Warm and Genuine ‘A Real Pain’ Explores Family Ties, Heritage

Warm and Genuine ‘A Real Pain’ Explores Family Ties, Heritage

By Lynn Venhaus

Complicated family ties and honoring Jewish heritage are explored in the heartfelt “A Real Pain.” With its strong emotional pull as two once-close cousins reconnect, the comedy-drama is often amusing but also tinged with melancholy. After all, it is a Holocaust tour, and a reverent one at that.

A Real Pain” follows mismatched first cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) who reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd couple’s old tensions resurface against the backdrop of their family history.

Following the adage ‘write what you know,’ writer-director Jesse Eisenberg brings an appealing earnestness to his labor of love. When the cousins visit their grandmother’s home in Poland, this location is actually where Eisenberg’s real-life ancestors settled in diaspora.

In his second directorial effort, Eisenberg is in his acting comfort zone as an uptight worrywart who is a responsible, dedicated family man. (His real-life son Banner is seen briefly as David’s little boy Abe.)

He reveals a remarkable knack for storytelling, and his deft direction makes for a lean 90-minute odyssey where the pair discover themselves and move forward with far more understanding.

Eisenberg, who came to prominence in “The Squid and the Whale,” earned an Oscar nomination as Mark Zuckerberg in “The Social Network,” and has amassed a varied range of roles, including “Zombieland,” “Now You See Me,” “Rio,” two Woody Allen movies, and one of my favorites “The End of the Tour.”

He has terrific chemistry with scene-stealer Kieran Culkin as his free-spirited chatty first cousin who seemingly breezes through life as a carefree adult unencumbered by responsibilities.  In first impressions, he’s fun, funny and rarely uses a filter in conversations, making friends easily.

Culkin’s moving, multi-layered performance as the adrift man-child Benji may just earn him an Oscar nomination for Best Supporting Actor, and for sure he’ll be on the shortlists for other year-end awards consideration. Emmy winner for his role as Roman Roy on HBO’s “Succession,” Culkin’s verbal dexterity and his natural mannerisms are effortless in creating a relatable Benji as someone you know.

Growing up, the boys were very close, as their dads were brothers. But through the years and with different lifestyles, they grew apart. This trip to honor their grandmother, a Holocaust survivor, is an opportunity to renew their bond. As the journey progresses, they have their ups and downs. Benji is more troubled than at first glance, and David’s persnickety nature can be annoying.

Because they are traveling in a group, their behavior affects others. Their fellow travelers include a nearly unrecognizable Jennifer Grey as a newly divorced woman Marcia, Kurt Egiywan as Eloge, who escaped a genocide in his Rwanda homeland, and Liza Sadovy and Daniel Oreskes as a married couple, Mark and Diane.

The efficient tour guide James, played by an affable Will Sharpe, is criticized by Benji for not connecting enough to the people in the towns they visit, instead of just regurgitating facts.

The film’s power is disarming, for it packs an emotional wallop, especially in exploring the Holocaust aftermath, the Majdanek concentration camp, and the effect of loss and grief on Benji.

Eisenberg’s nimble narrative brings up the pair’s old misunderstandings and resentments as they bicker, but they have one thing in common: love for their grandmother, and that resonates. We do get a finely drawn, compelling portrait of these individuals.

They remember the family love fostered, and do care for each other, which is obvious when David worries about Benji being lonely.

A breakout hit at the Sundance Film Festival, “A Real Pain” was nominated for the Grand Jury Prize and Eisenberg won the Waldo Salt Screenwriting Award. He also won the Humor and Humanity Award at the Heartland Film Festival and Culkin is a nominee for a Gotham Independent Film Award. This isn’t going to be the end of their awards journey.

The cinematography by Michael Dymak subtly makes statements, while the editing by Robert Nassau makes the story flow well.

Warm and genuine, “A Real Pain” is that rare film that intimately speaks to us so eloquently, yet is universal in intentions, thus making a lasting impression.

“A Real Pain” is a 2024 comedy-drama written and directed by Jesse Eisenberg and starring Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe, Liza Sadovy, Daniel Oreskes and Kurt Egiywan. It is Rated R for language throughout and some drug use, and its runtime is 90 minutes. It opened in local theatres Nov. 15 and was the opening night film at the St. Louis International Film Festival. Lynn’s Grade: A.

Strong Performances Celebrate Neil Diamond’s Music in ‘A Beautiful Noise’

Strong Performances Celebrate Neil Diamond’s Music in ‘A Beautiful Noise’

By Lynn Venhaus

Come for the music, stay for the lovefest. A gleaming crowd-pleasing tribute, “A Beautiful Noise: The Neil Diamond Musical” celebrates the singer-songwriter’s greatest hits, which is what the enthusiastic audience expected and was eager to do.

A delightful bonus was the excellence of the cast, band, and creative team.

Such affection for the legendary showman is evident and the music offers enough sustenance for the fans. After all, Diamond is one of the best-selling singer-songwriters of all-time, with 10 singles to reach no. 1.

The presentation is as sparkly as Neil’s shiny, sequined outfits on stage, designed here by Emilio Sosa. Touring since Sept. 21, the slickly produced show received a warm welcome at the Fox Theatre on opening night Oct. 29 (it runs through Nov. 10) — and not just because there were two rousing “Sweet Caroline” sing-alongs.

When Paul Simon inducted Neil Diamond into the Rock ‘n Roll Hall of Fame in 2011, he said: “Neil Diamond wrote for himself, but he spoke to everybody.”

“His ability to put words to the human experience explains his commercial success, his fans of all stripes, and his timelessness,” Simon continued.

Photo by Jeremy Daniel.

That sums up Neil’s enduring appeal. He was a dominant force on the pop charts for two generations and sold over 130 million records. No wonder the audience’s excitement steadily built with each memorable tune.

There is a captivating story to tell – of an introverted, lonely kid from Brooklyn, with a fondness for poetry, trying to make it in the music business in the 1960s. He eventually becomes a chart-topping global superstar, extroverted and fun-loving on stage.

But fame took its toll, with two failed marriages along the way, and other bumps in the road. There is a darkness that Neil talked about, which is expressed to his wives and his therapist.

While this typical jukebox musical doesn’t have as strong of a story arc as “Beautiful: The Carole King Musical” and “Jersey Boys,” the framework is interesting as a memoir, choosing to start with Neil “Now” talking about Neil “Then” to a therapist.

The psychoanalysis sessions strike a chord with anyone reflecting on their life, the mistakes they made and the regrets, but also on their triumphs and special connections. Neil is now an 83-year-old man, forced to retire after the diagnosis of Parkinson’s disease in 2018.

In therapy, he talks about wanting more peace, less angst. He’d also like to be better at reaching out to his family (he has four children, two girls with his first wife, two boys with his second).

Neil – Then and Neil – Now. Photo by Jeremy Daniel

The doctor, played by Lisa Renee Pitts, opens a book of his songs written during his 60-year career, and reads some of the lyrics, prompting Diamond to react. Spotlighting iconic songs and their significance, plus highlighting the special people in his life, is the crux of the show.

