Paul Rudd, Nick Jonas Strike a Chord in Carney’s Kicky ‘Power Ballad’

Paul Rudd, Nick Jonas Strike a Chord in Carney’s Kicky ‘Power Ballad’

By Lynn Venhaus

What happens when a long-dormant dream resurfaces in your life, and it’s within your reach, only to have cruel fates snatch it away?

Ah, the twists of fate. And when dueling singers Rick and Danny are played by effortlessly charming Paul Rudd and charismatic Nick Jonas in the John Carney Musical Universe, the result is a shaggy look at ambition, what matters in life and how music connects us.

After 20 years of modern musical movies, writer-director John Carney returns with another uplifting journey of self-discovery that has many fine emotional beats, moving us with natural conflicts that veer into farcical territory.

Maybe the two tones don’t always mix well together, but this clever story, co-written with Peter McDonald, who also appears as Rick’s lovably quirky bandmate Sandy, has a sincere beating heart that tackles contemporary music business issues.

Wedding bandmates in The Bride & Groove.

The middle-age bandmates in Ireland’s grooviest wedding band, “The Bride & Groove,” get everyone up on the dance floor with the pop hits of the ‘80s and ‘90s, but there is a restlessness to lead singer Rick.

When a wedding guest is former boy-band member Danny Wilson (Nick Jonas), he’s invited to join the band onstage, and he and Rick hit it off singing Stevie Wonder’s “I Wish.”

Keeping that spark between them, collaboration ensues during their own after-party, where they play music and drink into the wee hours of the morning. They share dreams, their creative processes, what drives them and more.

You feel their connection, so when things don’t later end on a high note, it becomes a series of unfortunate incidents that put the pair on very different trajectories.

Nick Jonas and Paul Rudd jam.

Once back in L.A., Danny’s solo songs aren’t grabbing his record label, and manager Mac (Carney regular Jack Reynor) gives him the tough talk about falling down the relevant scale. The pressure to get back in the game is enormous, especially after the other boy band members have been successful.

So, he steals Rick’s heart-on-his-sleeve intimate acoustic tune and spiffs it up, creating a global smash pop hit and reclaiming the big time – selling out arenas and living the good life.

Shopping in a mall one day, Rick hears the song playing, to his surprise, but can’t prove he wrote it, so his behavior becomes erratic and combative. When Danny won’t return his calls, he takes drastic measures, and heads to L.A. for a confrontation.

One thing is certain. The song in question, “How to Write a Song (Without You)” is an instant catchy earworm. Could it follow Oscar-winning “Falling Slowly” from “Once” as a Best Song candidate?

Paul Rudd and Peter McDonald go from “Dublin to L.A.”

Everyman Rudd, whom audiences usually root for, isn’t afraid to play a flawed character whose behavior at times is questionable. His wife Rachel (Marcella Plunkett) and daughter Aja (Beth Fallon) are baffled but love him, for better or worse.

And Jonas, whom everyone pegs as a scoundrel, is a more conflicted guy, so the lines between hero and villain are blurred.

Carney, the director of “Once,” “Begin Again,” “Sing Street” and “Flora and Son,” is in familiar territory. But he looks at the price of ambition through an older lens here.

And nobody is as perceptive about music’s redemptive impact. In his raw and real explorations, Carney has created authentic characters and original songs that meet the moments.

Nick Jonas as Danny and Havana Rose Liu as Marcia in Power Ballad. Photo Credit: David Cleary

The weathered Dublin setting is cozy and comfortable, while the L.A. paradise is framed as shallow and sterile. The realistic look at musicians and their struggles, how they fit into the world, is one of Carney’s hallmarks. How natural the characters interact is another.

After all, he is the bassist to The Frames. Carney and his longtime songwriting partner Gary Clark penned 12 original songs for the movie. The soundtrack also includes the wedding reception staple “Celebration,” plus nostalgia nods “The Power of Love,” “Summer of ’69,” “Message in a Bottle,” “Maneater,” and “The Boys Are Back in Town.”

For those who believe music unites us, “Power Ballad” is a heart-tugging, funny look at the ever-changing tides in life.

The 2026 musical comedy-drama is directed by John Carney and stars Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunkett and Beth Fallon. It is rated R for language throughout and some drug use and runtime is 1 hour, 38 minutes. It opened in theatres on June 5. Lynn’s Grade: B+.

Beguiling ‘The Tempest’ Makes A Little Magic in Hale Shakespeare Glen

Beguiling ‘The Tempest’ Makes A Little Magic in Hale Shakespeare Glen

By Lynn Venhaus

On a remote island far, far away, a mischievous mix of magic and mayhem mark “The Tempest,” which is the St. Louis Shakespeare Festival’s flagship production now anchored in Forest Park’s Shakespeare Glen.

William Shakespeare’s drama-tinged romantic comedy takes place after a violent storm has washed ashore a merry band of revelers, upending the inhabitants on this island – and nothing is as it seems. Perhaps, someone’s bad dream is another’s hopeful voyage. In any case, there is perceptible verve.

Think of this as a way-back machine “Survivor,” where everyone must outwit, outplay and outlast the people who want power. And Prospero (Nancy Bell) is manipulating a chess game.

A mother and sorcerer, Prospero rules this mystical place, and tensions rise between her, her teenage daughter and now the brother who messed up her future and has reappeared. Haunted by his betrayal, she has vengeance on her mind, for she was once Duke of Milan.

Reginald Pierre and Jeff Cummings as Prospero’s evil brothers. Photo by Phillip Hamer.

Through royal chicanery, Antonio (Jeff Cummings) usurped the title, and with the help of another brother, Alonso (Kathryn Bentley), King of Naples, she was banished 12 years earlier. But they can’t be trusted because another ambitious brother, Sebastian (Reginald Pierre), wants the king’s crown himself.

Ariel (Eliza Pagelle) is a shape-shifting spirit on the island that aids Prospero. Through her occult preoccupation, the boss finds out that her nefarious brothers are on their way from Tunis to Italy, so she conjures a squall, and they wind up where she is. Mama Bear thinks she is in control.

It won’t be long until old wounds resurface and new challenges arise. Oh, be careful what you wish for, as Alonso’s honorable son Ferdinand (an earnest Zay Williams) spies Miranda (Sigrid Wise) and falls in love.

Caliban (Chauncy Thomas) is the only true island inhabitant, a witch’s son, and resents being overtaken by Prospero, who imprisoned him so he doesn’t get too close to her daughter.

A fierce Thomas musters all his fury as a resentful native. Formerly of St. Louis, Thomas is always a welcome addition when he returns, now for the sixth time.

Bell and Chauncy Thomas as Caliban. Photo by Phillip Hamer.

The ensemble includes kindly Gonzalo (veteran Whit Reichert), an elderly Neapolitan lord who helped Prospero survive exile (but secretly), and comic buffoons Stephano (Michael Dougherty) and Trinculo (Jose Sabillon), Alonso’s butler and court jester. That daffy duo plots with Caliban to take over.

Mother and daughter have been marooned since the girl was 2 years old, so one can imagine her naivete and innocence – and yearning to break free of the overbearing parent. Nevertheless, the protective mom wants her daughter to marry for love and position.

