Take Ten With Dea Hoover: Writer, Adventurer, St. Louis Ambassador

Take Ten With Dea Hoover: Writer, Adventurer, St. Louis Ambassador

Join Her Scavenger Hunt in Her First Book, “STL Scavenger”

By Lynn Venhaus

Portions of this article were published in the Belleville News-Democrat on Aug. 22, 2021.

“How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and strong. Because someday in your life you will have been all of these.”

~ George Washington Carver ~ Born in Diamond Grove, Missouri

Talk to Dea Hoover for five minutes, and it’s apparent she is a one-woman tourism bureau.

She has turned her passion for the bi-state region into operating two local tour companies and has written her first book, “STL Scavenger.”

In the spiral-bound softcover book, subtitled “The Ultimate Search for St. Louis’s Hidden Treasures,” she features 17 neighborhoods in both Missouri and Illinois areas of the St. Louis metropolitan region, providing clues and photos of buildings, businesses, statues, and architectural details for a scavenger hunt.

Hint from Hoover: look up!

“I want people to find new places that they might not have seen before,” she said. “Plan a day for each section and linger to enjoy the shops, restaurants and parks along your trail of discovery from St. Charles to Edwardsville, and many destinations in between.”

Hoover wanted to provide a one-of-a-kind experience, and with her expert eye and appreciation for the region, she used her extensive knowledge in a new way.

Reedy Press came up with the format so she could ‘gamify’ the experience – an entertaining and educational interaction with local sites. She credits Barbara Northcott, production manager of the St. Louis-based publishing company, with the concept.

“I would have been a rudderless ship without her. I am very grateful,” she said. “She made it so much better. We shortened the rhymes.”

The format allows for taking notes and multiple people participating, she said.

The book was so popular in its initial printing in May that they followed up with a second printing 13 days later, she said.

“The feedback has really made me happy,” she said. “It means something to people here.”

And while the country deals with a continuing coronavirus pandemic, she said that most neighborhoods included are known for their ‘walkability.”

Among her fun facts:

St. Louis is home to the second most free attractions after Washington D.C.

The Gateway Arch is the tallest national monument (630 feet), and the St. Louis Cardinals are the winningest team in the National League.

The St. Louis metropolitan region has 36 colleges and universities.

Join the Hunt

She has provided an incentive to answer all 366 clues – a contest, running now through Nov. 15 for submitted entries. On Dec. 1, the contest will conclude with a drawing for $500, first prize. Gift bags from STLMade.com, with tickets to local attractions and gift certificates, will be given for the second and third prizes.

For each correct answer you submit, you receive 1 point. The individual with the most correct answers will win the grand prize, and if there is a tie between multiple individuals, Hoover said they will randomly select the winner. Same goes for the local swag prize packs.

To join the hunt, submit answers and check out a bonus puzzle challenge, visit www.stlscavenger. You can submit the answers as an individual, even if you played as a group. You can’t change your answers once submitted.

You can purchase the book online for $20.95. Order at discover-stlouis.com or to pay by check, call her office at 314-522-6367 or email.  Dea said $20.95 + tax puts it at about $23.

The book is also available at local bookstores and gift shops.

You can follow along on social media @STLScavenger and #stlscavenger for extra points, challenges, giveaways, scoring updates, and special events.

The book has an accessible smartphone map.

And even if you do not participate in the contest, the book makes a delightful family activity at any time of year and is a gift idea this holiday season.

With an added twist of intrigue, the book makes a staycation more fun – and is a great way to learn the way for new residents.

“Whether you are a native or just arrived, this book will lead you to new places near and far,” she said.

Dea’s Mom Donna

‘Never Come Back the Same Way You Came’

As a tour company operator, Hoover has spent more than 20 years sharing the world with others.

Her love of adventure began while growing up in Vandalia, a small town in Missouri. Her wanderlust blossomed while attending Washington University in St. Louis, majoring in business administration and minoring in English literature.

“I always loved going places and reading. I am always learning whenever I am traveling. It feeds my soul,” she said.

Her childhood was spent in her parents’ Main Street Firestone Tire and Appliance business, where she was involved starting at age 5. A 1965 limited edition Mustang was her pride and joy as a teenager. For Firestone fans, she says she is “gum-dipped.”

Her mother still operates the Main Street retail business; her father is deceased.

“My parents gave me a great gift. Every year, we would come to St. Louis. We’d go to a ballgame, the Zoo and Six Flags,” she said.

“Never come back the same way you came” is her mantra.

Her full-service tour company, Are We There Yet? expanded its operations in 2008 when she acquired St. Louis’s first local receptive tour operation, Discover St. Louis LLC, which was founded in 1975.

She enjoys living a whirlwind existence on the go. For instance, this summer, she was on a day trip to Grafton, and then the next morning, left for a week’s tour in Delaware.

She is past president of the St. Louis Professional Tour Guide Association and previously served on the board of the Missouri Travel Association.

Hoover teaches classes on travel and tour conducting at St. Louis Community College and is a frequent guest speaker for corporations and private organizations.

Her father enrolled her in a Dale Carnegie public speaking course at 16, and she considers that “one of the bedrocks of my success in sales and public speaking.”

She spoke about Missouri’s past in The History Channel’s documentary, “The States.”

Dea and her husband, Declan Rutan, live just across from The Hill in the Southwest Garden neighborhood. She plays on a league at the Italia-America Bocce Club weekly and is vice president of The Hill Business Association.

“Declan jokes they moved the line when they found out he was Irish,” she said.

Hoover described him as her “partner in tourism and rhyme.” Together, they have visited six continents, with Antarctica next on the list.

He helped rhyme the questions.

Dea and her husband, Declan

Answers to the Take Ten Questionnaire:

1. Why did you choose your profession?

“Serendipity. I was working at Saturn and a customer worked for a tour company. I realized being a tour guide might be a good fit. I started 18 months before 9/11 as an over the road tour director. It was tough to continue but it is my passion. I hunger to learn and traveling feeds that hunger. And what makes learning fun is sharing it with others. I am gregarious and love helping people. I’ve found my home.

