At Her Best, Jennifer Theby-Quinn Has Something to Say in Upstream’s ‘Iphigenia in Splott’

At Her Best, Jennifer Theby-Quinn Has Something to Say in Upstream’s ‘Iphigenia in Splott’

By Lynn Venhaus

Jennifer Theby-Quinn goes there.

In a raw, emotionally wrenching performance, Theby-Quinn shows her limitless range as fireball Effie, a rough-around-the-edges working-class heroine, in the one-woman show, “Iphigenia in Splott.”

The virtuoso portrayal marks Upstream Theater’s return to producing small provocative works of art after a prolonged period of darkness. Their last effort, “Wildfire,” was presented Jan. 24 – Feb. 9, 2020, in the before times. Then, the public health emergency forced the arts to press pause, and “Iphigenia” was put on hold since 2020. Until now.

This production has had its share of challenges – Omicron outbreak so they limited ticket sales early in the run, Winter Storm Landon hit and they cancelled Bohemian Thursday performance – but they offered a streaming version too (I highly recommend, excellent quality and you do feel like you are there. Details below).

At the Marcelle Theatre in the Grand Arts Center, Theby-Quinn bursts onto a sparse stage, agitated, all attitude and lip. She’s coarse, not having any of what’s going on, and is rather difficult to warm up to with her confrontational style – obviously, having a bad day in her gritty south Wales neighborhood, Splott. It’s 11:30 a.m. and she’s drunk, stumbling around, mad at the world (but, we will soon discover she has good reason).

As she roars, Theby-Quinn intones a well-coached Welsh accent and maintains the pattern for 95 minutes. Effie’s loud and in-your-face, she makes no apologies for drinking and drugging, her leggings are too tight, and her long hair is distinctive – crimped and streaked with red. In Cardiff, one would think locals know not to mess with her.

During the past two years, we’ve witnessed rude tirades in public as we’ve all grappled with a new normal forced on us by a global pandemic. But Effie is no Karen. She’s been marginalized by society, ignored.

As Effie rages, scolding the audience for thinking she’s a “stupid slag, a nasty skank” as if she’s used to insults, we learn things about her that force us to change our first impression.

Playwright Gary Owen sets us up to take a sharp turn, to understand that something horrific has happened to Effie, and she has been forever broken. But is she a victim or survivor, and dare she be an everyday hero?

She’s actually a spin on a tragic warrior princess. The title references ancient Greek myth. Ever hear of Euripedes? He wrote a play, “Iphigenia in Aulis,” which tells the story of King Agamemnon’s decision to sacrifice his daughter for his country. She will be sacrificed to goddess Artemis so that his fleet will have smooth sailing to Troy, for the wind isn’t helping

Owen flips it to mean growth and profit over casualties – as in what is it worth when the cost is better for business overall? We’ve heard this before, but we’ve never heard from an Effie.

On the government doll in a town ravaged from shut downs and employment cuts, she is the embodiment of what communities have lost in the past decade.

Owen grew up in Splott and his 2015 monologue is a protest of UK’s shortcomings. It will leave an audience gutted. This may be an all-too-common case in health care, but it’s still inequitable and sad, and gets us to take notice.

This is when Theby-Quinn turns in a virtuoso performance that few could match on local stages, and she has set a high bar for the rest of the year.

Under Patrick Siler’s direction, Theby-Quinn is put through physically demanding paces on a gut-wrenching journey, using three chairs and a thin blanket to convey different spaces. The sound design is quite effective.

Effie huffs and puffs, as is her way. Then, she settles in to say something. She has a boyfriend Kev, but it’s her encounter with Lee that changed her life. And she wants us to listen.

Because Theby-Quinn is so mesmerizing, she has our undivided attention as she unfolds, in soul-crushing detail, a tale of woe. She will break your heart with her intensity.

When she howls about how she can’t speak and she has no one to speak for her, you feel her pain. Effie’s personal trauma becomes a lightning rod for battling complacency.

One wonders how she can mentally wrestle so deeply like that at every performance and not be affected.

Jennifer Theby-Quinn. ProPhotoSTL.

As she explains the damage that’s been done and how she put herself back together, it reminded me of what Vanessa Kirby endured in the 2020 film, “Pieces of a Woman.”

