By Lynn Venhaus Maybe you think that if you’ve seen one Dracula movie, you’ve seen them all, “Nosferatu” and other spin-offs included? Quite the contrary, with this latest take on the classic vampire story more focused on gothic romance and less on gory horror.
But of course, there will be blood — and heads roll. What a mysterious revision Luc Besson’s “Dracula” is, taking concepts from Bram Stoker’s 1897 novel but going in multiple overwrought directions instead.
The director, known for such global action hits as “Leon: The Professional” and “La Femme Nikita,” not to mention producing the “Taken” and “Transporter” franchises, created an unusual scenario, although extravagant battle scenes bookend the film with mayhem.
Besson’s visual flair, as noted in his films “The Fifth Element” and “Valerian and the City of a Thousand Planets,” is the film’s strongest suit, stylistically framing the traditional story with grandeur – namely, the opulent production design by Hugues Tissandier and lavish period costumes by Corinne Bruand.
As screenwriter, he took a major creative license. The result is a strange brew of folklore, desire, silliness and gargoyles come to life. Dracula’s quest is to find his lost love, for he’s miserable and melancholic without his adored wife, who was slaughtered in front of him.
After all, he’s been mourning for four centuries. It’s unclear how he expects to find her – another freshly minted vampire, resurrected or reincarnated? But a stronger emotional core is what Besson attempted. Danny Elfman added both bombast and urgency to his lush film score.
Originally called “Dracula: A Love Tale,” the ambitious reinvention freely mimicked the kitschy melodrama that made the cult soap opera “Dark Shadows” so irresistible in the late 1960s.
But Besson, who took this project very seriously, created a philosophical Vlad as he roamed the earth, inventing a fragrance to be his calling card for seduction. So, is he a perfume designer too?
Because of that twist, powdered and porcelain-skinned heavy-breathing socialites can’t resist him in exotic continental locations.
Caleb Landry Jones is an intriguing Prince of Darkness. The character actor known for playing Banshee in “X-Men: First Class,” as Red in “Three Billboards Outside Ebbing, Missouri” and an Armitage in “Get Out,” leaned into the flamboyance and the mannered speech in a gravelly whisper as he doubled-down on the lovesick nobleman.
His version varied from the iconic portrayals by Gary Oldman, Christopher Lee and Bela Lugosi to make the role his own. He transformed into many looks, from Middle Ages armor to high-society top hats, from swaggering royal to grotesque old man.
He and Zoe Bleu, as both Elisabeta and Mina, have a zesty chemistry. Bleu resembles her mother, actress Rosanna Arquette, and is now fourth generation of the famous acting family.
In one of the more bizarre scenes– that prolonged the inevitable – Dracula ravished a nunnery. Those poor unfortunate souls. His obsession is relentless, and as Besson detours, the film gets wackier.
But some key figures remain or are similar to the original. Instead of including vampire slayer Van Helsing, two-time Oscar winner Christoph Waltz played a Vatican-appointed priest. He attempts to save Vlad from damnation. Fresh off his appearance in Guillermo del Toro’s “Frankenstein,” he played the role matter-of-factly.
Ewens Abid is an earnest Jonathan Harkin, a lawyer who visited the count in the castle (and Mina’s fiance). David Sheets is Henry Spencer, whose fiancé Maria (a maniacally giggly Matilda De Angelis), went crazy at their wedding, and he’s still in shock.
Maria was institutionalized at a deeply unsettling insane asylum, and Besson created a disturbing tableau every time we went there, mixing primitive psychology with the supernatural. By now, Dracula looks like the Babadook.
To rid the world of this demon, we have a battle extraordinaire with cannons and animated gargoyles called to duty. (Think the flying monkeys in “The Wizard of Oz.”)
Because we’re accustomed to “What We Do in the Shadows” and the Twilight movies, one wonders how far the mythology can be stretched.
After 2 hours, 9 minutes, it’s time to let him go. There have been around 30 Dracula movies produced, becoming a pop culture staple for 100 years, so where this lands in public opinion, only time will tell. This “Dracula” will go down as a one-of-a-kind, though.
“Dracula” is a 2025 supernatural horror romance written and directed by Luc Besson and starring Caleb Landry Jones, Zoe Bleu, Christoph Waltz, Ewens Abid, David Sheets and Matilda De Angelis. It is rated R for violence, some gore and sexuality, and its run time is 2 hours, 9 minutes. It opens in theatres Feb. 6. 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.
A very special comedy, “Myth of the Ostrich,” is an absolute laugh riot, thanks to the triple treat of actresses who deliver heartfelt and hilarious portrayals of three distinct personalities, aided by the deft direction of Jane Paradise.
In Upstream Theater’s U.S. premiere of Canadian playwright Matt Murray’s playful and poignant story of assumptions, first impressions and flipping broad stereotypes, this Dream Team works smoothly in tandem.
For 90 minutes, the action-packed, chatty narrative is a marvel of physical slapstick, sharp timing, and landing punch lines effortlessly. But it also has something to say about understanding our differences with empathy and forging the unlikeliest connections, which is a timely takeaway.
As Holly, a harried single mom writer, Wendy Renee Greenwood is expecting her best friend Cheryl (Pamela Reckamp) to stop by her humble Boston abode. They’re both loud and messy, with Cheryl the more unfiltered and free-spirited, with a typical ‘Southie’ accent, but Holly seems a more level-headed voice of reason, not as impulsive as Cheryl..
Wendy Renee Greenwood and Pamela Reckamp. Photo by Patrick Huber.
Reckamp and Greenwood have an easy chemistry together, appearing naturally as friends who’ve known each other for a long time. They start off with a condescending, flippant tone as they listen to Pam talk about herself. But they’re not caricatures, and that’s a sincere development between these three.
Jennelle Gilreath Owens, who often stands out on local stages, adept at comedy, drama and musicals, is a revelation as Pam, a transplant from a small town in Wisconsin who is a sheltered stay-at-home mom. She nails this character, in her ‘Minnesota Nice’ accent, proper appearance and social grace. She must convey confusion, vulnerability, fear and anxiety while portraying a more relaxed, comical side because of things beyond her control.
Pam comes by unannounced to introduce herself because she found a note her son Evan wrote to Holly’s Jody. She wants to talk about the kids, being teens coming of age, and how they spend so much time together.
Pam and Holly are both good moms, no debating that – they care and are concerned – but they have different approaches. Holly is horrified Pam read the note, thinking that’s intrusive. Pam is feeling out of sorts with the move – her husband took a new job with a law firm – and she’s trying to make sense of her son, who seems more distant.
Pamela Reckamp and Jenelle Gilreath Owens. Photo by Patrick Huber.
Because of unexpected developments, which is best left as a surprise twist, an afternoon social call turns from polite to raucous for side-splitting laughs. Think Lucy and Ethel plus one, for high-jinks ensue as secrets, lies and tea are spilled.
Murray’s well-constructed script has ebbs and flows, and the discoveries are logical – while the physical element is farce, the dialogue is rich in compassion and wit — and candor. At a time when fear of others is rampant, it’s refreshing to see three very different women learn about each other and overcome prejudice.
Murray’s play, which really deserves more attention from American audiences, was first produced in 2014 at the Toronto Fringe Festival. Grateful to Upstream Artistic Director Philip Boehm for seeing this play at a sold-out performance in Warsaw, Poland, and bringing it here.
