By Lynn Venhaus A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.
As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.
In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.
The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.
Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb
It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.
Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.
Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).
The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.
Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.
Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb
When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.
Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.
As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.
The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.
It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .
Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.
A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.
Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.
This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.
Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb
Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.
ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus In 1965, the conflict between Dr. Martin Luther King Jr. and President Lyndon Johnson regarding voting rights came to a head because of escalating violence. On the streets of Selma, Alabama, the struggle to end racial discrimination was real. The drive for equality that resulted in the historic march from Selma to Montgomery and the hard-fought triumph that was the Voting Act Rights is depicted in a new historical drama written by British playwright Paul Webb.
The St. Louis Black Repertory Company hosted British playwright Webb for the world premiere of “Hold On!” that began with previews Jan. 10, opening night was Jan. 12, and the show ran Wednesday through Sunday until Jan. 28 in the Edison Theatre on the campus of Washington University in St. Louis. It was the kickoff to their 47th mainstage season and directed by founder and producing director Ron Himes.
“We’re delighted to be producing this exceptional world premiere and we’ve pulled together an extraordinarily talented group of creatives to tell this story, It’s a great way to kick off our 47th Season,” Himes said.
Webb. who wrote the screenplay for the 2014 film “Selma,” was first inspired to write a play focused on the historic events in the Civil Rights Movement that led to the Voting Rights Act of 1965, a year after the landmark Civil Rights Act was passed, and after King won the Nobel Peace Prize.
“What I came to realize was that the Selma voting rights campaign was the pinnacle of the careers for two extraordinary, although extraordinarily different, leaders,” Webb says.
Webb said he has been fascinated with American culture since childhood, and told a group of us at the opening night party about hitchhiking across America for six months. He saw how complicated race relations were in the South. He was intrigued by President Johnson’s efforts during the civil rights area, and his relationship with King. The importance of the demonstrations in Selma was a way to develop the story he wanted to pursue. .
Webb’s other works include “Four Knights in Knaresborough” about the assassination of Thomas Becket, and the BET mini-series “Madiba” about the life of Nelson Mandela.
Paul Webb, standing next to Ron Himes, says a few words about his play’s cast. Lynn Venhaus photo
Conversations with the Webb were included throughout the opening weekend, at the Jan. 11 preview performance at 7 p.m., followed by a post-show discussion, and after opening night Jan. 12, there was a post-show reception and a meet and greet. On Sunday, Jan. 14, there was a pre-show discussion at 2 p.m. before the 3 p.m. matinee performance.,
In 1957, King said: “So long as I do not firmly and irrevocably possess the right to vote, I do not possess myself. I cannot make up my mind; it is made up for me.”
In the 1960s, Americans debated what the “equal protection of the laws” in the 14th Amendment meant. Did the Constitution’s prohibition of denying equal protection always ban the use of racial, ethnic, or gender criteria in an attempt to bring social justice and social benefits?
In June 1963, President John Kennedy asked Congress for a comprehensive civil rights bill. This was after resistance to desegregation and the murder of Medgar Evans, a civil rights activist in Mississippi, who was fatally shot on June 12.
After Kennedy’s assassination in November, President Johnson took up pushing for it, and the Civil Rights Act of 1964, which prohibits discrimination on the basis of race, color, religion, sex or national origin, passed. That forbade using race and sex as reasons in hiring, promoting and firing, and strengthened the enforcement of voting rights and desegregation of schools.
Then, Johnson introduced the Voting Rights Act to Congress in March 1965, the same month that voter registration protests began in Selma.. The violence there added pressure on Congress to act, and the bill passed in four months.
To further learn about King’s journey, here are some resources:
Fifty-nine years ago, Selma became the battleground for Black suffrage, and. the Edmund Pettus Bridge, the site of the brutal Bloody Sunday beatings of civil rights marchers, is now a national historic landmark. Because the attacks were televised, public support for the activists grew, and marches continued for voting rights.
For more information about the landmarks in the historic civil rights efforts, visit the Civil Rights Trail: https://civilrightstrail.com/
The protections that King and his supporters fought for are under actual threat today, with attempts at voter suppression making the Voting Rights Act vulnerable. The Freedom to Vote Act addresses voter registration and voting access, election integrity and security, redistricting, and campaign finance. (Sources: https://www.congress.gov/bill/117th-congress/senate-bill/2747 and https://www.brennancenter.org/freedom-vote-act
Specifically, the bill expands voter registration (e.g., automatic and same-day registration) and voting access (e.g., vote-by-mail and early voting). It also limits removing voters from voter rolls.
Next, the bill establishes Election Day as a federal holiday.
The bill declares that the right of a U.S. citizen to vote in any election for federal office shall not be denied or abridged because that individual has been convicted of a criminal offense unless, at the time of the election, such individual is serving a felony sentence.
The bill establishes certain federal criminal offenses related to voting. In particular, the bill establishes a new criminal offense for conduct (or attempted conduct) to corruptly hinder, interfere with, or prevent another person from registering to vote or helping someone register to vote.
Additionally, the bill sets forth provisions related to election security, including by requiring states to conduct post-election audits for federal elections.
The bill outlines criteria for congressional redistricting and generally prohibits mid-decade redistricting.
The bill addresses campaign finance, including by expanding the prohibition on campaign spending by foreign nationals, requiring additional disclosure of campaign-related fundraising and spending, requiring additional disclaimers regarding certain political advertising, and establishing an alternative campaign funding system for certain federal offices.
‘Hold On!’ at The Black Rep
The Black Rep’s 47th season will continue with “Fly” (Feb. 14 to March 10) in WashU’s A.E. Hotchner Studio Theatre, followed by “Wedding Band” (March 13-31) at COCA, 6880 Washington Ave., and “Timbuktu!” (May 15 to June 9) in Edison. The season will conclude with “King Hedley II” (June 19-July 14), also in Edison.
Single tickets are now available through the Box Office, in person, or at (314) 534.3807. Reduced pricing is available for seniors, educators, students, and groups of 12 or more. Season 47 subscriptions remain on sale at TheBlackRep.org.
Support for The Black Rep’s 47th Main Stage Season comes from The Berges Family Foundation, The Black Seed Initiative, Caleres, Missouri Arts Council, the Regional Arts Commission, Rogers-Townsend, The Shubert Foundation, and the Steward Family Foundation.
