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.

‘Super/Man’ is Moving Tribute to Real-Life Hero Christopher Reeve

‘Super/Man’ is Moving Tribute to Real-Life Hero Christopher Reeve

By Lynn Venhaus
A profoundly moving documentary, “Super/Man: The Christopher Reeve Story” focuses on the impactful life of the legendary actor, and how his activism for spinal cord injury treatments and disability rights changed many lives after his near-fatal horse-riding fall.

He played an iconic superhero in four movies – the best-ever take on the Man of Steel/Clark Kent starting with 1978’s “Superman,” and became a real-life hero after that life-altering event on May 27, 1995.

At age 42, he had become not only a global superstar but also an accomplished equestrian. A fluke accident occurred when his horse stopped, and he was paralyzed from the neck down. He would live for 10 more years, and supported by family and friends, became a beacon of hope and a profile in courage.

He died on Oct. 10, 2005, and left a tremendous legacy to uphold. His fiercely devoted wife, Dana, tragically lost her life to cancer just five months later, at age 44. His sons Matthew and Will, and daughter Alexandria are tireless advocates for The Christopher and Dana Reeve Paralysis Foundation. Their interviews illuminate this documentary in a warm and motivating way.

Filmmakers Ian Bonhôte and Peter Ettedgui spotlight Reeve’s struggles and his accomplishments, fluidly weaving a treasure trove of archival footage and never-before-seen home movies, which stresses the loving relationships he forged in his short lifetime.

In a sincere, non-exploitive way, they use Reeve’s own voice, from his narration of his 1999 autobiography, “Still Me,” and many clips of his wife Dana, a true force of positivity, carrying on in the worst of times.

A portrait of his early years learning his craft emerges through such talking heads as Jeff Daniels, Glenn Close, Susan Sarandon and Whoopi Goldberg, and his friendship with Robin Williams, his roommate at Juilliard.

Williams’ closeness was widely known in Hollywood, but to those unfamiliar with their beautiful bond, it’s tearjerking. If you haven’t started crying by the time Williams is shown delivering Reeve’s eulogy, get the tissues ready.

The directors do not flinch when showing Reeve’s battles as a quadriplegic, but also highlight his achievements during periods of tremendous adversity. After his emotional appearance onstage at the 1996 Academy Awards, Reeve resumed his career – both in front of and behind the camera.

Dana and Christopher Reeve.

Until his final breath, he remained a loving father and husband, and a dedicated activist – there always seemed to be hope with the Reeves. His passion and celebrity have helped raise $140 million for spinal cord research, and that work is helping advance treatments today, and strive for more health access and ‘able-ism.’

While the film is as open-hearted as possible, it does not lionize the actor – and presents conflicts and controversies, but also, remarkably, his growth as a human being post-tragedy. Overall, it’s powerful, inspiring, and supremely poignant.

“Super/Man: The Christopher Reeve Story” shows us the best of humanity at the lowest, most fateful times. Sure, it’s sad – the audience was in tears at the Sundance premiere, hailing it with a standing ovation. Yet, it’s heartwarming too — you feel the joy people had knowing what he accomplished in 52 years. And the work that continues in his name.

“Super/Man: The Christopher Reeve Story” is a 2024 documentary co-directed by Ian Bonhôte and Peter Ettedgui. It is rated PG-13 for some strong language and thematic elements, and runtime is 1 hour, 44 minutes. It opens in theatres on Oct. 11. Lynn’s Grade: A.

Christopher Reeve’s children Matthew, Alexandria and Will.

Fascinating Rhythms, Expressive Vocals Give The Black Rep’s Splendid ‘Blues in the Night’ a Lush Life

Fascinating Rhythms, Expressive Vocals Give The Black Rep’s Splendid ‘Blues in the Night’ a Lush Life

By Lynn Venhaus

A saucy, sultry and soulful trio of supremely talented women take us on their rocky road of hard-fought life lessons in a stylishly framed musical “Blues in the Night.” They sure have earned the right to sing the blues, and the Black Rep’s polished gem of a show is evocative of divine romance and the light that breaks through after darkness.

The enchanting Adrianna Jones as “The Woman,” Amber Alexandria Rose as “The Girl,’ and De-Rance Blaylock as “The Lady” conjure up past lives of sorrows, heartbreak and triumphs as they take us through an appealing catalogue of 27 classic blues and jazz songs.

In their skilled delivery, while projecting attitude and emotion, they bring those experiences to life with a vitality that’s mesmerizing. These songs may have been written in days gone by, but there is a freshness because the numbers are presented with a vibrancy and good nature.

The time is the 1930s and the place is Chicago. And we are swept away to an era immortalized in music and movies. I can see/hear images of Duke Ellington, Bessie Smith, Louie Armstrong and Ella Fitzgerald.

The women get to shine in solos – think of their voices as the luxurious textures of silk, satin and velvet.

De-Rance Blaylock as “The Lady.” Photo by Keshon Campbell.

As the eldest woman “The Lady,” Blaylock, who won the St. Louis Theater Circle Award for Best Performance in a Musical, Female or Non-Binary Role, last year for “Caroline, or Change,” imbues Bessie Smith’s dramatic standards “New Orleans Hop Scop Blues,” “Dirty No-Gooder’s Blues” and “Wasted Life Blues” with grit, then is playful in “Take Me for a Buggy Ride” and “Kitchen Man.” She’s sorrowful in Billie Holiday’s “Lover Man.”

As “The Woman” in her prime, Jones makes a memorable Black Rep debut, swinging in the famous Benny Goodman song named after the famous Harlem nightspot, “Stompin’ at the Savoy,” and Billy Strayhorn’s jazz standard “Lush Life.” She’s longing – and assertive –in “Rough and Ready Man.”

As the youngest “The Girl,” Amber Alexandria Rose is already a veteran of multiple musicals produced at The Black Rep and was part of the noteworthy Fisk Jubilee Singers at the Tennessee university. She’s dynamic in the Big Band favorite “Taking a Chance on Love,” “Willow Weep for Me” and “Reckless Blues.” Jones and Rose duet in the great torch song “When Your Lover Is Gone.”

However, the women aren’t the only ones adding sass and class to the show. As “The Man,” J Samuel Davis displays a remarkable gift for singing – who knew? (I mean he’s one of our finest dramatic actors, but an accomplished vocalist? Heck, yeah! More, please).

J Samuel Davis as “The Man.” Photo by Keshon Campbell.

Well, he gets to play the cad, the guy who done them wrong, but also a fellow with considerable charm. He opens with a rousing “T-Bone Walker’s “The Blues Is a Woman” and has fun with Louie Armstrong’s “I’m Just a Lucky So-and-So” and “Wild Women Don’t Have No Blues.” Davis is a two-time St. Louis Theater Circle Award winner, for performances in “Bashir Lazhar” at Upstream Theater and “District Merchants” at New Jewish Theatre. He’s recently been seen in “Cat on a Hot Tin Roof” at the Tennessee Williams Festival St. Louis and in The Black Rep’s “King Hedley II.”

A tight quintet of superb musicians makes the magic happen, with music director Khalid McGee giving the piano a mighty fine workout, along with Willem von Hombracht on bass, Brady Lewis on trumpet, Stan Coleman on reeds and Bernard Long Jr. on drums smoothly jiving, wailing and scorching the compositions.

The original vocal arrangements were by Chapman Roberts, with orchestrations and additional vocal arrangements by Sy Johnson. It’s a satiny-smooth trip through the best representations of the genre.

Their second act opening jam session to “Wild Women Don’t Get the Blues” gets the joint a jumping, while their Exit Music at the show’s end is enough to keep you in your seats. What a delight they are to listen to all evening. And special shout-out to sound designer Justin Schmitz on his outstanding work.