2. How would your friends describe you?

“Open, happy, outgoing, direct, compassionate, empathetic, knowledgeable, connected.”

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

“I love TV, movies, and live theater. I grew up in a small-town tire and appliance store. We had the first VCR in town and had the first big screen. Our movie theatre was built by two doctors who saw that there needed to be some sort of entertainment in town to keep the kids employed and occupied. As a teenager I saw two plays that I will never forget, ‘Joseph and the Amazing Technicolor Dreamcoat’ at a Washington, D.C. Dinner Theater and ‘Cabaret’ at Stephens College in Columbia, Mo. I acted in plays in high school and participated in drama competitions. I love and support live theatre, even having served on two boards!

And of course, I read. These days I listen since I can check books out of the library, and it gives my eyes a rest.

4. What is your current obsession?

“Goliath” — love Billy Bob Thornton.

Podcasts – “Terrible, Thanks for Asking” (Nora McInerny) and “Unlocking Us” (Brene Brown)

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

“That I love to knit.”

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

“Winning the Olin Cup Championship as a sophomore at Washington University. As a first-generation college student, Wash U. was a deep pond, more like an ocean for me. I was on a team with twin brothers who had graduated from the Illinois Math and Science Academy. I graduated from Van-Far R-I School District, which is quite a difference. When we won, we beat the seniors. They were not happy. We had a professor who had coached us through the process. It taught me that if you know someone with experience*, ask for it and use it. Dad had the foresight to send me through Dale Carnegie at 16 and that made a huge difference. He and Mom were Dale Carnegie graduates when they were selling insurance and it made a big impact on their lives. That education set me up to succeed at the Olin Cup event. It also prepared me for my life, which is public speaking every day, all day, about 60% of the year.”

When I sold cars at Saturn, my used car manager Ron Weltig taught me: “Experience is what you get right after you need it.” So true! I learned early to ask as many people as I could so I didn’t have to make every mistake in the book.

7. Who do you admire most?

Ruth Bader Ginsburg and Sandra Day O’Connor, along with all the women that paved the way for my generation.

Both of my grandmothers. They raised kids under tough circumstances and lived to their 70s and 80s. Their lived hard lives. I’m not sure I would have made it.

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

Travel to Antarctica, my seventh and last continent.

Write 10 books before it’s all over.

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

Visit the Zoo. 

10. What’s next?

A Walking Tour book of Hannibal, Mo., with Reedy Press

(I was born there because Vandalia, Mo., was too small to have a hospital and Dr. Dougherty had closed his office that had makeshift hospital rooms. And yes, I’m only 50. But it sounds like a pioneer childhood, doesn’t it?

The family business in Vandalia, Mo.

More about Dea (DEE-uh) Hoover

Age: 50

Birthplace: Hannibal, Mo., but my home was Vandalia, Mo., until I was 22

Current location: The Hill in St. Louis

Family: Husband – Declan Rutan and Mom – Donna Hoover, Vandalia, Mo., and proprietor of Vandalia Firestone, Appliance and Furniture at age 81!

Education: Bachelor of Science degree in Business Administration – Olin School of Business at Washington University, with a minor in English Literature.

Day job: Tour Operator

First job: Taking the mail to the post office for Vandalia Firestone. I sold Fuller Brush in high school and then was a server at restaurant.

Favorite places you have been: Ireland, Galapagos Islands and Australia. And I love NYC.

Dream vacation: A trip around the world over a year’s time.

Awards/Honors/Achievements: 2015 Groups Today Innovator of the Year

https://groupstoday.com/component/tags/tag/innovator-of-the-year

Favorite quote/words to live by:

“How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and strong. Because someday in your life you will have been all of these.” ~ George Washington Carver ~ Born in Diamond Grove, Missouri

And the quote earlier about experience.

A song that makes you happy: “Uptown Funk” – Mark Ronson with Bruno Mars; “Shambala” – Three Dog Night; and “Best Day Ever” – Sly and the Family Stone.

The Hoovers with Declan and Dea at their wedding.

Contact/Information:

Website: www.arewethereyetdea.com

Latest Brochure:  www.arewethereyetdea.com/pdf/AWTY%20Brochure.pdf

Facebook.com/arewethereyetdea

Twitter: @stltourgirl

https://www.youtube.com/channel/UCc4OantmYvfmfYmGtJtuFiw/featured

Listen to my podcast interview about STL: https://wetravelthere.com/st-louis-missouri-dea-hoover/

Follow: Facebook.com/stlscavenger

Insta & Twitter: stlscavenger

Check out our sister company for local tours and private tours:

discover-stlouis.com

facebook.com/discoverstlouis

Dea and Declan on vacation in Denmark

Photos:

We visited Bilund, Denmark, the home of Lego en route to our Norway Cruise in December. These are some of our favorite photos.

Mom’s 80th.

The front of our Firestone store

Our wedding at Graham Chapel and we had our reception at the Whittemore House

Love Letter to Journalists, ‘The French Dispatch’ Is Too Much and Not Enough

Love Letter to Journalists, ‘The French Dispatch’ Is Too Much and Not Enough

By Lynn Venhaus
Think New Yorker meets Highlights for the literary geek chic. As a paean to print, “The French Dispatch” is a glorious reminder of how turning pages, enraptured in an article, can take us away to other worlds.

Set in an outpost of an American newspaper – the Liberty, Kansas Evening Sun — in a fictional 20th century French city. It brings to life a collection of stories published in the final edition of the newspaper empire’s Sunday magazine, following the death of the editor (Bill Murray).

Experiencing a Wes Anderson film is like being transported into an illustrated picture book with stunning artistically complex worlds both familiar and of wonder – feeling new and nostalgic at the same time.

