Bigotry is an ugly thing to witness, even in the context of 1821. It’s expected, but always unsettling, no matter what period.
So, when the first scene of “The African Company Presents Richard III” opens with a condescending and arrogant white supremist shutting down a competing Shakespearean production, that sets the tone for a battle between right and might.
As Stephen Price, the haughty and cruel producer at the Park Theatre, Eric Dean White will make your skin crawl. He is threatened by their success and will use his influence to get the powers-at-be to make it hard on them.
While our sympathies lie with the performers in The African Company, they are having their own conflicts to deal with from within that threatens their existence too.
This 1994 play within a play by Carlyle Brown is a provocative showcase for compelling artists in The Black Rep’s latest riveting work. And opens the Black Rep’s 46th season in fine fashion.
Based on a true story, Brown’s drama is set in pre-Civil War New York when two productions of Shakespeare’s “Richard III” are vying for audiences. Slavery was not outlawed yet, but there were more free blacks living there.
Shakespeare famously said, “The play is the thing,” and The African Company, through the Black Rep’s hard-hitting production, shows you why art can break barriers, and all the challenges are worth it.
Cameron Jamarr Davis as James Hewlett as Richard III. Photo by Phillip Hamer.
The first black theatre in the U.S., The African Company of New York was a downtown theater growing in popularity with not only black audiences, but white audiences too. Their satires drew crowds, particularly when it was about the status quo white society. And the unenlightened were outraged those blacks had a voice. How dare they tackle the Shakespeare and other British classics!
William Henry “Billy” Brown had turned his home’s backyard into The African Grove, where blacks could socialize as society became increasingly segregated, then he expanded to theater, founding The African Company.
Price’s company has paid a renowned British actor, Junius Brutus Booth (father of John Wilkes Booth), a pretty penny and a sweet contract promising a full house, so they want a return on the investment, more revenue, and will not play nice.
The black theater doesn’t have the luxuries afforded the other theater, and most of the actors work as domestic servants or as laborers or in other roles.
“We all charade one great role of the happy, obedient Negro,” says character James Hewlett, the first black Shakespearean actor in U.S., and is playing the lead role.
Some of the cast is worried about the police shutting them down. What if they are taken to jail?
Director Ron Himes keeps the tension simmering both in racial friction and the tussling actors. He ensures that the company’s commitment to art is a focal point, while he laces this distinctive history lesson with humor and music.
As Hewlett, Cameron Jamarr Davis is passionate about the work, and doubles-down on his conviction, despite mounting odds – and a complicated romantic entanglement.
Ann Johnson, the actress playing Lady Anne, is exhausted by her day job and feelings that don’t seem to be reciprocated in equal measure. She is confused by the part and the play’s action, and not afraid to say so. Coda Boyce gives a fierce performance as someone speaking up for herself, and not compromising in a world that expects her to be subservient.
Alex Jay is a strong Sarah, who tries to keep things going smoothly, and is an accomplished seamstress. Costume designer Andre Harrington has beautifully captured the period and the royal costumes.
Olajuwon Davis is tough and tenacious in his portrayal as the dedicated, steadfast promoter Brown, who tries to not let what he calls “silly” views of white people grind him down. He channels his anger into action.
In real life, Brown wrote “The Drama of King Shotaway,” which is considered the first play by an African American and was about the black Caribbean war of 1796 against white settlers. Somehow, it’s been lost. However, what he did for blacks in theater will never be forgotten.
Papa Shakespeare is trying hard to keep them together. He’s quite a storyteller, a repository of history and wisdom – and colorful, as played by Wali Jamal Abdull. As the racist constable, Dustin Petrillo is a despicable meanie.
The simple set, designed by Jamie Bullins, doubles as a rehearsal hall and a theatrical stage, well-accented by Jasmine Williams’ lighting design.
This well-acted, well-staged play is a noteworthy moment in time that will resonate with modern audiences, for its power is timeless.
The Black Rep presents “The African Company Presents Richard III” Sept. through Sept. 25 at the Edison Theatre on the campus of Washington University. For more information, visit www.theblackrep.org
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.
With shimmering visuals and costumes, “House of Joy” shows flashes of dazzling technical brilliance at the Repertory Theatre of St. Louis. Unfortunately, while mysterious and mystical, the storytelling is where it falters.
In a time and a place far, far away, the fictional setting is a South Asian kingdom – let’s just presume the Islamic Mughal Empire (16th-19th century) in around 1666. Apparently, society is segregated and we’re only seeing the females in the palace – and a eunuch who oversees this court of women.
Because it is disorienting at first, the play takes a long time to establish characters and their motives, then crowds the action in the second act, before it rushes to an unsatisfying open-ended conclusion, and overall is not as cohesive as it purports to be.
It’s as if playwright Madhuri Shekar has decided it’s best if we fill in the blanks ourselves, and the tone is all over the place. Dramaturg Salma S. Zohdi hasn’t connected the dots either.
Perhaps it’s because the loyalties shift between the poorly drawn characters and the story, with its multi-thread subplots that aren’t fully realized, doesn’t give us much to invest in during its two-hour runtime.
Questions, I have questions. Most importantly, why did this play need a rewrite that shifted the focus to a 7-person cast with six females and a same-sex love story? Why is it set in an unnamed empire and an unspecified time? Why does so much action take place off-stage?
While I can’t speak of the original one from earlier productions 2017- 2019, but only the rewrite that premiered in St. Louis, this current plot boils down to palace intrigue and chicanery regarding a power struggle between the emperor and his conniving daughter, Princess Noorah (Aila Ayilam Peck), from an earlier marriage. And unseen rebel forces we don’t know about but are alluded to in conversation.
The unseen despicable old emperor is currently married to a naïve young girl, Mariyam (Emily Marso), who is very pregnant, and living an arranged life she never imagined. Her job is to breed, and after she gives birth to an heir, she’s not as useful.
Lonely and miserable, this innocent queen has fallen in love with the newest palace guard, Roshni (Tina Munoz Pandya) of the all-female imperial harem.
Roshni, with a bloody tragic past that’s rather muddled, was befriended by the sly fox eunuch Salima (Omer Abbas Salem), who recommended her for the job. She had to impress the tough captain of the guards Gulal (Miriam A. Laube), who is demanding and still watches her carefully.
She loves the job, and her best bud working long shifts together in this self-described utopia is Hamida (Sumi Yu).
Salima and Gulal are the ones who know everything going on in the palace and where the loyalties lie. You don’t know if they can be trusted, however – they leave it up to interpretation. But if you are on their good side, then you are protected in the power plays.
What the back-stabbing (or merely stabby) princess wants to pull off – toppling the patriarchy! — seems like a disaster waiting to happen and there are shifting moving parts to the unrest/coup/insurrection, so much so that it’s confusing.
The stereotypical evil princess is merely a caricature in Peck’s hands. Overall, we have two sets of actors – the ones who stay in their lane and then the melodramatic ones who go over the top, as if they are in a daytime soap opera.
Yu is strong as Hamida and tries hard to flesh out her character. Regina Fernandez appears in four minor roles to round out the cast. As the couple at its center, Marso and Pandya are convincing in their passion and desire – and I rooted for them (after all, love is love is love is love).
The dialogue is flecked with modern words and phrases. I’m assuming whatever past century the characters are in, no one said “tittie” or “I’m aware.” This habit of writing period pieces in modern vernacular is often distracting – and annoying.
