Messy, Lazy ‘Jurassic World Dominion’ Is a Colossal Waste of Time

Messy, Lazy ‘Jurassic World Dominion’ Is a Colossal Waste of Time

By Lynn Venhaus
The sixth and final installment of the “Jurassic” series is ridiculous, weird, and messy.

 In a new era, dinosaurs now live and hunt alongside humans all over the world. Four years after Isla Nublar was destroyed and this fragile balance has reshaped people’s lives, there’s another threat. The original trio starring in the movie that started it all in 1993 joins the cast of “Jurassic World” for “Dominion.”

Far too long at 2 hours and 26 minutes, two plots struggle to make sense with little connection, chemistry, and concern. Boring and repetitive, not only does the story not grab hold, but loses steam quickly.

Bad ideas abound in this screenplay co-written by Emily Carmichael and director Colin Trevorrow, with story by Derek Connolly and Trevorrow. He also helmed the overstuffed and head-scratching “Jurassic World” in 2015. He did not return for the second instalment, “Fallen Kingdom,” for J.A. Bayona was at the helm in 2018. That story set up this sequel – involving governments capturing the dinosaurs, the evil black market and big bad Biosyn.

Oscillating in tone because of sprawling set pieces that take us to the Sierra Mountains in Nevada, the dusty farmland of west Texas, an exotic Malta location where it briefly resembles a James Bond spy thriller, and the Dolemite Mountains in Italy, the film sputters in giving us too many characters in what quickly becomes a convoluted and dense storyline trying to tie the two trilogies together.

Chris Pratt as Owen Grady

Chris Pratt and Bryce Dallas Howard, the manufactured couple who survived the previous two “Jurassic World” movies, are protecting the cloned granddaughter of “Jurassic Park” owner John Hammond – but evil dudes lurk in the shadows ready to pounce. They have formed a de facto family out in the wilderness — but Maisie (Isabella Sermon) is 14 and rebellious. You know what’s going to happen before you see the cartoonish Bond-like thugs appear.

Meanwhile, it is a welcome sight to reunite paleontologists Ellie Sattler (Laura Dern) and Alan Grant (Sam Neill) with chaos theorist Ian Malcolm (Jeff Goldblum) 29 years after the sensational original “Jurassic Park.”

While all fine actors and apparent good sports, they can only do so much saddled with this everything and the kitchen sink plot – let’s add megalomaniac mastermind Lewis Dodgson, played by Campbell Scott, in the cookie-cutter mold of Steve Jobs, which is now a villain requirement of every blockbuster-comic book movie.

Dodgson’s nefarious Biosyn Genetics, which won the contract to shelter the dinosaurs at their compound in the Dolemite Mountains, is the source of impending doom because their genetically engineered locusts are creating a plague that will ruin the world’s eco-system. Enter his partner in crime, mad scientist Dr. Henry Wu (B.D. Wong,) a character in several installments, who has a new twist to reveal.

So, it becomes a race against time as the three old-school science nerds gather evidence to take the corporate behemoth down all the while raptor handler Owen Grady and his lady love Claire Dearing, former manager of the Jurassic World theme park, try to rescue their daughter.

Oh, wait – there are dinosaurs in this movie! You might be curious about these hulking prehistoric genetically engineered beasts that now roam the earth again, but don’t exactly live in harmony with the humans.

The fact that they attempt to convince you this rather alarming occurrence is a good thing defies logic. Seriously, I already questioned the sanity of returning over and over to that island – I mean, it’s like the cast of “Lost” going back. Do you not remember what happened the last time? Of course they’re going to wreak havoc, and it’s even more ludicrous.

What started out as director Steven Spielberg’s dazzling, magnificent achievement of landmark computer-generated images, Oscar-winning visual effects and a genuinely frightening science-fiction disaster story from Michael Crichton’s bestselling novel “Jurassic Park” in 1993 has been reduced to repetitive gimmicks in the successive ones..

Trevorrow, in another example of lazy filmmaking, gives us more shots of sharp-toothed dinosaurs nipping at the heels of our escaping heroes over and over and over again.

Remember how good Owen was at training raptors? They go to that well again, adding more for multiple chase scenes and concocting a preposterous pet-like story thread home on the range.

Bryce Dallas Howard as Claire Dearing

However, one of the earlier set pieces is a high-octane thrill as “thoroughbred” atrociraptors are unleashed and in hot pursuit of Owen on a motor-scooter.

“Dominion” is not going to let us go without a big apex predator battle reminiscent of Godzilla vs. King Kong.

But this method of throwing every conceivable obstacle in the paths of the righteous gang turns dull and butt-numbing. Snow, ice, oceans, lakes, mountains, planes, trains, jeeps, helicopters, parachutes, science laboratories and amber mines – what could go wrong?

By nature of green screen acting, the cast is on the run most of the film, but the women do fare better than expected. At least Howard is no longer running in heels and Dern has sensible athletic shoes on throughout.

Supporting players DeWanda Wise as fearless pilot Kayla Watts and Mamoudou Athie as brilliant scientist Ramsay Cole, Dodgson’s right-hand man, are appealing additions.

“Jurassic World: Dominion” is unfortunately being released after worldwide panic during the coronavirus pandemic, and let’s just acknowledge it’s a strange juncture in history, With the rough navigation of the past two years, do I really want to be worried about dinosaurs in my backyard? No thank you to another source of nightmares.

How even more chaotic could the world be? Turns out a lot. Not sure I want to go there, for it isn’t the escape most summer tentpoles position themselves to be.