It is always a unique event that I look forward to with great anticipation, having listed “The Royal Tenenbaums,” “Moonrise Kingdom” and “The Grand Budapest Hotel” among my favorite movies of the 21st Century. And his whimsical stop-animation features “The Fantastic Mr. Fox” and “The Isle of Dogs” (his last movie in 2018) are genius.

No matter if they connect or not, all his films of the past 30 years are painstakingly detailed works of art that offer something different – and feature wit, eccentric characters, superb music accompaniment, and striking composed visuals as common threads.

Therefore, it pains me to say that while “The French Dispatch” is a love letter to journalists and has considerable quirky charms, with dizzying fanciful techniques and the director’s distinctive symmetrical style, color palette and designs, it is at once too much and not enough.

‘THE FRENCH DISPATCH.’ (Photo Courtesy of Searchlight Pictures. © 2020 Twentieth Century Fox Film Corporation All Rights Reserved)

Set in the truly inspired metropolis Ennui-sur-Blasé (which translated, means “Boredom-on-Apathy,” with a wink), this sophisticated exercise is an overstuffed toy box that melds too many concepts to be as satisfying as his top three. And despite its splendid cast, there isn’t a single character that emotionally resonates.

This anthology, running 1 hour 48 minutes, is crowded with enough content for 10 movies. Anderson’s offbeat screenplay, with a story conceived with Roman Coppola, Jason Schwartzman, and Hugo Guinness, is divided to fit the magazine’s sections: arts and artists, politics/poetry and tastes and smells, but starts and ends with the life and death of diligent editor Arthur Horowitz Jr. – played by Anderson all-star Bill Murray, just as droll as ever.

In “The Concrete Masterpiece” by J.K.L. Berensen (Tilda Swinton), which goes off the rails two-thirds in, Benicio del Toro plays Moses Rosenthaler, a psychopathic artist who paints critically acclaimed abstracts in prison, uses Simone (Lea Seydoux), a female prison guard as a nude model, and attracts the attention of Cadazio, an imperious, impatient art exhibitor played by Adrien Brody, backed by his two businessmen uncles (brief appearance by Henry Winkler and Bob Balaban).

“Revisions to a Manifesto” has student radicals protest, which leads to “The Chessboard Revolution,” with rebel leader Zeffirelli (Timothee Chalamet), who gets the attention of no-nonsense scribe Lucinda Krementz (Frances McDormand). This meanders and should have ended midway.

The third is “The Private Dining Room of the Police Commissioner,” as recounted by urbane food writer Roebuck Wright (Jeffrey Wright) in a television interview with talk show host (Liev Schreiber). This is a complex crime caper involving multiple characters, many locations, and quite a roster of talent.

At times, these short stories seem indulgent, rambling, and tedious. Sharper pacing would have helped with the storytelling, which does benefit from the gifted performers who find their rhythm and deliver crisp dialogue in the earnest manner one expects in these idiosyncratic tableaus.

Owen Wilson, who has been in eight Anderson movies, second only to Murray, is good-natured staff writer Herbsaint Sazerac, who takes us on an amusing tour of the city. Anjelica Huston, aka Mrs. Tenenbaum, capably handles narration duty this time –a lovely addition.

One of the pleasures of this film is to see such a star-studded array of repertory players, and more – among them, Saoirse Ronan, Tony Revolori, Christoph Waltz, Willem Dafoe, Edward Norton, Steve Park, Lois Wilson, Fisher Stevens, and Griffin Dunne.

The pandemic delayed this film’s release by a year, which heightened expectations and allowed a clever literary marketing campaign to enchant with graphics and snippets, modeled after venerable periodicals from days gone by. The film premiered at the Cannes Film Festival in July, where it received a nine-minute standing ovation.

Having spent nearly a half-century working at publications, the editorial office setting was the most intriguing yet the least focus — an aperitif instead of an entrée. With every bon mot that Murray tossed off as the veteran editor corralled correspondents, I wanted more of that colorful staff.

The sight of Murray taking a pencil to hard copy, as ink-stained editors once did in non-cubical newsrooms, should make journalists yearn for a grizzled authority figure to cut their long-winded prose and hand the typed papers back with gruff remarks and certain expectations. Writers may weep at the sight of a proofreader and a layout guy trying to fit linotype into a grid, for it’s part of a cherished past.

As a film, tightening those long-winded vignettes would have made a difference.

Nevertheless, the production elements are exceptional, especially from frequent Anderson cinematographer Robert D. Yeoman, flipping between black-and-white and color, and other collaborators Oscar-winning production designer Adam Stockhausen (for “Grand Budapest Hotel”) and costume designer Milena Canonero, four-time Oscar winner including “Grand Budapest Hotel,” and composer Alexander Desplat’s score.

Still, a Wes Anderson movie is like hanging out with erudite English Literature majors, some of whom are raconteurs and iconoclasts, who motivate you to add books and adventures to your to-do lists.

“The French Dispatch” is a 2021 comedy-drama directed by Wes Anderson and starring Bill Murray, Benicio del Toro, Lea Seydoux, Timothee Chalamet, Frances McDormand, Tilda Swinton, Adrien Brody, Jeffrey Wright, Owen Wilson and Elisabeth Moss. It’s run time is 1 hour, 48 minutes and is rated R for graphic nudity, some sexual references and language. In theaters Oct. 29. Lynn’s Grade: B.
Portions of this review were published in the Webster-Kirkwood Times and discussed on KTRS Radio.

Virtuoso Performances Highlight Stray Dog’s Riveting ‘Blue/Orange’

Virtuoso Performances Highlight Stray Dog’s Riveting ‘Blue/Orange’

By Lynn Venhaus

Three actors deliver brilliantly nuanced performances in “Blue/Orange,” a multi-layered satirical comedy-drama that focuses on madness, health care and race within a framework of frustrating bureaucracy and power struggles.

