‘Gabby Giffords Won’t Back Down” Documentary Depicts Former Congresswoman’s Compelling Life

‘Gabby Giffords Won’t Back Down” Documentary Depicts Former Congresswoman’s Compelling Life

By Lynn Venhaus
“She’s a fighter like nobody else I know,” states Mark Kelly about the woman he married in 2007, in the new documentary, “Gabby Giffords Won’t Back Down.”

For 95 minutes, that description is confirmed in numerous instances. Kelly, former U.S. Navy captain and Space Shuttle commander, was elected to the U.S. Senate in 2020, and continues to work with his wife on reforming gun laws. It is truly astonishing that she is even alive, let alone fighting for causes, after an assassination attempt in 2011.

Just as they did with their exceptional documentary “RBG,” directors Julie Cohen and Betsy West provide a passionate portrait of the former Congresswoman, depicting her courageous and remarkable recovery from a gunshot to the head, her advocacy regarding gun violence prevention, and her strong marriage to Kelly.

While it seemed like she had a charmed life as an all-American girl growing up, a voracious reader who earned a master’s degree in regional planning at Cornell University and earned a Fulbright Scholarship in Mexico, Giffords has had her battles – and has met many challenges with energy and persistence throughout her business and political career.

Giffords, who changed her party affiliation from Republican to Democrat in 2000, maintained that she was a centrist. “A good idea is a good idea. It doesn’t matter if it’s from a Democrat or a Republican,” you hear her say in the film.

Colleagues discussed how she won people over, and someone coined the phrase “Gabbified.” You’ll see why.

Third-generation owner of the tire business her grandfather started, Giffords ran for a seat in the state legislature at age 30. She served in the Arizona House 2001-2003 and the state Senate 2003-2005 before being elected as a U.S. Representative. She had just been elected to her third term when she was meeting with constituents at a Safeway grocery store in a suburb of Tucson, Casa Adobes.

It was a Saturday morning, Jan. 8, 2011. Shots rang out, 19 people were struck, including Gifford, and six people died.

Jared Lee Loughner ran up, shooting into the crowd gathered for “Congress on Your Corner” with a 9 mm pistol that had a 33-round magazine. The crowd detained him, and the next day, he was charged with killing federal government employees, attempting to assassinate a member of Congress, and attempting to kill federal employees. He pleaded guilty to 19 of the 50 charges in a plea bargain where he avoided the death sentence.

The rising political star’s near-death experience obviously changed her life, and now she tirelessly works as an activist for gun violence prevention.

While Giffords was in the hospital, Kelly asked a friend to videotape Gabby’s progress, thinking she might want to see it someday.

These home videos are gut-wrenching, and show how her brain was affected, and what she had to re-learn. They provide a realism that words can’t match, although hearing from a neurosurgeon, her speech pathologist and music therapists add insight to what trauma gunshots triggered.

She remains affected by aphasia, a language impairment, and her right arm is partially paralyzed.

In January 2013, Giffords and her husband started a political action committee called Americans for Responsible Solutions. Its mission is to promote gun-control legislation with elected officials and the public. They repeatedly advocate for keeping guns out of the hands of dangerous people like criminals, terrorists, and the mentally ill. They have proposed limiting the sale of certain magazines and assault weapons and stopping gun trafficking.

Her heart-tugging journey, of course, is inspiring, and well-told by the filmmakers, with sharp editing by Ilya Chaiken and strong camera work by Dyanna Taylor. Miriam Cutler’s score and well-chosen pop-rock songs enhance the story.

Gabby Giffords

No matter what political party you are affiliated with, you can’t help but admire the woman and her compelling life story.


“Gabby Giffords Won’t Back Down” is a 2022 documentary directed by Julie Cohen and Betsy West. It is rated PG-13 for thematic material involving gun violence and some disturbing images and runs 95 minutes. It is currently available on Premium Video on Demand. Lynn’s Grade: A.

‘Thirteen Lives’ Recounts Daring ‘Miracle in the Cave’ Rescue in 2018

‘Thirteen Lives’ Recounts Daring ‘Miracle in the Cave’ Rescue in 2018

By Lynn Venhaus

Director Ron Howard knows how to tug on the heartstrings, and with its life-or-death scenario, “Thirteen Lives” is ready-made for an agonizing Hollywood adaptation – with a happy ending, of course.

In 2018, a rescue mission is assembled in Northern Thailand where a group of young boys and their soccer coach are trapped in a system of underground caves that are flooding. Based on true events.

Like he did in “Apollo 13,” Howard creates a suspenseful narrative out of a historical account where we know the outcome, but he keeps us enthralled, using William Nicholson’s gripping screenplay to build the against-the-odds story with palpable emotional heft.

The daring rescue of 12 boys and their soccer coach captured the headlines in 2018 – dubbed the “Miracle in the Cave” by the global news media — and the world’s hearts.

If you are fuzzy on the particulars, the soccer players, after practice, went on an outing to explore a nearby elaborate system of caves called Tham Luang. During a storm, they became trapped. The Thai Navy, U.S. Navy Seals, and well-known cave divers combined their know-how for a daring rescue. The Thai government and international leaders take part in the plans.