The legacy characters work, but the centerpiece second trilogy headliners struggle to find footing. Pratt and Howard have little chemistry, but genuinely convey parental concern for Maisie. Likeable Pratt seems to be there merely to stare but Howard has more heavy-lifting to do, wiggling out of jams that require great physical prowess.

Do not think too hard about the mind-boggling lapses in judgment here. Crichton was right to end his journey with “The Lost World.”

“Jurassic World: Dominion” is cinematic junk, a tired cash grab that will go down as the worst in the six-movie franchise. And please refrain from visiting that well again, for it has dried up like the DNA in the fossils.

“Jurassic World Dominion” is a 2022 action, adventure, science fiction, thriller directed by Colin Trevorrow and starring Chris Pratt, Bryce Dallas Howard, Jeff Goldblum, Laura Dern and Sam Neill. Rated PG-13 for intense sequences of action, some violence and language, it runs 2 hours, 26 minutes. In theaters June 10. Lynn’s Grade: D

Blue and Beta

‘Watcher’ Is a Creepy Thriller That Will Make You Close Your Curtains

‘Watcher’ Is a Creepy Thriller That Will Make You Close Your Curtains

By Lynn Venhaus
An uneasy feeling of dread grows and intensifies during the creepy “Watcher,” a competent thriller whose elements, while not exactly original, come together as a believable modern-day psychological horror show.

When her husband Francis (Karl Glusman) gets a job promotion that requires a move to Romania, Julia (Maika Monroe) accompanies him on the adventure – and plans to be supportive. A former actress, she walks around the streets of Bucharest, a stranger in a strange land, and attempts to keep busy to relieve her crushing boredom.

Only she has this uneasy feeling that she is being watched. There’s a guy (Burn Gorman) peeking outside nightly from an adjacent building. Is she imaging things or is she being stalked?

Shades of Hitchcock’s “Rear Window” and the proverbial female protagonist doubting herself – while men wonder if it’s her imagination or other stress triggers causing the hysteria.

Those condescending, patronizing looks that women know all too well.

Watcher with Maika Monroe

But we wouldn’t have 95 tension-filled minutes if everyone believed her, right? Maika Monroe, who effortlessly slips into the horror-genre as the pretty and smart blonde, toggles the fine line of sanity. We feel her nagging ‘What is wrong with me?’ just as we experience the unsettling surroundings from her point of view.

As an odd, lonely janitor named Weber, the versatile character actor Burn Gorman is able to project both sadness and strangeness at the same time. He does more with the thinly drawn part than likely was on paper.

In a stereotypical preoccupied husband role, Karl Glusman is nondescript as Francis, going through the motions of becoming increasingly perplexed, and alarmed, by Julia’s behavior.

It doesn’t help that the nightly news features a grisly neighborhood murder that may be the work of a serial killer. Nor that Julia doesn’t understand the language – she is taking lessons but feels even more lost when she’s surrounded by natives blithely chatting away. It all adds up to a few heebie-jeebies moments.

An interesting turn by Madalina Anea as the alluring, sophisticated neighbor Irina is a terrific addition to the claustrophobic setting.

Director Chloe Okuno, who wrote the story for the screen based on Zack Ford’s screenplay, gives a stylish, contemporary female spin on a classic old-school thriller, and it gets under your skin with her methodical approach.

Okuno employs a steady, deliberate pace and wisely chooses to play up the shadows and vary the lighting to make Julia’s solitary moments even more unsettling. Along with cinematographer Benjamin Kirk Nielsen, they frame the angular hallways, windows, staircases, and doors to build an eerie tone.

Shrewd editing by Michael Block provides well-earned jump scares and some jolting surprises just in case you were lulled into a ‘nothing’s wrong here’ feeling. Composer Nathan Halpern capitalizes and effectively adds to the spooky vibe with his memorable score.

Costume designer Claudia Bunea has made smart choices, especially for Julia, whom we can see change through her fashion choices as her misery grows. The walls seem to close in on her, and production designer Nora Dumitrescu’s selections help that with a drab Old-World setting.

But it all rests on Monroe’s shoulders to convince us of her out-of-kilter life, trying to adapt to a foreign country but feeling more isolated and alone than ever, and she splendidly comes through.

A nominee for the Grand Jury Prize at the 2022 Sundance Film Festival, “Watcher” takes a story with familiar beats and with fresh eyes, collaborators made it their own. Above all, it delivers what it promises – and is frightening in the process.

Maika Monroe

“Watcher” is a 2022 horror-thriller directed by Chloe Okuno and starring Maika Monroe, Karl Glusman, Burn Gorman, Madalina Anea. It is rated R for some bloody violence, language and some sexual material/nudity, and runs 1 hour, 31 minutes. It is in local theaters on June 3 and available for rental on June 21. Lynn’s Grade: B+

The Black Rep’s Lyrical ‘Jitney’ is Acting and Storytelling at Its Finest

The Black Rep’s Lyrical ‘Jitney’ is Acting and Storytelling at Its Finest

By Lynn Venhaus

Bright before me the signs implore me
To help the needy and show them the way
Human kindness is overflowing
And I think it’s going to rain today

  • Randy Newman, “I Think It’s Going to Rain Today,” 1968

As the gap between the haves and the have-nots keeps widening in America, August Wilson’s “Jitney,” the first play of his 10-play cycle in 10 decades of history, couldn’t be timelier.

The play, which is set in the 1970s in Pittsburgh’s Hill District, has lost none of its bite, and in the loving hands of The Black Rep, it is spellbinding. A richly textured tale of economic struggles, racial tensions, fathers, sons, hope, dreams, loss, strength, and the need for and meaning of community.