William Humphrey, Ben Ritchie, and Jason Meyers turn in some of their best work by grasping every shifting thought, trigger and changing attitude in conversations that blur lines on mental health.

The discourse is hefty and the roles demanding, for the characters are opaque. Allegiances switch as reasoning seems plausible – but one can’t ever be certain in these fiery exchanges.

Stray Dog Theatre is presenting this intellectually stimulating material as its first indoor show inside the Tower Grove Abbey, their longtime home, in 2021. With a contemporary focus that is more tragic than comic, that tone suits the production’s interpretation of this thorny material.

Shrewdly written by British playwright Joe Penhall, known primarily for several “fringe” works, and set in a UK institution, the play, first staged by the National Theatre in 2000, went on to win the Laurence Olivier Award for Best New Play, with Bill Nighy, as Robert, and Chiwetel Ejiofor as Christopher, nominated for several acting awards.

(More fun facts: Andrew Lincoln played Bruce and the three moved on to the London West End in 2001. The next year, the show opened off-Broadway, with Harold Perrineau Jr. as Christopher, and an acclaimed British revival in 2016 starred Daniel Kaluuya as the patient.)

Stray Dog has wisely decided to forego British accents, so that we are not distracted from the dense amount of dialogue that rapidly volleys back and forth.

The day before Christopher (William Humphrey) is supposed to be discharged from a psychiatric ward, his doctor (Jason Meyers) begins to have reservations that he shouldn’t be released. He shares his concerns with a senior colleague (Ben Ritchie).

Practically jumping for joy as the hyper Christopher, Humphrey is gleefully ready to go – and already packed. He still insists his father is former Ugandan dictator Idi Amin Dada Oumee and sees the pulp inside an orange as blue. In his mind, is this real or delusional? Thus begins a bureaucratic battle.

As the now confused patient becomes increasingly agitated, is he having an acute psychotic episode or is he being unduly provoked? What must happen to prevent him from leaving?

Christopher was diagnosed with a borderline personality order, and on day 28 at the London National Health Service mental hospital, he is due for release – unless a diagnosis changes.

As Dr. Bruce Flaherty, Meyers sees red flags and makes a convincing case that Christopher could be a paranoid schizophrenic. His superior, Dr. Robert Smith, doesn’t detect it. Exuding authority and clinical acumen. Ritchie recites reasons why psychiatry can fail black men like Christopher. After all, Dr. Smith is writing a book – interesting! – on the cultural and ethnocentrism factors that come into play in these situations.

Perhaps drum beating and seeing himself as a “white savior,” the imperious Robert thinks Christopher should return to his neighborhood for the cultural support – even though he lives alone and doesn’t know that many people. Sure, his behavior is odd, but is it cause for alarm?

Smith is worried that if Christopher stays longer, he could get worse and thus begin a never-ending cycle — or is that more of a reflection on the lack of beds and prevalent bottom-line thinking?

Christopher would really like to return to Africa, where he says he has a job, but will settle for his diverse London borough neighborhood if it means his freedom. And there is a probable threat of being attacked by racist thugs, so his fear seems real, but is it indicative of instability – and is pompous Robert being patronizing?

England’s cultural population includes Caribbean and African expatriates, and there are statistics that more black people, percentage wise, are in mental and penal institutions.

And what exactly causes seemingly stable Bruce’s third-act meltdown – and earlier blurting out the “N” word, which could fill an entire act with discussion. This really complicates the narrative, not just exposing an ugly prejudice and stereotypical thinking.

However, the roots of the problems are in the eye of the beholder. As the two professionals argue, drawing Christopher, pawn-like, into a tug of war of damaging rhetoric – clearly emotional scars are being inflicted.

Is this in any way beneficial and do the doctors think this will advance their careers?  

Penhall’s incendiary words, written more than two decades ago, seems as urgent now as they were relevant then. This is a living, breathing work that changes direction throughout its two acts, and the verbal dexterity required is admirable.

In a bracing portrayal, Humphrey straddles the line of helpless vulnerability and angry advocate for getting his life back on track. Both instinctive, Ritchie and Meyers convincingly earn and lose their characters’ credibility.

Associate Artistic Director Justin Been deftly moves the actors around so that we are caught off-guard as characters reveal their positions, transferring the ‘edge’ around – and the performers never get ahead of the script, not tipping their hand about what’s next.

The cast has smartly constructed their roles. It’s an exemplary showcase of control, and lack of, as perceptions differ and speeches flow.

“Blue/Orange” could have easily turned preachy but keeps its intensity, although the second act gets weighed down somewhat with repetitive opinions. And while it’s not predictable, the ending may not satisfy those who have become invested in Christopher’s well-being.

Besides directing, Been also designed the claustrophobic set and the sound, and both he and Artistic Director Gary F. Bell gathered the props. Lighting designer Tyler Duenow maintained the setting’s institutional glare.

The hell that is the ever-present boondoggle for those suffering from mental illness shows no sign of improvement in today’s uncertain world. As this riveting production demonstrates, it’s a difficult subject to ponder, and “Blue/Orange” daringly takes a stand.

Jason Meyers, William Humphrey and Ben Ritchie in “Blue/Orange.” Photo by John Lamb.

“Blue/Orange” is presented Thursday through Saturday, Oct. 7-9, 14-16 and 21-23 at 8 p.m., with a 2 p.m. matinee on Sunday, Oct. 17, at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104.

Limited tickets are available because of physical distancing throughout the theater. For more information or tickets, visit www.straydogtheatre.org, or call 314-865-1995.

Safety precautions because of the COVID-19 public health crisis are in place for guests, actors, and staff. Masks are required to be worn by all guests, regardless of vaccination status. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated. The up-to-date guidelines can be found on their website.

