 5pm

https://www.discoverstcharles.com/events/legends-lanterns/

Stage: Personal Transformation and Triumph

The Black Mirror Theatre Company presents “Roll With It!” at Kranzberg Arts Center black box theater

Katie Rodriguez Banister

Katie Rodriguez Bannister was paralyzed from the chest down in an SUV rollover accident in 1990. She was 25. This is her story. Only three more performances left – Friday at 7 p.m., and Saturday and Sunday at 3 p.m.

Here’s my review: https://www.poplifestl.com/roll-with-it-shares-a-challenging-path-with-warmth-and-humor/?fbclid=IwAR2ycAmBil46xXR7dhw5iRvwmEDxRKeBr9yLgOlIl5h5mNkIRDsh2hWG2eM

For more about Katie, read the Webster-Kirkwood Times article by Julie Brown Patton:
https://www.timesnewspapers.com/webster-kirkwoodtimes/roll-with-it/article_b6cb1ef8-4591-11ed-aced-37baaa30c353.html

Movie: Julia and George Together Again

Megastars Julia Roberts and George Clooney, who’ve made five movies together, reunite in “Ticket to Paradise,” for a formulaic rom-com that is pure escapism, the kind of “Mom movie” that women of a certain age will enjoy. Here’s my review:

https://www.poplifestl.com/star-power-propels-light-hearted-escape-ticket-to-paradise/


New Year’s Eve Plans: Nikki Glaser tickets on sale

Tickets went on sale this morning, Oct. 21, at 10 a.m. via Ticketmaster for Nikki Glaser: One Night with Nikki Glaser at 8 p.m. on Saturday, Dec. 31, at the Stifel Theatre.

Ticket Link: https://www.ticketmaster.com/event/06005D4ECF257338

Spooktacular Movies at the Drive-In

“Jamie Lee Curtis is Laurie Strode in “Halloween Ends

Drive-In Time: Slashfest is Oct. 28-29 at the Skyview Drive-In in Belleville, officially ending the season. However, this weekend, you can enjoy Pre-Slashfest with a combo of new and old movies.

Here is the schedule for, October 21 & 22…

Screen 1 – Halloween Ends R 8:00 and Frankenstein 1931 NR 10:00

Screen 2 – Poltergeist PG 8:00 and The Lost Boys R 10:10

The box office opens at 6:30 p.m. Ads and previews start at 7:50. Good idea to arrive early.

If you want to request a reserved spot for an additional $10, send an email to skyviewdrivein@att.net. Tell us which movie you want to see, which night you want to attend, and the year/make/model of your vehicle. Be sure to include all information or your request will be returned to you.

Trailer: The Crown Season 5

Season 5 will drop on Nov. 9 on Netflix, with Elizabeth Debecki as Princess Diana, Dominic West as Prince Charles, Imelda Staunton as Queen Elizabeth and Jonathan Pryce as Prince Philip.

Playlist:


Taylor Swift Dropped “Midnights” — here’s a tract:
https://youtu.be/kWFJni0H774

Star Power Propels Light-Hearted Escape ‘Ticket to Paradise’

Star Power Propels Light-Hearted Escape ‘Ticket to Paradise’

By Lynn Venhaus
With their mega-watt star power and effortless charm, George Clooney and Julia Roberts are just so darn cute together that they make the high-concept rom-com “Ticket to Paradise” go down as easy as a fruity tropical drink while watching an island sunset.

“Ticket to Paradise” follows the formula of many personality-driven light-hearted escapes set in an exotic locale and depend on thorny romantic complications with an easy-going cast having fun with each other.

As a bitterly divorced couple, they team up and travel to Bali to stop their only daughter (Kaitlyn Devers) from making the same mistake they think they made 25 years ago.

In their fifth film together, Clooney and Roberts appear to be having a ball, even while pretending they hate each other’s guts. That fine line between love and hate, you know. They were college sweethearts and married for five years. Their house burnt down, and their relationship flamed out.