A jitney refers to an independently owned unlicensed car for hire. Because regular cab drivers did not service the Hill District, Wilson presented this urban renewal scenario for a makeshift gypsy cab service.

The city has decided to condemn the building, which threatens to eliminate Becker’s Car Service, and the owner frets about finances as the other characters have worries of their own. This lyrical production is powerful storytelling at its finest.

Wilson introduces us to the men who make a living driving these cabs as they sit around a dingy office waiting for the phone to ring – as well as the relatives and passengers who stop by.

The era vibrantly portrayed is after the Civil Rights Amendment, but segregation still exists, and the characters deal with those issues. Could home ownership even be possible? The soldiers who fought in Vietnam returned home (or not) with their own stories to tell.

These passionate souls have bonded – or avoided it – through their lives’ triumphs and travails. No one’s had it easy, and the world-weariness shows. But the hope for second chances is palpable.

Featuring a superb ensemble of actors who bring out distinctive characteristics that you won’t soon forget, “Jitney” is a powder-keg of emotions and the evergreen need for connection and kindness in a cold, cruel world.

As the former mill worker who has his share of problems, Kevin Brown gives a powerhouse performance, equal parts fire and compassion.

Becker is grappling with his shame over his son’s prison time for murder. Clarence “Booster” Becker was convicted for killing a white college girlfriend, who had accused him of rape after her father found out about their relationship. As the wayward son, Phillip Dixon offers a complex performance as he seeks to patch up his rift with his dad and a fresh start.

Another standout young actor, Olajuwon Davis, plays Vietnam veteran Darnell Williams, aka Youngblood, and you can feel his desire to realize the American Dream for his family as he works two jobs.

Alex Jay is memorable as Rena, his spunky pregnant girlfriend, and brings out the yearning to be part of middle-class society as they’re starting out, their lives in front of them, dreaming of bright futures.

The cast is enlivened by the dynamic of ace performers J. Samuel Davis, who plays Fielding, and Ron Himes, the director who was called to fill in as Turnbo a few days before the show began its run. Both titans in the local theater community, they are multiple winners and nominees of the St. Louis Theater Circle Awards, and their ease slipping into these roles is one of the joys of seeing them at work.

Fielding is a driver whose life has been marred by alcoholism and Turnbo, a cranky guy who knows it all, likes to stir up trouble.

Another bright spot is Edward Hill as Doub, a Korean War veteran who keeps it all together at the service.

Rounding out the cast is Robert A. Mitchell as Shealy, a local bookie who does not drive but spends his time there using the pay phone to run his numbers game, and Richard Harris as Philmore, as a hotel doorman who gets rides from the guys.

Director Himes capitalizes on Wilson’s ability to draw us into his world that is so vivid. The production is enhanced by spot-on music choices reflecting that era, an impeccably designed set by Harlan D. Penn, the always exquisite lighting design of Joseph W. Clapper and sharp sound design from Justin Schmitz. Jamie Bullins’ costume design shrewdly reflects the characters.

As Wilson chronicled African American life during the 20th century, we learned about specific journeys in a way that resonated universally. Call them ordinary people, but on stage, they create a stunning portrait of America – and they make a beautiful noise. All but one of his 10 plays are set in his hometown.

Because of the Black Rep’s unwavering commitment to Wilson’s plays, we St. Louisans have been fortunate to experience his Pittsburgh plays, or Century Cycle, in the highest quality possible.

These productions, now in the company’s second go-round, have enriched not only my theater-going but also my understanding of humanity. I look forward to the rest I have not seen.

Whether you have seen any or none, engage a ride with “Jitney” May 4-May 29.

The Black Repertory Theatre of St. Louis presents August Wilson’s “Jitney” May through May 29 at the Edison Theatre on the campus of Washington University in St. Louis. For tickets, visit
For more information, visit www.theblackrep.org

Sightlines: Lawyers, Guns, Money and So Much Pain — When Is Enough?

Sightlines: Lawyers, Guns, Money and So Much Pain — When Is Enough?

By Lynn Venhaus
No parent should have to bury a child.

The anguish of these Uvalde parents is heartbreaking and we must do whatever we can to support them. We can’t let it be other people’s problems.

Columbine, Buffalo, Sandy Hook, Parkland, Virginia Tech, Las Vegas, the church in southern California and Texas and Charleston and Jewish synagogues, the high school kid in Michigan whose parents did nothing, and on and on…where is the next “it couldn’t happen here”?

The pain of the Uvalde parents and community at large is palpable. We can feel it? What parent hasn’t had a chill go down their spine? How many parents slept with their youngsters last night? Holding them close, however, does not protect them from evil.

The 21 victims’ parents are now in the same club I am in – and no one wants to be in this club.

The day you bury your son or daughter is the saddest day of your life. Everything is before and after. Nothing is the same Nor will it ever be. The depth of sorrow is unfathomable. The only thing that helps get you through it is the outpouring of kindness and comfort from others.

We can only imagine what it is like to drop your kids off at school and then they don’t come home.

Waiting…and waiting for word if they are safe. A community is shattered and a nation mourns. Why aren’t our kids or our loved ones safe? We should use this anger and grief to unite for change.

I have seen during the past couple weeks joyous photos on Facebook of parents celebrating their school children’s achievements and graduations. Happy, smiling families. Can you imagine if a gunman intruded on your special day? Something so innocent marred forever by tragedy.

Malls, grocery stores, concerts, movie theatres, schools, churches — why are we not safe?

Those who think firearms are not an issue? I would like to see the amount of money lawmakers receive from NRA and gun lobbyists.