Wise, enchanting as the isolated Miranda, is as luminous as she was as Juliet in “Romeo and Juliet” in 2018 and was part of “The Winter’s Tale” the year before. She has tangible chemistry with Williams as a decent prince who can be trusted.

Through her instincts and technique, Bell is a formidable Prospero – and as much of an impact she has had on Shakespeare in this city, one must note that this is her first leading role outdoors in Shakespeare Glen.

Bell and Eliza Pagelle as Ariel. Photo by Phillip Hamer.

 (As Playwright-in-Residence, Bell wrote several “Shakespeare in the Street” productions, earning Best New Play awards from the St. Louis Theater Circle for “The World Begun” and “Old Hearts Fresh,” and two years ago, directed the award-winning “As You Like It.” She also founded the Confluence New Play Festival.)

The Circle’s most awarded theater artist, for acting, writing and directing, Bell commands attention from various vantage points perched on the decaying hull of a shipwreck. Her character must find a way to forgive on this journey.

Director Rick Dildine shrewdly showcases Prospero’s dominance by staging Bell’s position at different heights – when she’s talking to others. It’s rare when she’s on the same level of this imposing set, masterfully adorned with functional nooks and crannies.

The former director of St. Louis Shakespeare Festival (2009 – 2017) emphasizes nature’s impact as well as the colonial-era themes. Dildine’s version is a breezy 90 minutes without an intermission.

Goofballs Jose Sabillon and Michael Dougherty with Thomas. Photo by Phillip Hamer.

He is aided by a talented squad — assistant director Lize Lewy, producer Colin O’Brien, production company Blank Slate, stage manager Sarah Luedloff, and assistant stage manager Britteny Henry.

Dildine won a Circle award for directing a shimmering “A Midsummer Night’s Dream” in 2016 where sound, lighting and scenic design enhanced the production, especially the original music.

The storytelling here is boosted by those same elements. The artisan MVPs who blended music and storm effects to elevate the experience included music director Michael Grieve, sound designer Melanie Chen Cole, lighting designer Jeff Behm and scenic designers Justin and Christopher Swader, all making impressive debuts, as were costume designer Kathleen Geldard and props designer Katherine Stepanek.

Grieve’s captivating immersive upbeat music is a zesty blend of roots music, sea shanties and folk melodies, with lively musicians Harrison Farmer, Crayton Haney and Otto Klemp, also in supporting roles, as is Grieve.

Musicians and partiers aboard a vessel. Photo by Phillip Hamer.

An original prologue on a satellite stage creates a festive atmosphere at Alonso’s daughter Claribel’s wedding, which kicks off the show (starting at 8 p.m.). Paul Dennhardt has provided interesting moves for the musicians and guests. All that’s swept away in the tempest.

Regarded as Shakespeare’s last play, when he was in his late 40s, this tale of forgiveness has the compassion of an experienced man looking at what’s important in life. And that is expressed well in this vibrant setting.

Dildine’s focus on nature’s capacity to heal is a key component to this 26th annual outing in the park, a year after a destructive tornado tore through Forest Park. He interprets that resiliency in the aftermath, as we all weather calm seas and violent storms in life.

A portion of the donations collected during “The Tempest” will go towards the tornado relief funds for the St. Louisans hit the hardest. And thanks to the parks department and Forest Park Forever, we are sitting today in these hallowed grounds of immense cultural importance.

Zay Williams and Sigrid Wise as Ferdinand and Miranda while Bell looks on. Photo by Phillip Hamer.

St. Louis Shakespeare Festival presents “The Tempest” May 27 – June 21 at 8:15 p.m., Tuesdays through Sundays, in Shakespeare Glen in Forest Park, 6604 Fine Arts Drive (next to the Art Museum). Admission is free and accessible to everyone. The Glen opens at 6:30 p.m. and the Teen Green Show takes place at 7:15 p.m. Thursday through Sunday. For more information, visit www.stlshakes.org

Wise, Williams and Bell. Photo by Phillip Hamer.

‘Fat Ham’ Flips a Family Tragedy to Free Characters Instead in Black Rep’s Spirited Interpretation

‘Fat Ham’ Flips a Family Tragedy to Free Characters Instead in Black Rep’s Spirited Interpretation

By Lynn Venhaus

With a vivacious cast of relatable relatives, The Black Rep delivers a sassy, spirited and sometimes silly “Fat Ham,” which is a modern humorous reinterpretation of Shakespeare’s “Hamlet.”

Surprising in its fresh spin of the play’s universal themes, the 2022 Pulitzer Prize-winner by James Ijames replaces royal revenge with a look at black masculinity, queer identity and cycles of generational trauma — but flips it as a comedy, not tragedy.

This production, deftly directed by Geovanday Jones, focuses on unpredictable storytelling. Jones brought out the playfulness of the performers, who sometimes mirror the Bard’s iconic roles, but mostly differ in humorous delivery and make them broader in body language.

Set at a backyard barbecue in the American South, the key points of Hamlet’s torment, confusion and the weight of heritage play heavily on the mind of gay college student Juicy, who is visited by his deceased father’s ghost. Pap seeks revenge, Juicy wrestles with that directive.

Enoch King as the ghost of Pap, with Marshall W. Mabry IV as Juicy. Photo by Howard Ash.

Pap (Enoch King) was murdered in prison and reveals to his son that his brother Rev (King, in a dual role) arranged the hit. The Rev quickly married Juicy’s livewire mother Tedra (firecracker Angela Wildflower), and disturbed Juicy sorts out a tangled web of betrayal, anger and legacy.

Blustery King capably plays two sides of the coin – the hot-tempered wronged brother Pap and the entitled, selfish bully Rev., whose toxicity signals danger.

But sweet, sensitive Juicy, masterfully portrayed by Marshall W. Mabry IV as an old soul, isn’t keen on vengeance. He summons an inner strength, shows how mature he is, and opts out.

Despite her questionable choices, his Gertrude-like mother relies on him to be steady – “You don’t get to go crazy,” she says when everything seems topsy-turvy.

Juicy breaks the fourth wall to comment on what we’re seeing and what expectations we might have, which is another departure from tradition.

Marshall W. Mabry IV as Juicy, now dressed for the party, with Angela Wildflower as Tedra on the porch. Photo by Howard Ash.

Friends and neighbors come to the party with their own baggage. The only real tragedy is that the characters are types who have never been allowed to be themselves. Tension escalates between the mean-dog uncle/stepfather and Juicy can’t relax and be true to himself.

Pass the potato salad as insights are revealed and the core group question their choices. Nods to the Bard’s great tragedy are in the form of a clever game of charades instead of an elaborate wedding banquet entertainment.

Patrick Huber’s scenic design is a marvel of form and function, creating a porch and yard with nooks and crannies for action – an adjacent shed, lawn chairs for tete a tetes, picnic tables to dance on top of while using a karaoke machine.

Huber’s crisp lighting design boosted key transitions while Tre’von Griffith’s sound design punctuated the action. Music is a key component in the presentation, and Heather Himes’ choreography brings out the show’s celebratory themes.