During one of the most dismal winters on record, it was a breath of fresh air to be at The Marcelle Theatre Sunday for a sold-out matinee on a day that was below freezing temperatures with a brutal wind chill, warmed by the audience’s gleeful amusement. (After several performances cancelled opening weekend because of heavy snowfall).
A blanket fort.Photo by Patrick Huber.
The entertaining production is also boosted by expert craftsmen – Denisse Chavez’ always excellent lighting design, Ellie Schwetye’s careful sound design, Michele Friedman Siler’s ideal costume design, and Patrick Huber’s lived-in set design.
The MVP just may be dialect coach Lauren Roth for the actress’ flawless character accents.
The beauty of this play is at first you might not talk to any of these women at the PTA meeting, but after getting to know them, you’d go out for coffee or a beer with them. Come for the laughs, stay for the growth. After all, “Myth of the Ostrich” reminds us that one can’t judge a book by its cover.
And if women who don’t look as put together as another ‘type’ can show you the way, this is a victory for all women and those who follow different beats.
Upstream Theater presents “Myth of the Ostrich” by Canadian playwright Matt Murray, Jan. 29 through Feb. 8. Thursday, Friday and Saturday performances are at 7:30 p.m. and Sunday at 2 p.m. at The Marcelle in Grand Center, 3310 Samuel Shepard Dr. For more information: www.upstreamtheater.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.
New Jewish Theatre’s ‘Cabaret” tops shows with 13 nominations Event March 23 Will Honor Outstanding Work in Local Professional Theater in 2025
ST. LOUIS, February 3, 2026 – The Repertory Theatre of St. Louis (The Rep), with 38 nominations covering six different productions in the 2025 calendar year, leads the field at the 13th annual St. Louis Theater Circle Awards. “Cabaret,” which was performed by New Jewish Theatre, garnered the most nominations for an individual production with a total of 13. In all, 38 local, professional productions representing 20 theater companies received at least one nomination.
The annual gala will take place on Monday, March 23, 2026, at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. https://www.repstl.org/events/detail/st-louis-theatre-circle-awards The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2025. Approximately 87 productions were considered for nominations for this year’s event.
Additionally, there will be three special awards. Opera Theatre of Saint Louis will be honored for 50 years of operatic excellence that have brought the company local, national and international recognition. Wayne Salomon, a founding member of Theatre Project Company, will be recognized with a lifetime achievement award for his contributions to the St. Louis theater community. Bob Trump, head draper of The Rep, who retired in 2025, will be lauded for 40 years of work in The Rep’s costume shop.
The Muny last autumn asked that it not be considered for any nominations for the 2025 calendar year. Reluctantly, the St. Louis Theater Circle has honored The Muny’s request.
The nominees for the 13th annual St. Louis Theater Circle Awards are:
Baskerville. New Jewish. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Nancy Bell, “Emma,” The Repertory Theatre of St. Louis Lindsey Grojean, “The Curious Savage,” Stray Dog Theatre Lize Lewy, “Emma,” The Repertory Theatre of St. Louis Alicia Revé Like, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre Essence Anisa Tyler, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Louis Reyes McWilliams, “Emma,” The Repertory Theatre of St. Louis Michael James Reed, “Ken Ludwig’s Sherwood: The Adventures of Robin Hood,” The Repertory Theatre of St. Louis Jacob Schmidt, “Romeo & Zooliet,” St. Louis Shakespeare Festival Sean C. Seifert, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre John Wilson, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Michelle Hand, “The Search for Signs of Intelligent Life in the Universe,” St. Louis Actors’ Studio Heather Matthews, “The Beauty Queen of Leenane,” Albion Theatre Company Andrea San Miguel, “The Cottage,” The Repertory Theatre of St. Louis Adelin Phelps, “Emma,” The Repertory Theatre of St. Louis Phyllis Yvonne Stickney, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Performer in a Comedy, Male or Non-Binary Role
Jordan Coughtry, “The Cottage,” The Repertory Theatre of St. Louis Nick Freed, “The Minutes,” Stray Dog Theatre Gary Glasgow, “Two Jews Walk into a War: A Comedy,” New Jewish Theatre Ron Himes, “Clyde’s,” The Repertory Theatre of St. Louis Bryce A. Miller, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Clyde’s. The Rep. Photo by Jon Gitchoff.
Outstanding Lighting Design in a Play
Denisse Chavez, “Hamlet,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Athena,” The Repertory Theatre of St. Louis Jason Lynch, “Emma,” The Repertory Theatre of St. Louis Matthew McCarthy, “A Streetcar Named Desire,” Tennessee Williams Festival St. Louis Christina Watanabe, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Sound Design
Jimmy Bernatowicz, “Athena,” The Repertory Theatre of St. Louis Kareem Deanes, “Two Jews Walk into a War: A Comedy,” New Jewish Theatre Tre’von Griffith, “The Brothers Size,” The Repertory Theatre of St. Louis John Gromada, “Emma,” The Repertory Theatre of St. Louis Ellie Schwetye, “Professor House,” Contraband Theatre
Outstanding Costume Design in a Play
Oana Botez, “Hamlet,” St. Louis Shakespeare Festival Dorothy Marshall Englis, “Emma,” The Repertory Theatre of St. Louis Renee Garcia, “The Cottage,” The Repertory Theatre of St. Louis Tracey Newcomb, “I Have Been Here Before,” Albion Theatre Company Michele Friedman Siler, “The Heidi Chronicles,” New Jewish Theatre
The Heidi Chronicles. New Jewish Theatre. Photo by Jon Gitchoff.
Outstanding Set Design in a Play
Jean Kim, “Clyde’s,” The Repertory Theatre of St. Louis Robert Mark Morgan, “The Cottage,” The Repertory Theatre of St. Louis Scott C. Neale, “Hamlet,” St. Louis Shakespeare Festival Scott C. Neale, “Romeo & Zooliet,” St. Louis Shakespeare Festival Margery Spack & Peter Spack, “Emma,” The Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Jade Cash, “The Wanderers,” New Jewish Theatre Sarah Chalfie, “Hamlet,” St. Louis Shakespeare Festival Jennifer Ikeda, “Hamlet,” St. Louis Shakespeare Festival Isa Venere, “A Streetcar Named Desire,” Tennessee Williams Festival St. Louis Maggie Wininger, “The Wanderers,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Grayson DeJesus, “Hamlet,” St. Louis Shakespeare Festival Ron Himes, “Radio Golf,” The Black Rep Donald Jones Jr., “The Brothers Size,” The Repertory Theatre of St. Louis Bryce A. Miller, “The Wanderers,” New Jewish Theatre Reginald Pierre, “Hamlet,” St. Louis Shakespeare Festival
Outstanding Performer in a Drama, Female or Non-Binary Role
Mara Bollini, “Frankie and Johnny in the Clair de Lune,” Stray Dog Theatre Wendy Renée Greenwood, “The Wanderers,” New Jewish Theatre Michelle Hand, “Meet Me at Dawn,” Upstream Theater Lizi Watt, “Meet Me at Dawn,” Upstream Theater Donna Weinsting, “With,” St. Louis Actors’ Studio
Meet Me at Dawn. Upstream Theater. Photo by ProPhotoSTL
Outstanding Performer in a Drama, Male or Non-Binary Role
Nic Few, “The Brothers Size,” The Repertory Theatre of St. Louis Michael Khalid Karadsheh, “Hamlet,” St. Louis Shakespeare Festival Christian Kitchens, “The Brothers Size,” The Repertory Theatre of St. Louis Joel Moses, “The Wanderers,” New Jewish Theatre Whit Reichert, “With,” St. Louis Actors’ Studio
Outstanding New Play
“John Hughes Your Own Adventure,” by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie, Cherokee Street Theatre Company “The Pavement Kingdom: A Clinic Escort Play,” by Courtney Bailey, Chorus of Fools “Romeo & Zooliet,” by Jennifer Joan Thompson, St. Louis Shakespeare Festival Professor House,” by Jacob Juntunen, Contraband Theatre “Scream, Echo. Scream.,” written and produced by Summer Baer
Outstanding Achievement in Opera
Christopher Alden, “Don Pasquale,” Opera Theatre of Saint Louis Susanne Burgess, “Don Pasquale,” Opera Theatre of Saint Louis John Gerdes, “The Second Hurricane,” Stray Dog Theatre Daniel Scofield, “Salome,” Union Avenue Opera Leonard Slatkin, “A Midsummer Night’s Dream,” Opera Theatre of Saint Louis
Outstanding Production of an Opera
“A Midsummer Night’s Dream,” Opera Theatre of Saint Louis “Don Pasquale,” Opera Theatre of Saint Louis “My Fair Lady,” Union Avenue Opera “The Second Hurricane,” Stray Dog Theatre “This House,” Opera Theatre of Saint Louis
Superhero. Stray Dog Theatre.