And as we hear long passages of exposition about what’s gone on in the past and what’s taking place off-site or off-stage, the story remains curiously uninvolving.
There is some bewildering mumbo-jumbo – a dead mother re-appearing as a ghost/apparition and a glowing pile of coals centerstage – that means something we’re supposed to figure out.
The love story overtakes the drama, and its romantic structure is clumsy. Paradise now is a prison for Roshni and Mariyam.
And then, we endure an unnecessary and gratuitous staging of a shockingly graphic sex scene in a boat.
What is the point here? We already know they are in love, and it is forbidden – she’s married! To the Emperor! And while everyone seems to know, it still is a situation fraught with danger. Illicit affairs have gone on in royal families, this is nothing new nor does it appear to be anything other than a garden variety plot conceit.
Despite whatever direction the intimacy coordinator (Gaby Labotka, who is also the fight choreographer) decided on, the scene is uncomfortable, with its simulation of stimulation and orgasm, and really takes the audience out of the story.
All I could think about was the teacher who brought a busload of (what looked like) junior high kids that I saw in the lobby, and the comments and complaints he/she would have to deal with, and if any parents came along as chaperones.
Yes, the play is for mature audiences. The Rep has stated, for content transparency: “This production contains adult sexual content, language, moments of violence, haze/fog and suggestive moments of smoking.”
Apparently, I’m not the only one who felt uneasy. Since opening night, people have contacted me, recounting patrons audibly gasping and others walking out. There appears to be a harsh negative backlash among longtime theatergoers. The play is polarizing, for there are others who enjoyed it very much.
Defenders will call us prudes and unenlightened. Us rubes here in flyover country don’t know theater and we need to be lectured at every opportunity by professionals who think they know more than we do, because how could we know anything about theater? (Now is the time to shake your head or chuckle or spit-take or whisper your feelings – or curse and shout that I’m very wrong).
I don’t need a lecture, and quite frankly, I’m tired of being told what I should like because it might take me out of my comfort zone (which I don’t mind at all, if it’s well-constructed, well-acted and says something).
I’m “aware.” Art is subjective. This is only my opinion. Whether or not you agree, I consider my role is to explain my view – and if something is worth your time and money.
Not that I need to explain myself, but I have seen many controversial plays, many heralded shows that fall short in a certain venue or a regional group’s interpretation. It happens. Isn’t the first rule of theater “know your audience”?
Go ahead, push boundaries, if it helps the story and its impact. Was it necessary to convey a romance in such a way? No. Discretion would have gotten the point across with several kisses and embraces.
For the record, I consider The Rep’s “Take Me Out” in 2005, part of its acclaimed but short-lived “Off the Ramp” series, to be one of the finest productions I have ever seen, and I sat very, very close to full frontal nudity while ball player characters rinsed, lathered, and repeated in shower scenes. (Fun Fact: I won an Illinois Press Association award for that review, back when they awarded reviews, and I was a full-time newspaper employee).
Of course, “House of Joy” is more than one incendiary scene, but by the time chaos and revolt occurs, is anyone on the edge of their seat? And do we really understand what is happening, and who’s aligned with who?
Its ambition is to be epic in scope, and the play is being misrepresented by comparing it to more cinematic genre-busting fare, calling it “Swashbuckling”? This is nothing close to DC’s Wonder Woman or the bad-ass Marvel Cinematic Universe women in “Black Panther.”
Of course, I’m all for women power, for I stand on the shoulders of giants. Sisters doing it for themselves is reason to celebrate. Getting away from abuse is necessary, especially for the queen. Can we get something to cheer about that’s lucid?
Playwright Shekar comes with quite a resume, full of awards and recognition, and has television and film credits as well. It doesn’t matter what she did before or after this play to a puzzled audience watching “House of Joy.”
If this is the first time this version has been presented, perhaps it needs to be workshopped further to make it stronger and more appealing.
Nevertheless, the production elements are stunning in execution – particularly what’s swirling on the on-stage screen, the collaboration between Projections Designer Stefania Bulbarella, Projections Programmer Devin Kinch, Projections Animator/Illustrator Joaquin Dagnino and Associate Projections Designer Brian Pacelli, who take it to next-level by changing it constantly and expanding the panoramic vistas.
That technical razzle-dazzle is complemented by Lighting Designer Sarah Hughey and Sound Designer Porchanok “Nok” Kanchanabanca. The costumes designed by Oona Natesan are exotic and elegant, with outstanding hairstyling (no name in program).
Director Lavina Jadhwani utilizes a spare stage designed by Dahlia Al-Habeli where movement flows crisply, and the palace guards are choreographed by Aparna Kalyanaraman.
Because this is what I consider a work-in-progress, in her program notes, Jadhwani described putting this show together as “jumping onboard a moving train.” Maybe some of us found it to be a trainwreck – it needs to be disassembled and put back together logically.
I didn’t find “House of Joy” joyous or fun or exciting or any of the words being used in marketing. Sure, it’s about “all you need is love” or “love is the answer” or “the love you take is equal to the love you make.” I think.
I’d like to have reasons to determine its impact. Spoiler alert: We don’t really know what happens to most of the characters when it ends, so how can we be moved or know what to feel when it leaves us hanging?
Answers, I’d like answers.
Photos by Eric Woolsey.
“House of Joy” is being presented Aug. 28 – Sept. 18 on The Repertory Theatre of St. Louis’ mainstage, 130 Edgar Road, Webster Groves. For schedule of performances and ticket information, visit www.repstl.org.
Proof of a full COVID-19 vaccination and a valid ID, or a negative COVID test taken 24 hours before the performance, are required for entry into any Repertory Theatre event. Masks are highly encouraged, but optional. Front of House Staff will have one-time use masks on hand for patrons that would like to use them.
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.
“Clerks III” is strictly for fans, a View Askew production set in that Kevin Smith universe that the writer-director broke through the business with in 1994, which has been his calling card ever since – but actually has a few very adult things to say.
Following a massive heart attack, Randal (Jeff Anderson) enlists his fellow clerks Dante (Brian O’Halloran) and Elias (Trevor Fehrman), along with friends Jay (Jason Mewes), and Silent Bob (Kevin Smith), to make a movie immortalizing his life at the convenience store that started it all.
This third installment is the final chapter in the lives of the New Jersey guys portrayed in the award-winning “Clerks” and its 2006 sequel, “Clerks II.”
As clerks in a convenience store, the characters were neighborhood slackers with obsessive pop culture interests who dealt with bizarre circumstances and oddball customers. Their circle of friends rounded out an eclectic ensemble.
Shot in black-and-white on a very low budget, the comedy became a sensation when the burgeoning independent film scene gave rise to fresh viewpoints. Smith won the Filmmakers Trophy at the ’94 Sundance Film Festival and “Award of the Youth” and the Mercedes-Benz Award at Cannes, and was nominated for three Independent Spirit Awards for first feature, first screenplay and debut performance (Anderson).
The original “Clerks” spoke to Gen X’ers in a relatable way, especially those in dead-end jobs who didn’t see their dreams ever becoming realities. After “Mallrats” came out a year later, Smith cemented his role as a voice of his generation.