Documentary ‘Becoming Cousteau’ Takes Deep Dive Into Icon’s Work

Documentary ‘Becoming Cousteau’ Takes Deep Dive Into Icon’s Work

By Lynn Venhaus
Oceanographer Jacques-Yves Cousteau made underwater exploration his life’s passion. In his unmistakable red knit cap and sailing the intrepid vessel The Calypso, he got our attention through his inspiring voyages.

This competently assembled documentary from director Liz Garbus looks at his extraordinary life, achievements, and tragedies. Garbus, an Emmy winner for “What Happened, Miss Simone” and Oscar nominee for “The Farm: Angola, USA,” uses newly restored footage from his archives to create a respectable biography.

Narrator Vincent Cassel reads some passages from Cousteau’s diaries, and his aquatic life was cinematic-ready, so the visuals are what holds one’s attention.

If you are not familiar with his life’s work, finding out about Cousteau’s co-invention of the Aqua-lung, a breathing apparatus for below the ocean’s surface, his innovative filmmaking techniques for under the sea, and his early efforts on conservationism are fascinating.

If you paid attention to his adventures, so well-documented in 120 television documentaries and more than 50 books, then you won’t be surprised – but perhaps have a newfound appreciation for all that he did.

The film is best when it is in water, but not as interesting when it’s on land. The man himself preferred the water too. (His first wife said he ‘smelled like the sea.’) A curious, restless man, the ocean was his oxygen.

He was a young officer in the French Navy when he started his underwater pursuits. His first book, “The Silent World: A Story of Undersea Discovery and Adventure,” was published in 1953.

As a film pioneer, he adapted his book into a documentary, “The Silent World,” with filmmaker Louis Malle that won an Oscar and the Palme d’or at the 1956 Cannes Film Festival. A restless man, the ocean was his oxygen,

During his heyday in the 1970s, he was a household name. John Denver released a popular tribute song, “Calypso,” in 1975, and his television show, “The Undersea World of Jacques Cousteau” ran on ABC from 1966 to 1976. PBS then ran his “The Cousteau Odyssey” from 1977 to 1982.

After his death in 1997 from a heart attack at age 87, Cousteau’s foundation kept up his environmental work, but the younger generation doesn’t know much about his achievements. He was one of the first to sound alarms about the environment and climate change, growing more panicked about the fate of mankind as the issues grew.

His personal life was complicated – not a particularly good husband or father, which he admits on camera, and his long absences from home affected his two sons, Jean-Michel and Philippe. At age 38, Philippe was killed in a plane crash, which devastated his parents, and Jacques became more driven about work – if that was even possible.

Some of his personal flaws are merely mentioned, but not really delved into – if you’re a tad confused about his marriages, join the club. When his wife of 53 years, Simone, died of cancer in 1990, he married Francine Triplet six months later – although he already had two children with her – Diane and Pierre-Yves. (Hmmm?) Both kids are co-producers of the film. Hmmm…

And while he had missteps – working for petroleum companies early in his career, for example, to pay the bills, his legacy is undeniable.

“Becoming Cousteau” is a nostalgic reminder of how we learned more about sea life through his perspective, and what a beautiful world he introduced us – whether we were enthralled kids or intrigued adults.

“Becoming Cousteau” is a 2021 documentary from National Geographic directed by Liz Garbus. Rated PG-13 for brief strong language, some disturbing images and smoking, its run time is 1 hour, 33 minutes. It opens in theaters on Oct. 22. Lynn’s Grade: B

Stylish Western ‘The Harder They Fall’ Falters with Flat Story

Stylish Western ‘The Harder They Fall’ Falters with Flat Story

By Lynn Venhaus
A good-looking film with a kicky soundtrack, “The Harder They Fall” comes across as a bloody western shot like a music video.

It’s no surprise, because first-time director Jeymes Samuel, a music producer and singer-songwriter known as The Bullitts, is a protégé of Jay-Z and worked with him on “The Great Gatsby” soundtrack for director Baz Luhrmann. Under his real name, Shawn Carter, Jay-Z is one of the film’s producers.

Samuel demonstrates an appealing slick style, but sadly the well-worn story lacks substance. Co-written by veteran screenwriter Boaz Yakin and Samuel as a tale of revenge and robbery, it’s merely ordinary – without much character development, squanders the talents of its extraordinary cast that includes solid-gold Idris Elba, Regina King and Delroy Lindo, with rising stars Jonathan Majors, Zazie Beetz and LaKeith Stanfield, who just gets better with every role.

The lethal shoot-outs and blood-spurting showdowns, an integral part of the western genre, are repetitive and do little to advance a gripping story. Overall, the plot is run-of-the-mill, mostly predictable, except for the third act revelation.

It’s unfortunate because you want to root for this type of new western that spotlights black cowboys. Supposedly, on the western frontier, one in four cowboys were black, and they haven’t been given proper due in America’s history on ‘go west’ and the great migration.

In the beginning, the director states that the story is fiction, but the people existed. Most of the action takes place in Redwood City, which was a primarily black community.

Faring well in this film are emerging stars Danielle Deadwyler as Cuffee, who identifies as him and would like a career in law enforcement, and Edi Gathegi as Bill Pickett, a young trigger-happy hotshot.

RJ Cyler has a solid turn as sharpshooter Jim Beckworth as does Deon Cole as Wiley Escoe, but it is Majors’ film. His outlaw Nat Love, no matter how many times he’s intimidated or dismissed, is driven and relentless.

Playing a man of few words who acts quickly, Elba’s physicality is felt throughout, a foreboding presence from the opening scene where he takes down a family, to breaking out of chains in prison stripes, and then as a feared frontier gang leader.

An interesting twist is how fierce the women are – Regina King as “Treacherous Trudy” and Zazie Beetz as Stagecoach Mary. They take the bullets out of their guns and use their fists and hand-held weapons for a rip-roaring knock-down drag-out brutal fight.