Outstanding Musical Director
Jeremiah Ginn, “Murder for Two,” Stages St. Louis Mallory Golden, “Superhero,” Stray Dog Theatre Carter Haney, “Cabaret,” New Jewish Theatre Jermaine Manor, “Raisin (The Musical),” The Black Rep David Nehls, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Choreographer
Kirven Douthit-Boyd, “Raisin (The Musical),” The Black Rep Kirven Douthit-Boyd, “The Brothers Size,” The Repertory Theatre of St. Louis Ellen Isom, “Cabaret,” New Jewish Theatre Lisa Shriver, “Austen’s Pride,” Stages St. Louis Jennifer Werner, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Projections or Special Effects
Justin Been, “Superhero,” Stray Dog Theatre Kareem Deanes, “The Heidi Chronicles,” New Jewish Theatre Kareem Deanes, “The Wash,” The Black Rep Michael Curry Design, “Romeo & Zooliet,” St. Louis Shakespeare Festival Joe Taylor, “Dollhouse by Three Manufacturers,” Equally Represented Arts (ERA)
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Kailey Boyle, “Beautiful: The Carole King Musical,” Stages St. Louis Marsiya Miller, “Legally Blonde, The Musical,” Tesseract Theatre Company Jane Paradise, “Cabaret,” New Jewish Theatre Dianica Phelan, “Austen’s Pride,” Stages St. Louis Sarah Polizzi, “Rock of Ages,” Stray Dog Theatre
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Dave Cooperstein, “Cabaret,” New Jewish Theatre Aaron Fischer, “Superhero,” Stray Dog Theatre Aaron Fischer, “Cabaret,” New Jewish Theatre Dustin Petrillo, “Madam,” Fly North Theatricals David Socolar, “Beautiful: The Carole King Musical,” Stages St. Louis
Murder for Two. Stages St Louis. Photo by Phillip Hamer.
Outstanding Lighting Design in a Musical
Tony Anselmo, “Raisin (The Musical),” The Black Rep Denisse Chavez, “Cabaret,” New Jewish Theatre Tyler Duenow, “Superhero,” Stray Dog Theatre Jason Lyons, “Austen’s Pride,” Stages St. Louis Sean M. Savoie, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Set Design in a Musical
Peter Barbieri, “Beautiful: The Carole King Musical,” Stages St. Louis Ann Beyersdorfer, “Murder for Two,” Stages St. Louis David Blake, “Cabaret,” New Jewish Theatre Bradley Rohlf and Colin Healey, “Madam,” Fly North Theatricals Rob Lippert, “Superhero,” Stray Dog Theatre
Outstanding Costume Design in a Musical
Sam Hayes, “Madam,” Fly North Theatricals Colleen Michelson, “Rock of Ages,” Stray Dog Theatre Johanna Pan, “Beautiful: The Carole King Musical,” Stages St. Louis Emily Rebholz, “Austen’s Pride,” Stages St. Louis Michele Friedman Siler, “Cabaret,” New Jewish Theatre
Outstanding Performer in a Musical, Female or Non-Binary Role
Brianna Kothari Barnes, “Beautiful: The Carole King Musical,” Stages St. Louis Sarah Gene Dowling, “Superhero,” Stray Dog Theatre Olivia Hernandez, “Austen’s Pride,” Stages St. Louis Anita Michelle Jackson, “Raisin (The Musical),” The Black Rep Hailey Medrano, “Cabaret,” New Jewish Theatre
Anita Jackson. Raisin. The Black Rep. Phillip Hamer photo.
Outstanding Performer in a Musical, Male or Non-Binary Role
Jabari Boykin, “Superhero,” Stray Dog Theatre Rafael DaCosta, “Bat Boy,” New Line Theatre Jeremiah Ginn, “Murder for Two,” Stages St. Louis Dan Hoy, “Austen’s Pride,” Stages St. Louis Spencer Davis Milford, “Cabaret,” New Jewish Theatre
Outstanding Ensemble in a Comedy
“Clyde’s,” The Repertory Theatre of St. Loui “Emma,” The Repertory Theatre of St. Louis “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre “The Cottage,” The Repertory Theatre of St. Louis “Romeo & Zooliet,” St. Louis Shakespeare Festival
Outstanding Ensemble in a Drama
“Hamlet,” St. Louis Shakespeare Festival “I Have Been Here Before,” Albion Theatre Company “The Brothers Size,” The Repertory Theatre of St. Louis “The Wanderers,” New Jewish Theatre “The Wash,” The Black Rep
Outstanding Ensemble in a Musical
“Austen’s Pride,” Stages St. Louis “Beautiful: The Carole King Musical,” Stages St. Louis “Cabaret,” New Jewish Theatre “Raisin (The Musical),” The Black Rep “Superhero,” Stray Dog Theatre
Romeo and Zooliet. St Louis Shakespeare Festival. Photo by Phillip Hamer.
Outstanding Director of a Comedy
Risa Brainin, “The Cottage,” The Repertory Theatre of St. Louis Tracy Brigden, “Emma,” The Repertory Theatre of St. Louis Josiah Davis, “Clyde’s,” The Repertory Theatre of St. Louis Tom Ridgely, “Romeo & Zooliet,” St. Louis Shakespeare Festival Nisi Sturgis, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Outstanding Director of a Drama
Nancy Bell, “Athena,” The Repertory Theatre of St. Louis Annamaria Pileggi, “With,” St. Louis Actors’ Studio Robert Quinlan, “The Wanderers,” New Jewish Theatre Michael Sexton, “Hamlet,” St. Louis Shakespeare Festival Jacqueline Thompson, “The Brothers Size,” The Repertory Theatre of St. Louis
Outstanding Director of a Musical
Justin Been, “Superhero,” Stray Dog Theatre Igor Goldin, “Austen’s Pride,” Stages St. Louis Michael Kostroff, “Murder for Two,” Stages St. Louis Rebekah Scallet, “Cabaret,” New Jewish Theatre Jennifer Werner, “Beautiful: The Carole King Musical,” Stages St. Louis
The Brothers Size. The Rep. Photo by Jon Gitchoff.