In “Clerks II,” set 10 years later, they wear their lack of ambition like a badge of honor. After the Quick Stop and the adjacent video rental store are destroyed by a fire, the guys work at a fast-food restaurant, Mooby’s. Dante, engaged to Emma and planning to move to Florida, falls in love with fellow employee Becky (Rosario Dawson). With help from stoners Silent Bob and Jay, Dante and Randal buy the Quick Stop and RST Video, thus continuing their journey.
The surprise outcome of the first film, in an ‘only in the movies’ way, saw Smith achieving real-world success by tapping into those hopes, dreams, fears, deep love for the “Star Wars” franchise and his encyclopedic knowledge of comic book characters and superhero/fantasy scenarios. He has made 13 feature films since then, but his career has expanded in many directions. Above all, he is an observer of fate’s strange twists.
They say write what you know, and he did. A struggling filmmaker who worked at a convenience store close to a highway gave him an endless source of material.
For this leg of the trilogy, Smith takes more events from his life, notably the near-fatal heart attack he suffered before one of his comedy appearances in 2018. Older, wiser, and healthier, his point is that you are never too old to completely change your life.
Randal’s life-altering experience of winding up in the hospital, near death, triggers his decision to be a filmmaker, convincing Dante to make his movie. They shoot it at the Quick Stop.
It’s very meta, and it knows it. The movie-making experience is a rocky one, presenting hilarious situations and revisiting some of the more controversial plot developments in the previous two.
Jason Mewes as Jay and Kevin Smith as Silent Bob in Clerks III. Photo Credit: Courtesy of Lionsgate
In supporting roles, Amy Sedaris is very funny as a wacky no-filter doctor without any bedside manner and Dawson, as Dante’s beloved wife Becky.
Familiar faces are seen in cameos, with star turns from Ben Affleck as Boston John, Sarah Michelle Gellar, Fred Armisen, Justin Long and others.
But hidden in the bluster of these films is an underlying sentimental theme of pals going through the ups and downs of life together, and those ties that forever bind us.
And those schmoes that you grew up with, no matter how things turned out, are what’s important. That is ultimately Smith’s point. They may be juvenile, vulgar, and misguided, but they have a bond – which is often put to the test.
After all, Dante and Randal must confront their future – because they are grown-ups.
A quick wit and a glib tongue, Smith writes natural dialogue that’s funny and fast. You gotta keep up and pay attention.
The crude dark comedy is Smith’s wheelhouse, and he also edited and produced, besides showing up as the iconic Silent Bob character, who along with Jay, hung out in front of the store. The loitering pot-dealing pair were the core characters in three movies – “Jay & Silent Bob Strike Back” in 2001, “Jay & Silent Bob’s Super Groovy Cartoon Movie!” in 2013 and “Jay & Silent Bob Reboot” in 2019.
Television shows, animated programs, video games and comic books have sprung from Smith’s prolific Viewaskewniverse. In 1999, he made the religious comedy “Dogma,” which became a controversy magnet. Although widely panned, 2004’s “Jersey Girl” is much better than expected (Seriously, Affleck, who also starred in “Chasing Amy,” and Liv Tyler make a sweet couple, Raquel Castro is adorable as young Gertie and George Carlin plays the grandpa).
With a great deal of affection and a very personal perspective, Smith concludes his saga in a satisfying way.
Do not leave until you hear the song, “I’m from New Jersey,” over the closing credits. John Gorka wrote this quintessential Jersey song in 1991, and it is so fitting here. Touche, Mr. Smith.
“Clerks III” is a 2022 comedy written and directed by Kevin Smith and starring Brian O’Halloran, Jeff Anderson, Trevor Fehrman, Rosario Dawson, Amy Sedaris, Kevin Smith, Jason Mewes, Sarah Michelle Gellar and Ben Affleck, It is rated and runs 1 hour, 55 minutes. It opens in theaters on Sept. 13 and runs for one week as a Fathom Event. 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.
By Lynn Venhaus The skies cleared for some extended periods, Pujols hit his 695th home run, Cardinals swept the Cubs, and the St. Nicholas Greek Orthodox Church Greek Festival was back on the church grounds in the Central West End this Labor Day Weekend!.
This 105th annual tradition is such a fun fest, with good food and fellowship, a community coming together and a cultural celebration with music, dancers, cuisine and families. Tours and a gift shop are available inside the church, which is located at 4967 Forest Park Avenue, St. Louis. It’s been on my radar since I moved to St. Louis the summer of 2015.
Hours are from 5 to 9 p.m. Friday, 11 a.m. to 9 p.m. Saturday and Sunday, and from 11 a.m. to 6 p.m. on Monday, rain or shine. Admission is free and there is free parking available in the BJC parking lot off Euclid.
For more information, visit www.opastl.com. There is an online menu and you can see info about their other events throughout the year, mostly at their family life center..
Greek Salad in to-go containers. Lynn Venhaus photo.
Do not fret about intermittent showers — food is not only served outside under the big Taverna tent in the courtyard (adjacent to Forest Park Avenue), but inside the auditorium too, so you can dig into the yummy food and partake of good cheer anywhere.
There are church tours of that majestic building and its iconography (last one at 5:30 p.m.) and a gift shop indoors, too. You can purchase their tasty Greek salad dressing — a bottle is $4, and there’s a special Hellenic Cuisine Cookbook for $25. Free parking is in the BJC Garage nearby (east).
Separate stands for flaming Saganaki and Baklava Sundaes/Loukoumades (fried dough with honey and nuts) are outside, but plate dinners, pastitsio (baked casserole of macaroni and ground beef with bechamel sauce), authentic Gyros, Spanakopita (spinach pie) Greek salad, Greek fries, extra Tzatziki dip/sauce, and yummy pastries are available at different food stands in auditorium and courtyard around the grounds. Beer, wine and Coca-Cola product soft drinks and water are served too.
I was there Sunday evening, sitting at an outdoor table streetside, and we had a blast listening to music and selecting which treat out of the assorted pastry boxes we were going to try. (My favorite was Kataifi – honey syrup-soaked shredded filo dough roll with nuts), but there is Baklava, Kourabiedes (powdered sugar dusted butter cookies), Finikia (syrup-soaked walnut cookies) and Koulouria (braided butter cookies) too inside the boxes.
You can get individual treats, but some are sold out, so if you get the pastry box, you still get Baklava and the powdered sugar Greek wedding cookies.
Everyone was raving about the custard-layered pastry squares, Galaktoboureko, which are not in the box and only available in the auditorium.
For the first time, I ordered the shish kebab plate, for normally I get a gyro, but now that I live in St Louis Hills, I have four nearby restaurants with delicious gyros (The Gyro Company, Apollonia Restaurant, Dado’s Cafe, Cafe Nova), so I have easy access. Plate dinners come with either lamb shanks, lemon-herb grilled chicken or grilled pork kebabs, served over flavorful garlicky rice pilaf.
Tom Ginos, Paul Xenakis and Kathy Ginos working the beverage tent. Lynn Venhaus Photo.
People are so friendly — I snapped this shot of Tom Ginos, Paul Xenakis and Kathy Ginos working the beer and wine tent streetside Sunday night.
Kudos to Festival Food Coordinator Chris Anastas and the many volunteers who did hours of prep and manned the stands to help many hungry diners.
Pork Shish Kebabs with Rice Pilaf and a Spanokopita. Lynn Venhaus photo.