Opening Night Meet and Greet: Lynn Venhaus, Playwright Paul Webb, Chas Adams
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A film as necessary for this time and throughout the ages, “The Zone of Interest” is a chilling look back at how Germans normalized their extermination of Jews during the Holocaust.
SS Officer Rudolph Hoess, who served the longest as the head commandant of the Auschwitz-Birkenau concentration camp in Poland (1940-43 and 1944-45), lived in a villa next door with his wife and children.
In the shadow of atrocities, his family enjoyed their dream home, and director Jonathan Glazer depicts their daily life in the most mundane ways possible. Cinematographer Lukasz Zal chiefly observes to underline the horrors taking place a few feet away, using distance instead of close-ups to speak volumes.
This makes the scenario even more unsettling as the Third Reich masterminds meet to discuss carrying out Hitler’s orders for the “Final Solution.”
Several acclaimed films have shown us the brutality of the Holocaust, in various degrees of harrowing, including Oscar winner for Best Picture “Schindler’s List” (1993) and “Son of Saul” (2015), which won the Academy Award for Best International Feature. While “The Zone of Interest” is just as haunting, the horror lies in the obvious apathy of the bystanders.
Hoess was instrumental in implementing pesticide into gas chambers that killed more than a million European Jews. (Later, at his trial, he claimed responsibility for 2.5 million deaths, the rest caused by “starvation and disease.”)
Christian Freidel plays Hoess as a dutiful Nazi, a company man who is pleased with his advancement – the undetected monster in our midst. Sandra Huller, who is having a moment with her other acclaimed performance in “Anatomy of a Fall,” Cannes Palme d’Or winner, portrays his complacent wife, Hedwig. She takes care of the children and runs the household with a desire for order.
In conversations with other wives, she is matter of fact. Her mother, Linna Hensel, played by Imogen Kogge, comes to live with them, and is impressed with their spacious digs and comfortable lifestyle, with servants at the ready and absconded goods delivered to them.
Their insensitivity and lack of empathy is revealed when interacting with others. The women guests covet what’s been pilfered from those rounded up and imprisoned or killed.
Glazer loosely adapted Martin Amis’ 2014 novel but he used real, not fictional, characters as his framework. He has constructed this historical drama to disturb because of what you don’t see and can only imagine based on details we know now.
The idyllic yard, featuring a pool and a garden, is separated by a large concrete fence, but you can hear occasional screams, gunshots, and the incinerator’s fire from a distance, and see ash floating from the crematorium.
The technical audio-visual elements, particularly the sharp editing by Paul Watts, effective sound design by Johnnie Burn and ominous music score by Mica Levi are disquieting in a slow-burn way, building on the dichotomy of the situation.
Glazer, known for “Sexy Beast” starring Ben Kingsley and “Under the Skin” starring Scarlett Johansson, has put a distinctive stamp on this cautionary tale. The end scene is one of the most powerful images in a 2023 film.
Although the film doesn’t add the real details of what happened to Hoess after Germany lost the war, it indicates that he knew their lives were doomed. Convicted of his war crimes against humanity, he was hanged at age 45 in 1947 – at Auschwitz.
“The Zone of Interest,” in subtitles, is an unforgettable work that speaks volumes by what it doesn’t say in its 1 hour, 45-minutes runtime. It is the United Kingdom’s official entry into the Academy Awards’ international feature category and was recently nominated for five Oscars. It won the Grand Prix at the Cannes Film Festival.
This one will linger because it unnerves, reminding us of how quickly freedoms can be taken away and how evil flourishes when people are systematically dehumanized.
“The Zone of Interest” is a 2023 historical drama written and directed by Jonathan Glazer. It stars Christian Friedel, Sandra Huller, Imogen Kogge and Max Beck. An international feature, it is in German and has English subtitles. Rated PG-13 for thematic material, some suggestive material and smoking, the film runs 1 hour, 45 minutes. It opens in St. Louis area theaters on Jan. 26. Lynn’s Grade: A.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The movement is a rhythm to us Freedom is like religion to us Justice is juxtapositionin’ us Justice for all just ain’t specific enough
–“Glory” by Common and John Legend 2015 Oscar winner for Best Song, from the movie “Selma”
A remarkable history lesson more so than a lecture, “Hold On!” features a powerhouse ensemble recreating a pivotal period in 1965 that was a clarion call then and eerily an alarm bell now.
The Black Rep honors Dr. Martin Luther King Jr.’s legacy with the timing of opening weekend to coincide with the federal holiday marking his Jan. 15 birthday, which has taken place on the third Monday of January every year since 1983.
King, the most prominent advocate for nonviolent activism to protest racial discrimination, helped get the Voting Rights Act signed by President Lyndon B. Johnson on Aug. 6, 1965, after convincing the president a year earlier to sign the landmark Civil Rights Act (July 2, 1964), the same year he was awarded the Nobel Peace Prize (Dec. 2, 1964).
Their fascinating relationship was at times contentious but also collaborative, and those power battles royale are embodied by Enoch King as resolute MLK and Brian Dykstra as salty LBJ.
Dykstra easily slips into playing the master politician Johnson, for he has appeared twice before in the role – but in the drama “All the Way” that was produced at the Repertory Theatre of St. Louis in fall 2015, which focuses on the civil rights endeavors in ’64, and as Brian Cox’s understudy in “The Great Society,” playwright Robert Schenkkan’s sequel, on Broadway in 2019
King is tenacious as the motivational visionary, remaining idealistic about moving people to action in divisive times. Both King and Johnson knew they couldn’t advance anything alone but needed supporters to be fervent about progress. The good reverend is a shrewd strategist in getting what he wants with the President, whose legendary battles with the “Dixiecrats” are well-documented.
While both were certainly flawed individuals, they were able to come together and change the course of America, pushing to outlaw discrimination based on race, color, religion, sex, and national origin.
On March 15, 1965, LBJ delivered a speech before Congress on voting rights — stating that the civil rights problems challenged the entire country, not one region. He asked for legislation that dictated clear, uniform guidelines for voting regardless of race or ethnicity, which would allow all citizens to register to vote free from harassment.