With its attractive production elements, the movie benefits from cinematographer Mihai Malaimare Jr.            ‘s framing of these newly constructed towns, showcasing the period production design by Martin Whist, with editing by Tom Eagles. The violence is graphic – a blown-off arm here, an exploding head there.

Amid the dusty outdoors and bullet-ripped clothes, Antoinette Messam’s costume design features a wide range of interesting vintage hats and lived-in frontier wear, with a few striking dusters and coats adding to the characters’ stature. You can always pick out Nat Love because of his jaunty red kerchief.

Not to be confused with a 1956 movie of the same name starring Humphrey Bogart, “The Harder They Fall” unfortunately lacks staying power because it preferred style over substance.

“The Harder They Fall” is a 2021 western directed by Jaymes Samuel and stars Idris Elba, Jonathan Majors, Regina King, Zazie Beets, LaKeith Stanfield, Delroy Lindo and Danielle Deadwyler. Rated R for strong violence and language, the run time is 2 hours and 16 minutes. In theaters Oct. 22 and streaming on Netflix on Nov. 3. Lynn’s Grade: C+

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

By Lynn Venhaus
As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future.

It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding. As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people.

The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”

Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?

We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson

Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.

The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.

“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.

Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but it was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and there was a Sci-Fi Channel miniseries in 2000.

While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem about adapting something so unwieldy – that the character development suffers.

It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.

This one does attempt to over-correct in a tedious way, with a screenplay by director Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still is lacking in explanations.

Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by birthright, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.

Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”

It’s not his fault that Paul is a blank slate. He is being groomed to take over, and while at times reluctant and confused, he ultimately accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.

Far more compelling is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet warmly convey a loyal long standing friendship.

Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.

A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.

The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knock offs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.

While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he expresses the grandeur of the planets’ landscapes as well as the more intimate moments in various degrees of light.

He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.

Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.

Dune (2021).TIMOTHEE CHALAMET.Credit: Chia Bella James/Warner Bros.

Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.

“Dune” is a 2021 science-fiction action adventure directed by Denis Villeneuve. It stars Timothee Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Josh Brolin, Jason Momoa, Dave Bautista, Stellan Skarsgard, and Javier Bardem. Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, its run time is 2 hours, 35 minutes. It opened in theaters Oct. 22 and is streaming on HBO Max for 31 days. Lynn’s Grade: B.

‘Jersey Boys’ A Rolling Bolt of Thunder at Stages St. Louis

‘Jersey Boys’ A Rolling Bolt of Thunder at Stages St. Louis

By Lynn Venhaus

Oh, what a night! Any time you can be joyfully swept up by the catchy hooks and upbeat sounds of the Four Seasons catalog is a good day.

Although the music is the big draw, the personal stories of bandmates Frankie Valli, Nick Massi, Bob Gaudio and Tommy DeVito combine for the irresistible musical “Jersey Boys.” The four lads from New Jersey’s rough-and-tumble journey through the music business is a fascinating rags-to-riches story, the quintessential American Dream tale.

In its Stages St. Louis premiere, the Tony Award winner comes alive in the Kirkwood Performing Arts Center’s intimate staging in the Ross Family Theater. The show runs through Oct. 24.

This can’t-miss combination overflows with energy and charm – and 30 songs, including their chart-topping hits “Sherry” in 1962, “Big Girls Don’t Cry,” “Who Loves You” and their last number one from 1976, “December 1963: Oh! What a Night!” The group sold 175 million records.

Directed with verve by Stages’ mainstay Michael Hamilton, with input from associate director Gayle Seay and assistant director Christopher Kale Jones, each number is vibrantly staged. Dana Lewis’ choreography is snappy and stylized.

The addition of live music at Stages, with the band perched atop of James Wolk’s grid set design, is a major plus. Music director Jeremy Jacobs kept up a peppy infectious beat with a tight band.

Wolk has efficiently used the space to set up different nooks conveying time and place, from recording studios to Las Vegas, with Sean M. Savoie’s savvy lighting choices expertly enhancing the designs, starting with streetlamps, and moving on to glitzy showbiz venues.

After it opened on Broadway in 2005, the musical became a juggernaut, winning four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design in 2006, and ran until 2017, with multiple resident companies in the U.S. and abroad, in addition to several national tours pleasing crowds for years.

“Jersey Boys” is currently the 12th longest-running Broadway show (4,642 performances in 11 years).

Stages has assembled a very capable quartet of smooth operators who mesh as a group –singing actors Christopher Kale Jones, Brent Michael DiRoma, Jason Michael Evans and Ryan Jesse are funny, appealing, good singers whose harmonizing brings a strong dynamic to the show.

Jones, as indefatigable lead singer Frankie Valli, pours his heart and soul into the role, with a comfortable falsetto and a passionate delivery. His rendition of “Can’t Take My Eyes Off You,” one of the show’s biggest moments, will give you goosebumps. He played Frankie on the first national tour.

Jason Michael Evans is an amusing Nick Massi, the quirky bass player, and he pulls off the deadpan delivery and crisp comic timing required of the role. Brent Michael DiRoma, who was so strong as Jerry in Stages’ “The Full Monty,” brings out the complexities of the swaggering troublemaker guitarist Tommy DeVito. He also had national tour experience, but in other roles.

The songwriting talents and keyboard prowess of young musical genius Bob Gaudio is charismatically portrayed by Ryan Jesse, who performed the role on Broadway and on tour.

Stages’ ensemble adroitly fills in the supporting roles: Edward Juvier is Bob Crewe and others, while Dereis Lambert, Jenna Coker-Jones, Nic Thompson, Brady Miller, Sarah Ellis, Donna Louden, Steve Isom, John Flack, Dena Digiacinto, Trevor James Berger, and Erik Keiser fluidly move the story along. The entire production has a close-knit feel.

They journey through backstage drama, in-fighting, inside show-business wheeling and dealing, and unsavory parts of personal and professional relationships.