The way the set is structured, with Davis often presiding over a bar, you feel like the musicians are masters of their destination nightclub, and you feel part of a very ‘inside’ cool experience.

Adrianna Jones as “The Girl.” Photo by Keshon Campbell

The women are placed in individual rooms that appear to be the same floor of a hotel — each of various ages and different reasons to be home alone.

Scenic designer Jamie Bullins’ attention to detail is admirable and sets a terrific nostalgic tone, which is carried through by prop designer Mikhail Lynn.

Travis Richardson’s lighting design enhances those spaces and adds so much to the shifting moods.  It feels elegant despite hearing tales of woe (but often resilience and strength, too).

Director Ron Himes has enlivened this show – part jukebox musical, part revue and totally entertaining with a breezy staging that also offers comfort, joy and inspiration.

Sheldon Epps, well-known for his work as artistic director at the Pasadena Playhouse, earned Tony nominations and much acclaim for his musical on Duke Ellington called “Play On!” He then conceived and put together “Blues in the Night,” which opened off-Broadway in 1980 before it moved to Broadway in 1982. It was nominated for a Tony as best musical but mostly (inexplicably) has had short runs.

 It deserves to be noticed, for its depth of material and sharp execution are worth seeing because of the band’s rhythms and the cast’s vocal power and emotional intensity. It results in a charming evening of good tunes, sumptuous vocals and a fun atmosphere.

Amber Alexandria Rose as “The Girl.” Photo by Keshon Campbell.

The company’s group numbers showcase their abilities to harmonize beautifully, with “It Makes My Love Come Down” and a feisty “Take It All Back” wrapping up the first act.

Decked out in shades of blue, the women coming out swinging in the second act with “Blues in the Night,” followed by stellar renditions of “When A Woman Loves a Man” and “Am I Blue?” and a wistful “Nobody Knows You When You’re Down and Out” with the entire company.

After baring their souls and singing their hearts out, the women present a moving “I Gotta Right to Sing the Blues,” the well-known Harold Arlen standard, before the “Four Walls Blues” encore/finale.

Heather Beal’s light touch on choreography is well-suited to this show, and the characters. For the most movements, the women sashay, the man struts, and any dance is attuned to the times.

Gregory J. Horton’s gorgeous selection of vintage formal attire, cocktail dresses, and loungewear provides a sumptuous assortment of fabrics and styles ideally representing time periods and happenings.

The Women. Photo by Keshon Campbell.

Tracy Holliway-Wiggins is the stage manager with Daija Jones as assistant stage manager.

The blues provide a universal language into the soul, and the Black Rep has splendidly guided us through a pleasurable excursion into the urban blues of Chicago and a post-Great Depression America.

Photo by Keshon Campbell.

The Black Rep presents the musical “Blues in the Night” Sept. 4 through Sept. 29 at the Edison Theatre on the Washington University campus. Performances are at 7 p.m. Wednesday and Thursday, 8 p.m. Friday and Saturday, and 3 p.m. Sunday. The show is recommended for mature audiences ages 14 and up. Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. For more information: www.theblackrep.org.

Heads Bang, Musicians Rock and Electric Performers Howl in New Line’s ‘American Idiot’

Heads Bang, Musicians Rock and Electric Performers Howl in New Line’s ‘American Idiot’

By Lynn Venhaus

An electric cast brings to life Green Day’s turbo-charged punk rock opera “American Idiot,” accompanied by an exceptional group of eight musicians whose propulsive rhythms invigorate New Line Theatre’s 98th production.

New Line first presented this youthful alienation statement as a regional premiere in 2016, and with a fresh crop of performers, has turned The Marcelle Theatre into a scorching experience that ramps up passion and urgency. Heads will be banged.

Green Day’s 2004 Grammy-winning rock album “American Idiot,” its seventh, is combined with additional songs from their “21st Century Breakdown” album in 2009 and previously unreleased material.

For the stage adaptation, it was formatted as a coming-of-age tale that delved into disillusionment in post-9-11 America. The explosive, in-your-face 2010 Broadway show was nominated for three Tony Awards, including best musical, and won two – for scenic and lighting designs.

Frontman Billie Joe Armstrong collaborated with director Michael Mayer to write the book, which attacked George W. Bush’s presidency, corporate greed, warmongering (“the War on Terror” in Afghanistan and Iraq), hypocrisy in politics, and being submissive, paranoid and apathetic, fueled by mass media.

Clayton Humburg and Bee Mecey as Johnny and St. Jimmy. Photo by Jill Ritter Lindberg

Guided by familiar songs that are rooted in realism, the ensemble is full of energy and attitude, snarling and in pain, confused about their lives’ directions as they struggle to find meaning. They hit the ground running with the title song “American Idiot” and crank it up to 11 from there. You always feel their convictions, no matter how dark it gets.

The ensemble’s momentum is strong in the group numbers, but also in the small vignettes that presents snapshots of lives in transition. Because there is minimal dialogue, the emotions must be conveyed to fill in the blanks about their confusion and malaise.

Temptations beckon ‘in the big city,’ relationships are messy, and the women seemed destined for disillusionment – with strong vocal showings from Lauren Tenenbaum as Whatshername, Adrienne Spann as Extraordinary Girl, and Rachel Parker as Heather.

Directors Chris Moore and Scott Miller have focused on the constant motion aspect of the material, where the band’s raw punk power is maintained, and the performers’ vibrancy comes through, even when playing angsty, restless characters.

Triple threats Clayton Humburg, Rafael DaCosta and DeAnte Bryant are a tight-knit trio of friends — Johnny, Tunny and Will, who are alternately angry and apathetic young men seeking to flee the stifling conformity of suburbia.

Rafael DaCosta, Adrienne Spann as Tunny and Extraordinary Girl. Photo by Jill Ritter Lindberg

Their robust voices harmonize as they verbalize their distress in “City of the Damned” and “I Don’t Care,” and their feelings coalesce in the soulful ballad “Wake Me Up When September Ends” with the company.

They are visibly agitated in several numbers, including “Tales of a Broken Home” trying to make sense of a world that keeps spinning and not in good ways.

Rebel without a cause, Johnny aka “Jesus of Suburbia,” just wants to be anesthetized and escape in most situations, saying yes to drugs and no to hygiene: “Give Me Novacaine” but shows a hopeful side in “Last of the American Girls” and “She’s a Rebel.”

Living in squalor, wallowing in drug hazes, not being nice to his “dream girl” that gets away, and wrestling inner demons, he hooks up with bad idea drug dealer St. Jimmy.

As a hero’s journey lynchpin, Johnny isn’t a sympathetic character, but Humburg’s verve for every role he takes on comes through, so that he demands you pay attention: Will he self-destruct or get it together? And he’s a naturally compelling performer, so you hope Johnny moves beyond cynicism.

Humburg, Lauren Tenenbaum. Photo by Jill Ritter Lindberg.

Tenenbaum becomes a forceful match for Johnny. At first, seductive Whatshername is misguided, then she grows bolder and more resourceful before she’s gone. In one of the show’s best numbers, Tenenbaum is a standout in the company’s “21 Guns.” She then leads the women in a feisty “Letterbomb.”

Trouble always comes by when St. Jimmy is around, and those pesky drugs that Whatshername is a willing participant in taking. She’s in the number with St. Jimmy and Johnny “Last Night on Earth.”

Bee Mecey is full of swagger as St. Jimmy, equal parts cocky and creepy. Mecey leans into the bombastic, snarling delivery of the vocals, and is an unremorseful ‘son of a gun’ in “The Death of St. Jimmy.”