Olajuwon Davis as Tio, Mabry, Brian McKinley as Larry and Raevyn Ferguson as Opal. Photo by Howard Ash.

Two other stagecraft veterans added oomph, too – Andre Harrington’s costumes smartly conveyed characters and Mikhail Lynn’s props accented the social interactions.

An undercurrent simmers as more truths are exposed – Larry and Opal (aka Laertes and Ophelia) are the children of Rabby, a stylish but bossy busybody version of Polonius, who pushes her children to succeed. In another feisty role, Margery Handy lays it on thick as a boisterous social butterfly while her children are reluctant to fit into polite society.

Brian McKinley is misleading as the rigid, reserved Larry, a Marine in uniform, who needs to break free from societal expectations. He’s the epitome of duty, honor, service. As a fierce Opal, Raevyn Ferguson is mopey, forced to wear a dress, but lets loose as a lesbian who gets louder and prouder. Opal has nothing in common with Shakespeare’s Ophelia, and proclaims: “I ain’t dying for nobody.”

These siblings are the most obvious characters subverting expectations. But the major source of comic relief is naturalistic actor Olajuwon Davis as Tio, a chatty, porn-addicted stoner who serves as Juicy’s unfiltered best friend, like the Bard’s Horatio.

Fat Ham Black Rep. Photo by Howard Ash.

Observing Juicy’s melancholy, he remarks: “Your Pop went to jail, his Pop went to jail, his Pop went to jail, his Pop went to jail and what’s before that? Slavery.”

While action gets heated, don’t expect a bloodbath or even tragic deaths. Even with the tamped-down violence, the legacy between fathers and sons’ bristles, as it should for effect.

Hamlet (Juicy) isn’t home from college but attends an online school instead, majoring in human resources, and he is mocked for his goals.

What might life be like if we chose pleasure over harm? That’s the core of Ijames’ work. The younger generation wants to break the cycles of violence and trauma, opting for emancipation and joy.

The ensemble leans into these timeless elements, finding their voices and defying stereotypes. Juicy would rather live his truth out loud and doesn’t need to conform. The best thing about this twist? We are allowed to revel in his hard-fought victory — and in other characters’ liberations as well.

Mabry in the Hamlet role as Juicy. Photo by Howard Ash.

The St. Louis Black Repertory Company presents “Fat Ham” from May 20 through June 7 at The Edison Theatre on the campus of Washington University in St. Louis. The play is 1 hour and 45 minutes, without intermission. This production concludes the 49thseason. Tickets and information for performances 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

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Music Is Focus In ‘Michael’ Biopic from Jackson Family Perspective

Music Is Focus In ‘Michael’ Biopic from Jackson Family Perspective

By Lynn Venhaus

In contemporary biopics, well-known artists are usually presented in a typical template – rags to riches, bumpy roads and triumphs during a specific period, not spanning womb to tomb, and “Michael” doesn’t stray from that formula.

How this narrative distinguishes itself, in this Jackson family-produced portrait of their singular superstar, is the undeniable impact of his music and the memorable pop culture moments that Michael Jackson was a part of during his brief life. (He died at age 50 on June 25, 2009).

The story of the “King of Pop” begins in the mid-60s in Gary, Indiana, through the Jackson 5 success and their relocation to a family compound, Hayvenhurst, in Encino, Calif., to his breakout solo career, stopping at his “Bad” World Tour in 1988.

As an artistic innovator who redefined music, dance and music videos, he was known as a perfectionist who had a relentless work ethic. That is also shown in “MJ The Musical,” which opened on Broadway in 2022 and continues to tour the country, concentrating on rehearsals for Jackson’s 1992 Dangerous World Tour, and his career pressures.

Michael’s real-life nephew Jaafar Jackson portrays his uncle.

His creative genius and masterful songwriting skills are the major focus of this dramatization, while displaying his painfully shy and sensitive personality. There are glimmers of his compassion (visiting children in hospitals) and humanitarianism (although it doesn’t touch on “We Are the World” or his Heal the World Foundation).

Key moments include meeting Berry Gordy (Larenz Tate) at Motown, and his collaborations with Quincy Jones (Kendrick Sampson) on his first solo album “Off the Wall” in 1979 and then “Thriller” in 1982, which remains the best-selling album of all-time.

But the film really comes alive during the iconic pop essentials – filming of the landmark “Thriller” video, a choreography rehearsal for “Beat It,” the stunning introduction of his famous “moonwalk” on the Motown 25th anniversary special in 1983, besides his solo and group performances with his brothers Jermaine (Jamal R Henderson), Jackie (Joseph David-Jones), Tito (Rhyan Hill), and Marlon (Tre Horton).

Those scenes bristle with electricity and give the film its heartbeat. Jaafar Jackson, who is Jermaine Jackson’s son and Michael’s nephew, is remarkable in his uncanny portrayal of Michael from his teen years on, while Juliano Krue Valdi portrays him at age 10.

Jaafar has the moves, the speech pattern and the megawatt smile down pat, and Valdi is incandescent as the ebullient child singer fronting the Jackson Five. Suffice it to say he thrived in the spotlight. It’s the real-life stuff he had difficulties with (although it’s only hinted at briefly).

The struggles with his controlling and abusive father Joseph (Colman Domingo) and sweet but passive caretaker mother Katherine (Nia Long) are shown, but the family’s input on this heavily redacted narrative is obvious. After all, the list of producers includes everyone but his sister Janet and his daughter Paris. who did not sign off on this version.

So, you know you are getting a sanitized version of his life. This is the story the family wants to tell, and this is the movie that resulted – 2 hours and 15 minutes, from modest beginnings in Gary, Ind., to stopping at his Bad World Tour at Wembley Stadium the summer of 1988. Supposedly, a second part is in development. (To be continued, a screen says at the end).

If you want juicier details, look elsewhere. But if you want an entertaining slice of life that takes you back to the days when you first heard Michael Jackson and saw his evolution in the music business, those scenes pop with energy and excitement.

Colman Domingo as domineering Jackson patriarch Joseph.

Antoine Fuqua, who has directed action movies like “Training Day” and “The Equalizer,” helmed this, and his early career as a music video director is evident. His concert footage is beautifully shot by cinematographer Dion Beebe, who captures the electricity of live performances.

They also recreate the 1984 filming of the Pepsi commercial accident where Michael’s hair caught on fire from pyrotechnics and he suffered second and third degree burns on his scalp. That alludes to taking painkillers, which later caused issues for the star.

Screenwriter John Logan, who has been nominated for three Oscars for writing “Gladiator,” “The Aviator” and “Hugo,” and won the Tony Award for Best Play with “Red” in 2010, knows how to weave a compelling tale about larger-than-life personalities.

Logan also highlights Jackson as a savvy businessman, knowing exactly what he wanted, in meeting scenes with record company executives and managers.

the early beginnings of the Jackson 5 band.

This film was made for his legions of fans, and from the preview audience reaction, this will be a massive crowd-pleaser for those who separate the art from the artist, and is not for the cancel culture.