Outstanding Production of a Comedy
“Clyde’s,” The Repertory Theatre of St. Louis “Emma,” The Repertory Theatre of St. Louis “Romeo & Zooliet,” St. Louis Shakespeare Festival “The Beauty Queen of Leenane,” Albion Theatre Company “The Cottage,” The Repertory Theatre of St. Louis
Outstanding Production of a Drama
“Hamlet,” St. Louis Shakespeare Festival “Meet Me at Dawn,” Upstream Theater “The Brothers Size,” The Repertory Theatre of St. Louis “The Wanderers,” New Jewish Theatre “With,” St. Louis Actors’ Studio
Outstanding Production of a Musical
“Austen’s Pride,” Stages St. Louis “Beautiful: The Carole King Musical,” Stages St. Louis “Cabaret,” New Jewish Theatre “Raisin (The Musical),” The Black Rep “Superhero,” Stray Dog Theatre
The Wanderers. New Jewish Theatre. Photo by Jon Gitchoff.
Special Award for Lifetime Achievement
Wayne Salomon, early member and associate artistic director of Theatre Project Company, St. Louis theater community educator, director, actor
Milestone Anniversary
Opera Theatre of Saint Louis, for its 50th anniversary as an opera of local, national and international acclaim
Special Award for Lifetime Achievement
Bob Trump, Head Draper at The Repertory Theatre of St. Louis, retired in 2025 after 40 years of work in The Rep’s costume shop
A Midsummer Night’s Dream. Opera Theatre of St. Louis. Photo by Eric Woolsey.
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, St. Louis Arts Scene on Substack, STL Stage Snaps); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); Rob Levy (Broadwayworld.com, Review STL, The Arts STL); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack; Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
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 a timely yet controversial AI issue to ponder in “Mercy,” this futuristic cyber thriller’s gimmick is that it uses intelligent tools in slick visual effects. Where it fumbles is in the overstuffed storytelling that is not nearly as smart as it wants to be.
This won’t be the only movie to take on the complex ethical issues of Artificial Intelligence, but director Timur Bekmambetov can’t overcome a contrived and convoluted script, so whatever statement he wanted to make isn’t impactful.
No dispute about human vs AI fallibility, but the logic goes off the rails as screenwriter Marco van Bello shifts from a murder mystery to a videogame Doomsday scare. Let’s pile up the highway crashes to enliven the inertia from watching the two main people sit in chairs for 90 minutes while they monitor screens.
The year is 2029, and L.A. is a cesspool of crime in this dystopian-adjacent future. The police and the judicial system have teamed up on a high-tech way to clean up the mean streets, the Mercy System. They’ve cut out lawyers and juries, all there is presiding is an impartial AI judge.
The sci-fi drama starts as a zippy barrage of multi-media evidence when Los Angeles detective Chris Raven (Chris Pratt) stands trial for the heinous murder of his estranged wife Nicole (Annabelle Wallis).
They have been married 20 years, but his escalating drinking problem after his partner Ray (Kenneth Choi) is killed on duty has caused anger management issues. A cliché-riddled home life – miserable marriage, bratty daughter with a secret Instagram account – is meant to cast doubt on his innocence.
Once a champion of Mercy who worked on the court’s first AI murder conviction, Raven awakens from a drunken stupor and has no memory of his wife’s killing. As the facts are revealed, the case looks airtight with him as the primary suspect.
After all, there is an algorithm calculating the likelihood of his guilt as evidence is presented – 92.5 percent probability or higher is what administers a lethal injection and lower unlocks the clasps.
Pratt is confined to a chair for most of the 101-minute film, and Rebecca Ferguson is only visible as a head screenshot as AI hologram Judge Maddox, so this is ‘screen’ acting, not engagement as a countdown clock ticks away in real time.
That gives the plot a sense of urgency, for a desperate Raven has only 90 minutes to determine his fate, because in this pilot program, you are guilty until proven innocent.
When he finally starts investigating the case, at his disposal is a cloud archive of bodycam footage, surveillance tapes, Ring cam, Face Time, phone records and website files. We see this unfold on a virtual reality screen.
Bekmambetov is a master at screenlife movies – the ones that use smartphones, computers and recording technology to tell a story, such as “Unfriended,” “Searching,” “Missing” and “Profile.” He makes the most of modern bells and whistles.
The court allows Raven to make calls to family and friends. His teenage daughter Britt (Kylie Rogers) tearfully talks, confused (she found her dead mom). His friend Rob Nelson (Chris Sullivan, Toby in “This Is Us”), who is Nicole’s co-worker and Chris’ AA sponsor, is helpful with names and background.
Kali Reis is Chris’ current partner Jaq, and she is reluctantly doing the leg work helping him find evidence. She has a space-age off-road vehicle that allows her to bypass LA traffic.
But this is no “Minority Report.” In the third act, van Bello was not content to wrap things up logically but added multiple ludicrous subplots for a maddening over-the-top finale. It’s one of those films that is ultimately forgettable after you leave the multiplex.
Pratt, so likeable as Peter Quill in the Guardians of the Galaxy and Avengers films, and to an extent as Owen in “Jurassic World” (also preposterous), is badly in need of a hit after making some rote, soulless action films. What about an ensemble comedy, like his breakthrough “Parks and Recreation?”
Ferguson, a superb actress who was the heart of “A House of Dynamite” last fall, is wasted as this efficient robot-like figure, but somehow is humanized after Pratt’s pleading with her.
Editors Dody Dorn, Austin Keeling and Lam T. Nguyen and the visual effects team do exemplary work, but after the techno-razzle-dazzle fades, what’s left? “Mercy” is an empty vessel, failing to make a sincere case for caution with AI because of its ridiculous crash-and-burn climax.
All that for “Human or AI – we all make mistakes.”
“Mercy” is a 2026 crime drama cyber thriller directed by Timur Bekmambetov and starring Chris Pratt, Rebecca Ferguson, Kali Reis, Chris Sullivan, Kylee Rogers and Annabelle Wallis. It is rated PG-13 for drug content, bloody images, some strong language, teen smoking and violence and its run time is 1 hour, 41 minutes. It opened in theatres Jan. 23. Lynn’s Grade: D
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.
Wackiness will ensue. Four women with very distinct personalities, under suspicion for their husbands’ mysterious deaths, throw a party to socialize with eligible bachelors of a certain age. Everyone’s looking for companionship and whatever that might lead to, so what could go wrong?
Of course, nothing goes according to how the ladies and gentlemen imagined as secrets spill and drinks flow in the amusing “The Dance on Widow’s Row,” playwright Samm-Art Williams’ clever dark comedy about death, dating and superstition.
Mystery elements are also mixed in, so it keeps us guessing. The four Southern widows all live on the same street and between them have nine dead husbands. That’s a source of many jokes, but that’s not all that elicits laughs.
Williams’ wit shines through in light-hearted fashion, and the two-act play is familiar like a television situation comedy. In the hands of a very likeable cast, who have a ball with each other, the play has enough mischief and merriment to make a dreary winter more palatable.