Tunny joins the military, recruited for the Army by Favorite Son (a noteworthy Jordan Ray Duncan, who bears a striking resemblance to actor Paul Dano). DaCosta and Duncan are powerful in “Are We the Waiting,” joined by others, then they discover they are in for a rude awakening.

These scenes of combat and convalescences are the most powerful. After he is severely wounded in the War on Terror, Da Costa’s torment is palpable, and he agonizes about a crazy world — “Before the Lobotomy.” He attempts to adapt with help from the compassionate Spann, whose silky voice soars in “Extraordinary Girl.”

Gabriel Anderson, Kaylin Penninger. Photo by Jill Ritter Lindberg.

Bryant displays his shock at becoming a father when his girlfriend Heather (Parker) becomes pregnant. They clash as they deal with parenthood, and Parker is moving as she wrestles with Will’s lack of interest and the demands of a baby.

Parker’s sturdy vocal work is impressive as she delivers a rollercoaster of emotion. Her “Dearly Beloved” is a cry for help, her exasperation evident, while “Too Much Too Soon” reveals her frustration and desperation, and in a defiant “Rock and Roll Boyfriend,” she clearly has moved on from Will dragging her down.

As the characters grow, the band of brothers reunite for “We’re Coming Home Again,” and Johnny is sincerely regretful in “Whatshername.”

The zealous company includes Gabriel Anderson, Kaylin “Kat” Penninger, Alex Giordano, Amora Marie, Ian McCreary, Nathan Mecey, Hannah Renee and Vanessa Simpson. They do a fine job raging at the machine.

Anderson and Penninger are impressive as graceful and skilled featured dancers, and they were also the dance captains. Choreographer Chelsie Johnston pushed a passionate intensity in the movements, which brought out the group’s fire and never let up.

The finale is effectively staged, having the cast sit or stand scattered on the floor, singing a heartfelt “Good Riddance (Time of Your Life).” It is a surprisingly emotional ending after the group has poured out their hearts and souls into this rousing material.

Alex Giordano and Rachel Parker in “Rock and Roll Boyfriend.” Photo by Jill Ritter Lindberg.

Green Day was organized by lead vocalist and guitarist Billie Joe Armstrong in the Bay Area of California in 1987, and musicians Mike Dirnt (bassist) and Tre Cool (drums) came aboard awhile later. They are best known as a rock band that brought punk out of the underground and into the mainstream, starting with breakout success in 1994.

Thirty years later, they’ve sold 75 million records worldwide, been nominated for 20 Grammy Awards, winning five, and were inducted into the Rock ‘n Roll Hall of Fame in 2015, their first year of eligibility.

Bassist John Gerdes’ pulsing power chords are a definite highlight, as are the strings that add so much – violin, viola and cello, along with the robust rock beats of the guitars and drums.

The musicians are a tight group that maintained a driving pace important to the Green Day sound, and carry out the throbbing musical arrangements and orchestrations by Broadway composer Tom Kitt

Gerdes was an outstanding music director, capably getting the best from conducting Chelsea Zak on keyboards (also assistant music director), Adam Rugo and Xander Gerdes on guitars, Jake Luebbert on drums, Steve Frisbee on violin, Mallory Golden on viola, and Marie Brown alternating with Michaela Kuba on cello.

Ensemble in “Holiday.” Photo by Jill Ritter Lindberg.

Ryan Day’s sound design is bold, Ryan Thorp’s lighting design is effective, Lauren Smith Bearden’s costume design captures the club scene and scruffy daily casual. Rob Lippert’s scenic design sets up three distinct areas for the action, with minimal set pieces.

Nathan Mecey put the pieces together as tech director, Mallory Golden mastered the props, and Ashwini Arora was the intimacy coordinator. Gabriel Scott Lawrence is listed as the directing intern.

Every generation has its seminal rock operas – like the Boomers’ “Hair” and “Tommy,” Gen X’s “Rent” and Millennials’ “Spring Awakening.” Millennials identify with Green Day, although there are shades of Gen X’ers too, so its multi-generations.

This cast shows their bond as mostly Gen Z’ers presenting a specific era. It’s hard to think of “American Idiot” as a period piece, for it remains relevant with its blistering screeds and hopeful ballads.

Johnny leads the company in “East 12th Street.” Photo by Jill Ritter Lindberg.

With a complexity that you may not have thought about while hearing the music in radio play or through sound systems, “American Idiot” shakes things awake in a rant against complacency and manipulation – and that can be heard loud and clear at any age.

New Line Theatre presents “American Idiot” from Sept. 12 to Oct. 5 on Thursdays through Saturdays at p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. There is no performance Sept. 14. This 90-minute show is presented without intermission and is the 33rd season opener.

Tickets: Metrotix: 314-534-1111 or visit the Fox Theatre box office or the MetroTix website. Discounts: for students, educators and military. For more information, visit www.newlinetheatre.com.

There are 10 free seats for every performance that are open to any college student with a valid student ID. It is valid only at the door.

There is a lighted parking lot across the street from the theatre, and there is lots of free street parking. There is no dress code and there are refreshments available in the lobby, including alcohol.

Company in “Good Riddance (Time of Your Life).” Photo by Jill Ritter Lindberg.

James McAvoy Is Gleefully Over the Top in Crowd-Pleasing Thriller ‘Speak No Evil’ From Blumhouse

James McAvoy Is Gleefully Over the Top in Crowd-Pleasing Thriller ‘Speak No Evil’ From Blumhouse

By Lynn Venhaus
Ah, polite society vs. listening to your natural instincts is at the heart of this intriguing psychological thriller-horror film “Speak No Evil,” which is an American remake of a bleaker 2022 Danish film.

In the hands of genre specialists Blumhouse Productions, the horrormeisters behind such franchises as “Insidious,” “Paranormal Activity” and “The Purge,” in addition to “Get Out,” M. Night Shyamalan’s “Split” and many more, this American version has been reimagined as a family pushed to the brink who fights back in a hair-raising showdown.

After meeting on vacation in Italy, an American family who uprooted their lives for the dad’s job in London is invited by a fun-loving British couple to their farmhouse in the remote countryside in southwest England called “the West Country.” Even though the hosts aren’t well-known, they decide to be spontaneous and go, as their kids hit it off. However, the weekend turns into a psychological nightmare that wreaks havoc on their lives.

Writer-director James Watkins, who crafted the thrillers “Eden Lake” and “The Woman in Black,” stuck to the original’s plot rhythms at first, but veered away from Danish writer-director Christian Tafdrup’s European social commentary, and then swapped out the unsettling gruesome ending for American-style action mayhem, although still disturbing overall. Tafdrup is one of the executive producers on this film.

This is one of those mainstream, no-frills, straight-up suspense movies injected with humor that must be seen at the theaters with an audience, for the laughs, gasps, cheers, and applause responses are as much fun to experience as watching all hell break loose on screen.

The Daltons – Agnes (Alix West Lefler), Louise (Mackenzie Davis) and Ben (Scoot McNairy) in “Speak No Evil.”

While it does take a while to get to the unnerving conflicts, that feeling of uneasiness when you don’t listen to your hunches keeps building to a discomforting second-guessing level. There are so many red flags and tell-tale signs that the American guests ignore or brush away at the risk of not being gracious and offending their hosts.

You know that phrase by Maya Angelou about when people show you their real selves, believe it? These are the nagging doubts that escalate with the psychological thriller set-up. The couple from the states, the Daltons Ben (Scoot McNairy) and Louise (Mackenzie Davis), are parents of an 11-year-old daughter Agnes (Alix West Lefler) who frets and is never without her ‘worry bunny’ Hoppy, a stuffed animal. While on vacation in idyllic resort in Tuscany, the trio doesn’t seem to be having much fun.