Howard, Oscar winner for “A Beautiful Mind” and nominee for “Frost/Nixon,” has many moving parts here depicting the dangers of cave diving. It’s a remarkable physical feat working with those unstable natural elements – and the underwater scenes are genuinely harrowing.

Last year, in the inspiring documentary, “The Rescue,” filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi chronicled the story, using never-before-seen material and exclusive interviews.

They also conveyed the enormous outpouring of caring and compassion from the international community, which is necessary to show the scope.

Howard uses those same elements – survival, determination, and ingenuity, as portrayed by the actors. Viggo Mortensen is Rick Stanton and Colin Farrell is John Volanthen, the divers who were the first ones to spot the boys after 10 days.

They were joined by many people to help save the boys, and Joel Edgerton plays Dr. Harry Harris, the Australian diver and anesthesiologist who came up with a risky plan.  His reaction to the news that all the boys are fine will choke you up – such relief.

The actors make us feel the peril, and the claustrophobia ia seems overwhelming. Special mention to Tom Bateman as Chris Jewell as part of the British Cave Rescue Council and Paul Gleeson as Jason Mallinson, another diver flown in to help.

The danger mounts, the clock is ticking, and we hope the anguished parents have a good outcome before monsoon season arrives.

A large international cast, including many Thai characters, help with the realistic approach. Some subtitles are used for the families and government official characters.

Howard, who has been equally at home in comedy and drama since his first film in 1978, has helmed several outstanding documentaries during the past decade, including the Beatles’ “Eight Days a Week,” “Pavarotti,” “Rebuilding Paradise” about California wildfires destroying a community, and most recently, the Emmy-nominated “We Feed People” about Jose Andres’ efforts through the World Central Kitchen.

So, giving this drama a documentary feel is natural. The tension ramps up with a thoughtful score by Benjamin Wallfisch, a frequent collaborator with Howard, who takes a pared down approach.

The cinematography of Sayombhu Mukdeeprom is a marvel, and between the rising waters of the caves and the torrential rain, stunning craftsmanship.

If you’ve seen the documentary, you do feel like you’ve seen this before, but “Thirteen Lives” is a respectable exercise.

This film is another one of those compelling accounts that shows how people come together to overcome adversity. The real people of the “Miracle in the Cave,” are true heroes, and it’s impossible not to be moved.

“Thirteen Lives” is a 2022 action-drama based on true events and directed by Ron Howard. It stars Viggo Mortensen, Colin Farrell, Joel Edgerton, Paul Gleeson and Tom Bateman. Rated PG-13 for some strong language and unsettling images, it runs 2 hours, 27 minutes. It opened in selected theaters on July 29, and began streaming on Amazon Prime beginning Aug. 5. Lynn’s Grade: B

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

By Lynn Venhaus
How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.

A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.

At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.

And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.

However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.

In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.

The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.

Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.

Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.

Photo by John Lamb

While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”

Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.

The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand.  Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.

The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’

Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.

She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).

Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.

Photo by John Lamb

Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.

Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.

The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”

Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”

The troupe’s strong voices harmonize well in the group numbers, too.

Photo by John Lamb

Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.

Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.

Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.

The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.

For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.

My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.

It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.

Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org

Note: Tickets are only offered in physically distanced groups of two or four.

Photo by John Lamb.

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

By Lynn Venhaus

In its Muny premier, “The Color Purple” is a momentous experience — one that cannot be missed for its historic and landmark significance, but also because it’s one of the finest ever ensembles in its 104 seasons.

The cast takes us on an unforgettable emotional journey, and their glorious harmonies soar into the summer night.

Delivering a story of uncommon courage and grace in a harrowing account of deeply rooted cruelty and oppression, the core group of female principals makes us feel their sorrows, love, pain, and indomitable spirit.

To paraphrase Annie Lennox and Aretha Franklin, sisters are doing it for themselves (referencing a 1985 Eurythmics female empowerment song). And what a sisterhood it is!

In 1909, Celie is a humble, hard-working 14-year-old poor black girl living in rural Georgia, who has delivered two babies whose father is her father, and Pa (Duane Martin Foster) has taken them away.

Several years later, he makes a deal to give Celie to Albert “Mister” Johnson, an emotionally and physically abusive widower and farmer, to care for his unruly children and serve him and his family.

She spared her sister, Nettie, so that she could follow her dream of being a teacher. Unbeknownst to Celie for a long time, the compassionate Nettie winds up with a missionary family in Africa, and is eventually tracked down by Shug Avery, another important influence in Celie’s life.

Celie has gone from one house of horrors to another. This is unsettling, of course, but her unwavering faith sees her through these tough times, as do the people who raise her up. She has always found solace with her sister and in church, and as time passes, it is the community that relies on her that pays back her kindness.

While taking care of Mister’s home, the nurturing Celie meets the glamorous, worldly, and determined nightclub chanteuse Shug Avery. They eventually share a romantic relationship and deep bond despite the singer having an on-again, off-again affair with Mister and a marriage to Grady.

One of Mister’s grown children, Harpo, marries Sofia, and she is a strong-willed free spirit, known for her independence and speaking her mind, with her phrase: “Hell, no!” even a song title. She cannot be ‘tamed,’ but she loves Harpo. Sofia’s stance will bring her serious harm.