In quieter life moments, the film touches on Michael’s loneliness as a boy, his retreat into a fantasy life involving Peter Pan, old Hollywood movies, and his big dreams to be the best at what he did as an entertainer. It’s meant to tug at the heartstrings, the perennial man-child dilemma..

Yet, the film shows a loving relationship between Michael and his brothers — even when they’ve grown up and he hasn’t. In their younger days, those roles are played with great zest by Jayden Harville as Jermaine, Jaylen Lyndon Hunter as Marlon, Judah Edwards as Tito, and Nathaniel Logan McIntyre as Jackie, with Amaya Mendoza as a young LaToya.

His eccentricities include housing exotic animals that were a major part of his menagerie, including Bubbles the Chimp (a horrible CGI visual)..

The cast includes Laura Harrier as sharp Motown talent scout and later executive Suzanne de Passe, Jessica Sula as La Toya, KeiLyn Durrel Jones as Michael’s bodyguard/confident Bill Bray, and Miles Teller as lawyer and manager John Branca, who is also credited as a producer. Branca is co-executor of the Michael Jackson Estate.

Mike Myers, who also had a cameo in “Bohemian Rhapsody,” shows up here as CBS Records president Walter Yetnikoff, who puts the squeeze on MTV to play Michael Jackson’s “Billie Jean” in heavy rotation, threatening to pull his artists like Bruce Springsteen, Journey, Billy Joel, and other big names on the label if they didn’t.

While “Michael” is not a documentary or a complete picture, this fictional account encapsulates how Jackson’s talent endures and reminds the audience why they admired his unique four-decade contributions. This is definitely geared to a specific audience who is willing to get lost in the music.

“Michael” is a 2026 music drama biography about the late Michael Jackson, produced by his family and estates. It is directed by Antoine Fuqua and stars Jaafar Jackson, Colman Domingo, Nia Long, Juliano Krue Valdi, Larenz Tate, Kendrick Sampson, KeiLyn Durrel Jones, Ryan Hill, Miles Teller, Mike Myers, Jamal R. Henderson, Joseph David-Jones, Tre Horton, Jessica Sula and Laura Harrier. The film runs 2 hours, 15 minutes and is Rated PG-13 for some thematic material, language, and smoking. It opens in theatres April 24. Lynn’s Grade: B

Space Odyssey ‘Project Hail Mary’ Is a Heavenly Heart-Tugging Triumph

Space Odyssey ‘Project Hail Mary’ Is a Heavenly Heart-Tugging Triumph

By Lynn Venhaus
Clever, funny and heart-tugging – all the crucial qualities for a crowd-pleasing movie – are abundant in “Project Hail Mary,” an unlikely epic space opera that feels intimate with a smart script that isn’t dumbed down for mass appeal but comprehensible nonetheless.

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out.

He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction — but an unexpected friendship means he may not have to do it alone.

Savvy minds, rejoice! Respectfully silly at times and eager to please in one of the year’s most entertaining offerings, wildly creative directors Phil Lord and Christopher Miller take us on a journey that never loses sight of what connects us as earthlings and in the universe.


Oscar winners for the 2018 best animated feature, “Spider-Man: Into the Spider-Verse,” Miller and Lord have a track record of turning films like “The Lego Movie” and “The Mitchells vs. The Machines” not only into innovative works but surprising emotionally rich stories too.

“Project Hail Mary” is the perfect vehicle to showcase their strengths, combining scientific theory with solid storytelling. They found the heartbeat in Andy Weir’s best-selling 2021 sci-fi novel by casting Ryan Gosling as Ryland Grace, a lovable middle school science teacher who is clearly capable of pushing boundaries with his molecular biologist research.

Grace is tapped by a task force to help uncover why the Sun is dimming, leading to the formation of a dim infrared line from the sun to Venus dubbed the Petrova line, which would cause a catastrophic ice age within 30 years.

Asked to study a sample from the Petrova line, he discovers it is made up of single-celled organisms that consume electromagnetic radiation. He calls it ‘astrophage,’ and it breeds by absorbing energy from the Sun and carbon dioxide from Venus.


Without getting too much into the weeds, this astrophage is infecting stars, too, and a nearby star, Tau Ceti, is where the “Hail Mary” spaceship is bound. Grace is reluctant to participate in this space probe, which likely means he may not make it back home, but Eva Stratt, superbly played by Sandra Huller, is persistent.

Drew Goddard’s nimble screenplay adaptation makes it all understandable, while Gosling does the heavy lifting. With his megawatt charm, quick wit, and agility to immerse himself in any character, Gosling slam-dunks the Everyman-turned-superhero role.

If he is the soul, then the alien Rocky is the heart. Emphasizing empathy, the movie turns into an affectionate buddy relationship after Grace emerges 13 years later aboard the Hail Mary. Once he figures out things, he discovers he is not alone.

Enter an alien being, which he dubs Rocky. To communicate with this eyeless, spider-like five-legged creature, he develops a system, and Rocky, a skilled engineer, is trying to save his star home too, so they collaborate. And thus, the beginning of a beautiful friendship. James Ortiz voices the creature.


Hooray for the creators who resisted having a strictly CGI creature, but instead, puppeteers maneuvered this “Rocky.” We like our aliens lovable (“E.T.: The Extra-Terrestrial” being the prime example), and Rocky strikes a common chord, as homesick as E.T. and as logical as half-Vulcan Mr. Spock on “Star Trek.”

For its celestial atmosphere, cinematographer Greig Fraser, Oscar winner for “Dune,” blends digital technology with practical realism, and expertly crafts shadows and light. Composer Daniel Pemberton ingeniously uses organic matter, like glass and a squeaky water tap, and percussive sounds, to flavor his interesting score. He also uses choirs for a grand effect.

The use of Harry Styles’ 2017 song, “Sign of the Times,” in a karaoke scene, is a standout, beautifully underscoring the film’s themes.

The movie’s supporting players include Lionel Boyce, Emmy nominee as pastry chef Marcus on “The Bear,” as a government security guy, and Ken Leung and Milana Vayntrub as astronauts.


Goddard, an Oscar nominee for “The Martian,” another Weir novel, deftly delivers the contrast in big ideas and caring for others. Weir’s characters are indelible on the page, and Goddard makes them as memorable on the big screen.

Yes, it’s a long film, at 2 hours, 36 minutes, but it never loses momentum.

A thrilling triumph, “Project Hail Mary” is both classic in themes and far-reaching in scope, proving there is an audience for high-stakes storytelling that hits all the feels in a visually stunning cinematic experience.

“Project Hail Mary” is a 2026 space sci-fi thriller directed by Phil Lord and Christopher Miller and starring Ryan Gosling, Sandra Huller, Lionel Boyce, Ken Leung and Milana Vayntrub, It is rated PG-13 for some thematic material and suggestive references and the run time is 2 hours, 36 minutes. Opens March 20 in theaters. Lynn’s Grade: A-

The Rep’s Brain-Teasing ‘The Enigmatist’ Exhilarates and Entertains Like the Best Game Night Ever

The Rep’s Brain-Teasing ‘The Enigmatist’ Exhilarates and Entertains Like the Best Game Night Ever

By Lynn Venhaus

Mesmerizing and masterful, “The Enigmatist” is a mind-blowing, brain-teasing, cleverly constructed blend of magic, puzzles, cryptology, and history.