Enter James McAvoy as Paddy, a life-of-the-party guy whose wife Ciara (Aisling Franciosi) is friendly, too. Their son Ant (Dan Hough) doesn’t speak, which is explained as a condition he was born with, a malformed tongue. Paddy is a doctor, after all, so nobody questions why the son seems so sullen.

The British couple is so jovial and engaging in conversation that when the Americans receive an invite for a weekend in the country, they dismiss their fears about strangers and show up at this remote estate. A getaway from rainy London seemed like a good idea, and they’re trying to fit into their new home, make friends.

McAvoy, a favorite since his impressive work in “The Last King of Scotland” in 2006 and “Atonement” in 2007, goes all in as a convivial host who’s at first a tad pushy, then some toxic masculinity surfaces. As the guests start sensing something isn’t quite right, he then reveals what a sociopath he really is in bursts of aggressive and crossing-the-line behavior.

Why is he acting so different, seething and not respecting boundaries? The three guests will soon find out and be freaked out, questioning his intentions.

McAvoy is one of those intense actors who can play the hero (Charles Xavier aka ‘Professor X’ in the “X-Men” prequel series “First Class,” “Days of Future Past,” “Apocalypse” and “Dark Phoenix,” and attorney Frederick Aiken in “The Conspirator”) or the villain (multiple personalities in “Split” and “Glass”) and be believable as both.

Couples out to dinner in the “West Country.” Aisling Franciosi, James McAvoy, McNairy and Davis.

Here, he is gleefully over the top as a sinister con artist masquerading as a company-loving gentleman farmer but hiding ugly truths and terrible secrets. He is the most fun to watch when going ballistic, but he has a flair for comedy that his film roles don’t often indicate (obviously humorless in “It Chapter Two” and “Atomic Blonde”).

The other adults are believable as they wrestle with fight-or-flight impulses, and the two youths are surprisingly effective. Their dance routine to “Cotton-Eye Joe” is a sweet example of something innocuous that turns ugly.

McNairy, often in supporting roles (“Argo,” “Men”), excels as a guy going through some things, questioning his role as a husband and a father. He is not the alpha-male Paddy is, making him look weak and indecisive, more on the passive-aggressive side.

His wife, who appears to have the upper hand, is played by the likable Davis, who starred with him for four seasons on the AMC series “Halt and Catch Fire.” She’s more forceful, but is trying to be amenable in a social setting. She also made her mark in “Terminator: Dark Fate” as an action star.

They realistically portray an unhappy married couple going through some bumps and trying to work through them, yet disagreeing on parenting philosophies while trying to be polite as guests.

They keep shaking off their doubts, much to the dismay of the audience who knows what “I’ll be back” usually means. Of course, with all horror movies, some logic and credibility are stretched. We’re put in their shoes as they make decisions, both smart and very unwise.

Dan Hough and Lefler as Ant and Agnes.

The darkness is creepy, but we’re not going to be getting too many answers here as survivor skills kick in. Jon Harris’ editing is first-rate, and so is the cinematography by Tim Maurice-Jones, and the isolated feeling adds to the story.

Comparisons to the 1971 Sam Peckingpah film “Straw Dogs” are fitting, with an American astrophysicist (Dustin Hoffman) and his beautiful British wife (Susan George) pushed to the breaking point by locals harassing them, only sex never enters into this scenario. (Well, except for Paddy-Ciara getting frisky in public).

“Speak No Evil” satisfies mostly as a crowd-pleaser that is ideally suited as an entertaining end-of-summer romp without too much gore or any jump scares. It’s certain to make your staycation plans all the more appealing – or have you think twice when people you don’t know well invite you somewhere.

“Speak No Evil” is a 2024 horror-comedy written and directed by James Watkins and starring James McAvoy, Aisling Franciosi, Scoot McNairy, Mackenzie Davis, Alix West Lefler and Dan Hough. It is rated R for some strong violence, language, some sexual content and brief drug use, and its runtime is 1 hour, 50 minutes. It opens in theatres Sept. 13. Lynn’s Grade: B.

‘Beetlejuice Beetlejuice’ Is a Wild Nostalgic Trip Back to the Afterlife

‘Beetlejuice Beetlejuice’ Is a Wild Nostalgic Trip Back to the Afterlife

By Alex McPherson

Messy and overstuffed, but bursting with personality, director Tim Burton’s “Beetlejuice Beetlejuice” is a worthy follow-up to the 1988 original that provides another excellent showcase for Michael Keaton’s comedic talents.

“Beetlejuice Beetlejuice” takes place 36 years after the events of the first film. It continues the story of Lydia Deetz (Winona Ryder), last seen dancing to Harry Belafonte with a ghostly football team. She has become a successful television host and essentially cashed in on her supernatural abilities to see ghosts, making a living off others’ trauma.

But she’s haunted by visions of “Beetle Breakfast” himself (Keaton), popping pills to keep them at bay. She’s accompanied by her TV show producer and romantic partner Rory (Justin Theroux), who barely conceals his toxicity behind platitudes and emotional manipulation, valuing money and external validation above all else.

Lydia is abruptly summoned to New York City by her stepmother, Delia (Catherine O’Hara), a vain yet lovable diva having now become a performance artist in the Big Apple. She informs Lydia that her father, Charles (Jeffrey Jones), has unceremoniously died en route to a bird-watching trip.

Lydia, Delia, and Rory decide to have Charles buried at the Maitland family house in Winter River, Connecticut (the Maitlands are abruptly written out of this story), picking up Lydia’s estranged daughter Astrid (Jenna Ortega) from boarding school along the way. Astrid is highly resentful of her mother, who cannot see the ghost of her deceased father, and immerses herself in climate activism to rebel against her family’s opportunistic ways.

In the Afterlife, the titular Beetlejuice, as unhinged as ever, has opened a call center for his “bio-exorcism” gig. He’s staffed his office with ghouls with shrunken heads and uses one poor lad, Bob, as his personal assistant. Beetlejuice seems pretty content with all that power, but his past has other plans.

An unlucky janitor (played by Danny DeVito) ends up accidentally unleashing Beetlejuice’s ex lover, Delores (Monica Belluci), upon the world — a literal soul-sucking badass who physically staples herself back together — and she’s out for revenge. Beetlejuice needs to find a way out of the Afterlife. 

Young love, a marriage proposal, betrayal, rebellion, alternative waiting room visits, and wacky, charmingly grotesque antics ensue as Beetlejuice enters the Deetz’s lives once again. 

Let’s just say, there is a lot going on in “Beetlejuice Beetlejuice,” too much for any single plot strand to get the attention it really deserves. But Burton’s sequel is more than the sum of its parts. Without sanding down the caustic wit of the original or sacrificing its visual pizazz, “Beetlejuice Beetlejuice” is an immensely fun watch, albeit an experience that works best if viewed purely as an excuse to get the gang back together to riff on old times.

“Beetlejuice Beetlejuice” largely captures the feel of Burton’s classic, from the gothic-inspired, lived-in set design (given a slightly too crisp digital sheen this time around), to Danny Elfman’s score, to its blunt satire of bureaucracy and greed, to the zany performances and a proud refusal to adapt to “modern” sensibilities. It’s just a fun time at the movies–-scattershot in its storytelling but knowingly so, retaining a distinctive style that only Burton’s mind can conjure. 

The entire ensemble of returning players and new faces seems to be having a ball on screen. Keaton is the obvious standout, slipping back into the iconic role with ease. Beetlejuice’s signature gross-out, form-breaking, shape-shifting antics are rendered as vividly as ever without relying on CGI. 

He’s alternately funny, likable, and squirm-inducing as the flamboyant trickster with surprises up his sleeve and havoc on his mind — manipulating anyone and everyone to his advantage. Keaton’s commitment to the bit makes one wish that he had even more screen time; however; the film has too much ground to cover to make him center-stage consistently.