The book, written by Anthony McCarten, is titled for his 1976 album, and crafted with Diamond’s cooperation (and there’s a letter from Neil in the program). The musical addresses both sides of his personality – the performer and the songwriter.

Produced by Bob Gaudio, one of the Four Seasons (you may recall his story featured prominently in “Jersey Boys”), the show touches on Diamond’s drive and his creative fire.

The music numbers often feature a vibrant chorus of singers and dancers known as “The Beautiful Noise” – performing Steven Hoggett’s vigorous choreography. Special shout-out to J’Kobe Wallace from St. Louis, who was memorable in The Black Rep’s “Eubie!” in spring 2023, making his Broadway tour debut. He’s also the dance captain.

The Neil bookends are strong performers who instantly connected with the crowd. As Neil – Then, Nick Fradiani is an energetic, skilled musician, and charmed fans with his interpretation – and not just because he rocked some serious rock star hair and sideburns.

Fradiani, who won “American Idol” in 2015, Season 14, sounds remarkably like Diamond, but also has the charisma to pull off such a demanding role. Original understudy to Will Swenson on Broadway, Fradiani replaced him as the lead on Oct. 31, 2023, until the show closed on June 30. The show opened on Dec. 4, 2022, after a tryout in Boston and previews.

Tiffany Tatreau and Nick Fradiani. Photo by Jeremy Daniel.

Neil – Now is played by Robert Westenberg, who received a Tony nomination for his outstanding work in the 2022 revival of “Into the Woods,” but on opening night at the Fox, the understudy Dale Duko did a fine job.

Another standout is Hannah Jewel Kohn, a sensational triple threat, as Marcia Murphey, Diamond’s second wife, who was a major influence on his career. They were married 25 years until they divorced in 1995. He has been married to Katie McNeil since 2012, but she is just mentioned, not part of the show.

His first wife Jaye Posner, who was his high school sweetheart, is portrayed cordially by Tiffany Tatreau. They were married in 1963, separated a few years later, and divorced in 1969.

Kate A. Mulligan is a noteworthy supporting player as songwriter Ellie Greenwich, one of the hitmakers in the famous Brill Building, who helped show him the ropes. She also doubled as his mother, Rose Diamond.

During his Brill days, he wrote “I’m a Believer,” which the Monkees recorded, became certified gold in a mere two days, and was the biggest single of 1966. (Fun fact: Neil wrote several songs for the Monkees, including “A Little Bit Me, A Little Bit You.”).

Performing at the NYC nightclub, The Bitter End, was his big break, and then he was off and running with a succession of catchy Billboard Top 40 hits. Act One showcases his first no. 1 on his own, 1970’s “Cracklin’ Rosie,” plus “Kentucky Woman,” “Solitary Man,” “Song Sung Blue,” “Cherry Cherry,” and “September Morn.”

Kate A Mulligan and Nick Fradiani. Photo by Jeremy Daniel

Right before intermission, Fradiani and company deliver a robust “Sweet Caroline.” The “Good Times Never Seemed So Good” classic came out in 1969, became a favorite anthem at sporting events, and beloved as the 8th inning song at every Boston Red Sox home game at Fenway Park. It was honored by the Library of Congress with its inclusion in the National Recording Registry in 2019. Everyone expected this song to be one of the evening’s highlights and it was – and at the cheery curtain call too!

The songs from the only movie he headlined, “The Jazz Singer,” including “Love on the Rocks,” “Hello Again,” and the patriotic anthem “America,” which he wrote for his immigrant grandparents, were featured. An exhilarating rendition of “America” revved up the Fox crowd too.

The song timeline isn’t necessarily in order, but chronicles important times in Diamond’s life, too. The program lists 29 songs alphabetically. The dramatic gospel-tinged 1969 “Holly Holy” is later inserted for maximum effect, and I was happy to see the wistful 1968 “Brooklyn Roads” (‘low charting’) included — from his album “Velvet Gloves and Spit.” (?!)

A few singers have solo moments to shine: St. Louis’ own Spencer Donovan Jones in “Shilo,” Chris Marsh Clark in “Kentucky Woman,” Tasheim Ramsey Pack in “Red Red Wine,” Cooper Clack in “Look Out (Here Comes Tomorrow)” and Jeilani Rhone-Collins in “The Boat That I Row.”

Act Two focuses on the sold-out stadium years, where he was a huge draw in concerts around the world. His legendary “Hot August Night” double live album, recorded at the Greek Theatre in Los Angeles on Aug. 24, 1972, is still considered one of the best live albums of all time.

Hannah Jewel Kohn and Nick Fradiani. Photo by Jeremy Daniel.

The show’s energy ramps up with “Brother Love’s Traveling Salvation Show,” “Play Me,” and moving on to “Thank the Lord for the Nighttime,” “Soolaimon”/Crunchy Granola Suite,” and “I Am…I Said.”

The dynamic Kohn, who already had proven herself to be quite an accomplished dancer in the numbers, is showcased front and center in a terrific “Forever in Blue Jeans.”

When their marriage is rocky and on the verge of falling apart, Fradiani’s and Murphey’s moving duet to “You Don’t Bring Me Flowers” is heartbreaking.

So many songs are given their due and hearing again in this format re-connected us to the man and his music.

Under the expertise of conductor James Olmstead, the band smoothly transitions from up-tempo earworms to tender ballads, creating a full-bodied wall of sound. Olmstead played keyboards, as did Nancy O’Connor, with Max Caine on guitar, Aamir Juman on bass, and Morgan Parker on drums. These traveling musicians were joined by local musicians from Local 2 – 197 AFM to complete the orchestra.

With a glitzy scenic design by David Rockwell and warm lighting design by Kevin Adams, the show conveys music clubs and concert halls, recording studios and business offices.  But like the artist himself, the music comes alive because of those songs, no matter what venue.

“A Beautiful Noise: The Neil Diamond Musical” is an only-fans nostalgic delight. Anytime you can see that much joy on people’s faces, the night doesn’t seem so lonely, and ‘touching you, touching me’ is a blissful waltz down memory lane.

Photo by Jeremy Daniel.

The Fox Theatre presents “A Beautiful Noise: The Neil Diamond Musical” Oct. 29 – Nov. 10 at the Fabulous Fox, 527 N. Grand Blvd, St. Louis, Mo 63103. For more information, visit www.fabulousfox.com. For tickets, call MetroTix at 314-534-1111 or visit www.metrotix.com.

Hannah Jewel Kohn as Marcia Murphey. Photo by Jeremy Daniel.

Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

By Lynn Venhaus

Sometimes, adults need a playdate too. For a merry good time, head to The Repertory Theatre of St. Louis’s Emerson Studio to join in the fun of watching a pair of seasoned performers – two of St. Louis’ finest – beautifully bookend each other in a dark comedy on self-discovery, “The Roommate.”