The annual Labor Day festival, 105 years strong!, helps with the church’s local and national charities. What a well-run fest it is! “Great food and drink are a way of life with the people of Greece,” their program says.
For more info, visit www.opastl.com and you can check out the menu online.
Saganaki (flaming cheese). Lynn Venhaus Photo
If you miss it, they’ll not only be back next year, but throughout the year they have a few special occasions. So, you have other opportunities to “Eat, Drink and Be Merry Like a Greek” for a day. Visit the website for more information, but mark your calendar for:
Greek Kitchen Holiday Open House on Saturday, Nov. 5, from 10:30 a.m. to 3 p.m. at the St. Nicholas Family Life Center, 12550 S. 40 Drive, St. Louis 63141. Open to the public. Friday Lenten Fish Fry in 2023 at the Family Life Center. Dine-in or carryout. A Taste of the Greek Festival in July 2023 in the Family Life Center. Dine-in or carryout.
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 adage, “Bloom where you are planted,” is the theme of “Bandera, Texas,” an amiable new play about marriage, motherhood, and enduring family ties by Lisa Dellagiarino Feriend that the fledgling Prism Theatre Company fell in love with last year at their reading of new works by women.
Now it has the honor of being their first produced full-length play, and it’s a good one to lead the way for this emerging company. Their goal is to focus on females, an applaud-worthy stance that I hope has a bright future ahead.
I enjoyed Feriend’s original voice on the timeless issues women face as girls, wives, mothers, and aging seniors. Those pesky aggravations like cheating husbands, making a home with wee ones underfoot in faraway places, spouses dying, workplace discrimination and overall sexism.
She speaks in a natural way that resonates. For a familiar fish-out-of-water trope, it’s a dandy script full of heart, humor, and engaging characters (including the men!).
They always say write what you know, and while I am not certain if any of it is taken from her life, the Virginia-born playwright is based in Chicago, having moved there in 2008, and is married with two children. She earned a BFA in film and TV from New York University.
The five-member cast has a command of the show’s intentions and are mostly cohesive as a group, with a few wobbly interactions. If everyone’s accent can’t be consistent, I’d just ditch them all, instead of an uneven hodge-podge.
Hopefully, this modest production is considered a workshop and will be further fine-tuned and polished, for the comedy-drama-fantasy has much potential.
Ghost grandmas and pregnant Liz (Maggie Lehman). Photo by Dan Steadman
Like the transplanted heroine in the play, this inaugural production has had a bumpy road from plans to execution, and that’s one of those pandemic-related situations that can’t be pinned on any one thing.
As we learn to navigate the ever-changing COVID-19 virus and its variants, we must adapt – and that’s something the characters, and I suppose the playwright, has had to deal with as well, with a smile and a tear.
Originally slated for a June opening, the show was pushed back because of COVID-19 complications, and therefore, some roles had to be re-cast for this current staging – and one part twice. Some actors had contracts for other gigs, which is a good thing for work, but not necessarily for continuity and chemistry. You know, kismet. But the good intentions are apparent.
So, that leads to this end-of-summer run, Aug. 26-Sept. 4, in the Kranzberg Black Box Theatre, simply staged and presented with much good will and sweat equity.
At least the author, cast and audience are on the same page – life happens, and it’s all about forging ahead, no matter what obstacles are in your path. That’s why I would consider it a work-in-progress.
Last summer, I was charmed by its rudimentary reading in an elementary school at the “Spotlight On…Women Writing Festival of New Works,” and was pleased to hear of its development as an actual theatrical production. It was one of four selected for reading out of 21 submissions.
This world premiere benefits from the wit and relatable situations – at least for any woman who has been blessed with being raised by strong women, and the men who’ve been fortunate to be in their orbit.
With equal parts grit and gumption, Feriend unfolds the predicament of Liz (Maggie Lehman), a pregnant young woman who agreed to move to the Texas Hill Country because her husband Dave (Mike DePope) has landed his dream job – high school drama teacher and baseball coach. As one character says, that is quite specific, but hey, good for him.
Only she is a native New Yorker and moving into a trailer on her husband’s family’s property turns out to be a far rougher experience than she imagined. Good grief, rattlesnakes are outside! And there may be scorpions – egads!
While fretting, her dead and still gutsy grandmothers, maternal Genevieve (Jenni Ryan) and paternal Mary (Leslie Wobbe), magically appear to offer advice as good ghosts. Ryan joined the cast as a replacement to a replacement and isn’t as fluid with the dialogue as the rest, and it’s a conversational-heavy play. As a brash New Yorker who lived a hardscrabble life, she employed a thick accent that comes and goes, and gets more emphatic as she is confronted with adversity.
Ryan Burns in multiple roles, including Robert F. Kennedy. Photo by Dan Steadman.
Wobbe embodies a sweet woman who learned to stand up for herself and her family when times were tough. She projects a calm, reassuring manner to impart life lessons.
Through flashbacks, they will provide examples of crossroads and tough choices in their lives. These shared incidents help Liz adapt to her new surroundings and make her realize who she is by carrying the people she has loved in her heart. After all, home is where we start from – it’s universal.
Liz, an accountant, plays into the stereotypes we associate with New Yorkers who believe the rest of the U.S. is flyover country. She seems resistant to fitting into Bandera, current population 857, although she says she will and is trying to be a good sport. Only she whines about not being in NYC. A lot. We get it. Crossroads of the world, center of the universe, and yadda, yadda. (They do have the best water, all the better for the bagels.)
For the record, Bandera is a small town less than an hour away from San Antonio, and on its website, they call themselves the “Cowboy Capital of the World.” Alrighty, then.
A lively spirit, Lehman portrays Liz confidently and sympathetically, conveying her concerns – many of them valid – and is agile on stage, mindful of her growing tummy and taking that into consideration for her movements. You feel for her – I’d be pouting and overthinking too. Baby makes three.
The men fit the Texas mold that’s used countless times – macho gun-toting, beer-swilling, loud, boastful, close-minded rednecks, and set in their ways. Dave, though, doesn’t seem to be the cookie-cutter image, more cosmopolitan and somewhat thoughtful, but after day drinking with his brother and dad, settles into those typical guy things. Mike DePope straddles the dilemma of supportive husband and male bonding with his bro.
That family lineage is kept off-stage, and it’s the New Yorkers whose lives adapting are in vignettes – off the boat, in the orphanage, living in Iowa, being widowed at a young age, entering the workforce as a mother, dealing with setbacks, patriarchy rules in the workplace, and just getting by.
Portraying different characters to flesh out key turning points in the grandmothers’ lives, the versatile Ryan Burns is remarkable – the true MVP of the show. He’s so authentic in these snapshots of husbands, sons, bosses, neighbors and even Robert F. Kennedy. It’s an interesting twist. That’s quite a load to carry, and he impressively stands out.
Liz and Dave are a couple you root for, and would like to know more about – did they name the baby Charity or did the new mom win that round?
Audiences will have the opportunity to talk to Feriend, as she will be here Saturday and Sunday. Prism’s Trish Brown, who directed the show in a straightforward, realistic way, and her longtime collaborator Joy Addler arranged this visit. They worked with Feriend to develop the play after last summer’s reading.
On Saturday, Sept. 3, the performance will be followed by a Meet the Playwright reception, included in your ticket. On Sunday, Sept. 4, the performance will be followed by an audience talk back with the playwright and the cast, which is included in the ticket.