Keaton steals his scenes all the same, delivering some genuinely shocking moments with sincerity, and taking part in some memorable set-pieces in the finale that really go for it. On his performance alone, the film soars.

Ryder excels yet again as Lydia, uptight and deflated but willing to fight for her family and what’s right. O’Hara, as before, is hilarious, particularly regarding the creation of artwork where she “deals with grief” in outlandish fashion. Ortega fits the role of the moody Astrid well, but stays within the bounds of her previous efforts in shows like “Wednesday.”

Arthur Conti as Jeremy, a neighborhood boy who sparks a romance with Astrid, is charming though mysterious. Theroux is enjoyably annoying, while Bellucci is threatening but disappointingly underused. (Delores is one of the most egregious sacrifices to the film’s narrative restlessness.)

Willem Dafoe, as movie-star-turned-Afterlife-detective Wolf Jackson tracking Delores’s reign of terror, is amusing, with some excellent makeup, but the screenplay ultimately doesn’t do much with him.

Indeed, much of “Beetlejuice Beetlejuice” doesn’t dig beneath the surface. And, to be fair, it didn’t need to. It’s as if Burton wants us to relinquish deeper thought and go along for the ride — playing into nostalgia while introducing new characters and environments into the “Beetlejuice” universe. 

The closer one looks at any particular thread of “Beetlejuice Beetlejuice,” the less it holds up, and the few instances where Burton aims for poignancy don’t quite land effectively, as do early set-up scenes in the real world that take a while to kick into gear. Fortunately, much of “Beetlejuice Beetlejuice” operates at too fast a clip to dwell on these shortcomings.

Many of the characters struggle with being authentic, both to themselves and others, and this truthfulness (or lack thereof) often determines their fates. “Beetlejuice Beetlejuice,” on the other hand, knows exactly what it is and largely embraces its instincts, remaining a wholly satisfying way to kick off the spooky season. It’s the rare legacy sequel that really delivers.

“Beetlejuice Beetlejuice” is a 2024 horror-comedy directed by Tim Burton and starring Michael Keaton, Winona Ryder, Jenna Ortega, Catherine O’Hara, Monica Bellucci, Justin Theroux and Willem Dafoe. It is rated PG-13 for violent content, macabre and bloody images, strong language, some suggestive material and brief drug use and the run time is 1 hour, 45 minutes. It started in theatres Sept. 6. Alex’s Grade: B+.

Madcap Michael Keaton Provides the Zest in a Goofier and Gorier Sequel ‘Beetlejuice Beetlejuice’

Madcap Michael Keaton Provides the Zest in a Goofier and Gorier Sequel ‘Beetlejuice Beetlejuice’

By Lynn Venhaus
It’s silly fun but hampered by uneven storytelling, nevertheless “Beetlejuice Beetlejuice” dips heavily into nostalgia and director Tim Burton’s irrepressible comic-horror sensibilities.

Thirty-six years after Burton’s distinctive original hybrid, he’s gotten the band back together — with a couple exceptions — for a madcap romp that’s gorier, goofier and goes off on nonsensical tangents.

After an unexpected family tragedy, three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Lydia discovers she’s still haunted by Beetlejuice, and her life is turned upside down when her rebellious teenage daughter, Astrid (Jenny Ortega), discovers the Maitlands’ model of the town in the attic, accidentally opening the portal to the Afterlife. It’s only a matter of time until someone says Beetlejuice’s name three times, unleashing the mischievous demon once more.

While it is a real treat to see 73-year-old Michael Keaton re-inhabit the afterlife’s unpredictable bio-exorcist Betelgeuse with gleefully ghoulish visuals, that grating voice and his crackerjack comic timing, there are too many plot threads that distract from a couple crucial weddings that should be the focus.

To reconnect to the core Deetz family, Lydia is now a paranormal specialist with a TV series called “Ghost House.” Her husband died, and Ortega plays her hostile, angsty teenage daughter with appropriate disgust.

They return to the picturesque Connecticut town for Lydia’s father’s funeral. Charlie was chomped by a shark after one of his bird-watching expeditions when his plane crashed into the ocean.

Because Jeffrey Jones is unavailable (look it up), Burton has used an animated Claymation sequence to deal with his character’s demise.

Catherine O’Hara is back in all her flamboyant fiery red-haired glory as the vain artist Stepmom Delia. She can’t hide her disdain for Lydia’s opportunist boyfriend Rory (Justin Theroux), her show producer that speaks in psychobabble and spells trouble.

There’s also a new romance for anti-social Astrid — Jeremy (Arthur Conti), who has a complicated backstory and his motives aren’t clear at first, but wind up crystal clear down. And Beetlejuice’s sinister ex-wife Delores returns. As played by Monica Bellucci, she is a re-animated evil mistress that looks like a cross between Morticia Addams and Elvira, Mistress of the Dark. She is wreaking gruesome havoc like demons do.

In an interesting departure, Willem Dafoe has fun playing it straight as a hard-boiled detective from the afterlife.

The CGI-heavy story hinges on weddings, a funeral and a grotesque birth that is a mini-me Beetlejuice who is as demonic as the Chucky doll from “Child’s Play.”

It’s all ridiculous, with the added oomph of Burton’s funhouse aesthetic. The waiting room is as daffy as the original, and Bob, the shrunken-head spirit, reappears as Keaton’s wingman – a more prominent role.

The needle drops are funny but the song choices can be head-scratching. A dream sequence prominently uses both hit versions of Jimmy Webb’s  “MacArthur Park” that were recorded by Richard Harris and Donna Summer. Not sure if it is more than a Boomer in-joke.

Don’t think too hard and enjoy the fan service. Danny Elfman’s score, the weird sandworms, and bizarre happenings are commonplace in this spirit world. The spirited screenplay writers are Alfred Gough and Miles Millar, Emmy-nominated for “Wednesday” TV series, who also developed the story, along with Seth Grahame-Smith, based on characters created by Larry Wilson and the late Michael McDowell.

I did miss Alec Baldwin and Geena Davis as the recently deceased Maitlands, and the decorator character Otho (played by the dearly departed Glenn Shadix).

But watching Keaton dive back into one of his most iconic roles reminds us of how funny he was in ‘80s movie comedies (before “Batman” and showing his dramatic skills in serious acting roles).

Production designer Mark Scruton, also from “Wednesday,” has a field day with the macabre and the malevolence, but also with the daffiness. Costume designer Colleen Atwood, four-time Oscar winner including “Chicago,” “Fantastic Beasts” and “Alice in Wonderland” (2011), leans into the Halloween costume, steam-punk, and avant-garde artsy vibe with lively zest. The makeup artists and hairstylists did an outstanding job that also enhances the characters’ unusual looks.

Burton doesn’t quite know how to end the film, but he has pulled off an entertaining sequel that gives beloved characters another moment.

“Beetlejuice Beetlejuice” is a 2024 horror-comedy directed by Tim Burton and starring Michael Keaton, Winona Ryder, Jenna Ortega, Catherine O’Hara, Monica Bellucci, Justin Theroux and Willem Dafoe. It is rated PG-13 for violent content, macabre and bloody images, strong language, some suggestive material and brief drug use and the run time is 1 hour, 45 minutes. It started in theatres Sept. 6. Lynn’s Grade: B.

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

By Lynn Venhaus

A personality-driven low-key charmer, the musical ‘[title of show]’ offers a fresh perspective with its vivacious gender-bending cast.

And what’s not to love about a 20-year-old original musical that is unapologetically OK with being “nine people’s favorite thing than a hundred people’s ninth favorite thing”?

In a world of “Cake Boss” and “The Great British Bake Off,” why not choose to be a Rice Krispie Treat? (Nothing wrong with that – and you can have one at intermission, too).