Jen Silverman’s sharp and funny character study, written in 2015, takes place in a big old house in Iowa City, Iowa. Under Rebekah Scallet’s concise and brisk direction, Kelley Weber and Nancy Bell breathe fresh life into contrasting personalities that are at crossroads.

Their odd-couple pairing is often the foundation for beloved television sitcoms, but in The Rep’s Studio space, it is an intimate journey molded by the playwright’s wit, technical brilliance, and the pitch-perfect comedic timing of the two lead actresses.

With a saucy wink and a broad smile, Scallet assuredly prepares us for the unexpected, timing out revelations for maximum effect, so that the audience is quickly invested in each unusual turn of events.

A never-better Weber plays sensible Sharon, recently divorced whose son lives away. She’s a chipper sort who has played it safe for most of her life, seemingly content with her rather traditional lifestyle. To help pay the bills and have some company, she advertises for a roommate.

Kelley Weber and Nancy Bell in “The Roommate.” Photo by Jon Gitchoff.

Enter luminous Nancy Bell as Robyn, a free spirit who wants to relocate from New York City. She’s very different from Sharon – she reveals she is gay, vegan, a smoker trying to quit, and grows pot. (Marijuana remains illegal in Iowa, although medical marijuana is allowed). Mysterious, she appears to have more secrets, and some of her murky past eventually comes out.

Bell, widely respected for her talents on stage and directing productions, portrays Robyn with a marvelous ease. She understands Robyn’s desire to create a new identity after a lifetime of mistakes and regrets.

Weber, who hasn’t been as visible in recent years but recently retired as an educator, goes beyond the stereotypical Midwest homemaker to depict a range of emotions — showing loneliness, frustration, desires, and vulnerability.

Bell and Weber are old friends in real life, and project an unmistakable bond on stage. As natural as two people can be slipping into the skin of another – Bell sporting a temporary snake tattoo on her arm – they are convincing as they transform because of each other’s influence.

Most jarring is Sharon’s embrace of things dark, dangerous and criminal. Weber’s zest for walking on the wild side is not only believable but hilarious, while Robyn’s more casual personality takes a back seat when she becomes a cautionary voice of reason.

Kelley Weber is Sharon in “The Roommate.” Jon Gitchoff photo.

Those differences are what propel the action in this 90-minute show without intermission. Some twists and turns take place that are unforeseen, and while Silverman boxes in the characters toward its awkward conclusion, you never feel that the actresses are disingenuous. Their performances are complete.

While the offbeat story is the centerpiece, the creative team has enhanced the atmosphere with splendid work. Noteworthy is Jayson M. Lawshee’s warm interior lighting design and Kareem Deanes’ crisp sound design (with astute music choices for effective needle drops).

Scenic designer Robert Mark Morgan’s cozy kitchen design speaks to the room’s importance as the hub, the heartbeat of the home. With its exterior porch, sitting area and upstairs bedrooms factoring into the action, the setting is functional and the actors’ movements fluid.

The lived-in look and summer season is reflected in Lou Bird’s costume design too – mostly capris and an assortment of colorful print blouses for Sharon and ordinary jeans and T-shirts for Robyn.

A triumph all the way around, “The Roommate” emphasizes that reinvention can happen any time in life – with obvious bumps in the road. It is a bright spot on the fall theater landscape and opens the Studio series with flair.

Nancy Bell as Robyn. Photo by Jon Gitchoff.

With all due respect to the renowned stars Mia Farrow and Patti LuPone currently performing in the Broadway production, our St. Louis dynamic duo gives confident, engaging, relatable performances that bristle with energy, indicative of their own star power commanding local stages. Bell and Weber for the win! (Special mention to former associate artistic director Becks Redman for her astute casting.)

“The Roommate” is also special for its significance in re-opening the studio performance space to inaugurate the Steve Woolf Studio series, named after the late artistic director who made his mark in that role for 33 years. He retired in 2019 and died at age 75 in 2021.

In the past, the Studio series presented adventurous productions on a smaller scale than the mainstage season and was known for showcasing a variety of voices. The Studio remained dark after the pandemic shutdown in 2020, although “Gruesome Playground Injuries” was presented at the Kirkwood Performing Arts’ Strauss black box theatre in 2022.

Sitting in the Loretto-Hilton Center’s Studio space Friday, being part of its return, felt like a warm group embrace. Fond memories were shared and that feeling of comfort and familiarity surfaced.

That feeling carried over in the goodwill and support for what the current Augustin Family Artistic Director Kate Bergstrom and Managing Director Danny Williams are trying to achieve since The Rep announced its struggle to remain open in fall 2023. They launched a successful “Rally for the Rep,” and the turnaround to date has been remarkable.

Live theater has taken on a feeling of coming home since its return from the global pandemic, and that reconnection is meaningful, especially that The Rep is beginning its 58th season.

Given The Rep’s challenges and its renaissance-in-progress, there is a new sense of belonging, that people are pulling together to help it succeed in its mission. “The Roommate” is one of the reasons to cheer.

Kelley Weber. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “The Roommate” Oct. 23 – Nov. 17 in the Emerson Studio, 130 Edgar Road, St. Louis. Subscriptions and single tickets are available online at repstl.org, over the phone 314-968-4925 or in person at the Loretto-Hilton Center Box Office Tuesdays – Thursdays from 10:30-5pm. Seating for the production is General Admission with subscribers given priority seating beginning 30 minutes prior to curtain.

Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. For more information, please visit repstl.org.

Post Show Discussions follow Saturday, Nov. 2 and 9 at 4 pm performances.

Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

By Lynn Venhaus

Edgar Allan Poe’s tremendous body of work has impacted pop culture for generations – art, photography, music, movies and television. Now Stray Dog Theatre pays tribute to the distinguished 19th century American writer and poet by exploring his highs and lows in a stylized musical.

Mixing fact and fiction, and material from his mysterious writings and mostly miserable life, “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” features a passionate performance from lead Drew Mizell and others in a seven-person ensemble portraying a wide range of roles.

Mizell immerses himself fully as Poe, from his early years through his studies, and his plethora of adversities as an adult. The cast understood the assignment, with the insight of Sarajane Clark, who was the dramaturg.

As the maestro of this macabre musical, Director Justin Been has embellished this often gloomy story with superb atmospheric visual and aural flourishes. The strong technical work is superior to the unusual musical’s structure that seems repetitive and lacking oomph.

Granted, musical numbers expanding on the literary titan’s torment, and his heartbreaks, gut-wrenching tragedies, woeful bad luck and throes of addiction and family mental dysfunction don’t exactly instill confidence nor come across in a “Life’s a Happy Song” scenario.

Drew Mizell as Edgar Allan Poe. Photo by John Lamb.

Been, whose work creating effective sound design to punctuate his shows is often a high point, teamed up with Wade Staples, and the pair goes above and beyond here – an outstanding effort that is one of the most distinctive this year.