Arm teachers? Make harsher laws on crimes involving guns AFTER people are dead while doing nothing to tighten how people get these weapons?

And you bear no responsibility? What about preventative measures.

Action. Stand up. No time to sit back and shrug our shoulders. Sure, I feel helpless and hopeless because NOTHING changes by legislators who let the gun lobby rule their conscience. No 18 year old needs an assault rifle.

Guns are now the number one cause of children’s deaths, surpassing car accidents.

Most of America is outraged and agree on assault weapons, background checks, etc. but we need to hold feet to the fire — to those speaking hollow condolences without any kind of reform. Ruled by partisan gridlock, when will we see change in Washington DC? You do not need an AR-15 to hunt deer.

You can’t deflect to mental health – you hold some responsibility by your cowardice to not do what is right regarding reform.

The second amendment was written in 1791 and wasn’t meant to be blanket permission for citizens to own weapons of war. What kind of sport is that exactly? Why does an 18 need nearly $4,000 worth of gums and ammunition.

We must demand change. Vote. Keep the conversation going. Do not let it fade away…and then the next time.

I thought things would change after kids were killed in the high profile cases. Apparently not.

What will it take? What is the tipping point? Why are we letting these things go on?

How many more parents have to suffer until something is done?

Aren’t we tired of these repeated scenarios?

Do more, America.

And PS Texas Deputy Governor Dan Patrick is a horrible human being.

Where to Help?

Uvalde Strong Relief Fund

The Community Foundation of Texas Hill Country, a nonprofit just northwest of San Antonio, started a relief fund for Uvalde victims and their families, as well as others affected by the shooting.

Crowdfunding platform GoFundMe set up a page with verified fundraisers put together by family members of shooting victims and nonprofit organizations.

The Uvalde Consolidated Independent School District created a bank account at First State Bank of Uvalde where people can send funds directly to shooting victims and their families. Funds can be sent electronically through Zelle using the email robbschoolmemorialfund@gmail.com or through the mail at the address 200 East Nopal St., Uvalde, Texas 78801. Make checks payable to the “Robb School Memorial Fund.”


The Midnight Company’s Earnest Drama ‘Anomalous Experience’ Recounts Alien Abductions

The Midnight Company’s Earnest Drama ‘Anomalous Experience’ Recounts Alien Abductions

By Lynn Venhau

The truth is out there, “The X Files” told us during 11 seasons on television. For believers of any paranormal or extra-terrestrial phenomena, some sort of proof helps build a convincing case. “Anomalous Experience” earnestly scratches the surface but is only a piece of an ever-evolving puzzle for truth-seekers.

Inspired by true events, Joe Hanrahan’s original play is a serious-minded drama taking a clinical approach as a public lecture by a psychiatrist who has endured ridicule about his studies into alien abductions and features two patients sharing their experiences.

The Midnight Company’s world premiere production opens its 25th season and runs at the .Zack May 5 – 21.

A key component of science fiction during the last half of the 20th century – the so-called ‘Atomic Age’ — has been stories centered on aliens, whether Unidentified Flying Objects, abductions, or exploratory visits from extra-terrestrials.

But now, with the government acknowledging UFOs and recent sightings of unknown aircraft by military pilots, which are being investigated (even if Area 51 folklore remains shrouded in mystery), tales this century are more accepted and not viewed as merely the rantings of kooks.

However, a heavy dose of skepticism exists about alien abductions. That’s the focus of actor-playwright Hanrahan, who based his character on a real professor who forged ahead in his research despite the nay-sayers.

Joe Hanrahan. Photo by Joey Rumpell

Hanrahan won a St. Louis Theater Circle Award in March for his original play “Tinsel Town,” which is three showbiz vignettes taking place over a 24-hour period in Los Angeles, presented in 2021, and was nominated for his nostalgic one-man show “Now Playing Third Base for the St. Louis Cardinals…Bond…James Bond.”  This is a different direction, and he has meticulously researched the subject to present it in a matter of fact, not preachy or fearful, way.

The sobering material touches on such familiar cases as Roswell, N.M., and goes back to ancient times (Chariots of the Gods) through production designer Kevin Bowman’s impressive slide show.

Given Midnight’s penchant for small character studies, the show is simply yet effectively staged, with Kevin Bowman’s minimal set.

Director Morgan Maul-Smith strips it down to maintain an air of gravitas through the actors – Hanrahan as James Collins and Joseph Garner and Payton Gillam as the two patients Scott and Virginia who believe they were abducted by aliens.

Anxious and apprehensive about their reception, but steadfast in their beliefs that something profound happened to them, Virginia and Scott share their harrowing experiences and re-enact hypnotic regression in a natural progression. 

Photo by Joey Rumpell

Both performers are engaging in conversations with Hanrahan, and Garner looks directly at the audience with his compelling experience. He is particularly haunting in his graphic descriptions of a breeding incident, and his struggles to cope with what has taken place. Gillam is effective in her recount of how her life changed, including her marriage.

That eerie uncertainty is carried through Ellie Schwetye’s masterful sound design and Tony Anselmo’s lighting design.

After their recount, it’s anti-climactic when the 80-minute play ends, because we don’t go farther in their lives. It would be interesting to see how their lives changed in the years since their encounters, if they felt they were being observed or studied.

This uncommon tale benefits from the strong actors, but the play is more sensible than sensational – just in case you were looking for escalating melodrama and shifting behaviors. As we’ve become accustomed to in fictional narratives on aliens, this is just the beginning.