This indelible one-man show by big-brained mastermind David Kwong engages through his razor-sharp wit and a theatrical flair for surprise. Clues abound and it felt like a communal game night with fun, smart people.

In the final stretch of The Rep’s season of “Daring Imagination,” this latest gem in the Steve Woolf Studio Series ignited an exhilarating adventure that left me awestruck and feeling as if my brain had undertaken a stimulating workout.

Before he even introduced himself, Kwong had us intrigued at the Puzzle Garden, an appetizing array of four brainteasers in The Rep’s lobby that serves as a prelude to his immersive experience below in the Emerson Studio Theatre.

The Puzzle Garden is ready to explore before the show and during intermission. Photo by Jon Gitchoff.

Highly recommended is arriving early so you can spend 30 minutes trying to figure them out – with small and large hints accessible. This interactive warm-up sets the stage for a shared feeling of togetherness that made the event so memorable. And you can return at intermission.

Most impressive is Kwong’s showmanship – in both his storytelling and audience interaction. He’s a charming ‘cruciverbalist’ who writes New York Times crossword puzzles, which accounts for his astounding verbal dexterity, but he has an easy-going, self-deprecating sense of humor that instantly engages the audience.

He’ll tell you about the gap between what you see and what you believe, and you’re immediately hooked. The thrill of code-breaking soon follows. The audience gets to guess, answer and be a part of the presentation. You may think that Kwong is the smartest man in the room, but you may be surprised by the brilliant minds sitting near you.

A dapper, slender man in a suit-and-tie, Kwong’s professorial demeanor doesn’t need the enhancement of a flamboyant Vegas-type spectacle for his imaginative tricks, and in his seamless style, keeps the show moving with astonishing ‘math magic’ and a fascinating tale involving intelligent heroes and stingy villains.

An audience member interacts with David Kwong. Photo by Jon Gitchoff.

Yes, math and science figure into his show, and so do history and wordplay. Fellow nerds and brainiacs are in heaven, but you don’t have to be a card-carrying Mensa member to enjoy. Just bring your curiosity and put on your thinking cap.

Suffice it to say you’ll never look at a kiwi fruit the same way again, and you’ll want to dig out your Scrabble board once you’re at home. The thrill of discovery is a major part of this intricately concocted excursion. (And we reciprocated by introducing him to Imo’s Pizza when someone suggested Imo’s for a crossword puzzle.)

His current playground is a cozy study setting, resembling what might have been at 221B Baker Street in London, Sherlock Holmes’ fictional address, or a well-traveled academic’s sanctuary. A few cabaret tables are scattered for patrons, giving it a small basement club vibe too.

Production Designer Brett J. Banakis and Lighting Designer Sean Gleason effectively keep the focus on Kwong’s illusions while Video Designer Joshua Higgason’s treasure trove of historical research helps us understand George Fabyan, who is a central figure in this enigmatic presentation.

A veteran New York Times crossword puzzle constructionist, Kwong shows how it’s done. Photo provided.

Fabyan, an eccentric business tycoon whose Riverbank estate along the Fox River in Geneva, Illinois, became home to experts in science, agriculture, literature and more as a private research laboratory. Known for pioneering modern cryptology in early 20th century, Fabyan is recognized as a forerunner of the National Security Administration.

Just as fascinating is the backstory of William and Elizabeth Smith Friedman, two of his employees who married and became experts in code breaking. They introduced mathematical/scientific methods to codebreaking during World War I, broke Japanese codes (including PURPLE) in World War II, and developed the theory of secure, one-time-pad communication.

Kwon weaves their stories into his script, and the history lesson is noteworthy. The visuals are not only those tidbits, but we watch Kwong construct Scrabble words — including three 8-letter ‘Bingos’ — and a crossword puzzle with an incredible verbal virtuosity that must be unrivaled.

The son of history and biochemistry professors, Kwong credits his “really smart” parents for sparking his curious intellect. A Harvard graduate who has become a renowned puzzle maker, TED Talk favorite and author, he has written “Spellbound: Seven Principles of Illusion to Captivate Audiences and Unlock the Secrets of Success,” and the children’s book “How to Fool Your Parents.”

Kwong surprises another audience member. Photo by Jon Gitchoff.

He also caught the attention of Hollywood and has been a consultant on the “Now You See Me” movies, “Mission: Impossible – Rogue Nation,” “The Imitation Game” and the television series “Blindspot.”

Produced by Erica Fee and Jason Seabright, the show has wowed sell-out crowds in New York, Los Angeles, Chicago, Washington D.C., Toronto and London since its debut in 2019.

With its unmistakable new worlds of wonder, “The Enigmatist” is a delightful evening, where loud gasps, chuckles, and exclamations ripple throughout the audience, sparking applause and jaws dropping in equal measure.

No rabbits are pulled out of hats and there is no escape hatch, but you may be giddy if you find calculations appealing. You get the hocus pocus of card tricks and mystifying sleight-of-hand (best left unspoiled), and creative problem-solving that is stunning. And that’s entertaining on multiple levels.

Kwong about to reveal something that will stun the audience. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “The Enigmatist” March 7 – April 5 as the final installment of The Rep’s 2025-26 Steve Woolf Studio Series in the Emerson Studio Theatre, located in the Loretto-Hilton Center on the Webster University campus, 130 Edgar Road, Webster Groves.

The show is recommended for those ages 6 and up. Including a 15-minute intermission, the show is about 2 hours. Merchandise is available for purchase, including magic books and playing cards from David Kwong,

Tickets for are general admission. Audiences can elevate their experience by upgrading to a Studio VIP Subscription, which includes reserved seating, parking in Lot K, and exclusive behind‑the‑scenes content and interactive experiences. Tickets are available at repstl.org or by calling The Rep Box Office at (314) 968‑4925.

Who knew Scrabble tiles could be so entertaining? Photo provided.

‘Good Luck, Have Fun, Don’t Die’ Is A Sci-Fi Action Comedy With Big Ideas and a Cynical Heart

‘Good Luck, Have Fun, Don’t Die’ Is A Sci-Fi Action Comedy With Big Ideas and a Cynical Heart

By Alex McPherson

Furious and scattershot, director Gore Verbinski’s madcap sci-fi parable “Good Luck, Have Fun, Don’t Die” has numerous incisive ideas about humanity’s dependence on technology but muddles them with a heavy dosage of smug humor.

One cannot accuse Verbinski of not being ambitious, though, with his latest effort bringing to mind a range of films including “Groundhog Day,” “The Terminator,” and “Everything Everywhere All At Once.” The film takes place in a near-future in which humanity’s addiction to technology has created a society of apathetic, homogenous-seeming beings doing nothing to stop society’s descent into tech company servitude. 

We open with an extended sequence featuring a disheveled, sardonic Man From the Future (Sam Rockwell) bursting into Norm’s Diner in Los Angeles in search of people to join him on an epic quest to prevent the AI apocalypse. He claims to have a bomb strapped beneath his transparent raincoat and launches into a speech about how technology has ruined modern life, insisting that time is of the absolute essence. 