Matthew Skopyk added spooky instrumental music that infiltrated the dark shadows while he also did orchestrations supplementing composer, lyricist and libretto Jonathan Christenson’s.

Been, who also designed the set and visual effects, employed a hazy shade of New England winter and an eerie and chilly demeanor, while ace lighting designer Tyler Duenow illuminated the creepiness perfectly. The Raven illusion is well-staged.

Been also collaborated with choreographer Maggie Nold for innovative steps, and she came through illustriously, for she wasn’t content with presenting the same old with this troupe.

Costume designer Sarah Gene Dowling fashioned a gothic tale in look and attitude. Dowling’s black-and-white endeavors are striking, as are her pops of deep reds and purple to break up the monochrome palette. She designed appropriate hair and makeup looks for each character that elegantly suited them.                                                                                                                                                                                                               

Been’s staging experimented more with images and swirling movements, weaving the seven players in and out of the spotlighted action.

Because the cast is so committed and vocally strong, they elevate Christenson’s very old-timey and very theatrical script and songs that are reminiscent of vintage melodramas and vaudeville olios.

Jennifer Buchheit is the music director but it’s Christenson’s recorded orchestrations that are used, not musicians off stage.

To his credit, Christenson sampled some of Poe’s most famous prose in his dialogue, lyrics and song titles.

Photo by John Lamb.

Because Poe’s anguished real life influenced his most famous creations, fans of his literary work will be able to hear some familiar and favorite references. Poe’s timeless works include “The Raven,” “Annabelle Lee,” “The Tell-Tale Heart,” “El Dorado,” “The Masque of the Red Death” and “The Fall of the House of Usher.”

The musical was first performed in 2009 in Canada and later produced off-Broadway in 2015. While the timing is appropriate for the Halloween season, the material isn’t in the same league to become a cult classic like “The Rocky Horror Show,” “Heathers the Musical” or “Evil Dead: The Musical,” and doesn’t have the staying power of Agatha Christie’s immortal dark thrillers. But fans of Poe seem enthralled with it.

Poe was a melancholic soul who went on to great acclaim posthumously. He was born in Boston, the second child of actors, on Jan. 19, 1809, and died under suspicious circumstances in Baltimore at age 40 on Oct. 7, 1849.

He grew up with an older brother Henry and a younger sister Rosalie, but their poverty and loss of parents at an early age doomed them to troubled lives and often long periods of separation. Stray Dog’s outstanding veterans Stephen Henley and Dawn Schmid emotionally deliver in their sibling portrayals.  

After enlisting in the Army in 1827, Poe published his first collection of poems. When he failed as an officer cadet at West Point, he decided to become a writer, and switched to prose. The play doesn’t include his military sidestep.

Photo by John Lamb.

He worked for literary journals and periodicals, and became known for his literary criticism, moving between Baltimore, Philadelphia and New York City. Finally, he garnered instant success in 1845 after publishing his poem “The Raven.”

His two lady loves tug at your heartstrings, as Sara Rae Womack sweetly plays “the one that got away” – Elmira, and Dawn Schmid is sunny as his cousin Virginia Clemm, whom he married at age 27. She died of tuberculosis in 1847.

Schmid also shifts gears as his kind foster mother Fanny and Kevin O’Brien, rocking some appropriate period facial hair, is his cold, cruel foster father John Allan, a tobacco merchant in Richmond, Virginia.

Heather Fehl is Poe’s very dramatic but sickly actress mother Eliza, displaying a supple singing voice, and Michael Cox is dastardly as his slimy publisher Rufus Griswold.

The drama calls for an old-style affectation that doesn’t lend itself to contemporary immersive storytelling, which is my preference, but I appreciate the concept. I didn’t find the songs particularly memorable, although the cast animatedly delivered them with everything they had, and were it not for their fervor, the musical numbers would have been mostly monotonous.

Poe once said, “All that we see or seem is but a dream within a dream,” and Been and company emphasized the ethereal, mystical quality of the material. They gilded this sad and sorrowful tale with their considerable skills to offer an interesting perspective.

Photo by John Lamb

Stray Dog Theatre presents “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” from Oct. 17 to Nov. 2. Performances are Thursday through Saturday at 8 p.m., with special shows on Sunday, Oct. 20, at 2 p.m., and on Halloween, Oct. 31, at 8 p.m. at Tower Grove Abbey, 2336 Tennessee Ave., St. Louis.

Tickets are general admission seating, and the box office/will call open 1 hour prior to showtime. For more information, contact 314-865-1995 or visit straydogtheatre.org

Vivid ‘Emilia Perez’ is Bravura Filmmaking Featuring Electric Performances

Vivid ‘Emilia Perez’ is Bravura Filmmaking Featuring Electric Performances

By Lynn Venhaus

Fearless and unflinching, writer-director Jacques Audiard’s bold fever dream of a movie colors outside the genre lines. “Emilia Perez” is unlike any conventional cartel crime thriller that’s gone before.

Add that it’s a musical, in Spanish language, and France’s Oscar submission for Best International Feature, and you have a sui generis film that’s operatic in tone and organic in its delivery of songs and dance.

Set in Mexico City, Rita (Zoe Saldana), frustrated and in a rut after being unable to stop widespread corruption, gets an unexpected, lucrative offer from a cartel kingpin. He seeks her help in retiring and undergoing sex reassignment surgery. Manitas Del Monte (Karla Sofia Gascon) will be able to evade others and become Emilia, the woman he has dreamed of being.

Manitas’ wife Jessi (Selena Gomez) and their two sons are unaware of the gender affirmation plan. They are told he’s dead, and are whisked away to live in Switzerland. That is, until Emilia arranges a reunion (one-sided). Can someone escape their past completely?

Zoe Saldana as attorney Rita Moro Castro.

The performances are uniformly strong, with the passionate Gascon a revelation and Saldana in a career-best portrayal unlike anything she’s ever done.

Last year, Saldana became the first actress to star in four movies that grossed over $2 billion worldwide — “Avatar” and “Avatar: Way of Water” as Neytiri and “Avengers: Infinity War” and “Avengers: Endgame” as Gamora (as part of the MCU “Guardians of the Galaxy.”). Even though she is best known for roles in sci-fi and superhero blockbusters, her first part was as a ballet dancer in 2000’s “Center Stage” and she sang as Rosa in the animated musical “Vivo” in 2021. As Rita, she is a vibrant singer and dancer who commands the screen in her musical numbers.

Gomez, who comes from the world of pop, also surprises with her dramatic turn as the fiery wife with secrets of her own.

In fine support, Adriana Paz is the sympathetic ally Epifania, Edgar Ramirez is Jessi’s mysterious fiancé Gustavo, and Mark Ivanir as surgeon Dr. Wasserman.

The female ensemble collectively (and deservedly) won the Best Actress Award at the Cannes Film Festival, where the film also won the Jury Prize.

Karla Sofia Gascon and Adriana Paz.