Owen won an award at the Edinburgh Festival for his innovative writing. He forces us to not only care about Effie, but sympathize with her. We hear a lot about the greater good in the vaccine rhetoric these days. In the aftermath of her tragedy and decisions she made, she took one for the team.

It’s Theby-Quinn’s finest work in the past 10 years, since I’ve been reviewing professional regional theater, and I didn’t think she could top her performance as Lucille Frank in R-S Theatrics’ “Parade” in 2013, although she’s been impressive in everything from Shakespeare to farce to musical comedy since.

She has won two St. Louis Theater Circle Awards, for the inaugural year as outstanding leading actress in a musical for portraying Hope Cladwell in “Urinetown” at Stray Dog Theatre in 2012, known then as Jennifer M. Theby, and as outstanding supporting actress in 2016 for the drama “Afflicted: Daughters of Salem,” produced by the Metro Theater Company.

And has been nominated multiple times, including the 2019 musical “Daddy Long-Legs” at Insight Theatre, and recently in comedy, for supporting role in 2020’s “Flanagan’s Wake” at the Playhouse at Westport Playhouse and in a leading role for “Jake’s Women” by Moonstone Theatre Company in 2021. Those awards are to be announced March 28.

Owen wanted us to listen, and Theby-Quinn made that happen.

Note: A streaming option is available through Feb. 7. I saw this as a filmed production. Had I been there in person, I would have been sobbing in an ugly cry.

Upstream’s performances are Jan. 21-23, 27-30, Feb. 3-6, at the Marcelle Theatre, 3310 Samuel Shepard Drive – free parking lot across the street. All performances are at 8 p.m. except Sundays – Jan. 23 and 30 are 7 p.m. and Feb. 6 is at 2 p.m.

Proof of vaccination is required. Tickets are available at Metrotix and at the box office before the performance. Box office hotline is: (314) 669-5312.

Upstream collaborated with Blip Blap Video to create a recording of the live performance. This may be accessed for a discounted ticket price of $20 and viewed on demand through Feb. 6 until midnight. For a ticket: https://ticketbud.com/events/a0662266-8129-11ec-852a-42010a717017?fbclid=IwAR01pInMHXQVZAoO4LnIoQsSJ3KF13OjkSW7TDwHM2ks2U0Bl3MJoyEv_4E

For more information, visit https://www.upstreamtheater.org/

Merry Pranksters Back with Gross-Out Hijinks in ‘Jackass Forever’

Merry Pranksters Back with Gross-Out Hijinks in ‘Jackass Forever’

By Lynn Venhaus

Do not try any of these stunts at home. Seriously.

Imitating the now-famous reckless TV show did injure youngsters playing at home, and the new “Jackass Forever” movie warns people at the start and at the end, just as all the spin-offs and original have.

Just in case someone is in the mood for a genitals smackdown or to get within biting distance of a venomous snake — or a tarantula or an angry vulture, because of course it looked like so much fun second-hand on screen.

The fourth movie – well fifth, if you count “Bad Grandpa,” spun off from the American reality comedy television series on MTV for three seasons, 2000-2002, was created by Jeff Tremaine, Spike Jonze, and Johnny Knoxville. It featured nine guys carrying out some dangerous, disturbing, and gross stunts and pranks with childish glee. They have added new crew for this, for Ryan Dunn was killed in a car accident, and Bam Margera did not return.

Actor, filmmaker, and ringleader Knoxville has brought most of the band back together 12 years after the last movie (“Jackass 3D”) to recreate the zany schemes his group of daredevils became known for at the turn of the century.

Trying to light a fart underwater – apparently after unsuccessful attempts all these years later – is a serious mission for these merry pranksters.

Although they look like they are having fun creating mayhem, they watch their pals go through physical – and psychological – agony, breaking out into gales of laughter as someone unsafely lands and appear in excruciating pain. Survival relief!

This chucklefest is strictly for fans, for would the uninitiated understand the appeal of putting your private parts in harm’s way and a jubilee of bodily fluids – all of them.

But fans early on embraced the crazy, the wilder the better, when the show caught fire on MTV in 2000, and brought out the 13-year-old in its viewers.

My Baby Boomer generation had the Three Stooges, albeit in re-runs, and my two sons, Millennials, had “Jackass.” I’d hear loud laughter coming out of their room during every episode. It’s just a fact – boys like to participate in doing stupid things and viewing others in outrageous antics became a cultural phenomenon.