Clever book writers Rick Elice and Oscar-winning screenwriter Marshall Brickman presented different points of view and broke the Fourth Wall, where characters talk directly to the audience. It’s a masterful touch.

The vintage outfits from several decades are crafted with flair by resident costume designer Brad Musgrove, who knows how to go way back into the time machine of early rock ‘n roll and sharply dress performers.

Because it resonates so well, “Jersey Boys” remains a blissful experience, a delightful jukebox musical with a smartly constructed book that features humor and heartache – not to mention it’s based on a remarkable true story. And those songs!

It was thrilling to be back together in a theater where you could feel the electric jolt on stage – and in the audience. I’ve seen this show, I think, seven times, and it is always a home run. Performers may be better than others, but such pizzazz. It never gets old.

Show features adult content, so viewer discretion.

“Jersey Boys” runs from Sept. 24 to Oct. 24. For information and tickets, visit www.stagesstlouis.org or call 314-821-2407.

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‘The Rescue’ Documentary Details the Harrowing Journey of Thai Soccer Players in 2018

‘The Rescue’ Documentary Details the Harrowing Journey of Thai Soccer Players in 2018

The daring rescue of 12 boys and their soccer coach from deep inside a flooded cave in Northern Thailand captured the headlines in 2018, and now in an enthralling and inspiring documentary, “The Rescue,” our hearts as well.

Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi, Oscar winners for “Free Solo” accessed never-before-seen material and included exclusive interviews to spotlight the risky world of cave diving and to convey the enormous outpouring of caring and compassion from the international community.

Even though we know the outcome, dubbed the “Miracle in the Cave” by the global news media, this documentary is a remarkable story of survival, determination, and ingenuity in the face of daunting odds and natural elements.

It’s a story we knew from the news, but not so much the harrowing details, which unfold like an edge-of-your-seat thriller. It’s a race against time that took two weeks to complete, and we feel the clock ticking and the mounting danger, especially as monsoon season nears.

To refresh, after a soccer practice, the boys went on an outing to explore a nearby elaborate system of caves and became trapped. While anxious parents awaited their rescue and fate, the Thai Navy, U.S. Navy Seals, and renowned cave divers combined their know-how for a daring rescue. Along with the Thai government and international leaders, we see the teamwork and plans in this life-or-death scenario.

Many people helped save the boys, and the courage they showed in such a perilous journey is astounding. But the two cave divers who first spotted the boys after 10 days, Rick Stanton and John Volanthen, are true heroes, as they give first-hand accounts of what happened.

It’s a lump-in-your-throat moment when the gaunt-looking youngsters say heartfelt “Thank you” and attempt to keep their spirits up, even though they are hungry and scared.

The film recently won the People’s Choice Award at the Toronto International Film Festival.

It’s certain to make an impact as a contender we near the annual awards season. But more importantly, it’s a rare success story and an extraordinary account of what humans are capable of in the face of overwhelming adversity.


“The Rescue” is a 2021 documentary directed by Jimmy Chin and Elizabeth Chai Vasarhelyi. It is rated PG for thematic material involving peril and some language, and the run time is 1 hour, 47 minutes. In select theaters Oct. 15 and will eventually be on the National Geographic Channel (Disney Plus).

Sci-Fi Romance ‘Needle in a Timestack’ Colossal Waste of Time

Sci-Fi Romance ‘Needle in a Timestack’ Colossal Waste of Time

By Lynn Venhaus
Typically, movies about time travel make my head hurt because I overthink things and raise too many questions as I try to figure out the logic.

No need to waste precious brain cells on determining what’s going on in “Needle in a Timestack” because most of it doesn’t make any sense anyway.

In the ‘near future,’ time “jaunting” has become a luxury afforded the wealthy in this sci-fi romance, where architect Nick (Leslie Odom Jr.) is worried that his soulmate wife Janine (Cynthia Erivo) won’t be in his memories because of her ex-husband and his former friend Tommy (Orlando Bloom) messing with altering events in time, which is called “phasing,” and is disruptive in multiple facets of life. Can he stop it or manipulate time to make sure she is in his life?

And that’s a shame because the cast is full of likable performers that you usually want to root for, but their characters are vapid and spout ridiculous psychobabble about love. The two couples are such ciphers lacking much personality and possess all the trappings of comfortable modern life, so what’s the problem? Or, for that matter, the point?

Based on a short story by Robert Silverberg that was first published in the June 1983 issue of Playboy, he had previously published a collection of ten short stories under the same title in 1966 and decided to reuse the title for this story.

Let’s count the ways this project screams ‘misguided.’ For starters, John Ridley, Oscar winner for the adapted screenplay of “12 Years a Slave,” squandered energy on rewriting a story that does not translate well nearly 40 years later, given how there is such a gap between the 1 percenters and the “have-nots” – it smacks of privilege and one more thing to resent the “haves” about.

Surprisingly tone-deaf, the script is superficial in its portrait of married couple Nick and Janine as well as their prior significant others Tommy (Orlando Bloom) and Alex (Freida Pinto).

For all the talk of forever love, Nick and Janine sure don’t look happy. He’s an architect and she’s a photographer, and they live in an airy, ultra-modern home straight out of Architectural Digest.

Nick is consumed by thinking Tommy is trying to snare Janine, but Nick is quite a glum malcontent – and we get generic shots of him not looking happy.

And when a big phasing happens, whoa – he’s back with his beautiful girlfriend Alex – and she seems miserable because he’s such a mopey guy.

Tony winners Leslie Odom Jr. and Cynthia Erivo – he for “Hamilton” and she for “The Color Purple,” are much in demand after Oscar nominations – he for “One Night in Miami” and she for “Harriet.”

However, two premier vocalists do not even team up for a song post credits.

Orlando Bloom’s character is underwritten and puzzling. One phase has him behaving like an entitled rich guy and the second wave turning him to benevolent best bud following his bliss by pursuing his dream, being with the girl of his dreams and concern about his pal Nick.