It’s such a crowd-pleaser that this is the third production the Black Rep has mounted over its 49th season. Director Ron Himes, the founder and producing director, assembled an elite ensemble of veteran actors (I think casting is his superpower).
Denise Thimes, as Magnolia, and A.C. Smith, as Deacon Hudson. Photo by The Black Rep.
The seven performers – including Denise Thimes, A.C. Smith, Velma Austin, Margery Handy, Tiffany Tenille and Isaiah Di Lorenzo – know how to make the most of an entrance and exit. They sashay, strut and scamper easily across the well-appointed stage.
On opening night, Jan. 9, J. Samuel Davis was replaced as Newly Benson by Ron Himes, who admirably filled the role. Himes, adept at both drama and comedy, immediately connects because he’s so jittery about coming to the party.
The women are trying to revive their reputations in a fictional North Carolina coastal community, Port Town. They know they are the subject of gossip and inuendo, but that’s the chance they are willing to take.
These are full-bodied women, full of sass and spirit. Romance takes a back seat to the comedy, but it’s not for lack of trying to score Mr. Right.
Ready for a good time. Photo by the Black Rep.
Thimes, who is a formidable leading lady, plays the sophisticated Magnolia Ellis, the hostess in her elegant home. Set designer Tim J. Jones mirrored Ellis’ style in chic décor, and prop designer Mikhail Lynn followed suit.
As she prepares for the party, she removes her late husband’s photo, saying: “I gave you a good funeral, so we’re even.”
Always excellent Velma Austin portrays the bold and audacious Simone Jackson, who has an attitude and speaks her mind, but is willing to play along for the ladies’ benefit.
Tiffany Tenille makes her Black Rep debut as the pious Annie Talbot, who doesn’t necessarily practice what she preaches. She’s outlived four husbands and professes to be lonely. As mousy as she appears, she sees an opportunity and strikes while the iron is hot, so to speak.
Margery Handy, also making her Black Rep debut, portrays the saucy Lois Miller, and she is ready to party heartily. Two of her husbands may have died from food poisoning, but that doesn’t prevent her from bringing her specialties – chicken wings and potato salad.
Party time. Photo by the Black Rep.
For the confident ladies, costume designer Brandin Vaughn has blended alluring upscale finery with some va-va-voom outfits emphasizing curves to make eye-catching statements. The men are sharply dressed, reflecting their personalities.
Himes knows how to mine laughs out of movement, and the cast is smooth in their shenanigans.
Because they are lonely, the men bravely take the plunge – even though Newly is very apprehensive and nervous – and show up for a night of drinks and dancing.
Isaiah Di Lorenzo is laugh-out loud hilarious as the oldest gentleman, Randall Spears, dapper and mannerly, but ready for a good time. Maybe he has too good of a time, and Di Lorenzo is a master of comic timing and body language on stage.
A.C. Smith, who was very funny as the blustery church pastor in “Chicken & Biscuits” a year ago, slips into another comedic role effortlessly, trying to be suave. Deacon Hudson is a leader of his flock – and a leader of this wolf pack.
The women flit about, trying to connect and boost the ‘oomph’ as the night progresses, but the best-laid plans…not divulging too much of the plot, so people can enjoy the twists.
While trying to sparkle, the feisty females get aggravated at one’s attempt to outshine the others, and that leads to some caustic, catty remarks that are rapidly fired at the “inappropriate woman.”
Between the women going at it and the men fretting about being present possibly backfiring, the humor doesn’t slow down.
The technical crew has remarkably created a lived-in interior, and lighting designer Sean Savoie and sound designer Kareem Deanes expertly tailored sights and sounds for the occasion. The party music is quite appealing, and Smith displays some spry dance moves, and so does Thimes.
With such a fearless ensemble amplifying their characters’ quirks and Williams’ snappy dialogue, “The Dance on Widow’s Row” delivers the warmth and genuine humor much welcome in January.
The Black Rep presents “The Dance on Widow’s Row” Jan. 9 through Jan. 25. at The Edison Theater on the campus of Washington University in St. Louis.
Single tickets and subscriptions for Season 49 are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students and groups of 12 or more. For more information: www.theblackrep.org
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 its inspired casting, “Is This Thing On?” is strongest in its personal self-discovery journey as a married couple divorces.
Alex and Tess Novak (Will Arnett, Laura Dern) were married for 20 years and dote on their two boys, so co-parenting isn’t an issue, but navigating the single life is a bumpy path. Tess finds purpose again rejuvenating her athletic career while Alex stumbles onto comedy as therapy.
While how funny Alex is can be debated, the use of humor to get through life’s toughest times is a spot-on assessment. After all, Charlie Chaplin famously said: “Life is a tragedy when seen in close-up, but a comedy in long-shot.”
Frustrated by life’s ups and downs, Alex seeks a sense of purpose while he is frustrated by life’s ups and downs.. In stand-up comedy routines, he finds out he’s relatable as a middle-aged guy navigating ‘uncoupling.’ It’s also therapeutic for this sad dad. An interesting by-product is he learns more about himself.
Tess, who clearly wanted to divorce, sought to renew that zest for life she had as an Olympic volleyball player and college coach. After years of sacrificing for her family, she is loving getting back in the game.
As Alex’s newfound hobby takes flight , he keeps it hidden from Tess, his friends and family. But he also has a re-energized outlook on life, and finds this outlook rewarding in ways he never imagined.
As they face middle age and divorce, the Novaks are working on co-parenting and their identities as singles. Somehow, they come to an understanding that surprises both, as they learn new things about each other.
This film is inspired by the real-life story of British comedian John Bishop. Arnett met him on a canal boat in Amsterdam and, after hearing about how he got his start in stand-up comedy, Arnett wanted to make it into a film.
Arnett, a very funny Emmy-nominated actor who broke out as “Gob” Bluth on “Arrested Development,” has carved a niche in voice-over work, especially in animated series and films (“BoJack Horseman,” “The Lego Batman Movie”).His is best known as the guy enticing us to eat Reese’s peanut butter cups every Halloween.
Showing a new side to his capabilities, he is appealing as the befuddled and vulnerable Alex, while Oscar winner Dern is a good scene partner. Their dynamic is believable, both eliciting empathy.
The film is directed by Bradley Cooper, his third feature, and it’s quite a departure from “A Star Is Born” and “Maestro” – an intimate interpersonal drama-comedy that amplifies relationship struggles that many people face.
In a supporting role, he’s practically unrecognizable as Alex’s best friend, Balls – a scruffy, vain actor in a rocky marriage to Christine (Andra Day), who is friends with Tess. The friends’ scenes seem to pad the film unnecessarily, and Sean Hayes and his real-life husband Scott Icenogle are seen only briefly as pals.
Nevertheless, the family scenes are heartfelt and humorous without strained effort. Terrific character actors Christine Ebersole and Ciaran Hinds lend lived-in credibility to their roles as Alex’s parents, who are close to Tess and their two grandchildren (Blake Kane as Felix and Calvin Knegten as Jude, both naturals).
The appearance of Peyton Manning as Laird, an old friend of Tess’, is a surprise, and he handles playing a character quite well.
The script, written by Cooper, Arnett and Mark Chappell, captures the fast-paced, competitive standup comedy scene, particularly at the iconic venue the Comedy Cellar.
Stand-up comics Chloe Radcliffe, Jordan Jensen, Reggie Conquest, Amy Sedaris and Elizabeth Furiati are an authentic part of the cast.They know that making people laugh during dark times is an elixir.