Next up for Prism is the “Spotlight On…Emerging Artists Festival of New Works” Sept. 22 – Oct. 1 at The High Low. This year’s festival will feature staged readings of plays by six local playwrights, all of whom have never had their works published or produced.
Prism Theatre Company presents “Bandera, Texas” I Aug. 26 – Sept. 4, Thursday through Saturday at 7:30 p.m. and Sunday at 2 p.m. For more information, visit www.prismtheatrecompany.org.
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 well-acted, well-written satirical comedy about organized religion manipulators has one major obstacle: Its subject matter is icky.
And infuriating. And such easy targets.
In the aftermath of a huge sexual-misconduct scandal, Trinitie Childs (Regina Hall), the first lady of a prominent Southern Baptist megachurch, attempts to help her disgraced pastor-husband, Lee-Curtis Childs (Sterling K. Brown), rebuild their congregation.
As we’ve seen in headlines and tabloids, in the name of the Lord, some so-called Christian leaders who are respected and admired prey upon the vulnerable and the devout, which is disgusting and disturbing
Because the two disingenuous lead characters are so unlikable, it’s not only a skin-crawling watch, but a hard sell.
Similar real-world scandals have become commonplace, therefore, a narrative about such thoroughly reprehensible people is tough to endure, even when sharp barbs and the audacity of it all lands a laugh.
Nevertheless, the performances are stellar – Sterling K. Brown and Regina Hall give the characters more depth than written. It would be easy to make buffoons of the deceitful pastor and his conspicuous consumer wife attempting to redeem themselves and return to an extravagant lifestyle.
The Emmy-winning Brown, a native St. Louisan, tries to evoke sympathy as Lee-Curtis, but his role is too slimy and loathsome as an egotistical preacher convinced that they are entitled to live lavishly because of the work they do saving souls.
But oh, those deadly sins – lust, greed, pride, and envy — keep surfacing. Their personal demons can’t be so easily dismissed, no matter how much they pray away.
Childs confessed to his weaknesses, but this false prophet’s proclivity for down-and-out young men isn’t forgotten. While he is steadfast and focused on a comeback, hiring a documentary crew to film their work preparing the church to re-open, his hubris gets in the way.
Hall has more to do with her character’s arc as a clueless shopaholic who has pledged her loyalty, but slowly realizes that believing people will follow them back is folly – and frustrating, humiliating, and pathetic. Having her stoop to grovel roadside in mime-face is nearly the last straw.
It doesn’t help that former congregants now run a rival church opening on the same day. Nicole Beharie and Conphidance excel as Shakura and Keon Sumpter, a faithful couple in sharp contrast to the Childs’ pretensions and extravagance.
Austin Crute is memorable as one of Lee-Curtis’ victims, Khalil.
When reminders of the scandal won’t disappear, Childs gets more desperate — and the puffery gets more grandiose.
Writer-director Adamma Ebo developed her 15-minute short film she made in 2018 into this feature, her first, which debuted at this year’s Sundance Film Festival. It is produced by her twin sister, Adanne Ebo.
John Collins’ production design is an eye-popping example of over-the-top opulence to portray the gaudy excesses of the Childs, their ostentatious mansion, and their ornate megachurch.
Costume designer Lorraine Coppin has assembled glamorous outfits for Hall, so that her character is flashy and elegant at the same time, perfectly coordinated and coifed for each look.
Maurice Norris has crafted a soundtrack superbly blending secular and gospel music.
At 1 hour and 42 minutes, one thinks a more succinct version would have worked just fine for the same effect.
Regina Hall, Sterling K Brown
“Honk for Jesus. Save Your Soul” is a 2022 comedy directed by Adamma Ebo that stars Sterling K. Brown, Regina Hall, Conphidance, Nicole Beharie and Austin Crute. It is rated R for language and some sexual content and has a run time of 1 hour, 42 minutes. It is in theaters and streaming on Peacock beginning Sept. 2. 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.
What treasures St. Louis Shakespeare Festival and our bi-state area public parks are! We are so fortunate to have such forward thinkers in our midst.
And because of these creative souls, ta-da! – we have a late summer treat in the form of a delightfully entertaining, high-energy Afrocentric interpretation of “A Midsummer Night’s Dream” with original music.
During August, the TourCo has been crossing rivers and county lines, going into both rural and urban areas, and providing access to the arts that these neighborhoods may not have otherwise. It’s a beautiful thing to be a part of –and the show is unlike anything you have seen before.
Six perspicacious performers present one of Shakespeare’s most beloved comedies by taking on multiple roles as young lovers, close-minded royal parents, mischievous fairies, and a goofy troupe of traveling actors on their way to perform at the Duke of Athens’ wedding.
The multi-talented Tre’von Griffith has directed with a clear vision, making the confusion and disorder lucid, showing us how love and joy win out in the end. Assistant director was Cameron Jamarr Davis.
The fleet-footed six dance and sing with a great deal of zest. Their spirited delivery spreads the fun by involving the audience, and it’s wonderful to see that connection. Stage Manager Britteny Henry makes sure everything moves swiftly.
That famous line: “The course of true love never did run smooth” is in this play, and that’s the crux. In Athens, Hermia is promised to Demetrius but loves Lysander. Meanwhile, Helena, Hermia’s best friend, loves Demetrius. It gets complicated when spells are cast in a magical forest, for fairies get mixed up in the romances when love potions are used on the wrong people.
A life force, Tiélere Cheatem plays Helena, Hippolyta (queen of the Amazons) and Peter Quince, and it is a graceful site, such lovely physicality to watch. Rae Davis excels as Hermia, Tom Snout and Titania (queen of the fairies), and the amusing Ricki Franklin easily switches from Demetrius to the goofball Nick Bottom – a cartwheel! — while Asha Futterman nimbly does double duty as Theseus (Duke of Athens) and Oberon (king of the fairies). Mel McCray is an agile Lysander and Francis Flute, and Christina Yancy is spry alternating as Egeus (Hermia’s father), Snug, Robin, and Puck.
Everyone should leave with a smile on their face and a song in their hearts.
Griffith, known as Tre-G, is a gifted artist and composer from St. Louis who graduated from the prestigious Berklee School of Music in Boston with a bachelor’s degree in music business and management. His original music enlivens the pared-down play – and the beat is contagious in getting the crowd into the show.
The imaginative costumes by local designer Brandin Vaughn are whimsical and cleverly separate the characters – and Cheatem rocks whatever he is wearing with great style.
Laura Skroska crafted a production design that is interesting, portable, and quick to assemble in all kinds of outdoor spaces.
So, what are you waiting for? You must make time to spend 90-minutes in its final free evening programs.
Originally scheduled for 24 shows, four remain (Aug. 24 – Jones Water Park in East St. Louis, Aug. 25 – Shaw Park in Clayton, Aug. 26 – Chroma Plaza in the Grove, Aug. 27 – Hermann, Mo., and final night is Tuesday, Aug. 30, the rescheduled Tower Grove Park performance, which had been rained out.
The show starts at 6:30 p.m. and ends at 8 p.m. Bring your own chair or blanket. Guests can bring their own food and drink, and some sites sell items, too.
Go!
Live theater has enriched my life immeasurably, and one of the best experiences is to witness a production outside with an audience of all ages and walks of life. Connecting with others through the arts is one of life’s greatest pleasures.