While Audiard’s complex storytelling is vivid and riveting, just like his critically acclaimed “A Prophet” and “Rust and Bone,” his creative team has collaborated on a visual striking film that’s integral to the film’s overall power. Cinematographer Paul Guilhaume switches from harsh-lit teeming street scenes to the escape of a sweeter, affluent life.

Audiard loosely based the film on Boris Razon’s 2018 novel “Ecoute,” and he first wrote it as an opera libretto. It has the rhythms of traditional opera, thrilling in its construction, especially as the story careens to its explosive conclusion.

The original songs by Camille, original score by Clement Ducol, and choreography by Damien Jamet deepen the characters’ yearnings. The four women are seeking happiness on their own terms, and that’s a satisfying, unifying aspect. Gascon’s beautiful rendering of “Her” explains her happiness at becoming her true self.

Also of note are the costume designs by Anthony Vaccarello of the fashion house Yves Saint Laurent.

An exhilarating wild ride, “Emilia Perez” has romance, desire, redemption, humor, and a dark side all put into play. One of the most audacious films of the year, look for it to be on many shortlists for its bravura filmmaking and triumphant acting.

“Emilia Perez” is a 2024 crime thriller musical written and directed by Jacques Audiard and stars Karla Sofia Gascon, Zoe Saldana, Selena Gomez, Adriana Paz and Edgar Ramirez. It is 2 hours and 12 minutes long and it’s rated R for language, some violent content and sexual material
Set to open theatrically in the U.S. on Nov. 1, the film will begin streaming on Netflix Nov. 13. Lynn’s Grade: A-.

Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

By Lynn Venhaus

Pondering a conundrum like destiny or free will is what the Spanish classic drama “Life is a Dream” aims to do.

Because the material is from a different era and country, a director’s key quest would be to cast the right people to re-energize a verse translation for a modern audience. And thoughtful chronicler Philip Boehm did just that – he gathered a dream team to fulfill his vision in a superbly produced Upstream Theater play.

They added the polish, he delivered the panache for this stimulating allegory about illusions vs. reality. Its broader appeal speaks to the blurred lines and political uncertainty of today.

The 1635 play by Pedro Calderon de la Barca, a legendary literary figure, comments on the Spanish Inquisition, and how it used the law to combat heresy. At issue was religious freedom and scientific truths vs fundamentalists and Biblical doctrine. This version was translated by G. J. Racz, a humanities professor, in a 2006 Penguin Classics publication.

Gary Glasgow and Reginald Pierre. Photo by ProPhotoSTL.

On a barren stage, with only a chair and a set of chains visible in a scenic design by Patrick Huber, a royal tale of birthright, palace intrigue, and political maneuvering unfolds in a precise, methodically composed way that emphasizes intricate motives and flawed humanity.

The setting is Poland and Russia plays part in the power-jockeying underway. That a 17th century work could captivate an audience 400 years later is a credit to the talent on stage but also the creative team behind the scenes.

Calderon, regarded as one of the most distinguished playwrights of his time, grappled with perceptions vs. what really happened, which is parallel to today’s acceptance of ‘alternative facts.’

Boehm uses that dichotomy to tell this story in the style of the Spanish Golden Age, a period also marked by Miguel de Cervantes’ “Don Quixote” in 1605, for reference. (If the framework reminds one of the Elizabethan era, that’s certainly valid, too).

Boehm, an astute student of history, has made Upstream’s focus, since 2005, one of bringing contemporary and classic world theater that “move you, and move you to think.” He is looking for a deeper connection here between the past and present concerning fate and reason.

And that assignment is understood by the nine performers – one of Upstream’s larger casts – who invigorate that space and command attention at every turn.

Jerry Vogel as the king. ProPhotoSTL photo.

Emerging from (semi) retirement to portray the resolute ruler King Basil, Jerry Vogel reminds us why he is considered one of St. Louis’ finest actors. In his 10th Upstream appearance, he convinces as a man of contradictions — a mathematician swayed by superstition and intent on preserving his power through a prophecy.

Paying heed to an oracle, he imprisoned his son, Segismund, at birth, so that he couldn’t become a threat, challenging his father’s authority – and even kill him.

It’s now 25 years later, and second thoughts have led him to free his son from captivity, basically unleashing a beast – but as a test, physically and psychologically – to see if he could turn over his kingdom to the prince.

In a fierce performance, Reginald Pierre lashes out as the incarcerated heir, confused by his freedom and struggling with decision-making. If given the chance to defy his fate, can he? Or will emotions rule from the heart and not the head?

Of course, he wreaks havoc at the palace, but the king has put a safeguard in place – if he feared his son’s actions, he’d jail him again, drug him, and say it was all a dream.

Jennifer Theby-Quinn and Mitch Henry-Eagles. ProPhotoSTL photo.

Then, he would abdicate so his niece and nephew could ascend to the throne. First cousins Astolf (Mitchell Henry-Eagles), Duke of Moscow, and Stella (A.J. Baldwin) are a pair not to be trusted.

Rosaura (Jennifer Theby-Quinn) enters the picture, a Russian noblewoman disguised as a man, so she can exact revenge on Astolf, who behaved very badly in the name of love. She and her servant Clarion (Alan Knoll) are in a jam. Their horses have run off, and they discover the secret tower where Segismund is chained.

The plot thickens as secrets are revealed. Clotaldo (Gary Glasgow), the king’s right-hand man and old nobleman, discovers that a secret he has kept for years, has now materialized with the sword Rosaura possesses. It is the one he left in Moscow that he intended for his child. Rosaura is unaware that he is her father.

As supporting players, Bryce A. Miller and Michael Pierce capably fill multiple roles as guards, servants and soldiers. Pierce was also the fight coordinator for the show.

Pierre’s dynamism is matched by the ensemble’s crisp delivery and spirited characterizations. Their understanding of the text speaks to the experience of the veterans in the cast, those who have performed in local Shakespeare and classic literature presentations.

Theby-Quinn, a three-time St. Louis Theater Circle Award winner, always brings a vitality that stands out on stage, even when the roles are as confined gender-wise, as a 17th century female fighting for her honor, would be. She’s as robust as Knoll is funny. His Clarion has fun playing the fool that he’s been pigeon-holed as, making him even more amusing.

Alan Knoll as Clarion. Photo by ProPhotoSTL.

Costume Designer Michele Friedman Siler’s use of various textures in royal attire is striking, as is Steve Carmichael’s lighting design, adding to the moody atmosphere. Philip Boehm and Sabria Bender’s sound design was flawless.

The creative team included Jane Paradise as assistant director, Patrick Siler as stage manager, Brian Macke technical director, and Emma Glose on props.

When rebels free the prince from the tower, Segismund has learned a great deal – and above all, lessons of love and forgiveness. The storytelling has a few surprises, so it’s not as easy to predict, but ends optimistically as honor is restored.

To borrow from that enlightened period, to dream an impossible dream – bear sorrows, right wrongs, and keep hope alive, is a noble endeavor that leads to more understanding. “Life Is a Dream” makes a case for living in the present, but also keeping dreams alive, and Upstream underlines that with exclamation points.