Over the course of several decades, what the women learn, how they grow and overcome obstacles will tug at our hearts, so that the mercy shown in the second act leads to triumph– and for the men too.

Marsha Norman wrote this tough adaptation of Alice Walker’s Pulitzer Prize-winning touchstone novel, a National Book Award winner in 1982, which told Celie’s story through letters she wrote to her sister and children.

Sisters Nettie and Celie “Our Prayer.” Photo by Phillip Hamer.

For director Steven Spielberg, Menno Meyjes adapted the book into a 1985 movie that garnered 11 Academy Award nominations (but famously did not win any). A new movie based on the musical is set for a December 2023 release.

The heart and soul of any version is Celie, and it’s no fluke that both actresses who played Celie on Broadway — LaChanze in the original 2005 production and Cynthia Erivo in the 2016 revival — won Tony Awards (Director John Doyle’s re-imagining also won the Tony Award for Best Revival).

In this powerhouse role, Anastacia McCleskey is transcendent, bringing out the dignity, heartbreak, and virtues of a true survivor of overwhelming trauma. This tour de force performance is deeply felt and delivered with remarkable strength and skill.

Her eyes glistening with tears, McCleskey became a bona fide star in her 11 o’clock number, “I’m Here,” in which she expresses self-love and perseverance, and left us in awe. The thunderous ovation that followed was one of the longest in memory. Goosebump moments, indeed.

When she leads the cast in the finale, a fervent reprise of “The Color Purple,” it’s impossible for the audience to not have been affected by this sublime show.

Yes, it’s gut-wrenching, but it’s also about healing, resilience, and the mighty power of love. Throughout our history, we have learned that we should never forget what’s happened before, those teachable moments that make us better people.

The score includes gospel, jazz, ragtime, blues, and African beats, with songs by Brenda Russell, Allee Willis, and Stephen Bray that bring out the purpose, yearnings and period of these early 20th century lives.

“Mysterious Ways” number. Photo by Phillip Hamer.

The cast is stellar from leads to brief parts, evident from the Sunday church services depicted in “Mysterious Ways,” with Omega Jones belting out praise as the preacher and Alexis J. Rosten, Shantel Cribbs and Melanie Loren instant crowd-pleasers as the supremely talented trio of church ladies Doris, Darlene, and Jarene.

You will quickly discover what a joyful noise this ensemble will make, their strong vocals providing a sense of faith, hope and charity that church communities share.

Nasia Thomas, who stood out in last year’s “Smokey Joe’s Cafe,” is impressive as Celie’s beloved sister Nettie. You can feel a palpable bond between them, as if they were real sisters. Their duets are beautiful, especially the touching “Our Prayer.”

In the showy role as the irrepressible Shug, singer Tracee Beazer sashays across the stage with ultra-confidence. She leads the big splashy number “Push Da Button” but it’s her poignant ballads, “Too Beautiful for Words” and “The Color Purple,” that showcase her vocal strengths, as well as the exquisite “What About Love?”, a tender duet with Celie.

Nicole Michelle Haskins as Sofia and Gilbert Domally as Harpo reprise their roles from the acclaimed 2019 Drury Lane Theatre production in Chicago and endear as a dynamic couple — and as individuals. They have a fun, playful duet “Any Little Thing.”

Gilbert Domally, Nicole Michelle Haskins, Evan Tyrone Martin, Anastacia McCleskey. Photo by Phillip Hamer.

As the villain Mister, Evan Tyrone Martin inspires a gamut of emotions as the heartless husband perpetuating a long cycle of suffering. After he’s cursed and lost everything, “The Mister Song” begins his redemption.

Fine in supporting roles are Erica Durham as the colorful Squeak, Sean Walton as flashy Grady, and Jos N. Banks as lively Buster. Muny favorite Kennedy Holmes portrays Olivia and Rodney Thompson is Adam, Celie’s children.

The staging on a simple slab with different levels depicting various locales is a smart move by scenic designer Arnel Sanciano, which narrows our focus to the human interaction. Other accoutrements, such as Harpo’s sign for his juke joint and fields of purple flowers, are deftly handled on the LED screen by video designer Paul Deziel.

The creative team is new to the Muny but not the material. Director Lili-Anne Brown, music director Jermaine Hill and choreographer Breon Arzell were responsible for the Drury Lane Theatre production in fall 2019 that received seven Joseph Jefferson Awards nominations and won two — for directing and supporting role (Haskins).

Their collaboration has transferred well to the large outdoor stage. Every part of this exercise is told with attentiveness and passion.

The trio’s vision is brought vividly to life by the top-tier ensemble and their team, including outstanding craftsmanship by lighting designer Heather Gilbert and sound designers John Shivers and David Patridge. Production stage manager Jhanae Bonnick keeps everything at a brisk pace.

“Miss Celie’s Pants.” Photo by Phillip Hamer.

The costumes are a panoply of 40 years of style, with costume designer Samantha C. Jones dressing a church-going community in their Sunday best, what they wear to work and play in a Southern town, and how they dress up for a juke joint. Wig designer is Kelly Jordan.