This isn’t the Man’s first rodeo, though; it’s actually his 117th attempt with this same batch of disbelieving patrons. All of his previous 116 attempts have ended in death for everyone involved (except him), with the Man “resetting” and trying to find the right combination of people necessary to complete his mission. This time could be different, though. 

The group the Man pseudo-forces to participate includes Mark (Michael Peña) and Janet (Zazie Beetz), a couple going through a rough patch who recently started new jobs as high school teachers. They are increasingly disturbed by their students’ obsession with their smartphones and cynical detachment from the outside world, even during a school shooting, which is treated like “just another day.”

There’s also Susan (Juno Temple), a mother who lost her son in that same shooting and whose grief is brushed away — there is, as a squad of local mothers tells her, a company that specializes in creating clones of children who died in school shootings. Yikes. 

There’s Ingrid (Haley Lu Richardson), a severely depressed woman wearing an off-brand Disney princess costume who is literally allergic to Wi-Fi and smartphones. Along with a few other people who aren’t given much meaningful character development, the Man and his team embark on an increasingly loony journey.

Mixing madcap sci-fi action with a decidedly nihilistic streak, “Good Luck, Have Fun, Don’t Die” is alternately amusing and exhausting over its 135-minute runtime. For all of Verbinski and screenwriter Matthew Robinson’s sharp thoughts on our technological hellscape (did you see how many SuperBowl ads were about AI?), there’s a shakiness to the film that draws you in and subsequently pushes you away. 

The film mines plentiful deadpan humor from the populace’s matter-of-fact reactions, whether it be judgy, entitled high schoolers glued to their phones, or Susan’s newly-cloned kid who is “ad-supported,” all while nobody is taking action to turn things around.

Even so, the film can’t decide between championing these idiosyncratic, reluctant heroes and reveling in the tech-addicted nastiness that surrounds them. Poignant moments are offset by edgelord, shock-value humor that is deeply proud of itself and leaves a cold aftertaste.

Rockwell is the perfect choice to play this snarky antihero. He’s goofy and sometimes callous but strong in his convictions, with an increasing desperation creeping in as he nears closer to finally stopping the horrors of an AI-controlled future.

The rest of the cast aren’t anywhere near as dynamic to watch as Rockwell, but they get the job done, effectively emphasizing their feelings of displacement with an environment that refuses to recognize their empathy and, indeed, their humanity.

Verbinski and Robinson take ample time to provide backstory for the “core group,” structured in “Black Mirror” -esque flashbacks that periodically break up the immediate action of the Man and co. escaping from Norm’s and venturing to their next objectives.

This vignette structure works well enough (albeit padding the runtime to an excessive degree), and helps illuminate the personal costs of living in this reality that’s not all that dissimilar from our own. Less impactful are the labyrinthine multiversal shenanigans that arise in the finale, difficult to follow and messy in a decidedly hand-made way.

“Good Luck, Have Fun, Don’t Die,” then, is a rickety experience that’s still impossible to discount. Verbinski and Robinson take rightful aim at the devices and companies that are hijacking our attention and transforming us into passive, homogenous consumers rather than informed people with agency over our own lives.

The crafts, too, are noteworthy, especially James Whitaker’s energetic cinematography and a techno score by Geoff Zanelli that pulses with rambunctious life.

Verbinski and Robinson are clearly interested in sounding a 5-alarm fire about doing something now rather than waiting until all hope is lost. The messiness of living in the real world, the film says, is worth fighting for, even when the digital one offers an illusion of safety and happiness.

There’s definitely merit to that message in 2026, although “Good Luck, Have Fun, Don’t Die” is ultimately a mildly entertaining, pitch-black yell at the Cloud.

“Good Luck, Don’t Die, Have Fun” is a 2025 sci-fi action-adventure horror comedy directed by Gore Verbinski and starring Sam Rockwell, Juno Temple, Haley Lu Richardson, Michael Pena, Zazie Beetz, Georgia Goodman, and Asim Chaudhry. It is rated R for pervasive language, violence, some grisly images and brief sexual content and runs 2 hours, 14 minutes. Opens in theatres Feb. 13. Alex’s Grade: B-.

Glossy Cosplay, Icy Heat for a New Generation in ‘Wuthering Heights’

Glossy Cosplay, Icy Heat for a New Generation in ‘Wuthering Heights’

By Lynn Venhaus

Visually stunning but emotionally empty, “Wuthering Heights” is an abomination for fans of the classic gothic romance, a disservice to Emily Bronte’s dark source material about eternal love, longing, hurtful pride and ruthless revenge.

The 1847 novel took place on the harsh Yorkshire moors. The impoverished, abused Heathcliff, adopted into the affluent Earnshaw family around 1771, works manual labor, and forges a special bond with the privileged, petulant Catherine.

However, writer-director Emerald Fennell claims it’s not an adaptation, but a bold and sexy interpretation of how the book made her feel when she read it at age 14. Maybe she could have changed the title to avoid less-than-flattering comparisons?

Fennell’s spin is edgy excess as she favors kinky bodice-ripping sexual compulsion over the book’s spiritual obsession that lingers long after reading. The emotional heft that the novel delivered for 180 years is lacking,

Australians Margot Robbie and Jacob Elordi are pretty people who are magnetic on screen and talented Oscar-nominated actors.

Although Robbie, at 35, is too old for her character, and Elordi’s modern casting is controversial because he’s not a person of color, they display a spark as the doomed lovers — refined, selfish Catherine and rough, tormented Heathcliff.

In this salacious version, the heavy lifting required for such complicated characters in what would be considered a toxic and manipulative relationship in today’s world isn’t important.

Treated as an outcast, Heathcliff is described by Bronte as a “dark-skinned gypsy in aspect” and “dirty, ragged, black-haired,” so speculation that he was black or brown-skinned continues.

Playing the young roles, Brits Owen Cooper (Emmy winner for “Adolescence”) and Charlotte Mellington, excel at establishing the characters’ demeanors.

 In previous screen portrayals of grown-up Heathcliff – Laurence Olivier in 1939, Timothy Dalton in 1970, and Ralph Fiennes in 1992, with Richard Burton in a 90-minute DuPont Show of the Month in 1958 and Tom Hardy in a two-part series on Masterpiece Theatre in 2009 — all were white.

Only one – James Howson, a black actor, portrayed the brooding anti-hero in a 2011 film by director Andrea Arnold. So, the debate continues.

The tone is troubling too – Elordi is never savage or a brute to Robbie, and she’s not nearly as wild as the book depicts Cathy. Their relationship, so-called “forbidden,” was thwarted because of societal constraints in the Victorian Era.

Fennell gussied up the look with ready-for-influencers’ glossiness that is distracting and merely decorative — and at times, not period-appropriate.

The shiny surface spotlights the crafts over substance, foregoing the book’s deeper meaning about twisted, destructive intergenerational consequences because Fennell cut out the second half.