Through a turbulent lens, this sobering play looks back when blacks were being murdered in the South, just for daring to register to vote, use their voice to speak up and stand up, and the killers were not punished. These incidents still pack a gut-punch, and this drama, thriller-like, illuminates gathering storms, and as history prompts us, we must be vigilant.
In 1965, Selma represented the epicenter, and in Alabama, the struggle for justice and equality escalated. This well-researched historical work by Paul Webb depicts the drive for voting rights that resulted in the March 7 “Bloody Sunday” where protesters were beaten at the Edmund Pettus Bridge trying to march to Montgomery, the state capital.
Two weeks later, King, James Forman and John Lewis led marchers on that landmark trail after a U.S. District judge upheld the rights of demonstrators.
Webb, a British playwright and screenwriter who is credited with the screenplay for the 2014 film “Selma,” first began the project as a play, then moved forward instead with the film, but in the years since, has revised and finished his play. The Black Rep is the first company to produce it.
The Civil Rights Movement was a long and winding road, starting in 1954 and ending in 1968. Webb, fascinated by the motives of both Johnson and King during the 1964-65 period, has formatted the play as a series of vignettes, with 21 scenes, carried out by a cast of 14.
Ambitious, yes, and director Ron Himes deftly moves along characters and action, focusing on the urgency.
This true story has a lot of moving parts to convey onstage, establishing characters who figure prominently in the tumultuous days highlighted. Scenes are mostly divided between Selma, Atlanta (King’s residence), Brown Chapel and Washington D.C., where Dunsi Dai’s evocative scenic design includes the Oval Office as a focal point, and Meg Brinkley’s prop design conveys.
Because of the nature of a stage play, the action offstage is chronicled through news clippings and video reports, which projections designer Zach Cohn has astutely put together.
The play is dense at first, takes a while to gain momentum, but when it does, it’s riveting and empowering.
Those unfamiliar with this period may need a primer to know who the key players are. People alive then or who remember it from the history books may recall who Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark are, both masterfully played as hot-headed intolerant bigots by Eric Dean White.
The segregationists were firmly entrenched in the power grid during the Jim Crow era, and the selective timeline deepens the storytelling,
Making an impression as racist Al Lingo of the Alabama Highway Patrol and heroic activists Jimmie Lee Jackson and Annie Lee Cooper are Jeff Cummings, Jason Little and Tamara Thomas, who also play another role each.
Little and Thomas are strong in their characterizations of ordinary citizens who represent how despicably treated minorities were – and you’ll remember those names.
Isaiah Di Lorenzo smoothly plays a cruel county courthouse registrar and a redneck state trooper in addition to presidential speech writer Richard N. Goodwin. Thomas Patrick Riley tackles three unflattering roles – the ignorant courthouse worker Leverne, and an unenlightened deputy and state trooper. Tammie Holland is posh as King’s fling Della.
Other dedicated performers resemble the real people of King’s inner circle so we don’t forget their contributions: Greg Carr Sr. as Ralph Abernathy, Olajuwon Davis as James Foreman, Greg Carr II as (future Congressman) John Lewis, Joel Antony as Hosiah Williams and Little doubling as Andrew Young (future Congressman, US Ambassador to the United Nations and Atlanta mayor).
These characters earned a place in history but perhaps are unknown to subsequent generations. (And if history is being rewritten in certain school districts…I digress).
Evann DeBose
For the play version, Webb laudably expanded the role of Coretta Scott King, and Evann DeBose is radiant –and assertive — as a woman working alongside her famous husband on the same goals, a strong force who won’t be diminished or treated callously.
Musically inclined, Coretta is shown singing and playing the piano (kudos to pianist Antonio Foster). DeBose’s soulful and heartfelt renditions of songs associated with the movement — Sam Cooke’s “A Change Is Gonna Come” from 1964 and “Keep Your Eyes on the Prize,” a folk song referencing Biblical passages, also known as “Hold On,” popularized in 1963, remain indelible. The rallying anthem “We Shall Overcome” had to be prominently featured and it is.
One of the highlights of this production is sound designer Lamar Harris’ original music score. His compositions vividly capture the moods and punctuate the action in a notable way.
Some of the horrifying attacks are choreographed movements to represent the explosive violence and shrouded in blue lighting by expert designer Sean M. Savoie. Annie Lee Cooper’s front-page-news punch to the sheriff is well-staged for optimum effect.
Costume designer Marc W. Vital II has put together appropriate vintage looks for the women and standard business attire for the men. Special recognition goes to stage manager Tracy D. Holliway Wiggins and assistant Alan Phillips for maintaining the flow of all the comings and goings, no easy feat.
It’s important to keep this story at the forefront today because of its relevancy to equal rights.
The shock of brutal attacks with prejudice and without accountability reminds us that we are again living in tense times and protections are not absolute. As far as we have come in 59 years, scary to even think suppression is happening again.
It’s difficult to wrap one’s head around that more than 60 years ago, people died for the right to vote, and as I write this, voting rights are being threatened. However, a movement is underway supporting the Freedom to Vote Act of 2021 and the John Lewis Voting Rights Advancement Act of 2023, which would modernize and revitalize the 1965 Voting Rights Act, strengthening legal protections against discriminatory voting policies and practices. Maybe “Hold On!” will be a timely nudge in the right direction.
“Hold On!” is a fine example of people keeping their eye on the prize, illustrating how many marched away from the darkness and into the light because of King’s special skills, and those he passed the torch to during his lifetime and beyond. It’s a refresher course on Selma not being a bridge too far.
Facin’ the league of justice, his power was the people Enemy is lethal, a king became regal Saw the face of Jim Crow under a bald eagle The biggest weapon is to stay peaceful We sing, our music is the cuts that we bleed through Somewhere in the dream we had an epiphany Now we right the wrongs in history No one can win the war individually It takes the wisdom of the elders and young people’s energy One day when the glory comes
–“Glory”
The Black Rep presents the world premiere of “Hold On!” Jan. 10-Jan. 28 with performances Wednesday-Thursday at 7 p.m., Friday-Saturday at 8 p.m. and Sundays at 3 p.m. Performances take place Jan. 10-28. Tickets are $50, or $45 for seniors and $20 for students (17+), with student rush tickets $15. No one aged 5 and under is admitted. Season 47 subscriptions are available. Tickets can be purchased at the Edison Theatre box office; the Black Rep’s box office, 813 N. Skinker Blvd.; or by calling 314-534-3810. For more information, visit: www.theblackrep.org
Cinema St. Louis is pleased to partner with the St. Louis Black Repertory Company for a special screening of the film, “Selma,” on Saturday, Jan. 20, at the Hi-Pointe Theatre at 1 pm. General Admission Tickets are $10, and a discounted ticket of $8 is available for current students and senior citizens aged 55+.” Visit site for tickets: https://www.cinemastlouis.org/selma-screening-black-rep
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The national tour of the Broadway musical HAMILTON will return to the Fabulous Fox Theatre as part of the 2024-2025 Broadway season, as announced Jan. 11 in celebration of Alexander Hamilton’s birthday by producer Jeffrey Seller and the Fabulous Fox Theatre.