Prism Theatre Company is presenting this enjoyable modest production in two acts with a disarming all-femme quartet of performers and one expert musician accompanying them on keyboard.

Mallory Golden serves as the music director, and they are called “Larry.” They have an occasional spoken line of dialogue and comical in their timing.

They have guy names because Prism did not change those characters when they cast women. The musical’s creators – Jeff Bowen wrote the music and lyrics, Hunter Bell the book – are called Jeff and Hunter, and played by a spunky pair, Katie Orr and Jaelyn Hawkins.

It really doesn’t make a difference – it’s entertaining from this point of view because it is brimming with sly theatrical references and features a classic struggle about pursuing your dreams, no matter what obstacles. Their ambition resonates.

It’s also a tale of friendship, those pals who get you through tough times, who encourage and collaborate – and work through tension and chaos. The four principal actresses project the camaraderie that is necessary to make this show work, under the adroit direction of Sam Hayes.

Being gender-fluid doesn’t change how meta this musical is, because they are two friends who are theater artists writing a musical about writing a musical. Their first goal together is to send in an original work to the inaugural New York Musical Theatre Festival – only its deadline is three weeks away.

Their frantic, fraught creative process, with their real-life obstacles, are what makes the show unique to them. The time and place are New York City, 2004. Starving artists whose endgame is Broadway have their own sets of issues, which factors into the show – all driven by the mindset “If you can make it here, you can make it anywhere.”

And from there, their goals get bigger, their challenges more daunting, and their exasperations and aspirations escalate. It’s clever and funny in a very natural, authentic way.

Rounding out the cast are their two friends they cast in their show. Rachel Bailey is sassy, snarky Susan, a comic actress whose day job is an office worker, and Savannah Fernelius is assertive Heidi, a polished performer who wonders if she is doing the right thing hitching her wagon to this project. They are based on Susan Blackwell and Heidi Blickenstaff, who not only were in the show, but were part of the process.

It is a wild rollercoaster ride of emotions for the quirky characters, all who have skin in the game. They yearn for fame and recognition. They persist. They want to matter, find their place in the world.

The creative team may be “Two Nobodies from New York” but they want to be “Part of It All.” Why not dream big? (“The Tony Award Song”).

The two writers are imaginative and capable. Their progress is chronicled in such witty ditties as “An Original Musical” (with the proverbial blank piece of paper) and “Filling Out the Form.”

Their brainstorming techniques are hilarious in “Monkeys and Playbills.” The second act’s stakes are captured in “Montage Part 1: September Song,” “Montage Part 2: Secondary Characters” and “Montage Part 3: Development Medley.”

The four are not only nimble at comedy, but can crisply sell a showtune with strong melodic voices.

Katie Orr, Rachel Bailey and Jaelyn Hawkins. Photo by Cady Bailey.

The Susan-led “Die, Vampire, Die!” is an ingenious way to vanquish demons and doubts, and Bailey is good at animated delivery.

In her professional debut, Fernelius makes quite an impact with silky-smooth vocals, and powerfully delivers a stunning “A Way Back to Then.” She has been standing out in college and community theater and is indeed ready for her close-up.

The show’s offbeat approach obviously differentiates from fairy tale-fiction in a land of enchantment (“Into the Woods” references abound, by the way). The quartet are more self-aware than naïve, more jaded and cynical about the highs and lows in life yet wear their hearts on their sleeves and they wish.

Their strengths and weaknesses are fully on display, not unlike those four unfiltered millennials in the HBO television series “Girls” that ran for five seasons. Raw and real, they aggravate each other and express their feelings.

Hunter fires off torrents of profanity, easily upset and distracted. (You can imagine him/her erupting at the neighborhood association meeting). Hawkins is funny in her no-holds-barred character’s tendency to go to DEF-CON 1.

Like many well-meaning longtime friends, Jeff knows how to deal with Hunter, and Orr is instinctive in her portrayal of the one who isn’t prone to histrionics.

There is a mature content advisory: “This play contains heavy adult language and open discussion of adult content. Audience discretion is advised.”

The pair of actresses playing actresses are creating an identity through their roles – “I Am Playing Me” and are initially at odds with each other – “What Kind of a Girl Is She?”

Savannah Fernelius is Heidi. Photo by Cady Bailey.

This is Prism’s first musical, and as a love letter to musical theater, it’s an interesting exchange of ideas and talents. It’s yet another version of “The Little Engine That Could,” showbiz style.

And in their hands – heartfelt. Co-producers Joy Addler (managing director) and Trish Brown (artistic director) founded this regional professional theater troupe with the mission of supporting women. This season’s theme is “Raise Your Voice.” I’d say this choice is apt.

The earnest presentation has a rough-around-the-edges quality yet has the enthusiasm of Judy Garland and Mickey Rooney gathering the neighborhood kids in those “Hey kids! Let’s put on a show!” old-timey musicals – but instead of a barn, they’re in a minimalistic rehearsal space with four chairs.

On a much smaller scale, this show follows the world-building on display in big-deal beloved musicals like “A Chorus Line,” “Singin’ in the Rain,” and “Dreamgirls.”

While it may not have a showstopper like “What I Did for Love,” the substantive songs showcase their doubts, fears, instincts, hopes and dreams in a relatable way.

Cady Bailey’s choreography is appropriate for the characters and incorporates snappy theatrical dance moves in an endearing way.

The quartet’s fervor for this material is perceptible, so is their warmth. The way they work together is specific, which adds a distinctive flavor to the show. There isn’t a whiff of artifice or slickness, rather a gutsy “Take us as we are” attitude.

And their work-in-progress show is constantly expanding and involving, as they adapt, evaluate, revise, re-evaluate, and have hissy fits. “Change It/Don’t Change It” illustrates those efforts, and “Awkward Photo Shoot” is a full-out meltdown of dysfunction.

Scenic designer Caleb D. Long has kept things basic and functional, with a nifty arrangement of frames that light up, and the noteworthy lighting design by Catherine Adams is effective. Golden also did the sound design, which is without issues in the intimate Kranzberg Black Box.

Their costumes, designed by Hayes, are everyday casual, look like out-of-their-closet selections. The sense of a team effort, with Sadie Harvey assistant director and props master, Katie Smith props artisan, carpenter William Higley, along with technical director Caleb D. Long, Golden, and Adams is apparent.

Bell and Bowen may not be as well-known as Pasek and Paul or as hip as Kerrigan and Loudermilk, but their memorable original work “[title of show]” earned awards nomination and elevated their credentials.

Bell, a graduate of Webster University’s Conservatory of Theatre Arts, won an Obie special citation award and was nominated for Drama League, GLAAD Media and Tony awards for best book of a musical. Bowen won an Obie special citation award for the music and lyrics.

After the musical debuted at the festival, two years later it opened off-Broadway at the Vineyard Theatre in 2006 and then moved to Broadway two years later, at the Lyceum Theatre, in 2008.

Proactively, in hopes of mounting the show at a Broadway theater, Bell and Bowen created a video blog, called “The [title of show] Show” that documented the musical’s progress and featured famous guest actors in episodes that went viral. In Episode 8, mission accomplished: the New York Times announced the show’s opening date at the Lyceum. (The show continued as a web series with a season 2, music videos and specials.)

What Bell and Bowen have learned the hard way – albeit with a delightfully improbable successful run about what all goes into making a musical — (and they did it before “Something Rotten!”) – can be summed up through the words of philosopher Ralph Waldo Emerson: “It’s not the destination, it’s the journey.”

This cast’s exuberance and the creative team’s efforts result in a satisfying tag-along adventure. Its candor and cheekiness are refreshing. And yes, that was Sutton Foster leaving a voice mail rejecting their offer. Touche!