Jerry Vogel and AJ Baldwin. Photo by ProPhotoSTL.

Upstream Theater presents “Life is a Dream” Oct. 18 – Nov. 3 at The Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. Performances are Thursday through Saturday at 8 p.m. and Sunday at 2 p.m., with a special evening performance instead at 7 p.m. on Oct. 20. The play runs 2 hours and 20 minutes with an intermission.
Bohemian Thursday is Oct. 24, and all tickets are $15. For more information, visit www.upstreamtheatre.org

Theby-Quinn and Pierre. ProPhotoSTL.

Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

By Lynn Venhaus

With its emotionally rich storytelling, “Lungs” demands much from Joel Moses and Nicole Angeli, who fearlessly tackle those challenges in their finely chiseled performances as M and W.

As a couple linked through many years, the pair have seamlessly plumbed the depths of human nature to expose raw nerves, painful truths and tender intimacy. They start out as young lovers – enlightened, independent thinkers — figuring out their life together and separately, then acquire experiences and perspective, increasingly uncertain of tomorrow.

Because of their fluent reactions to developing relationship situations, you hang on to every twist and hairpin turn of daily living in this offbeat, unconventional drama that is laced with humor – and just may elicit a tear or two.

Under director Ellie Schwetye’s shrewd guidance, the duo has created such a level of comfort that it appears to unfold spontaneously, in real time. Their mental acuity, verbal dexterity, and agile physicality is astonishing, as is Schwetye’s modulated pacing.

Angeli and Moses are on stage the entire time, being honest and open, overthinking their lives as developing people on a planet in crisis. They reveal their flaws as they personify their genders – as they interpret the assignment. She’s more neurotic, but also empowered; he’s more even keel, but willing to adjust and can jump in, then deal with consequences. And you never doubt their sincerity.  

Duncan Macmillan’s thoroughly relatable two-hander play confronts making grown-up decisions that change your life’s trajectory — the small moments and the big milestones, the planned and the unplanned.

A recurring theme concerns current global environmental and climate changes underway. With such issues as carbon footprints, depletion of natural resources, and overpopulation being real dilemmas, M and W debate bringing children into the modern world. Is it reckless, risky or responsible – and are they ready?

The setting is various locations in the south of England, over a period of many years. Macmillan’s not so much obsessed with pollution as he is focused on communication as citizens of the world and our place in it.

The sagacious Albion Theatre is closing out its second full season with this penetrating production after entering the regional professional theater scene in 2022. Its mission is to present British playwrights (with forays into other United Kingdom territories and Ireland), mainly highlighting social, political and cultural influences.

This is their most contemporary effort to date. A Gen X’er, Macmillan was born in England.

Photo by John Lamb

Schwetye has minimally staged this 105-minute play without intermission, using Erik Kuhn’s bare set design that features two sloping slabs and a stationary middle. Her crisp sound design and Tony Anselmo’s natural lighting design keep that aesthetic, as does one casual costume design each by Tracey Newcomb. CJ Langdon did double duty as assistant director and stage manager.

The actors, both St. Louis Theater Circle Award winners, color in the rest – their ages, places and times in the ebb and flow of their lives. W is a Ph.D. grad student; M is a musician when they’re introduced in a ‘queue’ at Ikea. The team seasoned the material well, emphasizing the beats of Macmillan’s on-the-nose prose for optimum effect.

Macmillan’s 2013 play, ‘Every Brilliant Thing,” is in the same lane as “Lungs,” examining the complexities of modern living. It’s been staged several times in St. Louis, including a production Schwetye directed for New Jewish Theatre in spring 2023. The playwright is exceptionally articulate about being human, fretful and striving for goodness.

This match-up feels like five sets of championship tennis on Wimbledon’s Centre Court. Surely the intensity would exhaust both actors, but they seem invigorated. By the time Angeli and Moses bittersweetly wrap up this story, the audience has been through a tsunami of ‘feels,’ and all earned.

“Lungs” is not injected with any artificial sweeteners or saturated fat, and the play’s lean, muscular style is riveting. You may not have figured these two people out by the conclusion, but you know them, and are in awe of the actors’ ability to just ‘be,’ no pretense.

With such an articulate, sharp-witted piece, I am reminded that, for all our modern worries, above all, we get to carry each other.

Albion Theatre presents “Lungs” Oct. 18 to Nov. 3, with performances Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis, MO 63103. For more information, visit www.albiontheatrestl.org.

Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

By Lynn Venhaus
Looking at female agency through the prism of mothers, daughters and sisters, “Am I Dangerous?” is an earthy, sensual exploration written by a perceptive local playwright and performed by a quartet of instinctive actresses, directed by a shrewd Tress Kursym.

With such authentic credentials, the play’s perspective is set in the past, albeit a mythical framework, but resembles a modern coming-of-age tale.

Committed to fresh voices, Contraband Theatre presents this world premiere Wednesday through Sunday, Oct. 9 through Oct. 26, at The Chapel.

Playwright e.k. doolin asks: “If everything you knew burnt to the ground, what would you risk to discover who you are?”

It’s a thought-provoking entry into how females understand womanhood, whether based on observing behaviors or being schooled by elders on customs and culture – their wisdom hard-won.

The heroine’s journey begins with Philoten, 16, who appears to be a typical ‘good girl’ teenager trying hard not to be ‘dangerous.’ As played by Allison Sexton, she is a young woman trying to find her way. She’s been warned about those who are different and don’t follow the rules, those women who flaunt their bodies. But then, life – and death – happens, and chaos ensues.

Doolin has used a minor Shakespeare character in “Pericles, Prince of Tyre,” circa 1609, as her vessel to question patriarchy.

Zahria Moore and Jade Cash, with Allison Sexton in the background. Photo by Jennifer A. Lin

Dionyza (Zahria Moore) is her mother, who is also in charge of Pericles’s daughter, Marina (Jade Cash). They view each other more as enemies than friends. The fourth woman, Lychorida (Rachel Bailey), is a nurse who could be described as chief nurturer.

They share somewhat complicated connections and are not reticent in expressing their emotions. The focus is to confront and contrast facets of women at various stages. (They have all gone through some things!). Basically, they can run, but they can’t hide, no matter how they try to control their fates.

The dialogue appears to be a mixture of old and new styles, rooted in classic drama but with a contemporary edge. At times, the content seems like it’s translated from centuries-old text, while in other passages that establish characters’ motives, it appears to be modern musings.

Doolin has also incorporated the senses and the elements into her action, which adds an interesting texture. Kursym’s well-rehearsed ensemble are earnest in establishing their purpose, making sure they are heard as well as seen.

The actresses quickly convey their characters’ distinct personality traits. Sexton seamlessly conveys her doubts and anxieties as she questions if she is a danger because of how she views her life. Feeling like an outsider, she challenges the old-guard ways, which Dionyza is resistant to – and wants to control.

It is Sexton’s St. Louis professional acting debut, and she’s impressive. The other accomplished actresses are equally compelling.