One summer night growing up in Belleville, Ill., the neighborhood public school put on a version of “Tom Sawyer” on their grounds. I recall benches were placed in an alcove, but I don’t remember what age the cast members were — all I know was I was entranced. This was in the mid-1960s, and as the oldest of five kids raised by a single mom, we had very little money for extra things. The arts opened a whole new world.
Free theater! I never forgot that opportunity, and throughout my previous life staging shows outside, I marveled at the melding of art and the outdoors – it seemed so natural.
(And later, I’d realize how much work they were – moving everything outside! But I digress…And fun fact, a local professional actor who often is part of the big summer show in Shakespeare Glen was in that grade school play I saw. Small world, full circle, six degrees…and so forth).
I have been fortunate to review the festival since 2013, and one of my favorites was “A Midsummer Night’s Dream” the summer of 2016. It was so inspired and playful. This one, too, is doused in fairy dust. While it helps to know the basics, really the way they prepare the show makes it easy to follow for all of us.
Because my June schedule prevented me from coming earlier, I headed to the picturesque village of Brussels, Ill., population 112, on Sunday, Aug. 21, a place I hadn’t been to in 25 years! In the fall of 1997, I had taken my two sons hiking in Pere Marquette State Park and we took the Brussels Ferry across the Illinois River. This time, now living in St. Louis, I drove to St. Charles and crossed the Mississippi River on the Golden Eagle Ferry.
Winding through the narrow roads of Calhoun County, I found the town center on Main Street – and saw folks in lawn chairs at Heritage Park, enjoying the pleasant sunny day and festive spirit. The music and the likable performers were engaging everyone, and Community Engagement Manager Adam Flores warmly welcomed those gathered.
It was such a joyous communal experience – and to see people coming up to the performers afterwards to say how much they enjoyed it, well, what’s better? (And we had time to get to the ferry as twilight fell!).
The St. Louis Shakespeare Festival started fostering community and continuing the Shakespearean tradition of art for all in 2001, when they first presented a free show for two weeks in Forest Park – “Romeo and Juliet.” Now a month long in Shakespeare Glen that attracts thousands, the free event is the start to summer for many St. Louisans.
St Louis Shakes doesn’t end with the big show – which was the fun and funny “Much Ado About Nothing” this June – because the TourCo works their summer magic throughout the region, and come September, we have the annual free Shakespeare in the Streets to look forward to – and this year, it’s in my old neighborhood of Bevo Mill, at the intersection of Morgan Ford Road and Gravois Avenue Sept. 22-24.
The focus will be on our thriving immigrant population in the city’s southside. Deanna Jent, who did so much work with the Bosnian Project through Fontbonne University, has written this Shakespeare adaptation with them in mind.
This December, the one and only Q Brothers Collective will present their version of “A Christmas Carol.” Winner of multiple St. Louis Theater Circle Awards for their hilarious “Dress the Part” two-hander in the ‘before times’ of early 2020, I’ve heard their audio version – courtesy of the walking tour in the Central West End in the pandemic wintertime of 2020 — and I’m ready to see their fresh take at the National Blues Museum Nov. 25-Dec. 23.
You won’t want to miss any of it.
For more information, visit www.stlshakes.org.
Guests are encouraged to call ahead to the Box Office (314-287-3348) with any park accessibility questions for the tour date they plan to attend.
It is always their hope to perform, so the decision to hold or cancel the show is rarely made before showtime (6:30 pm). In the event of bad weather, the performance may be delayed. Check social @stlshakesfest across platforms for updates or call 314•287•3348.
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.
Visually stunning, “Three Thousand Years of Longing” is wonder on a grand scale.
While attending a conference in Istanbul, Dr. Alithea Binnie (Tilda Swinton) happens to encounter a djinn, aka genie (Idris Elba), who offers her three wishes in exchange for his freedom. She is a scholar well-versed in mythology and storytelling, and is highly skeptical – after all, so much folklore involving genies turns into cautionary tales that end badly. He pleads his case by telling his fantastical life adventures, and she’s beguiled. What happens next surprises them both.
Far from his Fury Road, risk-taking director George Miller leads us on a less-traveled path. With his flair for the unusual, Miller charts new territory – his “Mad Max: Fury Road” won six Academy Awards in 2016, so of course the film’s technical elements are superb.
While I am not the biggest fan of the fantasy genre, I can appreciate the technical skill and the amount of difficulty in making it look seamless.
The work of cinematographer John Seale, who came out of retirement for the second time to shoot this movie (the first being Miller’s “Mad Max: Fury Road”), is exquisite — the vibrancy of his framed shots is breathtaking.
The film unfolds like a novel. Miller collaborated on the screenplay with Augusta Gore, adapting A.S. Byatt’s short story, “The Djinn in the Nightingale’s Eye,” first published in the Paris Review in 1994. Like the British author Byatt, Miller puts familiar fairy-tale themes in a contemporary context, commenting on society along the way.
It borrows freely from “Arabian Nights,” that compendium featuring “One Thousand and One Nights,” which brought genies, or djinns, into the modern lexicon. Djinns in Islamic culture are often considered demons, but not here. There is a mystical charm to his powers.
Yet, the stories the Djinn weaves to plead his case are not as captivating as Elba and Swinton are. The pair is far more transfixing in bathrobes than the quixotic spectacles involving the Queen of Sheba and the Ottoman Empire, because those meander and such detours take us away from the film’s more interesting core relationship.
Oscar winner Swinton and Elba, who won multiple awards for his finest work in “Beasts of No Nation,” are endearing in their roles as lonely hearts whose solitary existence have led them to this crossroads. Elba could read my tax returns and I would be spellbound.
Alithea’s skepticism is relatable – it would be easy to dismiss it all as a mirage – but it’s not, and her new discovery is a joyful sojourn, particularly when she returns to her life in London. The two bigoted biddies who live next door are a hoot.
However, understand that the exotic panoply is necessary for the fanciful backstory. It’s just curiously not that engaging – a broad canvas of heroes, villains, royal protocol and expendables.
One thing about Miller, though, is that the guy always has a unique perspective – whether it’s a savage post-apocalyptic world of survival or a whimsical journey of a sweet little talking pig or dancing penquins. (After all, he won an Oscar for Best Animated Feature for “Happy Feet” in 2006).
Swinton and Elba make us care about their characters’ outcome. Without them anchoring this film so skillfully, I would have checked out early. Still, it feels long even with its 1 hour, 48 minutes run time.
Come for the dazzling cinematic work, stay for the mesmerizing acting.
“Three Thousand Years of Longing” is a 2022 fantasy-drama-romance directed by George Miller and starring Tilda Swinton and Idris Elba. It is rated R for some sexual content, graphic nudity, and brief violence and runs 1 hour, 48 minutes. It opens in theaters Aug. 26. 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.
By Lynn Venhaus Emphasizing romantic symbolism along with its operatic life and death themes, an unconventional production of Tennessee Williams’ “The Rose Tattoo” is cleverly staged inside a Big Top ring, re-imagined as an Italian circus — complete with aerialists, animals, singers, musicians, and clowns.
The 1951 play is this year’s centerpiece for the seventh annual Tennessee Williams Festival St. Louis, one of my favorite not-to-be-missed events since 2016.
The Mississippi-born playwright, who spent his formative years in St. Louis, came to prominence in the 1940s, and in the decades following, cemented his place as one of the most significant playwrights of the 20th century. The festival celebrates his influence and art through his enduring works and early writings.