But they had a daughter, Lily, whom they dote on, and are forced to be together for those kind of family rituals like graduations and weddings. The ever-reliable Kaitlyn Dever plays recent law school graduate Lily, who is on a long holiday with her roommate and best friend Wren in Bali before embarking on real-world careers.

Party girl Wren is given some oomph by Billie Lourd, the late Carrie Fisher’s daughter. She’s mainly around to be supportive of her buddy, but it would have been nice for her to have a storyline too. She and Dever were both in “Booksmart,” and work well together here.

Roberts’ character, Georgia, an art gallery owner, is engaged to a handsome younger pilot, endearingly played by French actor Lucas Bravo (a delight in “Mrs. Harris Goes to Paris” this past summer and on “Emily in Paris.”) He’s a good sport, even as the butt of some jokes.

The lovestruck Lily throws everything into chaos when she breaks the news that she is engaged to an Indonesian seaweed farmer, Gede (Maxime Bouttier), a sweet and sincere islander she fell head over heels for – and is ready to build a life faraway from what she’s known. They make a cute, believable couple.

Bali is a stunning location with gorgeous sunsets, warm hospitality and a relaxed way of life. What’s not to love?

The parents are determined to sabotage the wedding, and unite to carry it out, but as expected, things aren’t going according to plan in the story by Ol Parker and script co-writer Daniel Pipski.

The parents have time for reflection and look back at their tattered relationship, which the two Oscar winners carry out well.

Maxime Bouttier, Kaitlyn Dever

It seems like a predictable patchwork of other rom-coms – a dash of “Crazy Rich Asians,” a touch of “Mamma Mia!”, a sprinkle of “Gidget Goes Hawaiian,” and a smidge of “My Best Friend’s Wedding, as well as a litany of Hallmark movies involving matrimony, but that doesn’t make it less palatable.

When you sign on for a romantic comedy, you know what’s ahead. This is a Mom movie – one you can take your mother too and not worry about salacious content. If it appeals to a certain demographic, so be it.

The pleasures here are enjoying the shimmering panoramic vistas in the south Pacific and two charismatic movie stars who are adorable when lighting up the screen. Their chemistry is so smooth that you’d watch them just sitting and talking to each other (at least I would).

The last movie they made, “Money Monster,” was a middling crime drama-thriller in 2016.  Clooney was a financial TV host and Roberts played his producer who are in an extreme situation when an irate investor takes over the studio.

But their casting as Danny and Tess Ocean in the “Ocean’s” movies – 11, 12 and 13 — caught fire in that entertaining caper franchise. They first appeared in “Confessions of a Dangerous Mind,” which Clooney directed in 2002, an adaptation of game show impresario Chuck Barris’ cult memoir about being a CIA hitman.

Although capable of crafting fine characters in their legendary careers, they are well-suited for romantic comedies. After all, that’s where Roberts broke through (“Pretty Woman”) and had considerable box office power (“Notting Hill,” “My Best Friend’s Wedding, “Runaway Bride,” among them.) They have their dramatic cred – and Oscars to prove it, too.

The outtakes shown during the end credits seem unnecessary and rather silly, but other than that, it’s not a waste o’ time.

Ol Parker, best known for “Mamma Mia! Here We Go Again” in 2018 and “The Best Exotic Marigold Hotel” in 2011, directed “Ticket to Paradise” with a light touch, careful to not make the proceedings too slapstick-y (but not above some goofy moments, like a dolphin attack and a snake bite).

He knows and respects his audience, and so do the lovable movie stars. If you are looking for a pleasant trifle to wile away a couple hours, “Ticket to Paradise” will amuse. It isn’t destined to become a classic but will stay in fans’ rotations.

“Ticket to Paradise” is a 2022 romantic comedy directed by Ol Parker and starring George Clooney, Julia Roberts and Kaitlyn Dever. Rated PG-13 for some strong language and brief suggestive material, it runs 1 hour, 44 minutes. Opens in theatres on Oct. 21. Lynn’s Grade: B-.