The show became MTV’s highest-rated ever on a Sunday night. Yet, the show ignited controversy over the indecency and the danger, and Knoxville pulled the plug after three seasons. Shifting to movies, box office was big – nearly $500 million worldwide, and then spin-off specials and shows resulted.

Watching some wacky oddballs in masochistic hijinks for amusement still appeals. During the pandemic, it’s been a rarity to hear that much laughter in a movie theater, but at the advance screening, grown men — unabashed fans — laughed out loud for 96 minutes, with outtakes and behind the scenes running over the end credits.

Steve-O attracts bees

The opening credits scene, a parody of a Godzilla movie, was equal parts hilarity and disgusting, with Chris Pontius, aka “The Naked Guy,” subbing his family jewels for the monster. For about a half-hour, the absurd stunts and recording the terror on the guys’ faces, were comical, starting with Tony Hawk skateboarding over a ‘human ramp’ and especially the “Silence of the Lambs’ fake-out with poisonous (perhaps) snakes.

But for me, a female who doesn’t fit the demographic, the winces and the grimaces eventually took over. The jokes wore thin. During a copious vomit finale, I had to close my eyes.

Basically, “Jackass” appeals to the inner child buried somewhere in these dark days of adulthood. So, the timing is right.

However, it’s not exactly the nostalgic greatest hits package people expected. Some of the knuckleheads who became known for taking part in the outlandish bits, having unpleasant things done to them, have returned for more punishment. They’re older, if not necessarily wiser, but what they put their bodies through must take much longer to recover as time passes.

In “The Cup Test,” Ehren McGhehey had to be in anguish wearing an athletic guard while being punched by MMA fighter Francis Ngannou, getting a puck to the groin by New Jersey Devils’ P.K, Subban, Dave England standing on him with a pogo stick and softball pitcher Danielle O’Toole taking aim.

But the players are game. They’ve become household names to fans.

Two flabby overweight guys and the genial Jeff “Wee Man” Acuna take part in an elaborate exercise called “Triple Wedgie” that looked like it hurt.

Knoxville’s encounter with a bull during “The Magic Trick” left him with a broken wrist, broken rib, concussion, and brain hemorrhage. Steve-O sustained a concussion.

The fact that they are all buddies comes through, but there are new people added that don’t seem to share the group’s enthusiasm. Compston Wilson, called “Dark Shark,” wonders what he got himself into while trying to avoid a spider bite (that would be the scary fangs of a tarantula).

The sole female is a good addition, but Rachel Wolfson isn’t used nearly enough. She has a scorpion placed on her for “Scorpion Botox” and licks a taser current in a mime bit.

The excessive amount of full-frontal male nudity on display is surprising, and rather shocking, for it doesn’t appear that the Motion Picture Association of America ratings board questioned it, slapping an R on the film for “strong crude material and dangerous stunts, graphic nudity, and language throughout.”

The dropping trou is not used in an erotic way, but for icky challenges, like getting whacked in the groin if giving a wrong answer in “The Dum Dum Game” and former clown Steve-O besieged by worker bees attracted to the Queen Bee that was placed underneath his penis. They highlight where he was stung.

Guest stars include comedian Eric Andre, also credited for concepts, and rap star Machine Gun Kelly, both fans.

Nevertheless, with a title like “Jackass Forever,” fans know exactly what they are getting, and Knoxville doesn’t disappoint. He knows his audience.

“Jackass Forever” is a 2022 comedy directed by Jeff Tremaine and starring Johnny Knoxville, Steve-O, Chris Pontius, Jeff “Wee Man” Acuna, Eric Andre, Dave England and Ehren McGehey. It is rated R for strong crude material and dangerous stunts, graphic nudity, and language throughout and run time is 1 hour, 36 minutes. It opened in theaters Feb. 4. Lynn’s Grade: C

All for love and ‘zazz,’ ‘The Prom’ Triumphs at the Fox Theatre

All for love and ‘zazz,’ ‘The Prom’ Triumphs at the Fox Theatre

By Lynn Venhaus
Let’s hear it for love and ‘Zazz’!

An original musical comedy that remains a breath of fresh air, “The Prom” pops with color and pizzazz. Because it is a big-hearted splashy production, the show now on national tour is a perfect tonic in dark times and well-timed during a cold, dreary winter.