She has reduced this timeless tale to a tedious 2 hours, 16 minutes of fan fiction, with too many scenes reminiscent of 1990s perfume ads, complete with.artsy shadows and peculiar attitudes.

Costume designer Jacqueline Durran goes increasingly over-the-top with Catherine’s opulent, outlandish outfits – including an iridescent cellophane dress accented with a large pink bow, as if she’s a gift for her new husband. How meta!

She and production designer Suzie Davis get carried away with a color palette emphasizing red and pink. An odd collection of leeches on the wall of Catherine’s palatial dainty pink-and-freckled bedroom is a ridiculous misuse of the era’s medical customs.

Oscar-winning cinematographer Linus Sandgren (“La La Land”) emphasizes unrelenting weather elements to convey the windy, rainy and foggy conditions of the rugged moors, employing impressionistic lighting and sweeping long takes to heighten the gritty geographic-specific realism.

When Cathy marries aristocratic Edgar Linton (Shazad Latif) of neighboring estate Thrushcross Grange for financial stability, as her gambling drunkard father (Martin Clunes) has frittered away their fortune, a devastated Heathcliff feels betrayed and leaves, only to come back five years later a rich man.

After he buys Wuthering Heights, Heathcliff later seeks revenge on everyone who has wronged him (although the film misses the mark here by not continuing that storyline). As soulmates, he and Catherine maintain an intense and tumultuous relationship, more sexually explicit here than the 18th-century book.

Spitefully, he marries Edgar’s sheltered, child-like sister Isabella (a terrific Alison Oliver). This sadistic-masochistic relationship is the film’s most troubling insertion, next to the shocking hanging scene that opens the film as a sexually arousing public event (things you can’t unsee).

Known for her provocative, twisted takes on relationships (“Promising Young Woman,” “Saltburn”), Fennell has established herself as someone with a fresh, unique vision. In this strange misfire, the mood is more important than the message, and her tinkering has cut out some crucial characters or revised them in ways that don’t make sense.

She eliminated Catherine’s bully brother Hindley, who was cruel to Heathcliff while the dad was kind, changed the parents’ narratives, and dropped the second half of the book, among other puzzlers.

Therefore, characters aren’t haunted by the tragic past, and the supernatural elements aren’t brought up. That’s a huge part of this story. Fennell didn’t want to go the distance, and because of that, the character development is scattered.

Fennell has made Nelly Dean, the maid who is more of a Heathcliff ally in the book, the villain here, and is slyly played by the superb Oscar-nominated actress Hong Chau as someone wounded and lashing out (Mrs. Danvers, anyone?). It’s another confusing element.

In her Oscar-winning screenplay for “Promising Young Woman,” Fennell presented an original view on gender disparity, and “Saltburn” was an intriguing class clash, a twisty take on “The Talented Mr. Ripley,” both ramping up shocks and dropping jaws — effective contemporary pieces that kickstarted conversations (and brisk business for the novelty candle “Jacob Elordi’s Bathwater”).

The frenzy/firestorm continues here with a polarizing work, but this time it’s rooted in a beloved book. Does the original intent come through for the uninitiated, who aren’t familiar with the star-crossed lovers’ tragedy that continues to fascinate?

What will be the lasting impressions? It seems disposable, save for.bizarre images of dog collars, messy broken eggs, mountains of gin bottles, scarred flesh, pig’s blood, voyeurism, eccentric dolls, and lots of ribbons.

To add to its surreal aesthetic, Charli XCX, a pop star known for her synth-electro beats, has created a modern techno soundtrack.  

In its favor, Fennell kept some of the most revered quotes in: “Whatever our souls are made of, his and mine are the same,” “I cannot live without my life! I cannot live without my soul!” and “I have not broken your heart—you have broken it; and in breaking it, you have broken mine.”

If an adaptation – say Baz Luhrmann’s “Romeo + Juliet” and “The Great Gatsby” — brings a dynamic energy to the moral complexities of a moment in time – then we can accept the changes, but when one ignores the psychology in favor of spectacle, it’s merely a parade of ‘strike-a-pose’ cosplay scenes.

Call me a romantic traditionalist, but this ‘loosely based’ adaptation is cringy, turgid, unnecessary and interminable.

“Wuthering Heights” is a 2026 period drama romance directed by Emerald Fennell and starring Margot Robbie, Jacob Elordi, Hong Chau, Shazad Latif, Alison Oliver, Martin Clunes, Owen Cooper and Charlotte Mellington. It is rated R for sexual content, some violent content and language and runs 2 hours, 16 minutes. It opens in theaters Feb. 13. Lynn’s Grade: D.

Sam Rockwell Tries to Save Us in ‘Good Luck, Have Fun, Don’t Die’

Sam Rockwell Tries to Save Us in ‘Good Luck, Have Fun, Don’t Die’

By Lynn Venhaus

A science fiction action-adventure horror comedy are many genres to cram into one anti-artificial intelligence film, but Sam Rockwell’s bonkers’ performance makes “Good Luck, Have Fun, Don’t Die” an interesting commentary for our time.

Rockwell plays a “Man from the Future” who walks into Norm’s Diner in Los Angeles to recruit patrons to join him on a one-night quest to save the world from the terminal threat of a rogue artificial intelligence.

Disheveled and wearing a clear plastic raincoat, he alarmed diners who think he’s crazy and he flings their phones around and warns of an upcoming apocalypse. Whoa.

The unnerving snarky satire by Matthew Robinson gives Rockwell the ball to slam-dunk, and his trademark fast-talking, high-energy goofiness is worth paying attention to as he cautions earthlings to put down their phones and focus on what is happening in the world.

As the “Man from the Future,” the eccentric Rockwell screams to a diner patron: “Progress is only progress if it makes things better! Otherwise, it’s a mistake!” and this is the film’s theme – that the human cost of technology obsession and unbridled AI will be loss of connection and mental health.

At what price are we willing to sacrifice what makes us human? People whose existential dread is fueled by society’s inability to shut off screens for any length of time may experience more anxiety about perpetual distraction ruining everything.

And it’s not subtle at all. This chaotic cautionary tale gets real about school shootings and teachers’ inability to educate rude, sarcastic and apathetic teenagers in unhinged scenarios.

Director Gore Verbinski is not afraid to take risks, for he’s made “The Ring,” the original trilogy of “The Pirates of the Caribbean” and the Oscar-winning animated film “Rango.” After a 10-year break, he’s back with his quirky visual style and maintains a manic pace, even though the message’s momentum eventually wanes.

A series of backstories on characters that Rockwell’s enlists “to save society” gives strong actors like Michael Pena (Mark), and Zazie Beetz (Janet) as teachers, Haley Lu Richardson (Ingrid) as a birthday party princess, Juno Temple (Susan) as a grieving mother, Georgia Goodman (Marie), and Asim Chaudhry (Scott) as a ride-share driver an opportunity to craft distinct personalities, but they aren’t given much time to develop any depth.

The lack of explanation on character behaviors and situations ultimately hurts the film’s reception, as does the unrelenting frenzy and the overall bleak attitude. The jokes stop being funny.