The grittiness of New York, how both worlds felt real, the sincerity of lessons learned, and an in-sync score add to the film’s enjoyment. However, “Is This Thing On?” never rose above OK, despite its good intentions and amusing, relatable moments.
(“Is This Thing On?” is a comedy directed by Bradley Cooper and starring Will Arnett, Laura Dern, Bradley Cooper, Andra Day, Ciaran Hinds, Christine Ebersole, Peyton Manning, Blake Kane and Calvin Knegten, It is 2 hours and 1 minutes long and rated R for language throughout, sexual references and some drug use. It opened in local theatres Jan. 9. 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.
‘Tis the season to emphasize “Believe,” and that’s a fitting attitude about the iconic Elle Woods, the musical “Legally Blonde,” and Tesseract Theatre Company itself.
The “Little Engine That Could” theater group, which mirrors Elle’s plucky, positive demeanor, has produced a fresh, fun, fizzy and feisty reimagining of the upbeat 2007 musical adaptation of the smash hit 2001 romantic comedy.
As the iconic Elle Woods, Grace Seidel is at her best, strong in portrayal of the bubbly California sorority girl who gets into Harvard Law School after a crushing break-up. As she discovers how smart, resilient and dedicated she is, finding her purpose, Seidel triumphs, tossing the blonde ‘bimbo’ first impression out the door.
She defies the stereotype and smoothly slips into champion mode – representing anyone who has had to fight to be seen and heard. And rocks the pink outfits, too.
Known for her powerful vocals, she strikes the right chord with her passionate delivery of Elle’s breakthrough anthem “So Much Better” and turning point “Chip on My Shoulder.” She wins over the other characters in vibrantly staged ensemble numbers, including “Positive,” the ebullient “Legally Blonde” and rousing finale “Find My Way.”
Seidel is not the only bright spot who has a renewed, refreshed take on the musical. Just as you shouldn’t underestimate Elle’s inner light to shine through, there are a few memorable debuts joining reliable veterans in the ensemble.
Marsiya Miller as Paula. Photo by Florence Flick.
In a knockout debut, Marsiya Miller is a hoot as Paula Buonufonte, the hairdresser with heart of gold. She is a skillful vocalist in her solo “Ireland,” and has sharp comic timing too, as she develops a palpable bond with Elle.
Fellow newcomer Kyle Rudolph is delightful as the UPS delivery man, also named Kyle, a definite scene-stealer with fleet footwork in the Irish step dance part of “Ireland.” His high-energy performance is noteworthy in ensemble numbers, too.
In another impressive debut, Mason Ramsey portrays the shallow, privileged Warner Huntington III, who breaks up with Elle because she’s not “Serious” enough. He has the poise of someone that’s already a stage veteran.
Newcomer Aditi Seetharaman embodies the haughty Vivienne Kensington, Warner’s new girlfriend and condescending law student who humiliates Elle — but eventually has her ‘aha’ moment.
Seasoned pros who contribute their customary excellent work include Dawn Schmid as exercise guru Brooke Wyndham, who is accused of killing her husband; Jon Hey as the distinguished, demanding Professor Callahan; and Katie Orr hilarious as quirky activist Enid Hoopes.
Kevin Corpuz is charming as the lovable, smart Emmett Forrest, a law student who befriends Elle and sees her potential, helping her to realize it. He and Grace have worked together multiple times, most notably in the two-hander “The Last Five Years” at Tesseract in 2023. They have a noticeable ease with each other in the makeover number “Take It Like a Man” and the turning point “Chip on My Shoulder.”
The Delta Nu sorority. Photo by Florence Flick.
The Greek Chorus of Delta Nu sorority sisters is sprightly support – Natalie Sannes as energetic Serena, Lillie Self-Miller as chipper Margot, and Evan Lee as sassy Pilar, starting off with the cheery “Omigod You Guys” and being Elle’s sounding board.
Ella Drake, Martin Ibarra, Molly Stout (dance captain), Loren Goudreau, Aadi Kadam and Rudolph are supple in supporting roles that range from shop clerks, students, frat boys, scummy ex-boyfriend, presiding judge, trial witnesses, salon customers and assorted others.
Jo Palisoc’s choreography is crisp and snappy, notably the standout jump-rope number “Whipped into Shape” that is a demanding aerobics workout routine. Admirably, the dancers don’t miss a beat. Always a favorite, the “Bend and Snap” is as fun as ever.
The band is an expert group of eight musicians under the musical direction of virtuoso Larry D. Pry, who kept the music by Tony nominees Laurence O’Keefe and lyrics by Nell Benjamin tight and bright. Pry joined Becca Bessette and Brayden Bessette on keyboards, Chuck Evans on violin, Mary Jewel Wiley and Lea Gerdes on reeds, Joe Winters on percussion, Mat Coble on guitar and Jonah Larsen on bass. They were polished and peppy.
Inventively staged by director Will Bonfiglio in the cozy confines of The Marcelle Theatre, he keeps the scenes moving along, from the Hair Affair Salon to Harvard Yard, dorm rooms and shops, using different nooks that scenic designer Brittanie Gunn has crafted in imaginative ways.
He has adroitly mixed humor with a courtroom drama and boosted the girl power. He focused on bringing out the heart and humanity, spotlighting a community coming together and people finding out where they belong.
Kevin Corpuz, center, as Emmett. Photo by Florence Flick.
If you look beyond the fluff, which is why both the movie and musical endure, the show is thematically strong by exposing prejudice, harassment and discrimination. The Tony-nominated book by Heather Hach is an adaptation of Amanda Brown’s 2001 novel, which was based on her experience at Stanford Law School.
When Elle saves the day using her sparkle and coming up with her unconventional legal strategies, it’s a satisfying victory that feels earned. I mean, look at this logic: “Exercise gives you endorphins. Endorphins make you happy. Happy people just don’t shoot their husbands, they just don’t.” — Elle
Carly Uding’s costume design, along with Sarah Gene Dowling’s wig design, created appropriate looks for every character. Morgan Brennan’s lighting design and Jacob Baxley’s sound design suited the show, with Kevin Sallwasser technical director, Sarah Baucom production manager and Lexi Sims stage manager keeping elements on task. Sims was aided by assistant stage managers Jae North and Josh Neighbors.
This production radiates warmth, good humor and empowerment. If you need a cup of kindness this holiday season, Tesseract’s “Legally Blonde: The Musical” overflows with cheer and optimism.
The Tesseract Theatre Company presents “Legally Blonde: The Musical” Dec. 5 – 21 at the Marcelle Theatre, 3310 Samuel Shepard Dr, St. Louis, Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m. For tickets or more information, visit www.TesseractTheatreco.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.
Good trashy fun, “The Housemaid” is a psychological domestic thriller with a dash of dark comedy that is ideal alternative programming this holiday season when all the prestige awards-hopefuls are released.
Millie (Sydney Sweeney), a plucky young woman with a secret criminal past, takes a live-in job as a housekeeper for the wealthy Winchester family – high-maintenance wife Nina (Amanda Seyfried) and handsome husband Andrew (Brandon Sklenar). While they look perfect, her new employers have secrets of their own.
None of the three stars – currently having moments – will be on year-end awards shortlists for their performances, yet they lean in and act with an intensity that merits them serious kudos for their earnest approach to over-the-top melodrama.