With Celie designing pants in the second act, a striking array of comfortable yet stylish outfits are on display. That celebration number “Miss Celie’s Pants” marks such a turning point in the story and is one big smile.

If you believe, as I do, that if you spread light and love in the world, and are a good person, then the universe responds in kind. That is ultimately why Celie’s story resonates. Yes, she endured hell on earth, but she never gave up her belief in goodness, and finally realized her worth as a human being.

Purple symbolizes strength, transformation, power, wisdom and bravery, and all meanings can be applied here.

What an inspiration Alice Walker’s book was to the world 40 years ago, and continues to be, and what a distinguished accomplishment this show is for The Muny and St. Louis.

Nasia Thomas, Anastacia McCleskey, Rodney Thompson, Kennedy Holmes. Photo by Phillip Hamer.

The Muny presents the musical “The Color Purple” Aug. 3-9 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For more information or tickets, visit www.muny.org.

Church Ladies. Photo by Phillip Hamer.

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

By Lynn Venhaus

A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.

This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.

The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.

From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.

This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.

As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).

Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.

Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”

Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”

However, Salgado isn’t the only original connection involved at Stages.

Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.

This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.

Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.

Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.

The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.

Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.

Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.

His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”

Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.

Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.

Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.

Robles, Alvarado, Garcia. Photo by Phillip Hamer.

While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”

The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.

Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.

Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).

 Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.

Leoni and Hipps. Photo by Phillip Hamer.

The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”

Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.

As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).

Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).

Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.

And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.

The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.

Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.

As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.

Hagans and Juvier. Photo by Phillip Hamer.

Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.

Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries. 

Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.

This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”

Amanda Robles as Vanessa. Photo by Phillip Hamer.

Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org

Photo by Phillip Hamer

Fields of Gold: Sunflowers Blooming Now in the Bi-State Area

Fields of Gold: Sunflowers Blooming Now in the Bi-State Area

By Lynn Venhaus
If you grow it, they will come. But the sunflowers dotting our regional landscape have a brief life in the summer. Now is the absolute peak time, so don’t wait to make plans.

The Columbia Bottom Conservation Area is 4,300-acres located south of the Missouri River in Spanish Lake. For years, the Missouri Department of Conservation has planted fields of sunflowers. It’s a couple miles’ drive from the entrance gate, which is located a few miles north of Interstate 270 on Riverview Drive. Take that exit, and then travel north about three miles. Follow the sign.

The location in North St. Louis County is at the confluence of the Missouri and Mississippi Rivers, and.Columbia Bottom has wetlands, forests, prairies and croplands. The area encompasses the 110-acre Duck Island on the Mississippi River as well as more than six miles of river frontage.

Columbia Bottom Conservation Area, July 30, 2022. Lynn Venhaus photo

The Missouri Department of Conservation reports that visitors can see sunflowers in the area from early July through the middle of August — depending on weather conditions. There is no charge.

The area is closed from one-half hour after sunset until one half-hour before sunrise, except for authorized hunting, fishing and boat ramp use.

The confluence is the fourth largest river system in the world — and can be observed from the site’s Confluence Viewing Platform, which is located at the end of the road.

The road that runs through the area has eight exploration stations along the way. It is a self-guided learning experience, and visitors can view surrounding habitats. The area offers hiking, biking and river access.

There is a visitor center with educational displays that will help guests become acquainted with the site. For educational programs that are offered to the general public, call ahead, as most require advanced registration.

I ventured there on July 30. These are my photos.

Families, couples, photographers explore the paths in early evening July 30, 2022. Photo by Lynn Venhaus

Eckert’s Belleville Farm

The two-acre field has gorgeous photo opportunities. The Sunflower Trail opened last weekend and runs through Aug. 7.

You must register online for a time and a date to visit. The cost is $5 plus field access admission for $6.50. Besides the field, the adventure includes one sunflower to cut and take home, a sunflower cookie from the bakery and a sunflower sticker. For more information, visit www.eckerts.com.

Someone put shades on a flower, so I had to include him/her in my selfie.

A Coastal Elite Gets His Hat Handed to Him in Comedy-Mystery ‘Vengeance’

A Coastal Elite Gets His Hat Handed to Him in Comedy-Mystery ‘Vengeance’

By Lynn Venhaus

Ah, preconceived notions. In journalism parlance, we have a phrase in the newsroom, “When you assume, that makes an ass out of you and me.” This universal truth gets a workout in the fish-of-out-water irreverent black comedy, “Vengeance.”

First-time director B.J. Novak has a lot to say about many topical and philosophical issues currently tapping into the cultural zeitgeist. Perhaps he takes on too much in this ambitious film that while hitting numerous bullseyes, has too many smug and wince-induced moments to prevent us from fully embracing a muddled message.

Novak is a droll supporting actor best known for playing Ryan Howard on “The Office” (and wrote several episodes too). In “Vengeance,” his character, Ben Manalowitz, is a condescending coastal elite. Ben might be better educated and talks a good game, but he and his toxic pals (John Mayer!) are no better than the male chauvinist pigs that feminists railed about in the 1970s. (I know, satire!)