“Anomalous Experience” is a thought-provoking look into unexplained abnormal events that make for a modern ghost story, although light on thrills and chills.

Photo by Joey Rumpell

The Midnight Company presents “Anomalous Experience” May 5 – 21, with performances Thursday through Saturday at 8 p.m. and Sunday matinees at 2 p.m., although the final show is Saturday, May 21 at 8 p.m., at the .Zack, 3224 Locust in the Grand Center Arts District of St. Louis. For tickets, visit www.metrotix.com. For more information, visit www.midnightcompany.com

The .Zack is a Kranzberg Arts Foundation space. Follow the COVID-19 guidelines currently in place. Masks are currently optional for patrons.

Satisfactory Story Endings In Opulent ‘Downton Abbey: A New Era’

Satisfactory Story Endings In Opulent ‘Downton Abbey: A New Era’

By Lynn Venhaus
This beautifully filmed sequel is as welcome as seeing old friends again now that we’ve been through a global pandemic. And as a merry follow-up film, “Downton Abbey – A New Era” couldn’t be more charming and delightful – and provide satisfactory story arcs for all major and minor characters.

Half the Crawley clan heads to the south of France to investigate the Dowager Countess’ (Maggie Smith) newest inheritance while the family’s new matriarch, Lady Mary (Michelle Dockery) stays home to oversee a movie being shot there (they need a new roof).

Only, it’s impossible to divulge plot points because of the big reveals throughout its two-hour runtime. The entire historical period drama, tinged with warm humor and trademark zingers from creator and writer Julian Fellowes, is one big spoiler alert.

That said, the two overlapping plots are deliciously engaging – a sojourn to the south of France to stay at a grand villa that has its own jaw-dropping backstory, and a glamorous Hollywood film crew taking over the august estate. It’s 1929, and they will roar headfirst into a new decade.

For fans, this is as enjoyable as opening presents on Christmas morning. And dare I say, even better than the first film, which continued where the series left off, updating the lives of the downstairs servants and the heirs of the Earl of Grantham.

Three years after the first film dealt with a royal visit from King George V and Queen Mary in 1927, and seven years after the hit TV drama ended its sixth season (2011-2015), award-winning run, the family and the servants are still in a flutter – only this time have a gift horse to speculate about, and stars in their eyes from the intrusion of movie people.

The melodrama gives the characters plenty to fret about and deal with, making them relatable to us commoners as power shifts and romances begin and deepen. Director Simon Curtis, who made the captivating “My Week with Marilyn,” nimbly weaves both plots together for a satisfactory narrative.

The addition of the film crew, who starts off producing a silent picture but must accommodate the growing popularity of ‘talkies,’ provides comical encounters and an engaging subplot for Lady Mary, with Michelle Dockery in classy form.

Hugh Dancy is earnest as smitten film director Jack Barber and a jaunty Dominic West is dashing as movie star Guy Dexter, while Laura Haddock does her best Jean Hagen as the Tinsel Town beauty Myrna Dalgleish whose crass voice needs an overhaul as does her uppity attitude. Shades of “Singin’ in the Rain”!

Maggie Smith, the two-time Oscar winner, owns the film as quipmeister Violet Crawley, effortlessly delivering her customary putdowns.

Just as the first film, “A New Era” is opulently crafted, with exquisite costume design by Anna Robbins and Maja Meschede and production design again by Donal Woods befitting a regal world of aristocratic wealth and position.

Andrew Dunn’s sumptuous cinematography keys in on the scenic splendor of the Mediterranean coast as well as effective shadows and light in the indoor movie making scenes. Composer John Lunn returns to accentuate every mood with swelling strings.

The real Highclere Castle in north Hampshire stands in for the Downton Abbey homestead, and still makes one swoon.

I’m ready for a third chapter, but if this is the end, what a fine swan song it is.

“Downtown Abbey: A New Era” is a 2022 historical drama directed by Simon Curtis and starring Maggie Smith, Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Hugh Dancy, Dominic West, Laura Haddock, Penelope Wilton and Imelda Stanton. It’s rated PG for some suggestive references, language,  and thematic elements and its runtime is 2 hours, 4 minutes. It is in theatres May 20. Lynn’s Grade A.

Sightlines: This Epidemic is a Call to Action

Sightlines: This Epidemic is a Call to Action

May 10 is National Fentanyl Awareness Day – Let’s Do Something Before More People Die

By Lynn Venhaus
Today, May 10, is National Fentanyl Awareness Day. The use of illegally-made fentanyl is fueling a national health crisis — it is an epidemic affecting all Americans, and we need to do more.

Sunday, many mothers were unable to mark their special day with their dear sons and daughters who lost their lives because of fentanyl. This is personal to so many of your friends, relatives and neighbors. It is a tragedy for families, ripped apart, ruined, broken.
More than 500,000 Americans have died from overdoses the past 20 years. Fentanyl is a factor in more half of overdose deaths. Less than 0.007% of an ounce of fentanyl causes certain death. Statistics indicate 42,700 fentanyl overdose deaths occurred in 2020.

Start with education — it is key. Fentanyl is a potent lab-made opioid, and a cheap and addictive filler getting added to illegally-made drugs at alarming rates.

People are using it unintentionally and dying from overdoses as a result. Even if you don’t use non-prescribed drugs, chances are that you know someone who has been impacted by the current crisis.

On this #NationalFentanylAwarenessDay, please learn more about the risks associated with fentanyl, and what you can do to prevent, recognize, and reverse overdoses.