Let the mind games begin! As Nina, the suburban princess living luxuriously, Seyfried can fly into Defcon 5 rage with a frightening ferocity and assuredly drives this effort.
Knowing what’s at stake is her forte here. To watch her alternate wild histrionics with an icy-cold façade as a Real Housewife archetype is amusing.
Sweeney’s star has risen ever since “Euphoria” shook up streaming and may tie with Josh O’Connor for having the most movies released this year, even besting Pedro Pascal. She plays forlorn Millie just-right with a shaggy poor-girl-trying-to-please demeanor and a palpable desperation to escape her past.
Sklenar, who was swoon-worthy as the rugged hero Spencer Dutton in Taylor Sheridan’s “Yellowstone” prequel “1923,” is in yet another handsome, chiseled guy role. This time, he’s Andrew, a gracious, well-mannered scion of an influential family, flashing his pearly whites often.
It’s a perfect threesome for this type of suburbanites’ unraveling story. For fans of the popular 2022 page-turner by Freida McFadden, you know the delectable unpredictable twists. But for those of us in the dark, the reveals are a surprise – and boost the audience-participation feel of the film.
Smartly directed by Paul Feig, whose comedy pedigree is stellar (“Freaks and Geeks,” “Bridesmaids,” and episodes of “The Office”) and his thriller portfolio is gaining traction after “A Simple Favor,” he is one step ahead of us as we uninitiated try to figure out where these deceptions are leading.
He also strikes the right engrossing tone, mixing suspense, shock and silliness to guarantee gasps and build momentum. The screenplay by Rebecca Sonnenshine, a two-time Emmy nominee as a writer on “The Boys,” draws us into the chills by smoothly weaving backstories in, adding gaslighting and tension in the home.
Elizabeth Jones’ lavish production design is Martha Stewart-worthy in a sprawling, airy McMansion in Great Neck, N.Y. As the live-in housekeeper, Millie’s bedroom is a cozy A-frame attic nook that has a door that locks from the outside.
In shades of Stepford wives, supporting players are stereotypical privileged upper-class women who are condescending of others not in their same social register – and even if they are, finding ways to be critical. Millie overhears the local elitist moms gossiping about Nina, which is unexpected, as are other remarks by ‘the help’ in the community.
Those are interesting nuggets that illuminate what’s happening – or not – but it keeps us guessing as the plot thickens. The dialogue is often cheesy, but that’s part of the fun, too. This material is far from Tolstoy or Chekhov – it’s “Dynasty” glammed up for the 21st century.
It’s best to know as little as possible going into the movie, so no spoilers here.
Elizabeth Perkins has a few defining moments as Andrew’s snobby mother Evelyn Winchester, dismissive of her daughter-in-law and demanding in snide ways. After all, she’s more concerned with appearances than anything else.
Young actress Indiana Elle is the Winchester’s snotty, indulged daughter Cecelia “CeCe,” whose sense of entitlement shows signs of creating a monster, but whose actions later indicate she’s been paying attention. It would have been nice to have more character development in that regard.
Michele Morrone, who played Emily’s fiancé Dante in Feig’s “Another Simple Favor,” is well-cast as mysterious handyman Enzo, but sadly, it’s an underdeveloped character.
“The Housemaid” is nothing more than a pulpy “popcorn” thriller, well-suited as escapist fare, especially during a dreary winter and in a disconcerting world. It’s a film that knows exactly what its mission is, and how it fits into the entertainment landscape.
“The Housemaid” is a 2025 psychological thriller directed by Paul Feig and starring Amanda Seyfried, Sydney Sweeney, Brandon Sklenar, Elizabeth Perkins, Michele Morrone and Indiana Elle, Its runtime is 2 hours, 11 minutes, and it’s rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language. It opens in theaters Dec. 19. 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 Bristling with refreshing feminist energy, rom-com vibes, and clever wit, “Emma” bounds onto The Repertory Theatre of St. Louis’ well-appointed mainstage with verve.
Stuffiness, be gone! This charming adaptation of Jane Austen’s novel “Emma” by Kate Hamill is redolent with both style and substance. Adept at physical comedy, a spirited ensemble revitalizes this classic 1815 tale of a zealous matchmaker whose meddling complicates matters of the heart for friends and acquaintances.
As the titular character, Adelin Phelps exudes confidence and determination as the young maiden who is convinced that she knows best. On her hard-fought journey of self-discovery, she engages us for the entire two acts, always on stage, and breaks the fourth wall with glee. She has a thing or two to say about love.
Hamill’s pared-down, smaller cast version remains an interesting look at Austen’s societal themes – those on class and gender opportunities, but her reimagining feels modern and relatable.
Michael James Reed and Kathryn Bentley as The Westons. Photo by Jon Gitchoff.
First presented in 2022 at the Guthrie Theatre in Minneapolis, she polished it with delightful humor, poking fun at people’s foibles. But she doesn’t lose sight of a smart woman’s predicament at a time when ladies didn’t have rights.
The Rep’s casting is impeccable, and its seasonal timing. The world is celebrating Jane Austen’s 250th birthday this month, so a dip back into the world of Highbury is well-suited for a holiday show.
The guests look merry and bright for the parties, with sprightly choreography from Sam Gaitsch, and director Tracy Brigden ensures they not only move briskly, but each carve out a distinct character.
As Emma’s protégé Harriet Smith, Liz Lewe steals the show as the sweet-natured boarding school student who becomes Emma’s primary project, because she is convinced Harriet needs a higher social standing.
Jack Dryden as Mr. Eldon, Adelin Phelps as Emma and Liz Lewe as Harriet. Photo by Jon Gitchoff.
Lewe’s flair for comedy, their crisp timing and pleasant demeanor endears. It’s a breakout role for Lewe, a local theatre professional who is also an accomplished writer and director. Casting Director Delaney Piggins’ keen eye was serendipitous, for when Lewe, as a reader during auditions, stood out, it was clear they were a perfect fit.
The ease at which the ensemble embraces their roles is noteworthy – in their formal 19th century manners and speech, and fluid entrances. The skillful dialect work by coach Joanna Battles helps define the time and place.
Costume designer Dottie Marshall Englis’ dandy Regency finery works for all seasons, her ingenious layering that captures the era and economic status perfectly. Dennis Milam Bensie’s wig designs are terrific, too. The springtime berry-picking scene bursts with color and frolic.
With his exceptional dialogue delivery, Louis Reyes McWilliams is dashing once more as George Knightley, after his zesty swashbuckling turn as the mischievous hero in The Rep’s “Sherwood: The Adventures of Robin Hood” last spring.
Louis Reyes McWilliams as George and Maggie Newstead-Adams as Jane. Photo by Jon Gitchoff.
He’s well-suited to embody Emma’s close friend who challenges her and often argues about what he perceives as her flightiness and immaturity. He and Phelps are a dynamic duo, and you root for them.
Before they can figure out their course, we learn about other men in town. Jack Dryden, hilariously over-the-top as the buffoonish Clark in “The Cottage,” is back again as another goofball – Mr. Eldon, who is smitten with a woman not named Harriet.
Ryan Omar Stack suavely portrays Frank Churchill, a prized suitor who is fond of Jane Fairfax, but not if Emma can interfere. His arrival causes some upheaval and a few hearts to flutter. Yet, his intentions suspect, for he has not been entirely forthcoming with information, and there are some questions about his inheritance.