Abilene Shaw (Lio Tipton), with dreams of being a singer-songwriter, has returned home from the big city, and has been found deceased in an oil field near an area known as “The After-Party.” Opioids are used there, and everyone thinks she has died from an overdose – except her brother Ty (Boyd Holbrook in a terrific performance), who is eager to seek revenge.

Ty calls the “Ben” in her cell phone, led to believe he is her boyfriend, and breaks what he thinks is devastating news. This jolts Ben during one of his many one-night stands (apparently), and although reluctantly, he commits to attending her funeral, as the brother is insistent.

Ty wants Ben to help him solve Abilene’s murder. Eureka! The social climber has landed on a topic ripe for a buzz-type podcast “Dead White Girl.”

He gets the green light from a nationally renowned podcast producer, played assuredly by Issa Rae, and she seems to like everything he turns in, sort of puzzling, although always has questions. This could be his big break.

He interviews her family and friends, and as Ben navigates an unfamiliar culture, he surprises himself by growing close to her eccentric family that he’s staying with, and discovers people are not what you expect them to be.

Novak’s city slickers vs. country yokels’ stereotypes are broadly drawn, and mocking the rodeo-loving, gun-toting, Whataburger devotees of the small unnamed town in west Texas is funny, to a point. But then some barbs lean towards the cruel. (I know, parody!).

As Ben evolves into a more caring, a tad less insufferable metrosexual who shipped his fancy coffee pot from Brooklyn, you can feel some genuine sincerity, especially between Abilene’s kid brother Mason, who is derided as “El Stupido” by his much older siblings.

 Besides Ty, there is Paris (Isabella Amara) and sister Kansas City (Dove Cameron), who both want to be social media influencers and crave the spotlight.

It is satisfying to see Ben get his comeuppance and discover that rural people aren’t all IQ-deficient. It’s a lesson in the country version of ‘street smarts.’

At the rodeo

The message, somewhat, is don’t judge a book by its cover.

The cast is uniformly good, especially Eli Bickel heart-tugging as the little brother missing his big sister, who let him sleep on the floor of her bedroom. And J. Smith-Cameron does a complete 180 from her Emmy-nominated turn on “Succession” as the fiercely protective matriarch.

Surprising to see Ashton Kutcher noteworthy as a philosophical music producer in the hinterlands. But then, when you realize he gave Novak one of his first Hollywood jobs on his MTV hidden camera reality show “Punk’d,” not so hard to see the connection. Novak was a field agent in the first and second seasons. As sharp-dressed Quintin Sellers, Kutcher is more than meets the initial eye.

Then, the bottom falls out in the last half hour. And everything we were led to believe the previous 70-some minutes isn’t the case, and things are topsy-turvy. The last 10 minutes are out of a completely different film, and I am still pondering ‘what just happened?’!

For the most part, the third act betrays the story – and it is hard to determine what Novak is trying to say by then.

Novak, a smart, witty guy, has a lot of potential in future projects. He should have edited more of his talking points, not cram everything into one movie.

This is likely to be polarizing, like “Don’t Look Up,” and while overall, it is confusing, Novak proves to be an original voice. Maybe next time, he won’t pick such easy targets. It would be good to see him make a splash.

“Vengeance” is a 2022 comedy, mystery, thriller directed by BJ Novak and starring B.J. Novak, Issa Rae, Ashton Kutcher, Boyd Holbrook, J. Smith-Cameron, Dove Cameron and Lio Tipton. It is rated R for language and brief violence and runs 1 hour, 47 minutes. The movie premiered at the Tribeca Film Festival and opened in theaters on July 29. Lynn’s Grade: C.

BJ Novak and Ashton Kutcher

Take Ten with Bruce Cunningham

Take Ten with Bruce Cunningham

By Lynn Venhaus
In his first feature film “Un-resolved,” Bruce Carlton Cunningham Jr. has created a gritty, sprawling tale of revenge not unlike a Shakespearean drama but set on the streets of St. Louis. He not only produced, but directed, wrote and stars as Tremaine in the ambitious project.

The story is about an ex-convict, just released from prison, who attempts to make up for the lost time with his youngest daughter, who is dying, and to reconnect with his oldest daughter, who has befriended a deadly enemy from his past.

The 2 hour and 47 minute film will screen at 4:30 p.m. on Sunday, July 24, at the Brown Hall Auditorium of the Washington University campus, as part of the St. Louis Filmmakers Showcase sponsored by Cinema St. Louis. Cunningham will be present, along with members of his cast and crew.

Bruce has been a prolific producer in St. Louis for the past 21 years. As an actor, writer and director, he has appeared in several short films, including “Ricky’s Hurt” (2016), “Retribution” (2015), “Static: A Fan Film” (2018), “Icon: A Fan Film” (2020), “Hardware: A Fan Film” (2021), a feature film, “A New Husband For Christmas” (2020) and a web series, “Gonzo” (2016).