Prism Theatre Company presents “[title of show]” weekends through Sept. 8.  Performances take place at the Kranzberg Center in Grand Center, 507 N Grand Blvd, St Louis, MO 63103. For more information: prismtheatrecompany.org.

For tickets, visit https://www.metrotix.com/events/detail/prism-theatre-company-title-of-show

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

By Lynn Venhaus

A civics lesson brimming with dreamers and doers, the world now knows the name of a game-changing genius with an extraordinary verbal dexterity, who teamed with a creative cabinet of generational talents at their pinnacle, to present the revolutionary musical “Hamilton” that’s a revelation.

Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming, a fascinating inside view on the messy political process.

This monumental work by Lin-Manuel Miranda, who spent seven years writing the book, music and lyrics, was assisted by visionary choreographer Andy Blankenbuehler, director Thomas Kail and Alex Lacamoire, who supervised the music and arranged the orchestrations, to create a synergy that is a thing of beauty.

Now playing at the Fox Theatre in St. Louis, this grand and glorious work courses with electricity, wit and the words to make us better people – and citizens. It speaks to us on so many levels.

This mostly sung epic opera incorporates hip hop, jazz, R & B, pop and Broadway show tunes in a richly dense tapestry. While the score deftly blends different styles, the aching ballads “It’s Quiet Uptown” and heartbreaking “Burn” provide emotional depth.

The use of hip-hop gives it a freshness, an urgency and a unique rhythm. Hamilton’s smackdown on state’s rights vs. federal power, “Cabinet Battle 1 and 2,” should be the standard now for all history classes.

So much history and attitude are packed into the songs. The introduction of “The Schuyler Sisters,” who play an integral part of Hamilton’s personal life, leads to Eliza (Lauren Maria Soosay) and Alexander (Tyler Fauntleroy) falling in love and marrying (“Helpless”) and Angelica’s yearning “Satisfied.” Both Soosay and Marja Harmon, as oldest sister Angelica, have strong melodious voices that bring out the fire and the heart in their songs.

The lyrics have become part of our modern fabric, now ‘catch phrases,’ and you will never get these infectious beats out of your head.

The theatrical world has not been the same since the cultural phenomenon about “the $10 founding father without a father who got a lot farther by working a lot harder by being a lot smarter by being a self-starter” opened off-Broadway nine years ago.

Since “Hamilton” debuted on Jan. 20, 2015, at The Public Theatre in New York City, the musical’s impressive ground-breaking elements cannot be understated.

Miranda was inspired by the Ron Chernow biography to make Hamilton the centerpiece of a hopeful reflection on America as an ‘unfinished symphony.’

How much we learn about this penniless orphaned immigrant from the West Indies is an absorbing history lesson. His gift was his ability to communicate through the written word and public speaking, and that propelled him to be a force in our nation’s founding and our system of government.

Add the dynamic of being Washington’s right-hand man and how he interacts with his political rival Burr adds a complexity – and it is riveting. He embodied the revolutionary spirit that started The American Experiment, and we see his evolution. But his flaws as well as his fears, desires and regrets, are on display, too.

The recurring themes make this musical so compelling. To Miranda-speak, characters must enunciate clearly. Miranda’s stunning verbal dexterity and ability to condense and rhyme history, and make it accessible, is why he is a certified genius.(Seriously, won one of the 2015 grants from the MacArthur Foundation—the so-called “Genius” fellowships.)

The most nominated musical ever on Broadway (16), winning 11, one shy of the record, and winner of the 2016 Pulitzer Prize for Drama, in addition to Olivier Awards, Grammy Awards and a 2021 Emmy Award for Outstanding Variety Special – Pre-Recorded for the filmed performances that were recorded on June 25-26, 2016, with the original cast at the Richard Rodgers Theatre in New York City. Miranda, Kail, Blankenbuehler and Lacamoire also received an unprecedented Kennedy Center Honor for it in 2018.

Its third tour here lives up to its incredible reputation and remains one of the most significant and vibrant works of art ever.

The greatest live theatrical experience of my lifetime is how I first described seeing “Hamilton” in April 2018 at the Fox. Now, after seeing it again in 2022 and on Aug. 28, in addition to watching the film, including the Sing-Along version on Disney +, its magnificence is timeless – and timely.

On opening night you could feel the audience’s palpable electricity, like in the past, but this time felt a little different because it has become “an event.” You could hear it in the crowd’s reaction, how they anticipated lines because they were familiar, and shared a unified feeling.

It’s a sense of how lucky we were to be alive right now, to see “Hamilton” again. Everyone smiled hearing people chuckle as Justin Matthew Sargent made his entrance as the pompous King George. His break-up song “You’ll Be Back” is a crowd-pleasing ‘60s pop ditty that adequately captures the monarchy our “young, scrappy and hungry” rebels overthrew. Sargent makes the most of his nine minutes.

This show is performed by the Angelica Tour, and St. Louis is only the second stop of their national tour that began in Fayetteville, Ark. Passionately presented, this vibrant company showcases the heartfelt connections. The care, skill and attention to detail is obvious.

Overall, this ensemble is stronger vocally than the 2022 touring company, with A. D. Weaver a highlight as George Washington – delivering a rousing “One Last Time” that drew a thunderous ovation.

Some of the principals have been involved in previous tours – including the first Angelica one, Philip one and And Peggy. And a few were on Broadway. Jared Howelton, who’s a nimble Marquis de Lafayette and slick Thomas Jefferson, was a principal standby at the Richard Rodgers Theatre.

Jimmy “JJ” Jeter, who plays the unprincipled Aaron Burr, was instead in the title role on Broadway. He soars in the show’s best songs “Wait for It,” “Non-Stop,” and “The Room Where It Happens.”

The total sensory package that is Miranda’s masterpiece again left me in awe about its creative force and everlasting impact. The words, music, performances, and technical brilliance are unforgettable.

How it continues to resonate and remain fresh with its innovative storytelling while still inspiring in a thrilling patriotic way is a remarkable achievement. As it seamlessly unfolds, you see why it draws people back to see it again and again.

“Hamilton” is a vivid portrait of an infant country, imbued with Miranda’s optimism about what can be achieved, because look at how we started and what we’ve overcome.

The Tony-winning lighting design by Howell Binkley and costume design by Paul Tazewell add to the storytelling, and scenic designer David Korins’ stunning functional brick-walled set with scaffolds, catwalks, staircases and dexterous use of the turntable, which did not win the Tony, keeps everything fluid.

Enhancing the effect is Blankenbuehler’s imaginative choreography. The performers are seemingly non-stop, as movement matters, punctuating the action, and creating this mesmerizing diorama.

Special shout-out to Nathanael Hirst of Belleville, who is a dancer, and portrays George Eacker (who shoots Philip Hamilton) and “Men No. 3.”

A musical about history that made history, it wasn’t as if Miranda was an unknown, but history sure had its eyes on him. He wrote and starred in the Tony-winning 2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and Amanda Green for “Bring It On!” in 2011 (produced by the Mike Isaacson-led Fox Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and lyrics for the 2009 Broadway revival of “West Side Story.”

In 2009, Miranda was invited to the White House to share what he was working on during a night of poetry-inspired entertainment. President Barack and Michelle Obama were a little taken aback by his concept – a hip-hop concert album about a founding father who wasn’t president. Well, the rest, as they say, is history.

Since “Hamilton” became a landmark and won numerous accolades, Miranda has gone on to further acclaim. He directed the Jonathan Larson musical ‘tick, tick…Boom!” film adaptation in 2021, and performed in the animated film “Vivo,” musical adaptation “In the Heights,” and as Bert in “Mary Poppins Returns.”