The best way to guarantee tickets to HAMILTON is to purchase a season subscription for the Fabulous Fox Theatre’s 2024-2025 Broadway season. Season ticket holders who renew their subscription for the 2024-2025 season will get priority access to purchase tickets for the return engagement of HAMILTON before tickets become available to the general public. The 2024-2025 Broadway season will be announced at a later date.
HAMILTON will be playing the Fabulous Fox Theatre for two weeks only August 28 – September 8, 2024. Information on how to purchase groups and single tickets will be announced at a later time.
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.
Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.
For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
I admit it. I was skeptical of the whole ‘Barbenheimer” match-up that same week in July. But you know what? It worked — the two biggest movies of the year, and two of the most critically acclaimed. They couldn’t have been more different, and they dominated the film conversation. They’re my one-two punch. Eight of my Top Ten received Academy Award nominations for Best Picture. I was not on the bandwagon for “Poor Things,” or “Killers of the Flower Moon” (but yet I acknowledge the technical prowess, and Lily Gladstone was robbed). As part of the team at Webster-Kirkwood Times, we publish our Top Ten in alphabetical order, then on KTRS Radio, I only did my Top Ten, but here, I get to give as many films and people I want to a trophy, a shout-out. It’s my list, so without further ado, here’s my favorites. (And I really did see about 150 films.)
1. Oppenheimer
Director Christopher Nolan’s erudite character study on American theoretical physicist J. Robert Oppenheimer is a stunning achievement in sight, sound, story, and scope. A big-brained biopic, meticulously crafted like a big-stakes psychological thriller, is bold cinematic grandeur, featuring the year’s best ensemble, cinematography, editing, sound, and tremendous performance by Cillian Murphy in the titular role. He’s nearly on screen the entire time.
2. Barbie
Director and co-writer Greta Gerwig crafted an irresistible female-fantastic self-aware fantasy-comedy that brims with great gags, first-rate actors (Kenergy!), and vibrant visuals. Gerwig and co-writer Noah Baumbach’s toy story takes a closer look at a fashion doll icon in a clever and inventive way, and says so much about us through a splendid cast. Margot Robbie and Ryan Gosling anchor one of the year’s best ensembles: America Ferrera , Kate McKinnon and Michael Cera add flavor, and the bevy of cameos evoke big grins.
3. The Holdovers
Tapping into the anger and loneliness of people who find themselves alone at a New England boarding school during Christmas 1970, director Alexander Payne coaxes terrific performances from Paul Giamatti as a misanthrope teacher, Da’Vine Joy Randolph as a grieving cook, and newcomer Dominic Sessa as a student abandoned by his mother and new husband. Screenwriter David Hemingson’s comedy-drama resonates in a rich and deeply satisfying way.
4. Past Lives
A trio of pitch-perfect performances mark Celine Song’s directorial debut on how people we love shape our lives, and what we learn and still carry with us. Greta Lee, Teo Yoo and John Magaro are adults at a crossroads, and express yearning, but from distinctive viewpoints. Song’s script brings up relatable issues to ponder, especially “In-Yun,” the ties of fate that connect two people across lifetimes.
5. Anatomy of a Fall
Justine Triet’s Hitchcockian examination of a mysterious death and a troubled marriage is a riveting crime case, courtroom thriller and family drama that shifts lenses and perspectives for nearly 2 hours and 31 minutes. Set in the French Alps, Sandra Huller is riveting as the accused wife, whom you are not always sympathetic with, and Milo Machado-Graner is sensational as her 11-year old son.
6. The Zone of Interest
Constructed in such a way as to be more disturbing about what you don’t see and can only imagine based on historical accuracy. Director Jonathan Glazer focuses on the mundane daily life of Nazi mastermind Rudolph Hoess (Christian Freidel) and his family for an unsettling look at the past and a chilling cautionary tale for today. The Hoesses live next door to Auschwitz in their dream home while he is the head commander of the concentration camp. How the Germans normalized the atrocities is haunting.
7. Maestro
Career-best performances from Bradley Cooper as America’s first superstar conductor Leonard Bernstein and Carey Mulligan as his wife, actress Felicia Montealegre, in an intricate portrait of life, art and love. They throw themselves into these roles with a heartfelt and powerful intensity. It’s an uncommon but charismatic exploration, and this passion project has stunning camera work, costumes, production design, sound, hair/makeup and one of the year’s finest scenes: Mahler’s Symphony No. 2 in the Ely Cathedral. 8. American Fiction
A scathing social satire about the current cultural obsession about reducing people to stereotypes is manifested in a remarkable directorial debut by Cord Jefferson. Jeffrey Wright is outstanding as a frustrated novelist-professor who uses offensive tropes in a book written with a pen name and that not only gives him the praise that had eluded him but also enlarges the hypocrisy involved. The sharp jabs against the publishing world and Hollywood entertainment that perpetuates tired cliches delivers some knockout punches, but there is a universal family dynamic as a major part of the journey too that emotionally connects.
9. Air
An exceptional all-star ensemble and Alex Convery’s savvy script with a keen sense of time and place makes this a fascinating underdog story. The tightly-constructed film, based on the game-changing story of Nike landing Michael Jordan, gives the real people their due for their efforts in a sturdy crowd-pleaser deftly helmed by Ben Affleck.
10. Are You There God? It’s Me, Margaret
In her adaptation of the iconic young adult novel, writer-director Kelly Fremon Craig doesn’t hit a false note. With unforced wit and oodles of charm, this empathetic coming-of-age story resonates with every little detail. Abby Ryder Fortson delivers the year’s best juvenile performance.