Un-resolved

He graciously answered our Take Ten Questions:

Bruce Cunningham
  1. What is special about your latest project?
    This is my first feature film and I put a lot of work into it to make sure it was a compelling story. It was a long journey making this, but I am glad I completed it and didn’t give up.
  2. Why did you choose your profession/pursue the arts?
    I started acting when I was nine years old. I would watch a lot of T.V. & movies rather than going outside to play or staying up late. I wanted to be a part of the onscreen action: car chases, jumping from buildings, flying through the air, living in different
    worlds and being different characters. That sparked my desire to act and make movies.
  3. How would your friends describe you?
    Humorous. Silly. Down to earth. No filters and no brakes. Focused. Loves to have a good time.
  4. How do you like to spend your spare time?
    I like to read, watch movies, travel, workout, shoot guns, learn new things and spend time with friends and family.
  5. What is your current obsession?
    Hmmmm, that may be private.
  6. What would people be surprised to find out about you?
    I look younger than I am.
  7. Can you share one of your most defining moments in life?
    Becoming a father was very defining because I have someone I have to pour into and be an example for. My daughter keeps me on my toes.
  8. Who do you admire most?
    I admire my mother the most. I love her wisdom and her approach to life and situations.
  9. What is at the top of your bucket list?
    I haven’t really thought about it. I’m still thinking about this one. Maybe act alongside Denzel Washington.
  10. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part, with shutdowns, and any lesson learned during the isolation periods?

    I definitely did not like to see and hear of all of those people dying of COVID. It was a major change, I spent a lot of time by myself and I changed my perspective on a lot of things. On the bright side, I had more time to edit my film during the shut down and that
    kept me busy.
  11. What is your favorite thing to do in St. Louis?
    Take walks in the park.
  12. What’s next?
    I just finished acting in other projects. Now, I am relaxing and trying to get “Un-resolved” out to the world. Pretty soon, I am going to start writing for the next film.

    1. More About Bruce Carlton Cunningham Jr.

      Birthplace: STL
      Current location: STL
      Family: Single Father of one
      Education: B.S. Video/Film Production & Minor in Theatre. M.S. Managing Information
      Technology
      Day job: Information Technology
      First job: Hardee’s
      First movie you were involved in or made: Retribution
      Favorite jobs/roles/plays or work in your medium? So far, it is between the roles of Tremaine
      (UN-RESOLVED) and George (UNDERNEATH)
      Dream job/opportunity: I would like to do a full action film.
      Awards/Honors/Achievements: None at the moment, but keep watching. When it comes to achievements, finishing my first film would be my latest achievement.
      Favorite quote/words to live by: “If there is a door, then you have to kick it down. If there is no door, then create one and kick it down.”
      A song that makes you happy: “Ali Bombaye”

Unresolved

With Dazzling Images, Perplexing ‘Nope’ Is More Style Than Substance

With Dazzling Images, Perplexing ‘Nope’ Is More Style Than Substance

By Lynn Venhaus
Technically brilliant but weak in coherent storytelling, “Nope” is an amalgam of tones and textures that convey horror and the strangest things.

In only his third film, director Jordan Peele, Oscar-winning writer of “Get Out,” follows up “Us” from 2019 with equal parts originality, pastiche, and satire. It’s clever, spooky, funny, and gruesome.

Two siblings, OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer), are taking care of their family’s horse ranch in inland California. Their father, Pops (Keith David), built up the horse business to provide animals for Hollywood productions and became a legend. They are barely staying afloat now, though. The horses get spooked and the pair witness unexplained phenomenon that gets increasingly hostile. But fascinating – and if they can prove alien life, a financial life raft.

Kaluuya, so good in Peele’s cultural phenomenon “Get Out” and Oscar winner as Fred Hampton in “Judas and the Black Messiah,” is the laid-back horse trainer, OJ (wink-wink), who worked with his dad Otis Sr., on the dusty remote spread. His bubbly, scattered sister Emerald – Palmer in a live-wire role — does not complete tasks or take responsibility, so OJ is left being the heavy lifter.

But when weird things start happening, will they be able to successfully team up and rise to the occasion to defeat something they don’t understand?

Meanwhile, at a nearby Old West Town amusement-theme operation, former child star Ricky “Jupe” Park (Steven Yeun) tries to overcome a traumatic childhood incident and entertain the masses, using the sci-fi spectacle to his advantage. At least, that is his plan.

The characters are intriguing and mysterious, but the Haywood kids’ personalities, being opposites, don’t lend themselves to building emotional connections when that would have immensely benefitted the movie.

It is clever how the siblings figure out what works and what doesn’t. With the help of a techie at a big-box store, Angel Torres, well-played by Brandon Perea, and an old-school cinematographer drawn to the mysterious goings-on – Michael Wincott, who maintains a sage but wary vibe.

Steven Yeun as a former child star

Yeun, showing yet another facet after his Oscar nomination for “Minari,” evokes sympathy, pity and at times is a pathetic, sad figure, as the former scarred-for-life child star clinging to a lower ring of showbiz as a vaudevillian showman.

Now that’s one you want to know more about – even if those two flashback scenes to the set of his sitcom are quite disturbing.

Because it’s hard to get invested in the Haywood and Park journeys when you are confused about what is happening. Peele, at times, instead of surprising us, dulls the impact by keeping us at arm’s length.

Not that there aren’t a couple jump scares, some well-placed funny lines, and escalating tension every time the power goes out or the UFO vessel swoops down on its prey. The voyager in the sky is less revealing than Ed Wood’s “Plan Nine from Outer Space” or “Unsolved Mysteries,” and that ‘less is more’ effort is frustrating.