From US Senator Maggie Hassan from New Hampshire:
“Granite Staters know all too well the devastating effects of the substance misuse epidemic, and as fentanyl continues to harm families and communities, we must keep raising awareness about this deadly substance. We are increasingly seeing fentanyl-laced drugs disguised as prescription drugs, which means that many Americans are unknowingly ingesting fentanyl with dire health consequences. Fentanyl Awareness Day is crucial to keeping people informed about these types of risks, and also to reduce the stigma to seeking help.

“I am heartened that addressing this crisis is not a partisan issue: I’ve worked with colleagues on both sides of the aisle to crack down on illegal drug trafficking of fentanyl and support those struggling with substance misuses. I will continue to work across the aisle to help communities stay safe in the face of this serious threat.”

Senator Hassan has led efforts to target illicit fentanyl trafficking, and the most recent annual defense bill included Senator Hassan’s bipartisan bill with Senator Pat Toomey (R-PA) to hold accountable countries such as China that are facilitating America’s fentanyl-fueled opioid crisis. The Senator recently joined a bipartisan group of colleagues in introducing legislation to implement new penalties for counterfeit pill production.

Write to DEA Administrator Anne Milgram to combat the rise of dangerous drugs such as fentanyl and methamphetamine disguised as prescription drugs.

We need to do more. We need to pressure lawmakers to do something. We must crack down on international drug trafficking and provide more resources to law enforcement to help stop the flow of illegal drugs into communities.

And if you need a Call to Action, watch the documentary “The Crime of the Century,” which is in two parts. First one is oxycontin, second one is fentanyl. Trailer:https://youtu.be/SkU75sBdjdU

More lives will be lost if people continue to look the other way.

Here are signs of overdoses:
Loss of consciousness
Unresponsive to outside stimulus
Awake, but unable to talk
Breathing is very slow and shallow, erratic, or has stopped
For lighter skinned people, the skin tone turns bluish purple, for darker skinned people, it turns grayish or ashen
Choking sounds, or a snore-like gurgling noise (sometimes called the “death rattle”)
Vomiting
Body is very limp
Face is very pale or clammy
Fingernails and lips turn blue or purplish black
Pulse (heartbeat) is slow, erratic, or not there at all

National help is also available at findtreatment.gov
Partnership to End Addiction: https://drugfree.org/get-support/
More information: https://www.hhs.gov/opioids/about-the-epidemic/index.html

Let’s help each other save some lives.

Push Comes to Shove in WEPG’s ‘The Lonesome West’ Acting Showcase

Push Comes to Shove in WEPG’s ‘The Lonesome West’ Acting Showcase

By Lynn Venhaus

Two oil-and-water grown brothers, Valene and Coleman Connor, constantly bicker and fight like two Rock ‘em, Sock ‘em Robots – but real physical and psychological damage takes place in “The Lonesome West.”

That’s a calling card of Irish playwright Martin McDonagh, whose works, often involving dysfunction, are mostly bleak, dark, and if a pitch-black comedy, outrageously funny.

Such is the case in West End Players Guild’s hardscrabble production, running through May 8, of McDonagh’s 1997 play, part of his Connemara trilogy (Tony winner “The Beauty Queen of Leenane” and “A Skull in Connemara” being the others). It was Tony nominated for Best Play in 1999, when it transferred to Broadway.

The middle-aged brothers escalate violence over the most mundane things – such as bags of Taytos’ ‘crisps’ (chips). Think “The Odd Couple,” only more gruesome and foul-mouthed.

While McDonagh’s contemporary play is not as well-constructed as Sam Shepard’s “True West” about two battling brothers that at times, resembles a Looney Tunes’ roadrunner and coyote cartoon, the material is suitable for an acting showcase.

And WEPG rises to the challenges, with strong production values and outstanding performances.

It’s just that hurling insults gets tedious, and the story has no where to go after two and a half hours.

The amount of physicality required of Jeff Kargus as Valene and Jason Meyers as Coleman is enormous, and they are ferocious onstage, with a toughness and single-mindedness that is stunning.

Their agility in movement is matched by their full immersion into the Irish dialect, which is superb all throughout the two-act drama-comedy.

The remarkable dexterity Kargus and Meyers display as these difficult characters indicates much dedication to getting all aspects right. One must note the superb work of fight director and weapons supervisor Michael Monsey for his intense choreography.

Kargus, never better, has long passages of dialogue to deliver as the more sympathetic and dutiful brother, as Meyers’s Coleman is maniacal, likely a psychopath, has shot his father and will likely kill again – and no one would be surprised if Valene was his target.

Shades of Cain and Abel, and that is not a joke. Both are examples of arrested development, but Connor is a one-note character compared to Valene. As the hot-head, Meyers outbursts of rage quickly build in a matter of seconds, but he is not always convincing in depicting menace. He’s downright cruel about his brother’s religious figurines – and you’ll find out about the dog soon enough.

Valene isn’t entirely innocent, for they have antagonized and done horrible things to each other over the years. Kargus does a fine job conveying his character’s peculiarities perfectly, including a fascination with the old ABC western “Alias Smith and Jones,” which ran for three seasons from 1971-73, patterned after the wildly popular film “Butch Cassidy and the Sundance Kid.” Apparently, it made a huge impact on Valene as a youth (or maybe home video).

The reason it is brought up in conversation is part of a bigger discussion on suicide, and whether the individual goes to heaven or hell. The Catholic Church believes those who kill themselves do not ascend to heaven, although there is some debate.

When a rash of suicides in the small town take place, people talk. Which leads to the old TV show discussion, because actor Peter Duel, 31, died of a self-inflicted gunshot after the first season.