The Rest of the Best of 2023: All of Us Strangers American Symphony Boston Strangler The Color Purple Dream Scenario Dumb Money Godzilla Minus One Guy Ritchie’s The Covenant The Iron Claw John Wick Chapter 4 The Last Repair Shop May December A Million Miles Away Nyad Origin Perfect Days Society of the Snow Still: A Michael J Fox Movie The Teachers’ Lounge Tetris
Best Performances by an Actor
Cillian Murphy “Oppenheimer”
Bradley Cooper “Maestro”
Paul Giamatti “The Holdovers”
Jeffrey Wright “American Fiction”
Colman Domingo “Rustin”
Andrew Scott “All of Us Strangers”
Teo Yoo “Past Lives”
Koji Yakusho “Perfect Days”
Paul Dano “Dumb Money”
Nicolas Cage “Dream Scenario”
(Matt Damon “Air,” Christian Friedel “The Zone of Interest,” Jamie Foxx “The Burial,” Gael Garcia-Bernal in “Cassandro,” and Zac Efron “The Iron Claw” honorable mention)
Best Performances by an Actress
Lily Gladstone – “Killers of the Flower Moon”
Carey Mulligan – “Maestro”
Margot Robbie – “Barbie”
Aunjanue Ellis-Taylor – “Origin”
Sandra Huller – “Anatomy of a Fall”
Greta Lee – “Past Lives”
Natalie Portman – “May December”
Annette Bening – “Nyad”
Leonie Benesch “The Teachers’ Lounge”
Teyana Taylor “A Thousand and One”
(Alma Poysti “Fallen Leaves,” Cailee Spaeny “Priscilla,” Michelle Williams “Showing Up,” Laurie Metcalf “Somewhere in Queens” honorable mention)
BEST SUPPORTING ACTOR
Ryan Gosling “Barbie”
Robert Downey Jr. “Oppenheimer”
Charles Melton “May December”
Robert DeNiro “Killers of the Flower Moon”
Dominic Sessa “The Holdovers”
Glenn Howerton “BlackBerry”
Paul Mescal “All of Us Strangers”
Jamie Bell “All of Us Strangers”
Dar Salim “Guy Ritchie’s The Covenant”
John Magaro “Past Lives”
(Sterling K. Brown “American Fiction,” Eddie Marsan “Fair Play,” Jon Bernthal “Origin,” Hugh Grant “Wonka,” Matt Damon “Oppenheimer,” Jacob Elordi “Saltburn” and Sebastian Stan “Dumb Money” honorable mention)
BEST SUPPORTING ACTRESS
Da’Vine Joy Randolph “The Holdovers”
Danielle Brooks “The Color Purple”
Jodie Foster “Nyad”
Viola Davis “Air”
Rachel McAdams “Are You There God? It’s Me, Margaret”
Sandra Huller “The Zone of Interest”
America Ferrara “Barbie”
Emily Blunt “Oppenheimer”
Julianne Moore “May December”
Claire Foy “All of Us Strangers”
(Juliette Binoche “The Taste of Things,” Rosamund Pike “Saltburn,” Erika Alexander “American Fiction,” Cara Jade Myers “Killers of the Flower Moon” honorable mention)
BEST DIRECTOR
Christopher Nolan “Oppenheimer”
Greta Gerwig “Barbie”
Justine Triet “Anatomy of a Fall”
Jonathan Glazer “The Zone of Interest”
Chad Stahelski “John Wick Chapter 4”
Cord Jefferson “American Fiction”
Alexander Payne “The Holdovers”
Celine Song “Past Lives”
Andrew Haigh “All of Us Strangers”
Takashi Yamazaki “Godzilla Minus One”
(J.A. Bayona “Society of the Snow,” Ben Affleck “Air,” Kelly Fremon Craig “Are You There God? It’s Me, Margaret,” Bradley Cooper “Maestro,” Sean Durkin “The Iron Claw” and Davis Guggenheim “Still: A Michael J. Fox Movie”)
ENSEMBLE
Oppenheimer
Barbie
Air
The Holdovers
The Iron Claw
The Color Purple
Rustin
All of Us Strangers
Origin
American Fiction
SCREENPLAY – ORIGINAL
Greta Gerwig and Noah Baumbach “Barbie”
David Heminson “The Holdovers”
Justine Triet and Arthur Harari “Anatomy of a Fall”
Celine Song “Past Lives”
Alex Convery “Air”
Kristoffer Borgli “Dream Scenario”
Nicole Holofcener “You Hurt My Feelings”
Samy Burch, Alex Mechanik “May December”
İlker Çatak, Johannes Duncker “The Teachers’ Lounge”
Bettina Gilois, Hernán Jiménez, Alejandra Márquez Abella “A Million Miles Away”
Ray Romano, Mark Stegemann “Somewhere in Queens”
SCREENPLAY – ADAPTED
Christopher Nolan “Oppenheimer” (based on the book “American Prometheus” by Kai Bird, Martin J. Sherwin)
Cord Jefferson “American Fiction” (based on the book “Erasure” by Percival Everett
Andrew Haigh “All of Us Strangers” (based on the Taichi Yamada novel)
Jonathan Glazer “The Zone of Interest” (based on the Martin Amis novel)
Kelly Fremon Craig “Are You There God? It’s Me, Margaret” (based on the book by Judy Blume)
“Dumb Money” Rebecca Angelo, Lauren Schuker Blum (based on the book by Ben Mezrich)
CINEMATOGRAPHY
1. Hoyte de Hoytema “Oppenheimer” 2. Rodrigo Prieto “Killers of the Flower Moon” 3. Matthew Libatique “Maestro” 4. Jonathan Ricquebourg “The Taste of Things” 5. Rodrigo Prieto “Barbie” 6. Erik Messerschmidt “The Killer” 7. Claude Mirando “Nyad” 8. Jamie D. Ramsay “All of Us Strangers” 9. Simon Beaufils “Anatomy of a Fall” 10. Dan Laustsen “John Wick Chapter 4”
(Pedro Luque “Society of the Snow.” Haris Zambarloukos “A Haunting in Venice,” Linus Sandgren “Saltburn” honorable mention)
BEST EDITING
Oppenheimer, Jennifer Lame
The Killer, Kirk Baxter
Anatomy of a Fall, Haris Zambarloukos
The Zone of Interest, Paul Watts
John Wick: Chapter 4
Still a Michael J. Fox Movie
Barbie, Nick Houy
American Fiction, Hilda Rasula
The Iron Claw, Matthew Hannam
The Holdovers, Kevin Tent