What lessens Peele’s impact is that he struggles with pacing – from a slow-burn beginning establishing who’s who to a draggy third act. With a runtime of 2 hours and 15 minutes, at least 20 minutes could have easily been shaved off.

This is an example where the anticipation is greater than the supernatural alien payoff, similarly unfulfilling like in Denis Villeneuve’s “Arrival” (2016) and M. Night Shyamalan’s “Signs” in 2002. The gold standard in space paranormal visits remains Steven Spielberg’s 1977 “Close Encounters of the Third Kind,” but “Nope” tackles other issues that aren’t in the ‘aliens arrive’ lane — black representation in Hollywood, entertainment spectacles, American identity and more. Some of the themes he’s using are clear, while others are opaque.

The writing, in a rather minimal slideshow way, lacks plot details that would help connect the dots and thread the needle, preferring to be stingy with any information that can illuminate or help explain the strange goings-on. Even though there are some truly creepy segments, Peele seems to strive for confusion instead of understanding.

Daniel Kaluuya as OJ Haywood

Hoyte van Hoytema, Oscar-nominated for “Dunkirk” and Christopher Nolan’s go-to cinematographer, has captured the grandeur of this gulch in Santa Clarita Valley, with its mountains and foothills, its dusty vastness, as well as its ominous clouds and eerie remoteness. It’s both breathtaking in scope and spine-chilling in growing the unease.

Rebecca De Jong’s production design is a marvel of kitschy western theme park with glitzy faux fun touches, the fringes of old-fashioned entertainment from a bygone era, and Mother Nature’s ability to surprise and raise goosebumps at the same time.

Composer Michael Abels, who has scored Peele’s previous films, builds both the weirdness and the growing menacing tone in his musical selections. And as with any eclectic soundtrack melding pop culture periods, is pitch-perfect in his selections of Dionne Warwick, Corey Hart and others.

 “Nope” is unlike Peele’s previous two films and allows him to stretch into interesting genre work – but had the focus been tighter, we’d be looking at a masterpiece, instead of a flawed film that I wanted to like so much more. If we could have invested more in the characters, that would have enriched the storytelling exponentially.

It really does have some marvelous moments – but at the same time, many head-scratching ones too.

A TMZ intruder

“Nope” is a 2022 horror-sci-fi-mystery thriller directed by Jordan Peele and starring Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea, Michael Wincott, and Keith David. Rated R for language throughout and some violence/bloody images, its runtime is 2 hours and 15 minutes. In theaters beginning July 22. Lynn’s Grade: B-

Midnight Company’s Fine Performances and Skilled Craftsmanship Sharpen Explosive ‘Rodney’s Wife’

Midnight Company’s Fine Performances and Skilled Craftsmanship Sharpen Explosive ‘Rodney’s Wife’

By Lynn Venhaus

During the ten-minute intermission, I overheard a woman in the audience tell her companion: “I hope my kids don’t find my diaries.”

Whoa, and that reaction was before The Midnight Company’s seismic second act of “Rodney’s Wife.” I surmised other parents probably shared that sentiment at some point during this unsettling, distressing drama written by Richard Nelson.

Director Joe Hanrahan, who is eager to explore different dimensions, does not shy away from edgy or dark, thinks cinematically, and has an affinity for the period and the inner workings of show business, slowly pulling back the curtain, so to speak.

He has assembled a cast of six local acting heavyweights, who illustrate why they are so highly regarded, and the retro Italian setting is a designers’ dream.

The daughter of Rodney and his second wife, who found her mother’s diary from an eventful summer in 1962, introduces herself and takes us back to that time.

Kelly Howe is believable in dual roles, carefully choosing what emotion to display when. The statuesque Fay is a former actress who had married a widower 10 years ago. Rodney (John Wolbers) is now a fading movie actor. Is she content in her current role as “Rodney’s wife”?

In a quietly shattering performance, Howe starts out staying in the background while other big personalities suck the air out of the room — and then tries not to be suffocated.

Kelly Howe as Fay. Photo by Joey Rumpell

Her arrogant, domineering husband and his overbearing, busybody sister Eva (Rachel Tibbetts) try to control the temperature in the room. Eva was married to Rodney’s manager but is now a widow.

For people who pretend to live out loud, something is obviously ‘off,’ and subtle clues poke through the facades. Nelson builds tension, with anxiety and desperation fighting for attention in a shades of Anton Chekhov meets Tennessee Williams way, minus all-encompassing gloom and predictably overwrought hysteria.

Without spoiling any crucial plot turns, “Rodney’s Wife” has many layers and moving parts in its portrayal of a dysfunctional family. Oh, it’s complicated, all right. The melodramatic action is akin to divulging bombshells on a TV soap opera, and torching others with the secrets.

A prolific American writer, Nelson won a Tony Award for best book of a musical (James Joyce’s “The Dead” in 2000), and several Obie Awards. “Rodney’s Wife” was mounted off-Broadway in 2004 at the Playwrights Horizons, starring David Strathairn and Jessica Chastain as father and daughter.