The Fox Theatre’s patrons eager to laugh and feel the connection that only live theater can provide may come away singing the catchy lyric “Life’s no dress rehearsal” from the show’s exuberant song, “Tonight Belongs to You,” while humming others from the tuneful and upbeat score by Tony-nominated writing partners Chad Beguelin and Matthew Sklar.

Beguelin, the lyricist and co-book writer from Centralia, Ill., grew up seeing shows at The Fox. He and Sklar are known for musical adaptations of “The Wedding Singer” and “Elf,” and he provided new lyrics for composer Alan Menken for “Aladdin,” which had a pre-Broadway tryout at The Muny in 2012.

Beguelin co-wrote the book with Bob Martin, whose credits include “The Drowsy Chaperone.” Based on Jack Viertel’s concept from a true story in the Itawamba County School District in Mississippi, where a high school decided to cancel its prom rather than allow a senior student to bring her girlfriend as her date in 2010.

The case, which involved the ACLU and a decision on violating the First Amendment, wound up in court. The girl was allowed to attend the prom, but local parents organized a separate prom for the rest of the students. Celebrities rallied to help sponsor a special prom without a homophobic backlash. Being a self-centered celebrity magnet gets a few dings here, but the goal is all positive.

Through its cheerful humor that’s drawn from both narcissistic Broadway performers who live in a showbiz bubble and the charms and drawbacks of small-town Midwest living, the play promotes tolerance, inclusivity and understanding.

After its premiere at a regional Atlanta theater in 2016, a Broadway run in 2018-2019 received seven Tony nominations, the Drama Desk Award for Best Musical and rave reviews.

Privileged to see it on Broadway in May 2019, I was excited for others to discover its charm and celebrate its spirit. But the original planned tour shut down during the pandemic’s first wave.

With great anticipation, it was set to bow Jan. 25 in St. Louis, home to several backers, including one of the three leading producers, Jack Lane, executive director of Stages St. Louis, and multiple co-producers.

Despite its peppy moves and colorful characters, the company couldn’t escape from the 2022 reality of a highly transmissible Omicron variant. During the stop in Baltimore that preceded St. Louis, the Jan. 21-23 shows were cancelled because too many cast members were affected by the coronavirus.

And despite the rocky start Friday after three-day delay, the fact that the cast, crew, and creatives could rally to put on a show at all, given the issues and obstacles to overcome, is a miraculous triumph.

The Fabulous Fox performances are now Jan. 28 through Feb. 6, with an extra performance scheduled then.

Safety protocols have always been a part of the tour, which began in late 2021. And for admission to the Fox Theatre, patrons are required to show a vaccination card in advance, or a negative COVID-19 test.

Because of cast illnesses, five people substituted for eight roles Friday, including the leading role of entitled prima donna Dee Dee Allen, with understudy Ashley Bruce replacing headliner Courtney Balan. Another main stage diva, Juilliard graduate Trent Oliver, was played by Jordan Alexander instead of Bud Weber.

Understudy Thad Turner Wilson replaced Shavey Brown as publicist Sheldon Saperstein and Christopher McCrewell slam-dunked it as Principal Hawkins, filling in for Sinclair Mitchell. Swing Jordan De Leon, a Stages St. Louis veteran, capably took on four roles, including Olivia Keating, Kevin, Motel Clerk and in the ensemble.

Bruce and Alexander eventually found their groove in the clueless Gang of Four, who flamboyantly land in Edgewater, Indiana, aka Podunk USA, to support the scorned Emma, who wanted to bring a single-sex date to the prom at her not-having-it high school.

After a somewhat flat first act, the cast recovered its rhythm and came roaring back in the second, and much stronger, act. The relief shown on the beaming performers’ faces during a rousing “It’s Time to Dance” finale, and the jubilant curtain call afterwards said it all. They did it! And deserve all the high-fives and praise for seizing the moment.

Casey Nicholaw’s crisp direction and snappy choreography keep things tight and bright.