John Wick Chapter 4, Nathan Orloff
Missing, Austin Keeling, Arielle Zakowski
(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features
PRODUCTION DESIGN
1.Asteroid City, Adam Stockhausen 2. Barbie, Sarah Greenwood 3. Wonka, Nathan Crowley 4. The Holdovers, Ryan Smith 5. Maestro, Kevin Thompson 6. Taste of Things, Toma Baqueni 8. Priscilla, Tamara Deverell 9. Oppenheimer, Ruth De Jong 10. Killers of the Flower Moon, Jack Fisk (Suzie Davies “Saltburn,” John Paul Kelly “A Haunting in Venice,” Arthur Max “Napoleon,” François Audouy “Air,” Steve Saklad “Are You There God? It’s Me, Margaret” and Shona Heath, James Price “Poor Things”)
COSTUME DESIGN
1. Barbie 2. The Color Purple 3. Maestro 4. Killers of the Flower Moon 5. Priscilla 6. Are You There, God? It’s Me Margaret” 7. Oppenheimer 8. Napoleon
MUSIC SCORE
1. Oppenheimer 2. The Boy and the Heron 3. Spider-Man: Across the Spider-Verse, Daniel Pemberton 4. The Holdovers 5. American Symphony, Jon Batiste 6. Indiana Jones and the Dial of Destiny, John Williams 7. A Haunting in Venice MUSIC SOUNDTRACK
1. Barbie 2. Air 3. Maestro 4. The Holdovers 5. Flora and Son 6. Dumb Money 7. Wonka
VISUAL EFFECTS
Oppenheimer 2. Godzilla Minus One 3. John Wick: Chapter 4 4. Spider-Man: Across the Spider-Verse 5. Society of the Snow 6. Wonka 7. Guardians of the Galaxy
STUNT TEAM
1. John Wick Chapter 4 2. Mission: Impossible – Dead Reckoning Part One 3. The Iron Claw 4. Indiana Jones and the Dial of Destiny
ANIMATED FEATURE
1.The Boy and the Heron 2. Nimona 3. The Peasants 4. Spider-Man: Across the Spider-Verse 5. Robot Dreams 6. Elemental 7. Teenage Mutant Ninja Turtles: Mutant Mayhem 8. Ernest and Celestine: A Trip to Gibberitia 9. They Shot the Piano Player 10. Leo
DOCUMENTARY FEATURE
Still A Michael J. Fox Movie 2. American Symphony 3. Beyond Utopia 4. 20 Days in Mariupol 5. It Ain’t Over 6. The Lady Bird Diaries 7. King Coal 8. Stamped from the Beginning 9. Aurora Sunrise 10. Bad Press (The Eternal Memory, Little Richard: I Am Everything, Immediate Family, The Disappearance of Shere Hite, Chasing Chasing Amy, Sly)
COMEDY
1. Barbie 2. Dream Scenario 3. The Holdovers 4. Are You There God? It’s Me Margaret 5. They Cloned Tyrone 6. What’s Love Got to Do With It? 7. Dumb Money 8. You Are So Not Invited to My Bat Mitzvah 9. Theater Camp 10,. Quiz Lady 10. Shotgun Wedding
ACTION
John Wick Chapter 4 2. Mission Impossible – Dead Reckoning, Part One 3. Guy Ritchie’s The Covenant 4. Godzilla Minus One 5. The Killer 6. The Equalizer Part 3 7. Gran Turismo
BEST INTERNATIONAL FEATURE
1. The Zone of Interest 2. Anatomy of a Fall 3. The Teachers’ Lounge 4. Society of the Snow 5. Perfect Days 6. Afire 7. The Peasants 8. Godzilla Minus One 9. Fallen Leaves 10. The Taste of Things
BEST SCENE
1.America Ferrara’s monologue on the impossible standards set for women in “Barbie” 2. Bernstein Conducting Mahler’s Symphony No. 2 “Resurrection” in the Ely Cathedral in “Maestro” 3. Observers commenting on trio at the bar in “Past Lives” 4. Trinity test in “Oppenheimer” 5. Staircase fight in Paris in “John Wick Chapter 4” 6. Fight replay at the trial in “Anatomy of a Fall” 7. Tilda Swinton restaurant scene in “The Killer” 8. Joe talking to his son on the roof in “May December” 9. Finale in “The Zone of Interest” 10. Matt Damon predicts the future in “Air”
BEST DOCUMENTARY SHORT
The Last Repair Shop
The ABC’s of Book Banning
Deciding Vote
The Barber of Little Rock
BEST JUVENILE PERFORMANCES
Dominic Sessa, “The Holdovers”
Abby Ryder Fortson, “Are You There God? It’s Me Margaret”
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A scathing social satire about the current cultural obsession that reduces people to stereotypes is manifested in “American Fiction,” which is a remarkable directorial debut by Cord Jefferson.
Monk (Jeffrey Wright) is a frustrated novelist who is fed up with people profiting from ‘black’ entertainment that relies on offensive tropes. So, to prove his point, he uses a pen name to write an outlandish ‘black’ book of his own, which propels him to the heart of hypocrisy and the madness he claims to disdain.
Jefferson, who has toiled on some tony television series – “Succession” and “Watchmen” included, has cleverly adapted Percival Everett’s 2001 book “Erasure,” which criticizes the narrow view of black-focused entertainment like Sapphire’s novel “Push,” which was adapted into the film “Precious,” as authentic.
His sharp jabs against the publishing world and Hollywood entertainment that perpetuates tired cliches delivers some knockout punches, but there is a universal family dynamic as a major part of the journey too that emotionally connects.
Jeffrey Wright gives one of his best performances as Thelonius “Monk” Ellison, angry and alienating, who decides to fight back – if you ‘can’t beat them, join them’ – and dumbs down his writing in a book “My Pafology,” as Stagg R Leigh, an ex-con who’s on the run.