Composer Geoff Zanelli, production designer David Brisbin and costume designer Neil McClean all brought their A-game to this strange, trippy production that bears closer resemblance to a cocktail of “Terminator 3: Rise of the Machines,” “Alice in Wonderland,” “The Creator,” “The Mitchells vs. The Machines,” and “The Wizard of Oz” as the film unfolds.

Messy but relevant, and overlong at 2 hours, 14 minutes, “Good Luck, Have Fun, Don’t Die” is well-meaning about brain rot and hive minds, and benefits from a bizzaro star turn by Rockwell.

The Oscar-winning actor thrives on weirdness, and he merrily goes down Verbinski’s virtual reality rabbit hole. The director takes big swings that become visual overload as the clock runs out, but the point of view is original.

“Good Luck, Have Fun, Don’t Die” is a fidget spinner for our time, and forces us to pay attention.


“Good Luck, Don’t Die, Have Fun” is a 2025 sci-fi action-adventure horror comedy directed by Gore Verbinski and starring Sam Rockwell, Juno Temple, Haley Lu Richardson, Michael Pena, Zazie Beetz, Georgia Goodman, and Asim Chaudhry. It is rated R for pervasive language, violence, some grisly images and brief sexual content and runs 2 hours, 14 minutes. Opens in theatres Feb. 13. Lynn’s Grade: B.

Sharp Technical Elements Boost Suspense in Stray Dog’s ‘Deathtrap’

Sharp Technical Elements Boost Suspense in Stray Dog’s ‘Deathtrap’

By Lynn Venhaus

Fans of whodunits who’ve never seen Ira Levin’s clever tale of murder and betrayal should have a good time in the cozy confines of Tower Grove Abbey as “Deathtrap” unfolds with its scathing wit and intricate surprises.

Ira Levin, author of “Rosemary’s Baby” and “The Stepford Wives,” knows his way around a suspenseful shocker, and his 1978 play “Deathtrap” holds the record for longest running comedy thriller on Broadway.

It ran for more than four years — 1,793 performances, which is a remarkable accomplishment. Fun fact: It was Victor Garber’s first major role on Broadway (as Clifford). A film adaptation starring Michael Caine and Christopher Reeve followed in 1982. Its only revival was in London’s West End in 2010 that featured Simon Russell Beale and Jonathan Groff.

Besides its ingenious construction, the dark comedy is also highly theatrical, peppered with artistic merit in-jokes and catty remarks about show business, talent and success – plus snarky gossip on friends and neighbors in upscale Westport, Conn. (The lead’s favorite play is “Angel Street,” which is a sly nod to the film “Gaslight.” Chew on that).

Stephen Peirick and Anne Vega as the Bruhls. Photo by Stray Dog Theatre.

Sidney Bruhl (Stephen Peirick), a once successful playwright, hasn’t had a hit in a long time. He reads a play by Clifford Anderson (Victor Mendez), a former student at one of his writing seminars, and tells his wife Myra (Anne Vega) about how envious he is of this young inexperienced man’s craft. He predicts “Deathtrap” will be a sure-fire hit and make Anderson very rich.

Casually, he jokes about a ‘what if” scenario – he could get away with murder if he timed it just right and then claimed the work as his own. His sleuthing skills could hatch a foolproof crime.

Myra, naturally, is horrified. He laughs at his audacity, but is he really showing his devious nature? Let’s just say the plot thickens and evil lurks.

Covering his tracks, Sidney lures the talented pupil to his country home, and they dissect writing mechanics, particularly when plotting mysteries. Sidney is a condescending mentor to Clifford’s boyish hero worship.

In small but integral supporting roles, Liz Mischel is a psychic neighbor Helga ten Dorp and David Wassilak is attorney friend Porter Milgrim.

Liz Mischel and David Wassilak as psychic neighbor and attorney friend. Photo by Stray Dog Theatre.

The only way this plot works in the 21st century is to keep the setting in the past — where people still use typewriters, carbon paper and landlines, without any digital accessories. So, a few of the cultural references are dated, but don’t detract. Levin has thrown in a dark and stormy night for good measure.

The technical elements are superb, providing an unsettling atmosphere for the disturbing behavior about to happen. Rob Lippert’s striking scenic design makes the bad vibes come alive — a rustic study renovated from a stable, with framed theatrical ‘window cards’ that are Bruhl’s greatest hits and reflect classic film noir posters.

A prominent display of antique weapons, a collection of props from his hit shows, includes gruesome pieces that look like from “Games of Thrones” and the board game Clue — guns, axes, swords, knives, crossbow, club, morning star and handcuffs.

Tyler Duenow’s lighting design is effective and precisely timed while Justin Been’s sound design adds another layer of eeriness. He’s always spot-on with his music interlude choices.

VIctor Mendez as Clifford Anderson and Peirick. Photo by Stray Dog Theatre.

While the mood changes, the characters are one-dimensional, so the performers are one-note, and that makes investing in their welfare difficult. Peirick, a dedicated all-in leading man, is the insufferable blowhard Sidney.

The pompous playwright is written as the smartest guy in the room and never lets you forget it, but he is supposed to have some charm, although it’s not apparent on stage. Peirick exaggerates his dialogue while pontificating on writing and human behavior to such an extent that the affectation is stretched out, affecting the show’s pace.

As Clifford, Mendez depicts earnestness but isn’t as convincing when his deception becomes apparent. And that façade needs to slowly crumble, from eager to underhanded.

While loving and supportive, Myra is described as sophisticated and upper-class but Vega, despite showing her sweetness, is dressed frumpily. Vega is the show’s conscience and projects that well.

Liz Mischel and Anne Vega. Photo by Stray Dog Theatre.

Mischel is ideally suited as the flamboyant psychic with an elaborate Dutch accent and a colorful wardrobe, because the over-the-top character wants to always pull focus to her. Think Madame Arcati in “Blithe Spirit.”

Wassilak is his customary professional self as Sidney’s shrewd attorney and Westport, Conn. friend.

The tangled web indicates people are never what they seem to be, some more conniving than others. And there are enough developments to keep everyone guessing through two acts.

Director Gary F. Bell uses shadows and light to punctuate this very smart murder mystery, and his crisp execution of the twists and turns is noteworthy, steadily building tension.

Yet craft is everything in this 48-year-old chestnut, because the designs are as important as the shocks.

Mendez, Peirick and Vega. Photo by Stray Dog Theatre.

For those of us who’ve seen it multiple times, you anticipate the turns so you see the cracks, and it’s no longer as fascinating, but for newbies, it’s a huge crowd-pleaser. Murmurs went through the audience when key revelations happened.

The genre piece may not have aged as well as say an Agatha Christie ‘s “The Mousetrap” or Anthony Shaffer’s “Sleuth,” but as an examination of the seven deadly sins through a modern human nature lens, remains entertaining.

Stray Dog Theatre presents “Deathtrap” Feb. 5-21, Thursdays through Saturdays at 8 p.m. and Sundays Feb. 8 and 15 only at 2 p.m. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information: www.straydogtheatre.org.

This production contains the use of replica weapons and firearms, loud noises, and flashing lights. The play is nearly 3 hours in length, with one 10-minute intermission.