And wouldn’t these phasings that alter people’s lives cause tremendous chaos in the real world?

Nick’s sister Zoey – a marvelous turn by Jadyn Wong, a bright spot, pays a lot of money to tamper by switching a friend’s tragic loss, but consequences, while threatened, appear to be random or non-existent.

And where are we? We are in a never-mentioned big city, and as the film was made in British Columbia, I assume it is Vancouver, but why assume? It just seems to be plastic and slick without a reason to stay engaged.

Trying to explain this is indeed a head-scratcher. Love is a circle. Let’s move on.

“Needle in a Timestack” is a 2021 science-fiction romance directed by John Ridley and starring Leslie Odom Jr., Cynthia Erivo, Orlando Bloom and Freida Pinto. It is rated R for some language and its run time is 1 hour, 51 minutes. It opened in theaters and was available on digital Oct. 15; and on DVD, Oct. 19. Lynn’s Grade: D.


Experience Awe and Wonder in Immersive ‘Beyond Van Gogh’

Experience Awe and Wonder in Immersive ‘Beyond Van Gogh’

By Lynn Venhaus
An enticing sense of wonder and palpable joy in nature can be felt in “Beyond Van Gogh: The Immersive Experience,” now available in St. Louis.

Irresistible and imaginative, it is: “magnificent.”

Art lovers will swoon looking at the walls with a 22-foot ceiling, technology enthusiasts will marvel at the cutting-edge three-dimensional world, and all will be exhilarated by the moving digital light show that breathes new life into Vincent van Gogh’s life work.

One must experience this unique multimedia presentation first-hand to understand just what the ‘immersive’ aspect truly means.

The limited engagement which opened Oct. 1, runs through Nov. 21 and is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays. Four entry times are available each hour and tickets are sold online at www.vangoghstlouis.com

The installation is in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, near the Macy’s side. Upon entry of the gigantic white tent, you will be educated about the legendary Dutch painter – his thoughts recorded in letters to his brother Theo, his dreams and own words about his life and work.

 After the introduction, a second room, referred to as a “portal,” prepares visitors for the visuals by having them get used to the moving images – comparing it a dreamlike experience.

The work comes alive in the ‘immersion’ room, the third – and largest – space. then we become acclimated to the visuals of his works, through wall projections and finally, able to partake in stunning colors that swirl, dance and refocus into flowers, cafes and landscapes that operate on a 30-minute loop.

Overall, there are about 300 paintings representing his vast body of work. He had a fondness for portraits of peasants and still life of nature settings, and is known for a multitude of self-portraits.

His instantly recognizable masterpieces “The Starry Night,” “Sunflowers” and “Café Terrace at Night” come to life, no longer in frames, and you can see the details. The numerous shades of blue he used to depict night skies is remarkable – and vibrant.

The music score is symphonic and cinematic, and yes, you can hear snippets of Don McLean, along with Paul Simon, Miles Davis and other modern composers.

Whether you are familiar about the tortured artist or not, you can’t help but have a new appreciation for his work and understanding of the 19th century world he attempted to cope with in his all-too-brief, difficult life.

Sadly, he was more famous in death than in life. He was born in 1853 in Zundert, Netherlands. He didn’t take up painting until he was 28 years old. After bouts with depression, cutting off nearly his entire ear, confined to an asylum for a year – he painted nearly a work a day – he shot himself in the chest in 1890 and died two years later of infection in Auvers-sur-Oise, France. He was 37 years old.

His brother, Theo, an art dealer, died of syphilis six months later, and his widow, Jo, is credited for getting the word out about Vincent, and his paintings into the public eye.

In later years, medical experts have concluded that he likely had depression, bipolar disorder and a borderline personality disorder. Because of his poverty, poor diet, sleeping habits, drinking and smoking, he did not help his health either.

Immersion Room. Provided Photo.

For those interested in exploring more about Van Gogh, four of his paintings are on display at the St. Louis Art Museum in Forest Park, including “Stairway at Auvers” and “Head of a Peasant Woman,” seen in the immersive projections.

For those wondering where others are, “Arles Sunflowers” and “Wheat Fields with Cypresses” are at the Metropolitan Museum of Art in New York City, “The Starry Night” is at the Museum of Modern Art in New York City, and “Starry Night Over the Rhone” is in the Musee D’Orsay in Paris.

“Café Terrace at Night” is at the Kröller-Müller Museum in Otterlo, the Netherlands. For that work, he set up an easel in the Place du Forum, a public square in Arles, and painted it en plein air.

“Irises” is at the J. Paul Getty Museum in Los Angeles and “Haystacks” is at the Philadelphia Museum of Art.

At the Van Gogh Museum in Amsterdam, you will find “Bedroom in Arles,” “The Yellow House,” and “The Potato Eaters.”

The Normal Studio, which has accomplished these shows with other artists, too, is known for pushing the boundaries of performing arts, entertainment, and public installations. Founded in 2009, they fuse physical and technological elements to transform spaces into multimedia magic, telling stories in new and different ways.

It is indeed a one-of-a-kind triumph in the St. Louis region, an experience not to be missed.

The St. Louis exhibit also has a gift shop. For a special, Schlafly has introduced a beer, Swirling Sky IPA, at its various locations. 

Provided photo.

The exhibition is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, Richmond Heights. Four entry times will be available each hour.  They recommend that the exhibit takes one hour to view.

Prices start at $36.99 for adults, with VIP and premium passes available up to $93, and $24.99 for children ages 5 to 15, with children under 5 are free. Tickets are sold online at www.vangoghstlouis.com

Beyond Van Gogh is following all St. Louis County Health Department guidelines in place during the exhibition’s run. Parking is free at the Saint Louis Galleria. Group tickets are available for eight or more.

For more information, visit www.vangoghstlouis.com.

Provided photos.