The Prom, Music by Matthew Sklar, Book by Bob Martin and Chad Beguelin, Lyrics by Chad Beguelin, Directed and Choreographed by Casey Nicholaw cast: Kaden Kearney (Emma), Kalyn West (Alyssa Greene), Courtney Balan (Dee Dee Allen), Patrick Wetzel (Barry Glickman), Emily Borromeo (Angie Dickinson), Bud Weber (Trent Oliver), Sinclair Mitchell (Mr. Hawkins), Ashanti J’Aria (Mrs. Greene) and Shavey Brown (Sheldon Saperstein)

The triple-threat cast is solid, with national tour newbie (and non-binary) Kaden Kearney impressive as Emma, the lesbian student reluctantly at the center of the firestorm. With their strong pipes, they crushes “Just Breathe,” confidently takes on “Dance with You,” and emotionally delivers “You Happened.” Kearney’s most moving song is the acoustic solo, “Unruly Heart,” which they record for social media posting from her bedroom, explaining exactly how Emma feels.

The poised Ashanti J’Aria gives more dimension to PTA President Mrs. Greene instead of being a one-note villain, while Kalyn West, a veteran of the Broadway cast, shines as her daughter. West and Kearney have a nice chemistry that carries over to the musical numbers.

Each of the Broadway stars has an opportunity to shine, with lithe-limbed Emily Borromeo smooth as the game chorus girl Angie Dickinson, standing out in the signature “Zazz” song-and-dance with its iconic Fosse moves.

Patrick Wetzel comically embodies Barry Glickman, the very theatrical sidekick who basks in the spotlight 24/7, and his scenes with Emma take on a heart-tugging poignancy. His sweet “Barry Is Going to Prom” shows another side to the bombastic showman.

Alexander stands out in the vivacious “Love Thy Neighbor,” which points out hypocrisy to the judgy youngsters in a relevant way.

The showy out-of-towners are funny in “It’s Not About Me” and “The Acceptance Song,” as the humor in the lyrics cleverly blends with the story. Through hilarity, the show’s writers get their points across. – without being strident or pretentious.

The fun musical is a tidy two hours, with a 15-minute intermission. Once the rights are released to perform, it will translate well to regional and community theaters and schools.

While the musical is livelier and more endearing than the extravagant and glitzy Netflix film, produced and directed by Ryan Murphy (“Glee”), the fact that it reached more people through his involvement is a good thing.

Murphy wanted to support its message through a broader audience and signed on an A-list cast including Meryl Streep, Nicole Kidman, Kerry Washington, Andrew Rannells, James Corden, Keegan-Michael Key and Ariana Debose. The star-spangled movie musical came out in December 2020.

Like the characters Emma and Alyssa, Murphy, too, grew up in Indiana as a gay male struggling with his identity. Because its uplifting story encourages teenagers to be their authentic selves, the LGBTQ-supportive show has brought people together around the globe.

The stars aren’t that helpful – except they do get people to see Emma for who she is, and that’s a win-win victory. What’s not to love about a teachable moments that result in joy?

It might be time to dance!

For more information, visit www.fabulousfox.com. For tickets, visit: MetroTix.com

Matinee performance of “The Prom” in NYC 2019

Here are links to articles about the local connections to “The Prom” and an interview with a cast member.

Article with producer Jack Lanehttps://www.timesnewspapers.com/webster-kirkwoodtimes/its-pure-joy/article_6290955c-7a08-11ec-9236-b37ee0f21626.html

Here is our podcast with Ashanti J’Aria, who plays Mrs Greene in “The Prom”https://soundcloud.com/lynn-zipfel-venhaus/a-conversation-with-ashanti-jaria?si=ef9f75bc20cc4b638b6f411aaed38cea&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Local Producers Going to the Tonys
https://www.bnd.com/living/magazine/article230691424.html

Netflix Movie Has Local Ties
https://www.bnd.com/news/local/article247813845.html

Ninth Annual St Louis Theater Circle Awards Returns March 28 To Honor Regional Work in 2020-2021

Ninth Annual St Louis Theater Circle Awards Returns March 28 To Honor Regional Work in 2020-2021

Annual Gala Not Held in 2021 Due to Coronavirus Pandemic

ST. LOUIS, February 2, 2022 – After a hiatus due to the coronavirus pandemic in 2020 and 2021, the St. Louis Theater Circle Awards will return in 2022 in a ‘virtual’ ceremony. That event will be streamed by HEC-TV at 7 p.m. on Monday, March 28, 2022.

Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the combined calendar years of 2020 and 2021.

For this year’s ceremony the Circle has revised the categories of its acting awards. They no longer are listed by ‘actors’ and ‘actresses.’ Those categories now are based on genders of the characters in the scripts rather than by the genders of the performers. For example, the category formerly titled “Outstanding Lead Actress in a Comedy” now is termed “Outstanding Lead Performer in a Comedy, Female or Non-Binary Role.”