That not only gives him the praise that had eluded him but also enlarges the hypocrisy involved. As he tells his publisher, Arthur, nicely played by ace character actor John Ortiz: “The dumber I behave, the richer I get.”
In puncturing the stereotypes through thoughtfully written characters that are part of Monk’s personal orbit, Jefferson gives us a generational story that everyone can relate to because they appear as real people just trying to figure out life.
The supporting cast is exceptionally deep – creating nuanced turns are Sterling K. Brown as Monk’s irresponsible brother Cliff who has now come out as queer, Tracee Ellis Ross as his stressed-out lawyer sister Lisa and Leslie Uggams as their mother Agnes, who is beginning to show signs of dementia.
Tracee Ellis Ross, Leslie Uggams
Lisa has been taking care of their mom, and Monk’s other siblings are harboring resentment about his lack of commitment to his family. Granted, he is in L.A., but now back in Massachusetts, where he’s staying at his childhood home, full of memories and triggers. This is a family of intellectuals whose lives are enriched through art and culture.
Erika Anderson creates another layer as a single woman lawyer romantically interested in Monk, but whose eyes are wide-open to his flaws.
Through his uneasy relationships with his family, we understand that Monk, often self-righteous and condescending, needs to change and could be ripe for a reckoning.
Issa Rae is buzzy author Sintara Golden who pushes all of Monk’s buttons with her critical darling but pandering book, “We’s Lives In Da Ghetto,” that the public has embraced for what they believe is black suffering,
Jefferson’s script is smartly written, but there is a lot to digest over the 2-hour runtime. Besides the blistering social commentary, the family story has multiple layers. This cast really delivers the film’s heart as these imperfect individuals go through changes, not forgetting the past relationships while forging new ones.
In a sweet subplot, the family housekeeper, Lorraine, beautifully played by Myra Lucretia Taylor, reunites with the beach town’s law enforcement officer Maynard (Raymond Anthony Thomas).
Laura Karpman’s jazz-inflected score delicately punctuates the exchanges and confrontations, and the film’s other elements are solid — cinematography by Cristina Dunlap, production design by Jonathan Guggenheim and editing by Hilda Rasula.
The film’s message is not unlike what Spike Lee attempted in 2000 with “Bamboozled,” only instead of television, this is set in academia and book publishing in today’s ‘influencer’ world.
The wrap-up isn’t as satisfying as it should be, but this material is clever and the performances so superbly rendered. “American Fiction” has enough thought-provoking material to keep us mulling over the body of work, and appreciate what it’s trying to say.
“American Fiction” is a 2023 social satire written and directed by Cord Jefferson. It stars Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Adam Brody, Leslie Uggams, Myra Lucretia Taylor, Raymond Anthony Thomas and Erika Anderson. It is Rated: R for language throughout, some drug use, sexual references, and brief violence. It opened in local theaters Jan. 5 after first debuting at the St. Louis International Film Festival in mid-November. Lynn’s Grade: A-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A strong sense of community, sisterhood and triumph over adversity runs through the big, splashy movie musical adaptation of “The Color Purple.”
What an inspiration Alice Walker’s Pulitzer Prize winning 1982 novel was 41 years ago, and its historic significance has not diminished. It told Celie’s powerful story through letters to her sister and children, which isn’t the easiest type of source material to adapt for film, nor are the horrors that she has endured. But a different presentation is a new way to see how one woman’s journey to self-realization resonates.
A determined Celie Harris (Fantasia Barrino) faces many hardships in life, but through the years, finds extraordinary strength and hope, and learns self-acceptance.
Purple symbolizes strength, transformation, power, wisdom, bravery, and all meanings can be applied in this version.
Celie’s tough path started in 1909 in rural Georgia. She’s a poor, black 14-year-old girl who has delivered two babies, impregnated by the man she thinks is her father. They are taken away from her.
Against her will, she has been given to a widower Albert “Mister” Johnson, who emotionally and physically abuses her. She must serve him and his unruly children. As the heartless husband perpetuating a long cycle of suffering, Colman Domingo doesn’t soften the villainous aspects. However, after he is cursed, you do see a gradual change.
Celie’s endurance through deep-rooted cruelty and oppression is heart-tugging, and Barrino depicts her sorrows, love and indomitable spirit with courage and grace.
Fantasia, an American Idol winner who performed the role for eight months on Broadway, portrays Celie’s faith as unwavering through tough times, and how she relied on her beloved sister Nettie (Halle Bailey) and her church to raise her up. Her kindness will eventually lead to good things.
Things change, through the people she meets, but she also changes people. The nurturing Celie meets the glamorous and sophisticated nightclub chanteuse Shug Avery, and they have a deep bond even though the singer has an ongoing affair with Mister and a marriage to Grady (Jon Batiste). Taraji P. Henson is a flamboyant and fiery Shug, and sashays admirably through “Push the Button,” In a role added for the movie, David Alan Grier plays her father, Rev. Avery.
One of Mister’s grown children, Harpo (Corey Hawkins) , marries Sofia, and Danielle Brooks is marvelous as the strong-willed free spirit, known for her independence and speaking her mind, with her phrase: “Hell, no!” even a song title that’s a showstopper. She cannot be ‘tamed,’ and her outspokenness will bring her harm. Brooks reprises her Broadway role and is the dynamo here.
As the story has evolved from book to movie to musical to movie musical, the familiar main points haven’t changed, although how much time is devoted to turning points has varied.
For whatever reason a movie that had been smoothly running along feels rushed and haphazard in its last act, because of choppy storytelling and erratic pacing. But overall, director Blitz Bazawule makes the theatrical elements of a stage play cinematic.
Dan Lausten’s cinematography, Paul Denham Austerberry’s production design and Francine Jamison-Tanchuck’s costumes — 40 years of style — are vibrant components of the ultimately uplifting and very spiritual essence of this work.
The dynamic ensemble deeply feels their experiences, but the film finds its emotional center in the musical numbers. The score is an appealing mix of gospel, jazz, ragtime, blues, and African beats, with the Broadway songs by Brenda Russell, the late Allee Willis, and Stephen Bray that bring out the purpose, yearnings and period of these early 20th century lives. Sixteen songs are from the stage musical and there are several new ones: “Keep It Movin'” (written by Halle Bailey) and “Superpower.”
Mega-talented Kris Bowers composed the film’s score, and Fatima Robinson’s choreography is joyous.