Always a detailed retrospective with speakers, education components, readings, films, tours and more, the fest’s fresh looks have a way of bringing out further insights during its 10-day schedule.
A bold and risky move, the exaggerated flourishes — while cinematic and reminiscent of Fellini fantasies — aren’t necessary to convey the heart of the matter, which is love in a time of chaos and the push-pull of grief, desire, and hope.
While the amusing accoutrements add to the production’s overall uniqueness, Williams’ poetic flair remains at center stage.
The nimble ensemble slips into the colorful characters that are part of an Italian immigrant community on the Mississippi gulf coast.
Williams’ play, which premiered in Chicago in 1950, became his fourth New York produced piece in 1951 after “The Glass Menagerie,” “A Streetcar Named Desire” and “Summer and Smoke.” It is his only one to win a Tony Award for Best Play.
Williams adapted the three acts for the movie in 1955, perhaps best known as the vehicle for which Anna Magnani won an Academy Award. The film was nominated for eight Oscars, also winning for cinematography and art direction.
Magnani, once described as the “volcanic earth mother of Italian cinema,” was a friend of the playwright. He wrote the part for her, considered her “the most explosive emotional actress of her generation.” But, thinking her English wasn’t up for the stage, she declined – and four years later, it was her first English language film role.
The earthy Serafina Delle Rose is an indelible heroine – suffering but not silent. Maureen Stapleton originated the role on Broadway, and Maria Tucci (1966), Mercedes Ruehl (1995) and Marisa Tomei (2019) played the tempestuous widow in subsequent revivals.
Under the Big Top, professional actress and academic Rayme Cornell commands the space as the fiery Sicilian seamstress.
Let’s face it, as written, both she and love interest Alvaro could be construed as antiquated over-the-top ethnic stereotypes. Chalk it up to dated material from 70 years ago. So, she and Bradley J. Tejeda walk a tightrope in dialect delivery.
Serafina is a complicated woman. Williams knows how to set up pain and passion, that’s for sure. Happily married to virile truck driver Rosario, Serafina discloses she is pregnant with her second child and that a rose tattoo appeared on her breast the night of conception, albeit temporary.
We never see Rosario but learn he ran black-market cargo for the mob underneath bananas and cheated with the delectably-named Estelle Hohengarten (Rachael Fox, on horseback). His life ends badly – shot, then his 10-ton truck crashes and bursts into flames.
Plunged into mourning, miscarriage, and misery, Cornell glowers, wails, and rages. In a well-worn pink slip, she deteriorates as a bitter recluse, refusing to face reality. A shrine to the Blessed Virgin Mary gives her sustenance.
You can’t tell by intermission, but “The Rose Tattoo” is a departure from Williams’ signature dramas. Considered more light-hearted, it still has his emotional whiplash.
Deep sorrow eventually yields to comedic interplay when a chance flirtatious encounter is life-changing.
That’s when the charming Tejeda swoops in as Alvaro Mangiacavallo, a buffoonish truck driver, and the play blossoms in his presence.
Tejeda, a New York-based actor and Yale School of Drama alum, has made his mark on local stages – first at St. Louis Shakespeare Festival in “Love’s Labour’s Lost” in 2019 and then the radio plays when the festival pivoted in 2020.
Last year, he brought both a sweetness and restlessness to Tom Wingfield, an extraordinary performance in the triumphant production of “The Glass Menagerie” outside at the Central West End apartment where Williams once lived.
Bradley J Tejeda as Alvaro. Photo by Suzy Gorman.
As Alvaro, he demonstrates his prowess in physical comedy, channeling Charlie Chaplin in looks and expressions, acrobatic in slapstick and darting around the set. It’s a splendid performance, injecting the play with a needed boost of vitality.
He easily won over the audience, especially when he joked that his last name Mangiacavallo means “eat a horse.”
“It’s a comical name, I know. Maybe two thousand and seventy years ago one of my grandfathers got so hungry that he ate up a horse. That ain’t my fault,” he said, eliciting laughter.
Serafina describes him as having a clown’s face on her late husband’s body. Even with their skilled performances, Cornell and Tejeda do not spark any sensuality.
But the young couple revealing an attraction that blooms into love does. Valentina Silva, memorable in Metro Theater Company’s “Last Stop on Market Street” last winter, plays Serafina’s smart, sheltered, and neglected 15-year-old daughter, Rosa Delle Rose, with youthful elan.
Stifled by her mother during the three years since her father’s accident, Rosa rebels, wanting to go out and have some fun. You feel her yearning for freedom, eager to take flight.
She is infatuated with a wholesome sailor, Jack Hunter, who was immediately smitten with the vivacious teen at a school dance. Oliver Bacus, who is quickly making a name for himself on local stages, seen last month in The Midnight Company’s seismic “Rodney’s Wife,” eloquently delivers Williams’ distinct dialogue.
Their innocent love story is a catalyst for Serafina to change, to let go, and that is illustrated by aerialists Annika Capellupo, Natalie Bednarski, Sage McGhee and Maggie McGinness of On the Fly Productions, with choreography by owner Jason Whicker. It is a lovely, graceful sight — but does this illuminate or distract?
The aerialists use satiny scarlet ribbons of fabric, which is the shade of a shirt Serafina is sewing, requested by her husband’s mistress to give her “wild like a gypsy” beau on their one-year anniversary, which is the last day he’s alive.
So much of Williams’ writing deals with symbols – consider the rose itself, with red buds a sign of romance, love, beauty, and courage. Here, it is a symbol of new beginnings too.
Understanding Williams’ dreams and desires has always been part of the fest, and the focus on Italy explores how visiting the country, soon after his first wave of success, was restorative to his psyche.
Giddy with fleeting joy and discovery of his new happy place, Williams dedicated his “love-play to the world” to his partner, Frank Merlo, an Italian American from New Jersey who served in the U.S. Navy during World War II: “To Frankie in Return for Sicily.” They met in 1948 in Provincetown, Mass., and spent 15 years together. Merlo died of lung cancer at age 43 in 1963 while Williams lived to age 71, passing in 1983.
The supporting cast captures the local flavor, and the quirky people he immortalized on paper.
Assunta, Serafina’s friend with psychic abilities, is played by Carmen Garcia with an air of mystery. She senses that “something wild is in the air.” Holly Maffitt is the “Strega,” considered a traditional witch, because the fates are part of this narrative.
Tyler White, a lively presence whenever on The Black Rep’s stage, is delightful as part of the neighborhood’s gossipy hens, as is Julia Crump as perky busybody Bessie.
Harry Weber is both teacher Miss Yorke and Father De Leo, the community’s strict moral gatekeeper.
The always fun to watch Mitchell Henry-Eagles enlivens the proceedings as an accordion-playing salesman and a doctor. Tony Viviano occasionally pops up to sing.
They serve as a Greek chorus of sorts, observing, moving in and out. Director David Kaplan likes to keep the players in motion, engaging the audience, and breaking the fourth wall.
Kaplan is well-versed in Williams’ aesthetic as one of the preeminent interpreters of his works. He is the curator and co-founder of the Provincetown Tennessee Williams Festival, now in its 17th year.
St. Louis experienced his perceptive vision in the dynamic “The Rooming House Plays,” four short plays he staged in the Stockton House, a local Victorian mansion, for the 2016 inaugural fest.