As Fay prepares for a small celebration in a rented villa on the outskirts of Rome, well-heeled and seemingly carefree folks rush in, laughing and drinking copious amounts of alcohol. Rodney’s daughter Lee (Summer Baer), who has been mostly away at boarding school and college, has surprised her father with big news — she is engaged to Ted, a smart, amiable American writer (Oliver Bacus).

Rodney is regaling his future son-in-law with boorish moviemaking stories. Turns out the actor, a legend in his own mind, is filming a spaghetti western, but this is not exactly Clint Eastwood as the Man with No Name. These are the low-budget early years of the Italian fascination with the American West, before Sergio Leone would make his mark with this distinctive genre.

Dissatisfied and unpleasant, Rodney is rescued from his miserable experience by his new manager Henry (Ben Ritchie), who drops off a script that he views as more suitable for his talents, only they’d have to leave for America the next day. In addition, Henry, while professional and practical, has his own worries back home.

And why is Fay like a cat on a hot tin roof in the midst of the merriment?

Summer Baer and Ben Ritchie. Photo by Joey Rumpell

What started out as a forced happy family gathering unravels into shock and betrayals, attitudes are laid bare, and scabs are picked at and reformed. Some prefer not to play along, others mask their feelings for survival, and the perpetual role-playing is ongoing.

All six are clinging – whether to fading beauty, to their comfortable lifestyle, to forging a new identity, to the past, to keeping up appearances, their deceptions, or to whom they think they are/should be.

As the self-absorbed Rodney, John Wolters is revelatory, displaying a dramatic heft that you don’t often see when he’s trotting the boards, usually (but not always) in lighter fare. I wish Nelson had not written Rodney as a cliché.

Sartorially splendid, Rachel Tibbetts’ Eva craves the spotlight as much as her actor brother, and she fools no one as a busybody Karen trying to tell everyone else how to live their lives. Her equally loud brother indulges her, and Tibbetts embraces being abrasive in a role that’s mostly comical, but she conveys enough depth to make it more than one-note.

As the not-fully-formed 25-year-old adult daughter Lee, Summer Baer modulates the tones between dutiful daughter, her stepmom’s pal, tolerant of her hovering aunt and supportive fiancé to Ted. But what is it that she wants? A conflicted Lee doesn’t appear to be as forceful expressing what she wants as everyone around her seems to know what’s best for her.

Photo by Joey Rumpell

Although Bacus portrays Ted as assured as he’s making first impressions, it is as if Lee has blithely brought a prey into the lion’s den. You feel for this guy, hoping he’s better at seeing the red flags than we are.

Nelson has boxed himself into a corner narratively, and both Fay and Lee are frustratingly enigmatic – but the pair of actresses do everything they can for more fully realized interpretations.

However, his savvy choice of Rome 1962 is an exciting canvas for Bess Moynihan, whose scenic and lighting designs are astonishing, and for Liz Henning, whose astute costume designs are some of the best she’s ever done on local stages. Miriam Whatley has designed props that are ideally suited to the atmosphere.

Moynihan’s flair for striking production design – complete with an inviting patio –provides a good flow for character movements. Her superb lighting, especially the natural dawn, effectively establishes the shifting moods over the course of a night and day.

The drama’s impressive sleek look touches on what an attractive playground Italy was in the 1960s, not only because of the cultural revolution in movies, music, art, fashion, and style but how post-war Italy was putting fascism in the rear-view mirror and hedonism was in full throttle.

Hanrahan and company are successful in creating an intoxicating vibe of exotic travel, lush surroundings, and a pop art palette without having the benefit of idyllic sun-drenched exteriors. (I mean, we’ve seen “Three Coins in the Fountain”! I digress…).

As an example, Federico Fellini had unleashed “La Dolce Vita” in 1960 and was working on his opus, “8-1/2” (released in 1963), and he wasn’t the only director getting buzz in this new golden age. Michelangelo Antonioni’s “L’avventura” also was released in 1960.

Rodney looks like a guy who could be driving an Alfa Romeo while the handsome, well-mannered Ted could be tooling down the Amalfi Coast in a Fiat, doing his best Marcello Mastroanni.

The women wear their stylish cocktail dresses and chic casual attire with aplomb, sometimes adorned with bright scarves, and their hair is fixed in elegant styles – Lee’s swept-back ponytail, Eva’s classic elegant knot. The air of luxury permeates the small space.

During intermission or before/after the show, be sure to view a special fashion collection in the Chapel, which highlights haute couture of the era, and the designers, colors and styles that were famous.

Because of the fine performances, The Midnight Company has elevated this work, sharpening the explosive interpersonal dynamics. With inspired highly skilled craftmanship from the creative team, The Chapel’s intimate space has been admirably transformed into a mid-century modern with an international aesthetic.

Using the irony of such a luxurious landscape, Nelson has basically imprisoned his characters, who are products of their time, for better or for worse, which makes the sorrow and the unspoken regrets hang heavy in the air.

The Midnight Company presents “Rodney’s Wife” from July 7 to July 23, with performances at 8 p.m. on Thursdays, Fridays, and Saturdays and at 2 p.m. on Sunday, July 10 and 17, at The Chapel, 6238 Alexander Drive, St. Louis. For more information, visit: www.midnightcompany.com.