That’s only one of the stream-of-conscience discussions in the shabby abode where the brothers live in the rural town of Leenane, in County Galway, where there is a shocking underbelly of mayhem and far too many strange-circumstances fatalities.

Scenic designer Brad Slavik has fashioned a very specific kitchen-living room combo with splendid detail while Frank Goudsmit’s props establish how the brothers live in an old farmhouse.

Tony Anselmo’s lighting design reflects the different moods and a more unsettling nighttime, while Jenn Ciaverella manages a sharp sound design – the Chieftains’s folk music is a good choice to play before the show and during intermission.

Under Robert Ashton’s fluid direction, the ensemble works together well, with Ted Drury as the hapless local priest Father Welsh and Hannah Geisz as Girleen Kelleher. Their comic timing is crisp, as is their ability to not break character, no matter how daffy or audacious the dialogue sounds.

Drury’s booze-swilling, advice-giving priest is hell-bent on saving the brothers’ relationship, but realizes it’s hopeless, and his despair is palpable.

Ashton has included a handy reference sheet to explain some of the Irish terms, such as poteen – meaning moonshine. You’ll see the men drinking copious amounts of the hooch, which is made from potatoes.

McDonagh, an Oscar nominee for writing “Three Billboards Outside Ebbing, Missouri,” doesn’t seem to have an endgame here, which is frustrating, but at least what WEPG does with it is impressive.

Photos by John Lamb

West End Players Guild presents Martin McDonagh’s “The Lonesome West” from April 29 through May 8 at the Union Avenue Christian Church, 733 Union in the Central West End. For more information or tickets, visit westendplayers.org

The West End Players Guild is employing touchless ticketing, socially-distanced seating and indoor masking of all patrons, front of house staff and volunteers.

MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

By Lynn Venhaus
“Doctor Strange in the Multiverse of Madness” should be titled “The Madness of the Multiverse” instead, for expect a mélange of the mystical, the mind-bending, the mysterious – and the messy — in the long-awaited Marvel Cinematic Universe sequel.

Dense Marvel superhero lore is its imprint, for where the Marvel Cinematic Universe has been and where it wants to go is factored into each of their movies, tying things together (but these days, keeping up is getting to be a bigger chore in a very crowded field).

This latest entry picks up where the superior smash-hit “Spider-Man: No Way Home” left off, and it helps if you saw it – and the innovative 2021 limited series “WandaVision” on Disney+ .Dr. Stephen Strange cast a forbidden spell that opens the doorway to the multiverse, including alternate versions of himself, and pushes the boundaries in “Doctor Strange in the Multiverse of Madness.”  

“Doctor Strange 2” is very inside for Marvel fanatics, who delight with every surprise and cameo, but for the casual viewers, it’s a struggle to sustain interest when things aren’t exploding or moving fast through different realities (or fantasies, take your pick).

The commanding Benedict Cumberbatch reprises his role as smart, sophisticated, sardonic surgeon Stephen Strange, whose origin story in 2016 was one of the best surprises of that year.

The medical marvel turned weird wizard has gone on to appear in the final two “Avengers” films – was among those lost in the ‘blip’ – and then played a major role in the third Tom Holland-led Spidey, where he messed with reality (“I did what I had to do”) and caused cataclysmic events.

This next MCU chapter connects other comic-book characters, those we’ve seen before and new to the screen, as well as presenting alternate versions of themselves, as the multiverse gets more of a workout. Cumberbatch gets to have three looks, including a grotesque zombie-like creature, but usually struts or flies around in his double-duty red cape looking powerful.

Elisabeth Olsen as Wanda

This sequel cuts to the chase right away, but then eventually breaks down in logic because the trippy visuals overtake the storytelling. This results in just another computer-generated spectacle overstuffed with electrical currents, disgusting monsters with gigantic tentacles, flying chunks of concrete and portals leading to other universes and dimensions.

Directed by the inventive Sam Raimi, a horror film auteur mostly known for the creepy and campy “Evil Dead” movies, he puts the dark in‘the dark hold,” heaps more fire and brimstone on, and adds more blood and gore to his Marvel canvas.

This is his first superhero movie since the Spider-Man trilogy he did with Tobey Maguire as Peter Parker in 2002, 2004 and 2007, and his first movie since the disappointing “Oz the Great and Powerful” in 2013.

The cast is fine — stalwart Benedict Wong returns as “Sorcerer Supreme” Wong, Rachel McAdams plays the good doctor’s ex-girlfriend Christine with a new role in one of the parallel universes, and newcomer Xochitl Gomez is the plucky America Chavez who can traverse between the universes. They also walk in and out of dreams.

The Illuminati is mentioned – which used to mean a secret society supposedly masterminding current events and conspiring to control world affairs, but now has other superheroes in the mix (?).

Besides battling big ugly demons, Strange’s main nemesis is The Scarlet Witch, aka Wanda Maximoff, who yearns to be a mother to two little boys in an alternate reality, but can’t because the good doctor won’t let her upset the universe further. Chaos ensues, but what is the end game exactly? Wanda has been good before, but now she is bad. Elisabeth Olsen is compelling showing both sides of the conflicted character.

The very name “science fiction” implies that it will bend time and space and logic as we know it, but it must make some sort of sense for people to be able to follow it.

Michael Waldron’s script is cumbersome in translating the comic book characters created by Stan Lee and Steve Ditko for the big green screen treatment. And while the visuals get high marks, the emotional connections needed to elevate the film aren’t there. And what is the “Book of Vishanti” anyway?