Williams’ works on longing and loss always move me more when we are in close quarters or exposed to a different canvas, so that I can feel the lyricism, make a specific connection. So, the cavernous Big Top was a challenge, but the cast’s immersion helped considerably.
James Wolk’s innovative set brought out an entirely new dimension, using multiple frames and shutters to stand in for doors and windows. The versatility punctuated the scenes, and the cast, adept at quick changes, did not lose a beat. Obviously, well-rehearsed, and efficient work by all.
The sound, however, had some issues Friday but was worked out. Designer Nick Hime engineered the sound and operated the board.
Jess Alford’s lighting design made use of dusky twilight in the early evening. Michele Friedman Siler’s thoughtful costume design differentiated the characters, and she effectively mixed textures.
This daring production has many moving parts, including four goats and a horse, which is difficult to pull off smoothly, and the esprit de corps is apparent. Stage Manager J.M. Bock and assistant stage manager J. Myles Hesse kept it flowing smoothly.
Williams was fascinated by the ebb and flow of time, which is a major component here. Between 1948 and 1959, he had seven plays produced on Broadway. This early one, however, is one of the few happy endings – because they found love in a hopeless place.
The Tennessee Williams Festival St. Louis presents “The Rose Tattoo” Thursdays through Saturdays at 7:30 p.m. and Sundays at 3 p.m. through Aug. 28 at The Big Top in Grand Center, 3401 Washington Avenue. For more information and tickets, visit www.twstl.org, and for a complete schedule of events.
The schedule includes a free showing of “The Roman Spring of Mrs. Stone,” based on Williams’ novel which he adapted for the screen in 1961, starring Vivien Leigh and Warren Beatty. It will take place at 8 p.m. on Wednesday, Aug. 24, at St. Ambrose Church on the Hill, 5130 Wilson Avenue.
A Bocce Tournament starts at noon on Saturday, Aug. 27, at the Italia-America Bocce Club, 2210 Marconi Avenue.
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 ensemble cast acts naturally in an unnatural setting in “Locked Ward,” a world premiere mystery-drama by Chicago-based playwright Amy Crider.
Now in its 19th season specializing in producing new works, First Run Theatre effectively realizes Crider’s play, which was inspired by her own journey with bipolar disorder, with sensitivity and compassion.
Crider’s care and concern regarding her characters, which were based on people she met while hospitalized in 1993, is obvious. And director Phil Gill follows through by ensuring a human face has been placed on the internal and external conflicts.
Crider has been on effective medication since 1994, and has been almost entirely in remission ever since, she wrote in the program notes. Her large body of work includes the topic of mental illness, and reflects not only her personal experience, but her desire to educate and make people aware of disorders.
“Locked Ward” is first and foremost a passion project, and it succeeds on its earnestness. While it has humorous elements to lighten interaction, it is serious in its intentions. Do not think of this as “One Flew Over the Cuckoo’s Nest” light.
As Crider does, Gill strives to address the stigma hanging over those living with mental illness. And that is an important aspect of this presentation. In his program notes, he said he hopes it “encourages you all as our audience to see through the labels and instead see the humans that exist” behind the diagnosis.
While it could be heavy-handed in conveying the playwright’s noble intentions, First Run does not lecture, but lets the actors believably develop their familiar characters. The cast makes sure we feel their connections while shading the disparate personalities in an identifiable way.
In life, Crider may crusade, but on the page, she doesn’t preach. She has incorporated information within the framework of a murder mystery, which is a surprising component.
The story takes place in 2003 in a psychiatric ward. When the body of a nurse is found on the floor in the ‘locked ward,’ patients become amateur sleuths, united in their shock and grief. That helps them bond, but also shows their limits as their own personal issues come to the forefront.
For instance, the sweet Eleanor, affectingly portrayed by Uche Ijei, has a manic episode while the group is preparing dinner. Her escalating paranoia puts others at risk when she wields a knife (used to cut vegetables) and must be put in restraints. They smoothly diffuse the situation.
Because the actors demonstrate skill in bringing their characters to life, we get to know them beyond their ‘types’ throughout the two acts.
Duncan Phillips is impressive as Franklin, the rigid obsessive-compulsive whose daily routine of “Star Trek” episodes and the evening news is disrupted when the floor’s television set is removed. You know that character. Smart, sincere, and awkward, Phillips grabs onto solving the mystery like a lifeboat.
In a heartfelt performance, Ethan Isaac is Glen, a troubled ex-cop dealing with post-traumatic stress syndrome, who must work through a tragedy. He also provides investigative know-how as the group ascertains how their floor nurse died.
Jalani “Tamia” Hale is sympathetic as Jill, whose memory is erased with her electric shock therapy. She is heartbreaking as she walks around in a zombie-like state sometimes and has grown an unrealistic attachment to the doctor treating her.
As Vladimir, a rebel-rousing dissident who doesn’t play by the rules, Stephen Thompson maintains a convincing Russian accent. An intelligent guy that sometimes condescends, Vlad’s hostility softens as he works together with the group on a common cause.
Treating these patients is Dr. Blumenthal, and Jaz Tucker keeps us guessing about this guy – is he trustworthy or is he hiding secrets? He does a good job giving the benevolent doctor some layers.
Because of COVID-19, Lillie Weber could not play the health care professional Linda, who takes over from the ‘victim’ the patients were attached to. But stage manager Gwynneth Rausch capably filled in. Because they must adjust anyway to an ‘outsider,’ her insertion worked well as a latecomer, not missing a beat. She also provided some context to the deceased nurse’s private life.
Scenic designer Brad Slavik’s use of weathered second-hand furniture and distinct institutional props fitting such a locale’s layout adds to the production’s lived-in quality. Tony Anselmo’s lighting design enhances the moods and the characters’ emotional states, and technical director Jenn Ciavarella’s sound design is efficient and fluid.
The play is well-staged in the Kranzberg black box theatre so that each character has their moment to shine.
Without simple solutions, the play zigs when you think it will zag, so you are kept somewhat off-guard, avoiding predictability.
While the conclusion seems anticlimactic, and the path towards the resolution gets a little clunky in its exposition, the ensemble’s likability smooths the rough edges.
Overall, the actors’ grow as they share their stories, bridging some of the hurdles perceived in mental health.
Crider does not offer quick fixes, and it would be irresponsible to do so anyway. Because of the way the character’s progress, in the end, the message lands on how much more insight we need on mental illness.
Through First Run, this fiction can be a starting point to learn more.
The St. Louis chapter of the National Alliance on Mental Illness, which serves St. Louis city and county plus the counties of St. Charles, Lincoln, Warren and Jefferson, has provided the company with resources that they have placed in the lobby of the Kranzberg Arts Center. NAMI is an organization of families, friends and individuals whose lives have been affected by mental illness
Crider has also written a mystery novel about her experience with mental illness, “Disorder,” which is available from bookstores, Kindle, and audio.
Crider wrote the play, “Charlie Johnson Reads All of Proust,” that the Midnight Company presented here in May 2019.
You can follow her career, including winning the Tennessee Williams One Act Play contest, on www.amycrider.com.
Jaz Tucker, Ethan Isaac
First Run Theatre presents “Locked Ward” Aug. 12-14 and 19-21 at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis. For tickets and information, visit www.firstruntheatre.org.
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.