Moore adds a haughtiness to the imperial-acting Dionyza, content to wait for the men to return home and steer their lives. She may smile, but there are motives behind the grin.

Allison Sexton and Jade Cash. Photo by Jennifer A. Lin

Marina and Philoten are oil and water, chafe at association, and accuse each other like they are teenagers grumpily thrown together. Cash is a live wire as the spunkier, more impetuous and sexually active young woman.

Bailey is convincing as a quintessential Earth Mother, and as always, commands the stage in whatever role she plays.

Three of the women are in dual roles as the gods that guard the Temple of the Sacred Sky, Sea and Earth, aka “The Watchers.”  They are tasked with judgment. Then we view flashbacks to see how the four women interact – relating joys, sorrows, desires and wistful memories.

The ancient setting, blending fantasy and reality, is imagined through astute atmospheric lighting design from Theresa Comstock, De’Janna Hand’s intriguing expressive sound design that has an ethereal quality. Erik Kuhn’s illustrates a simple coastal tableau in scenic design suited for the small stage, and director Tress Kursym’s costume design reflects the ages and status of the characters.

The play runs 90 minutes without an intermission.

Doolin has used the past to explore the present and raise concern about the future. It’s a topic worthy of continued conversations. Providing new perspectives and creating fem-tagonist opportunities is refreshing, and certainly welcome here.

Jade Cash, Rachel Bailey and Allison Sexton. Photo by Jennifer A. Lin

Note: On Thursday, Oct. 17, a post-show discussion on “Stealing from Shakespeare” will feature guest panelists Bryn McLaughlin, an independent director and scholar, and Hannah Baartman, a St. Louis theatre educator and performer with a deep well of inspiration in Shakespeare.

Part of the St. Louis theater community, they have performed on such local stages as The Muny, Metro Theater Company, St. Louis Shakespeare Festival, St. Louis Actors’ Studio and New Jewish Theatre. They will discuss the connection between the source text of “Pericles” and e.k. doolin’s script.

Contraband Theatre presents “Am I Dangerous?” Wednesday through Saturday at The Chapel, 6238 Alexander Drive, St. Louis. Performances are at 7:30 p.m. For more information, visit: https: contrabandtheatre.org

All tickets are pay-what-you-wish, from $0 to $30. Reserve your spot at https://events.humanitix.com/am-i-dangerous

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

By Lynn Venhaus

The unpredictable Not Ready for Prime Time Players would go on to become household names. A shaggy group of irreverent writers would ignite a counterculture revolution with their parodies of contemporary culture and sharp political satire. And a young and scrappy Canadian would lead the inspired chaos of a late-night live sketch comedy show into showbiz history when “Saturday Night” premiered on Oct. 11, 1975.

With “Saturday Night Live” about to celebrate 50 years on television, it’s the right time to revisit the show’s frenetic start in NBC’s Studio 8H in Rockefeller Plaza. Writer-director Jason Reitman’s dramatic comedy finds the beating heart in this runaway train ride depicted in the 90 minutes leading up to the inaugural broadcast.

Along with co-writer Gil Kenan, their “based on a true story” captures the frenetic pace and the backstage lunacy that forever changed late-night comedy. It was a “big bang” that redefined the television landscape, and while a mini-series could do the origin story justice, this focused narrative framework succeeds in pulling back the curtain.

In a kinetic snapshot of what happened that fateful wild and crazy night, Gabriel LaBelle anchors the best ensemble cast of the year as the confident producer Lorne Michaels.

LaBelle, who was impressive as young Steven Spielberg in “The Fabelmans” two years ago, plays the driven big dreamer who believes in his instincts and the largely unknown cast’s talents. He’s the calm circus ringleader in the eye of the storm amidst the gusty winds threatening to blow it all down.

Gabriel LaBelle, center, as Lorne Michaels

From the start, Michaels has produced all but five years of the show, leaving in 1980 when Jane Curtin, Garrett Morris, Laraine Newman and Gilda Radner were the last original cast members to depart, and returning for the 1985-86 season.

He started out as a comedy writer whose credits included “Rowan & Martin’s Laugh-In” and now oversees a vast empire of last-night television and feature films. Michaels’ first wife, Rosie Shuster, is portrayed by a sharp Rachel Sennott as an integral force, both as a writer and someone putting fires out.

As the clock counts down to the live launch, there isn’t time for in-depth character portrayals; instead, we get snippets of familiar personality traits from those emerging stars Dan Aykroyd (Dylan O’Brien), Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), Jane Curtin (Kim Matula) and Garrett Morris (Lamorne Morris, no relation), with Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood)’s well-documented egos and clashes getting more screen time.

The seven actors quickly convey their quirks and foreshadow the stars they would become. Standouts here include O’Brien as a minutiae devotee and big flirt Aykroyd, Emmy-winning Morris as the underused Morris — a multi-hyphenate perplexed at his inclusion, and Smith as quick-witted, arrogant and self-absorbed Chase, the show’s first break-out movie star.

The women, understandably, are trying to find their place in the boys’ club, which is representative of those early years.

The nostalgia factor is big here for longtime fans of the show, especially those of us who watched the first episode in real time (My college roommates and I tuned in, presumably because we were big George Carlin fans, for we did not recognize the others, except for Billy Preston because he played with The Beatles). A film by Albert Brooks? Jim Henson and his Muppets?

Now, fans of the National Lampoon Radio Hour (1973 – 1974) were familiar with cast members Chevy, Belushi and Gilda. Its creator, Michael O’Donoghue, a jaded, cynical anarchist, went on to be SNL’s cutting-edge head writer for three years. His tussles with the network censors’ red pens must have been headache-inducing.

Reitman’s condensed depiction of legendary writers Al Franken, Tom Davis, Alan Zweibel, and Herb Sargent (Tracy Letts!) is noteworthy. While not all sketch development is accurate timeline-wise, the inclusion of Aykroyd’s Julia Child parody where she gushes blood from a cut artery during a taping of “The French Chef” is a good one to mention – and so is the construction workers’ gender reversal cat calls with Aykroyd as the objectified — even though both were on later shows.

Reitman’s reverence for all things SNL is admirable – and understandable, for it continues to be a force in the cultural zeitgeist. His father, Ivan, directed Aykroyd and Bill Murray in 1984’s biggest box-office hit “Ghostbusters” and other movies featuring alumni.

Jason Reitman’s previous comedies “Juno” and “Up in the Air” showed much potential, so it’s nice to see him navigate this incredible moment in time and do so with a clear-cut vision and savvy casting choices.

Fellow nepo baby (in a good way) Cooper Hoffman, Philip Seymour Hoffman’s son, is a perfect foil as ambitious Dick Ebersol, rocking the polyester suits as the late-night director of programming. (He’d later go on to produce SNL after Michaels’ left.)

Portraying the old guard is Willem Dafoe as humorless network vice president of talent relations Bob Tebet, who’d be happy to run another Johnny Carson “Tonight Show” re-run instead.