Michael James Reed again demonstrates his versatility as a character actor by portraying two – Emma’s daffy health-conscious father Mr. Woodhouse, who is obsessed with the benefits of gruel, and the good-natured widower Mr. Weston, who remarries at the start (and Emma had something to do with it).
Louis Reyes McWilliams as George and Adelin Phelps as Emma. Photo by Jon Gitchoff.
Kathryn Bentley delivers a feisty performance as his happy bride, Mrs. Weston, and the ever-reliable Nancy Bell is the genteel but talkative school headmistress Miss Bates. Maggie Newstead-Adams is pert as the popular and pretty Jane.
Taking on a dual role as Elton’s ill-mannered wife Augusta is live wire Olivia Balicki, who must giggle – and snort – as the frisky Augusta, then switches gears as the infirmed Mrs. Bates in a wheelchair.
Janeites looking for strict historical accuracy may be surprised but could be won over by the production’s effervescence. Margery and Peter Spack’s captivating set design, with a focus on florals, is enhanced by Jason Lynch’s lighting design.
John Gramada’s compositions are a festive element, and his sound design superb.
A festive occasion. Photo by Jon Gitchoff.
The excellence of Brigden’s seamless work doesn’t lose sight of the present while creating an ode to the past, making it resonate in several ways, and Brian Coats’ dramaturg reflects that too.
Austen’s work has been celebrated at The Rep notable times – including “Pride and Prejudice” in 2019, “Miss Bennet: Christmas at Pemberley” in 2017 and “Sense and Sensibility” in 2013, and this may be the best one yet.
“Emma” was Austen’s fourth published novel, and it has been adapted into four films (if you count “Clueless” in 1995), the most recent in 2020 starring Anya Taylor-Joy.
This version is a fitting salute to her legacy, and a wonderful showcase for outstanding talent. Don’t miss this joyous collaboration, preferably with a side of biscuits.
Ryan Omar Stack and Liz Lewe. Photo by Jon Gitchoff.
The Repertory Theatre of St. Louis presents “Emma” Dec. 3-21 at the Loretto-Hilton Center, 130 Edgar Road. For more information, visit www.repstl.org
Post-show discussions follow the Dec. 14 and 17 performances at 2 p.m.
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.
English philosopher R.G. Collingwood said, “The only clue to what man can do is what man has done.”
That is the direction this historical drama takes as it revisits the Nuremberg trials but delves more into a psychological perspective on what led the Third Reich to invade other countries and commit Holocaust atrocities, overseeing the extermination of 6 million Jews.
Based on the 2013 non-fiction book, “The Nazi and the Psychiatrist” by Jack El-Hai, writer-director James Vanderbilt looks back through a modern lens to send an urgent message about justice, intolerance, and cruelty to contemporary audiences.
The Nazi regime had their day in court during the main Nuremberg trials, held between Nov. 20, 1945, and Oct. 1, 1946. Beforehand, the Allies prepared to unveil the horrors for the world to hear as they wanted the highest-ranking officials to answer for their war crimes.
The chief prosecutor, Robert H. Jackson (Michael Shannon) wants to expose evil. Army psychiatrist Lt. Col. Douglas Kelley (Rami Malek) attempts to understand their complex psyches, and front and center is Hermann Goering (Russell Crowe), Hitler’s right-hand man.
Leading the legal team, ever-reliable Shannon portrays Jackson, who worked diligently to bring 12 members of the Nazi High Command to trial for war crimes.
While others just wanted to put the war in the rear-view mirror, and favored executing those responsible for the genocide, Jackson wanted the world to see and hear what they had done. He was responsible for this international tribunal that involved the U.S., England, France and the Soviet Union, the first of its kind.
Jackson, later a Supreme Court justice, didn’t want these ‘monsters’ to become martyrs upon their deaths. His instincts were correct, but the proceedings were not smooth because this was new territory.
How do you define evil? Oscar winner Malek stars as dedicated Kelley, an Army mental health professional tasked with analyzing Hitler’s henchmen. His methods come under fire as he appears to be sympathetic to the prisoners.
He was attempting to build trust. But really, who is trying to outmaneuver whom? It becomes mainly a cat-and-mouse mind game with malevolent Goering, not unlike Jodie Foster and Anthony Hopkins in “The Silence of the Lambs.”
Goering was second in command to Hitler, engineering the horrors of what transpired without any remorse. At the time of this trial, he was the highest-ranking Nazi still alive. (Rudolph Hess is also a fellow prisoner).
Kelley wrote a personal account in his book, “22 Cells in Nuremberg,” but the movie indicates his fall from grace, so he’s been historically ignored, until now. His book’s final chapter is a cautionary tale about how he could see the mindset of pre-World War II Germany happening in the United States.
For those who don’t believe the Holocaust happened, this film won’t let anyone forget. The stakes, past and present, should remain in the forefront.
The chess-like match between the men, especially with Oscar winner Crowe in full command, is fascinating. However the account is fictionalized, Crowe is back to displaying the power he had in his prime, igniting the screen as the cagey, cunning and diabolical Goering.
With his keen intelligence and massive ego, narcissist Goering believed he could justify his actions on this global stage, and it’s chilling to see it unfold.
The 1961 classic Oscar-nominated film “Judgment at Nuremberg,” directed by Stanley Kramer, was mostly a courtroom drama while the current film spends more time behind the scenes on the dangers of unchecked malice.
While this 2-hour, 30-minute film gets ham-fisted in its editing and bogged down in its cumbersome narrative that makes its points repeatedly, the performances are uniformly strong.
Standouts include Leo Woodall as interpreter Sgt. Howie Triest, John Slattery as Col. Burton C. Andrus, who oversaw the prison, and Richard E. Grant as Sir David Maxwell-Fyfe, who is a British co-counselor.
The film’s other strengths include period-accurate designs – production (Eve Stewart), costume (Bartholomew Cariss) – as well as cinematographer Dariusz Wolski’s interiors in the secret military prison and German homes.
The most powerful scene is what was shown at the trial 80 years ago, the same disturbing archival footage of skeletal victims at work camps being bulldozed into their graves. The six gut-wrenching minutes are from the 1945 “Nazi Concentration and Prison Camps,” which was partially shot by director John Ford and included in George Stevens’ 52-minute film.
This footage showed the world what really happened, what these Nazi leaders were capable of, and that they must be punished for their crimes.
Not just a reminder of the past, the films strives to be clear that the prevention and proliferation of evil is always necessary. One recalls Edmund Burke’s famous quotation: “The only thing necessary for the triumph of evil is for good men to do nothing.”
Triest, the German-born translator, says at one point: “Do you know why it happened here? Because people let it happen.”
While the film doesn’t reveal anything new, it is committed to being a clarion call. People have been quoting philosopher George Santayana a lot these days — “Those who cannot remember the past are condemned to repeat it,” from his “The Life of Reason” in 1905.
The fact that we must be nudged out of complacency and realize the consequences on a global stage is the reason that films like “Nuremberg” are made.
“Nuremberg” is a 2025 historical drama written and directed by James Vanderbilt and starring Russell Crowe, Rami Malek, Michael Shannon, John Slattery, Leo Woodall and Richard E. Grant. It is Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content and the runtime is 2 hours, 28 minutes. It opened in theatres Nov. 7. 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.