Waldron, who created “Loki,” tries to juggle too many characters, realities, magic mumbo-jumbo and constant leaping through time and space to have any kind of linear cohesiveness. While it’s fun to journey to a few different worlds in this genre, this is an overload that ardent fans will embrace — but others not so much.

I can’t tell where this genre adventure is going, but I’m caring less and less. Initially intrigued by the Doctor Strange character six years ago, have we come to the end of the road, or can he stand out enough moving forward?

“Doctor Strange in the Multiverse of Madness” is a 2022 action-adventure superhero sequel directed by Sam Raimi and starring Benedict Cumberbatch, Elisabeth Olsen, Benedict Wong, Rachel McAdams and Xochitl Gomez. Rated: PG-13 for intense sequences of violence and action, frightening images and some language, it runs 2 hours, 6 minutes. Opens in theatres May 6. Lynn’s Grade: C.

Spirited Cast Enlivens Goofy, Gutsy ‘Triassic Parq: The Musical’

Spirited Cast Enlivens Goofy, Gutsy ‘Triassic Parq: The Musical’

By Lynn Venhaus

Hold on to your pearls, for “Triassic Parq: The Musical” is a raunchy romp of an offbeat musical comedy.

A parody of the film and novel “Jurassic Park,” the blockbuster 1993 science-fiction action thriller by Steven Spielberg adapted from Michael Crichton’s 1990 bestseller, this is flipped for the dinosaurs’ point of view.

Talk about a chaos theory. Bedlam ensues when one of the genetically engineered female dinosaurs turns male – spontaneously. It’s not nice when you fool Mother Nature – but it sure is naughty.

Goofy and gutsy as can be, the Stray Dog production features a winning cast that gives it their all, in belting out power ballads and selling daffy up-tempo numbers, with light-hearted choreography by Mike Hodges. I don’t think I’ve ever seen a cast work so hard with material that’s this absurd and thin.

Tristan Davis is the Velociraptor of Innocence, all swaggering rocker in “Get Out,’ while Michael Wells is the evangelist-like Velociraptor of Faith, reveling in the campiness of “Morning Assembly” and “Hello, Little Goat” – exhibiting strong, soaring vocals after not being on the stage since “Guys and Dolls” in the Before Times.

Laurell Stephenson is spirited in dual roles — as the skeptical Velociraptor of Science and then having fun interacting with the audience as a character named Morgan Freeman – that was actually played by the deep-voiced Oscar winner once upon a time. He/she disappears quickly after a hilarious set-up.

The fearless pair of punk rocker grrrls stand out as the Tyrannosaurus Rexes – a frisky Dawn Schmid as T-Rex 1/Kaitlyn and ballsy Rachel Bailey as the dial-it-to-11 confused T-Rex 2. They unleash their attraction in “Love Me As a Friend.”

The spunky ensemble accepts the wild-ride aspect and overcomes what the silly show lacks in sustainability.

This playful cast of six starts out with high energy in “Welcome to Triassic Parq” – and continues full-throttle to win over the eager crowd in 14 songs while dishing out a lot of sexual innuendo. It would seem like zany schoolkids’ antics were it not for the quality of the vocals – like a John Mulaney Broadway musical parody on “Saturday Night Live.”

Photos by John Lamb

But this is an actual musical that played off-Broadway in 2012 after winning best overall musical production at the 2010 New York International Fringe Festival. The music and lyrics are by Marshall Pailet, with co-lyricists Bryce Norbitz and Steve Wargo, and all three combined on the book.

Songs include lyrics about penises for shock value – “Dick Fix,” riffing on John Williams’ symphonic score “We Are Dinosaurs,” and outlandish “Mama.”

The band is led by Pianosaurus Leah Schultz (and music director0, with Adam Rugo the Guitaratops and Joe Winters the Drumadon.

Director Justin Been goes for the gusto, keeping things zippy and nonsensical, aiming to achieve a real crowd-pleaser, especially for a generation who grew up with the “Jurassic Park” movie trilogy and returned for the franchise offshoot “Jurassic World.”

The original won three tech Academy Awards, while the two even more preposterous sequels in 1997 and 2001 stretched the boundaries of logic, even for sci-fi/fantasy. A reboot called “Jurassic World” in 2015 was followed by a sequel in 2018, with the latest, “Dominion,” set to open June 10.

But in the one-act musical, performed without an intermission, you do not need that much familiarity with the 30-year-old source material, for the emphasis is on spoofing religion, sex, and identity. The prehistoric setting is purely for laughs.

Eileen Engel designed functional costumes with a touch of whimsy to convey the gender-bending.

Scenic designer Josh Smith worked magic in his scaled-down version of the Isla Nublar theme park on the Tower Grove Abbey stage, stunning without benefit of computer-generated imagery or visual effects.

The technical efforts add considerably to the overall presentation, including lighting by Tyler Duenow and outstanding sound work.

Stray Dog has always had a penchant for producing quirky plays –such as the “Evil Dead” musical, Charles Busch’s “Psycho Beach Party,” and “Red Scare on Sunset,” as a different direction between more serious explorations. So the strange, slight “Triassic Parq” is well-suited to be in between “Good People” and “The Normal Heart” this 2022 season.

Whether or not you are fascinated by dinosaurs is immaterial. This is not meant to be anything more than saucy merriment, so lower expectations and accept the vulgarity (or not – this is intended for “mature” adult audiences, as in rated R).

Stray Dog Theatre presents “Triassic Parq: The Musical” from April 15 through 30, with performances 8 p.m. Thursday-Saturday; with additional performances at 2 p.m. on Sunday, April 24, and at 8 p.m. on Wednesday, April 27, at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or tickets, visit www.straydogtheatre.org.