Nicholas Braun as Andy Kaufman

In small but essential roles, musical wunderkind Jon Batiste plays musical guest Billy Preston and Nicholas Braun (Emmy-nominated Cousin Greg on “Succession”) astutely characterizes up-and-coming Andy Kaufman’s brilliant schtick and as a naïve but talented puppeteer Jim Henson, clearly ahead of his time.

Matthew Rhys, Emmy winner for “The Americans,” is a snarling George Carlin who does not want to play nice with others in sketches.JK Simmons swoops in to steal his scenes as cantankerous old-guard comic Milton Berle, representing a different generational style.

Batiste also composed the propulsive original music score, which adds to the fast-paced freewheeling vibe. Reitman’s go-to cinematographer Eric Steelberg offers insight into the adrenaline rush while Jess Gonchor’s production design overstuffs Studio 8H plausibly.

An engaging whirlwind representing a collaborative creative process that sparked a comedic revolution, “Saturday Night” takes us back to an extraordinary leap of faith that resonates today. No need to give us a roadmap of the past half-century because we know the rest of its remarkable history.

Lamorne Morris as Garrett Morris.

Notes: To learn more, “Live from New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests,” first published in 2002, is a definitive oral history by James Andrew Miller and Tom Shales.

Two documentaries on the short, brilliant and troubled lives of two of the show’s biggest stars, “Belushi” (2020) and “Love, Gilda” (2018) are available to watch on subscription streaming services, and for digital rental.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Cory Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Lynn’s Grade: A-.

Actors Intrigue as Iconic Figures in “The Apprentice” Origin Story

Actors Intrigue as Iconic Figures in “The Apprentice” Origin Story

By Lynn Venhaus

Neither a hatchet job nor a puff piece, “The Apprentice” is another familiar take on the American Dream that leads to great wealth, meteoric success, and moral quagmires.

More than anything, this origin story is a study of power – how people get it, what they do with it, how they try to hold on to it, and how it can be lost. Director Ali Abbasi looks inside power structures and systemic corruptible institutions, and he shows how family influences our formation.

Featuring two iconic 20th century figures, the film only hints at a political future, but all the furor pre-release is a sad commentary on our divisive partisan landscape.

The time period is only focused on the 1970s and 1980s, starting out in 1973 New York City, when Manhattan was scuzzy and Queens was rougher, a rotting Big Apple that was desperate for a makeover.

Determined to emerge from his powerful father’s shadow and make a name for himself in Manhattan real estate, aspiring mogul Donald J. Trump (Sebastian Stan) is in the earliest days of his career when he encounters the man who will become a game-changer for him — political fixer Roy Cohn (Jeremy Strong).

Seeing promise in the young buck, the influential attorney teaches his new acolyte how to amass wealth and power through deception, intimidation, and media manipulation. And the rest, as they say, is history.

Sebastian Stan as young Donald J. Trump.

Stan effectively portrays an eager-to-please social climber who is in awe of how ruthless and flamboyant Cohn is. Their mentor-pupil relationship is the flip side of Mr. Miyagi and Daniel in “The Karate Kid.”

Their alliance is portrayed with great gusto by Stan, who easily slips into the skin of the future 45th U.S. president during his hedonistic days as a swinging bachelor, first with little of the bluster he’d later develop, and then subtly transforms into a mover and a shaker who enjoys status and celebrity — and sucking up all the oxygen in the room.

Emmy and Tony Awards-winning Jeremy Strong is chilling as the amoral ultimate power broker. Cohn eventually becomes a tragic figure as he succumbs to AIDS. To see Strong maneuver through the upper echelon of NYC society and see how he manipulates people for his own gain is as fascinating as watching a magician’s tricks.

Cohn’s three cardinal rules: “Admit nothing, deny everything. Attack, attack, attack. You claim victory and never admit defeat” are reinforced in boardrooms, courtrooms and private dining rooms.

They become Trump’s playbook as he transforms from notorious real estate magnate Fred Trump’s ambitious son to confident major player in the elite Manhattan circles that he desperately wanted to be part of, craving the spotlight.

The demanding Fred Trump Sr., played with cunning by Martin Donovan, has little patience for his second-born son’s exploits, and even less tolerance for his oldest son Fred Jr.’s decision to be a TWA airline pilot and not join the family business. He disdained any sign of weakness.

The screenplay by Gabriel Sherman, a veteran journalist who has chronicled Trump for Vanity Fair, focused on how Cohn schooled his protégé, only to have his greatest admirer turn his back on him years later at his most vulnerable. He’s specific about the psychology behind the butterfly emerging from the cocoon.

Sherman, who wrote the fact-based script in 2017, has dramatized events that are considered historical records. It is not propaganda from any side and is familiar enough to those who follow the news so that it really doesn’t offer anything new other than a character study with shades of the Corleone family saga peeking through at times.

Abbasi presents an interesting climb to the top scenario and zeroes in on influences that shaped this polarizing figure in a realistic way. It’s not flattering, but rather an attempt to understand how someone is molded into their public persona.

By capitalizing on the ’70s and ’80s excesses, the glitz and glamour is recognizable in Aleksandra Marinkovich’s meticulous — and sometimes gaudy — production design and Laura Montgomery’s colorful vintage costume design. Lensed by Kasper Tuxen, the film presents that signature bright-lights, big-city landscape where both Cohn and Trump flourished, and the soundtrack’s throbbing beats are reminiscent of the hip dance club scene.

People who already have their minds made up about the film may have issues with the point of view, and those who enjoy delving into psychology will find much to debate, especially in the more disturbing revelations.

While the film’s potency is in the two primary actors’ fearless performances, the supporting cast excels at not being caricatures. Just as Donovan nails papa Fred, Maria Bakalova doesn’t hit a false note as Ivana, Donald’s first wife and mother to three of his children, whom he tires of after she demonstrates a spidey sense for business.

Sebastian Stan and Jeremy Strong as Trump and Cohn.

Catherine McNally is a supportive mom as Mary Anne Trump, and Charlie Carrick is sympathetic as the troubled alcoholic Freddy Trump Jr. Famous figures include Ian D. Clark, who looks and sounds like former NYC Mayor Ed Koch, Mark Rendall as politically savvy advisor Roger Stone, and Bruce Beaton has one memorable scene as Andy Warhol at a party.

The film may have an uphill climb because of all the controversy surrounding it, but “”The Apprentice” succeeds in giving us a layered portrait of a man always in the news who everyone has an opinion about, one way or the other.

“The Apprentice” is a 2024 dramatic historical biography directed by Ali Abbasi and starring Sebastian Stan, Jeremy Strong, Maria Bakalova, Martin Donovan, Charlie Carrick, Catherine McNally, Ian D. Clark, Mark Rendall and Bruce Beaton. It is rated R for sexual content, some graphic nudity, language, sexual assault, and drug use and the run time is 2 hours. It opened Oct. 11 in St. Louis. Lynn’s Grade: B.