Steven Spielberg directed the first adaptation – a moving 1985 film, which famously was nominated for 11 Oscars, but didn’t win any. Spielberg is among the producers of this version, so is Quincy Jones, who scored the original, and so is Oprah Winfrey, who was Oscar-nominated as Sofia.
Jones and Winfrey helped launch the 2005 musical on Broadway, which was revived in 2015, and this is a combination of the two. While this version, adapted by Marcus Gardley from Marsha Norman’s book, doesn’t shy away from Celie’s harsh life, its sisterhood focus sweetens the story.
Over the course of several decades, what the women learn, how they grow and overcome obstacles will tug at our hearts, so that the mercy shown in the second act leads to triumph– and somewhat of a redemption for Mister.
The heart and soul of any version is Celie, and it’s no fluke that both actresses who played Celie on Broadway — LaChanze in the original 2005 production and Cynthia Erivo in the 2015 revival — won Tony Awards (Director John Doyle’s re-imagining also won the Tony Award for Best Revival). When Fantasia sings the powerhouse “I’m Here,” she puts an exclamation point on a sensational debut.
Yes, it’s gut-wrenching, but it’s also about healing, resilience, and the mighty power of love. Throughout our history, we have learned that we should never forget what’s happened before, those teachable moments that make us better people.
The ensemble is top-tier in every way. Singers Ciara and H.E.R. are elder Nettie and Squeak respectively, and Louis Gossett Jr. has a memorable turn as Ol’ Mister. Even the brief parts contribute a sense of faith, hope and charity that church communities share.
If you believe, as I do, that if you spread light and love in the world, and are a good person, then the universe responds in kind. That is ultimately why Celie’s story is relatable. She never gave up her belief in goodness, and finally realized her worth as a human being.
While musicals are a hard sell as movies these days, “The Color Purple” has enduring appeal for what it says and what it means. The cast makes this version shine, for they bring emotional truth to each role.
“The Color Purple” is a 2023 musical directed by Blitz Bazawule and starring Fantasia Barrino, Colman Domingo, Danielle Brooks, Corey Hawkins, Taraji P. Henson, Halle Bailey, Ciara, Jon Batiste, Gabriella Wilson (H.E.R.), Louis Gossett Jr., David Alan Grier. It is rated PG-13 for mature thematic content, sexual content, violence and language, and runs 2 hours, 20 minutes. It opens in theaters Dec. 25. Lynn’s grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
While it has all the makings of an old-fashioned feel-good sports drama, perhaps we’ve seen too many rousing underdog team stories so that “The Boys in the Boat” pales in comparison to other revered crowd-pleasers (“Rudy,” “Hoosiers,” “Remember the Titans”).
This latest example of scrappy athletes overcoming obstacles is based on a bestselling nonfiction book by Daniel James Brown, “The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics,” which was published in 2013.
At the height of the Great Depression, an underdog team of rowers at the University of Washington struggle and sacrifice, eventually competing in the ”world is watching’ Hitler Summer Olympics.
Their true story is remarkable – eight guys from lower-middle-class families overcome obstacles, endure the uncertainty of the Great Depression, and find glory at the Nazi Olympics, triumphing while Hitler’s Third-Reich propaganda was in full force.
But the script by Mark L. Smith, adapting Brown’s book, hits the predictable beats in such an uninspired way that it feels generic. Smith must be a streaky writer, for he crafted the wilderness epic “The Revenant” but also the confusing and clumsy storytelling in “The Midnight Sky” and the forgettable “The Marsh King’s Daughter” earlier this fall.
This is the second time Smith has worked with Clooney as a director, first with the aforementioned “The Midnight Sky” in 2020.
This is Clooney’s ninth film in the director’s chair, and while I’m sure the movie has enough components to move some people, it seems too familiar and flat. There is little that is special about it.
His last, in 2021, “The Tender Bar,” was a heartfelt coming-of-age story also based on a book. He showed such great promise with “Good Night, and Good Luck” in 2005 and “The Ides of March” in 2011, that you’d think a story tailor-made for Hollywood treatment would be a perfect fit.
He does work well with young actors, but the script lets them down because their characters are largely underdeveloped. The eight-man rowing shell doesn’t have any star power either, and I’m sure that was intentional, to make them a team in every sense of the word.
Callum Turner, as poor boy Joe Rantz, has the most compelling story arc, although predictable. He’s on his own, sleeping in a car, and can’t pay his tuition, so when he finds out rowers are given places to stay and a job, he’s in.
Rantz becomes the de facto leader of the motley crew, and you just know they will beat the odds (besides, you already know the outcome of what happened 87 years ago). The handsome Turner (Theseus Scamander in the “Fantastic Beasts” movie franchise) is likable as Joe, but a subplot with girlfriend Joyce (Hadley Robinson) seems perfunctory.
Joel Edgerton is their coach Al Ulbrickson, a no-nonsense guy who believes in his team but has a gruff manner. He wants them to achieve “swing,” when teammates are in perfect union so that the symmetry feels like poetry.
By the time they are on their improbable trajectory, the film builds up some energy and it’s stirring when they beat Ivy Leaguers for the Olympic spot, and of course, the whole USA vs. Hitler match-up in Germany goes for the obvious.
While often clunky in storytelling, the conventional sports saga has a beautiful look – the sun on the rippling water, young muscular lads exerting themselves in competition, and the imposing Olympic-size landscape. Cinematographer Martin Ruhe, who has worked with Clooney several times (including those Nespresso commercials), captures the action well. And Alexander Desplat’s score swells with emotion at the right times.
A documentary “The Boys of ’36,” is currently streaming on PBS, and was first broadcast on “American Experience” in 2016. It may flesh out some of the story that the fictional account fails to deliver.
A beat-all-the-odds real-life story deserved a better movie than filmmakers put together. They needed more than a rah-rah message of “we’re all in the same boat.” (OK, groan).
“The Boys in the Boat” is a 2023 Biography, Drama, Sports film directed by George Clooney and starring Joel Edgerton, Callum Turner, and Hadley Robinson. It is rated: PG-13 for language and smoking and runtime is 2 hours, 4 minutes. Opens in theaters Dec. 25, and will eventually stream on Amazon Prime. Lynn’s Grade: C
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