He was Emmy-nominated as guest actor for hosting “Saturday Night Live” in 2016 and as guest actor on “Curb Your Enthusiasm” in 2018 and won an Emmy for producing the limited series “Fosse/Verdon.”

He has been nominated twice for Best Original Song at the Academy Awards, for the animated Disney movies “Moana” in 2017 and “Encanto” in 2022, and received two more Grammy Awards. He wrote original music for Disney’s live-action remake “The Little Mermaid” and the upcoming “Moana 2” and “Mufasa.” Still making history.

“Hamilton” remains a must-see. A swirling mix of craft, art and talent, “Hamilton” has a signature style that is unmatched. Seeing it again gives us a chance to discover new things and marvel over the rhythms and harmonies. Every performance makes America more beautiful.

Hamilton

The Fabulous Fox presents the national tour of “Hamilton” in St. Louis Aug. 28 – Sept. 8. For more information, visit www.fabulousfox.com and for tickets, www.metrotix.com. More tickets are released daily. There is a #Ham4Ham lottery, where the chosen 21 can purchase $10 tickets for 2. There are also rush tickets on Tuesdays, Thursdays and Sundays.

Note: The production photos by Joan Marcus are from a previous tour, not the current tour.

Take Ten with Joe Sonderman

Take Ten with Joe Sonderman

By Lynn Venhaus

First time Art Hill was used for sledding?

January 5, 1905. The St. Louis Globe-Democrat reported that Louisiana Purchase Exposition employees had discovered a new use for the hill in front of the Palace of Fine Arts. Now cleared of trees, “Art Hill” made a perfect toboggan slope. The employees used discarded folding chairs as sleds.

A five-home run day for Stan “The Man” Musial?

May 2, 1954. Stan Musial slammed five home runs and drove in nine in a doubleheader against the Giants in St. Louis. The Cardinals won the first game 10–6 but lost the nightcap, 9–7. Musial also set a record with 21 total bases in the two games. He went 4-for-4 with a
walk in game one and 2-for-4 with a walk in game two.

Eight-year-old Nate Colbert was in attendance that day. In 1972, Colbert would become the only other player to hit five homers in a doubleheader.

Those are just two fun facts out of hundreds in Joe Sonderman’s new book, “This Day in St. Louis History.”

A longtime radio host and traffic reporter, Joe enjoys fun facts about his hometown so much so that he’s been in search of interesting nuggets of information nearly his entire life. His fascination with our region has led to him publishing “The remarkable, the outrageous, the spectacular, and everything in between.”

The book, published by Reedy Press, arrives on area bookshelves on Aug. 31. He has book signings scheduled for September and October too. It’s his 18th book.

His answer to the most St. Louis of questions is: “Hazelwood West, 1980.”

Joe said he always loved researching history and trivia, and clipped “Through the Years” feature in the old St. Louis Globe-Democrat, which led to more library research that eventually turned into a database. On the air, he started doing a Day in History feature, which led to a project in 2002 called “St. Louis 365.”

Once he started a Facebook page called “Vintage St. Louis,” he posted daily, and it was so popular with followers that he dug back into research. And ta-da! Now a book.

“So what we have here is what I thought to be an interesting cross section of St. Louis history and trivia. It ranges from the important events to the trivial and pop-culture oriented,” he said.

The colorful book is laden with photographs, magazine covers and other interesting sites.

“The goal is not to present a serious historical work but to provide things you may not know about St. Louis history, personalities, historic
buildings, institutions, roads, bridges, TV and radio, and sports. I hope you find it interesting, no matter where you went to high school,” he said. (And for the record, Academy of Notre Dame, Belleville, Ill., 1972)

His first signing is Saturday, Aug. 31, from 1 to 3 p.m. at the Eugene Field House Museum, 634 S. Broadway, St. Louis.

You may also be familiar with him as “The Route 66 expert” and he was a major contributor to the Missouri History Museum’s comprehensive Route 66 exhibit in 2016, “Route 66: Main Street Through St. Louis.”

His other books on Route 66 include:
Route 66 in St. Louis (Images of America)
Route 66 Missouri
Route 66 in Illinois (Images of America)
Get Your Pics on Route 66: Postcards from America’s Mother Road
Route 66 in the Missouri Ozarks (Postcards of America)
Route 66 Roadside Signs and Advertisements
Travel Route 66: A Guide to the History, Sights, and Destinations Along the Main Street of America

See more books by Joe on Amazon. He wrote about the 1904 World’s Fair in St Louis, more postcard books, and books on other Midwestern cities.


Take Ten Questions and Answers with Joe Sonderman

1.What is special about your latest project?

“It’s the culmination of decades of collecting dates, facts and trivia about St. Louis. I started collecting dates when I was a kid.”

2. Why did you choose your profession?

“It was a love of music radio as it was. I grew up listening to the great top 40 jocks of the 1970s on KXOK, KSLQ and then when KHTR signed on in 1982, it was like a lightning bolt.”

3. How would your friends describe you?

“A perfectionist. Almost to a fault. I want every thing from a traffic report to a book to be just perfect.”

4. How do you like to spend your spare time?

“Driving Route 66 in my pride and joy, a 1957 Chevrolet Bel Air. But it currently is giving me a little difficulty. Old cars can be cantankerous and I think mine needs a little work. I also collect Route 66 memorabilia and have a collection of over 5,000 postcards from Route 66 on line at www.66postcards.com.”

5. What is your current obsession?

“That’s hard to say. In the winter, I would say I am obsessed with our Blues. Over the summer, it’s writing and collecting. And of course, work!”

6. What would people be surprised to find out about you?

“That’s a tough question. I think people might be surprised to discover we do traffic reports for cities all across the Midwest. I also do reports during the day in Kansas City, Des Moines and Springfield, MO. Technology makes it all possible.”

7. Can you share one of your most defining moments in life? 

“Meeting my wife Lorraine. She is my rock. We met while working at the old Flaming Pit Restaurant in Village Square, Hazelwood.”

8. Who do you admire most?

“That’s hard to say right now. I hate to get political but I admire Kamala Harris a great deal. Also Barack Obama.”

9. What is at the top of your bucket list?

“I really want to travel more…..I think I would like to take my wife to Europe one of these days.”

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The effect of the pandemic years was to cause me to appreciate working with people more. I missed not coming into the office as much. Even now, when we are not required to come in every day, I still try to come in as often as I can because I like working from the office better than setting home alone. I think radio was affected in that we became even more isolated from the audience than we already were because of consolidation etc. We have to get that connection back somehow or our business is done for.”

11. What is your favorite thing to do in St. Louis? 

“Blues hockey!”

12. What’s next?
“I haven’t given it much thought. I am going to take a break from writing for awhile because this is my 18th book and I still edit the Route 66 Association of Missouri’s magazine, which really takes a lot of my time.”

“Route 66: Then and Now” is one of Joe’s books.

More Information about Joe Sonderman:

Name: Joe Sonderman
Age: 62
Birthplace: St. Louis
Current location: Hazelwood
Family: Wife Lorraine (Married since 1982). Two daughters, Cathy and Kim.
Education: St. Louis Community College – Florissant Valley
Day job: Traffic anchor at Iheartmedia
First job: Dishwasher, Flaming Pit 1978
Favorite jobs or work in your medium? I loved being a DJ and I also miss the days when traffic reporters were airborne. But those days are gone forever I am afraid.
Dream job/opportunity: My happiest times were on KHTR in the 1980s. I wish it could be like that again.
Favorite quote/words to live by: Each day is a gift. Live like it
A song that makes you happy: I would have a hard time picking just one. It would probably be 1980s pop though, something like “Walking on Sunshine” (By Katrina and The Waves”

Joe and his classic car, 1957 Chevrolet Bel-Air.