Because the pandemic brought about the cancellation of so many productions by virtually all local professional theater companies, approximately 75 productions have been considered for nominations for the combined years of 2020 and 2021. This compares to roughly 120 to 130 productions normally considered in one year alone.

The eighth annual award ceremony, which was to have been held ‘live’ at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event was held virtually in a highly polished presentation produced by HEC-TV and streamed on HEC’s YouTube channel and web site.  There was no ceremony of any type by the Theater Circle in 2021.

For this ninth annual ceremony, members of the St. Louis Theater Circle considered nominees from shows produced in the first three months of 2020 and the last eight months of 2021 combined. In addition, a few shows produced between April 2020 and May 2021 were included. The total number of shows considered from the years 2020 and 2021 combined amounted to about 75 shows.

The nominees for the ninth annual St. Louis Theater Circle Awards are:

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role

  • Nicole Angeli, It Is Magic, The Midnight Company
  • Ani Djirdjirian, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Colleen Heneghan, Bloomsday, West End Players Guild
  • Jennifer Theby-Quinn, Flanagan’s Wake, Playhouse at Westport Plaza
  • Chrissie Watkins, It Is Magic, The Midnight Company

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role

  • Chuck Brinkley, The Thing – A Live Parody, Cherokee Street Theatre Company
  • Stephen Cefalu Jr., The Gradient, Repertory Theatre of St. Louis
  • Joe Hanrahan, It Is Magic, The Midnight Company
  • Carl Overly Jr., It Is Magic, The Midnight Company
  • Jonathan Spivey, The Thanksgiving Play, Repertory Theatre of St. Louis
King Lear

Outstanding Leading Performer in a Comedy, Female or Non-Binary Role

  • Shayna Blass, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Michelle Hand, It Is Magic, The Midnight Company
  • Stephanie Machado, The Gradient, Repertory Theatre of St. Louis
  • Ellie Schwetye, Tinsel Town, The Midnight Company
  • Jennifer Theby-Quinn, Jake’s Women, Moonstone Theatre Company

Outstanding Leading Performer in a Comedy, Male or Non-Binary Role

  • Jeff Cummings, Jake’s Women, Moonstone Theatre Company
  • Adam Flores, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Jeremy Goldmeier, Art, Stray Dog Theatre
  • Jordan Moore, Dress the Part, St. Louis Shakespeare Festival
  • Garrett Young, Dress the Part, St. Louis Shakespeare Festival

Outstanding Lighting Design in a Play

  • Joe Clapper, Spell #7, The Black Rep
  • Mextly Couzin, The Gradient, Repertory Theatre of St. Louis
  • Jasmine Lesane, Mlima’s Tale, Repertory Theatre of St. Louis
  • Seth Reiser, A Christmas Carol, Repertory Theatre of St. Louis
  • John Wylie, King Lear, St. Louis Shakespeare Festival
Two Trains Running

Outstanding Sound Design

  • Avi Amon, Mlima’s Tale, Repertory Theatre of St. Louis
  • David R. Molina, King Lear, St. Louis Shakespeare Festival
  • Sadah Espii Proctor, The Gradient, Repertory Theatre of St. Louis
  • Nathan A. Roberts and Charles Coes, A Christmas Carol, Repertory Theatre of St. Louis
  • Rusty Wandall, Dress the Part, St. Louis Shakespeare Festival

Outstanding Costume Design in a Play

  • Dede Ayite, A Christmas Carol, Repertory Theatre of St. Louis
  • Mika Eubanks, King Lear, St. Louis Shakespeare Festival
  • Elizabeth Henning, Tinsel Town, The Midnight Company
  • Christina Leinecke, Dress the Part, St. Louis Shakespeare Festival
  • Brandin Vaughn, Spell #7, The Black Rep

Outstanding Set Design in a Play

  • Wilson Chin, King Lear, St. Louis Shakespeare Festival
  • Tim Jones, Sweat, The Black Rep
  • Carolyn Mraz, The Gradient, Repertory Theatre of St. Louis
  • Margery & Peter Spack, The Ville: Avengeance, St. Louis Shakespeare Festival
  • Margery & Peter Spack, Two Trains Running, The Black Rep

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role

  • Kelly Howe, Sweat, The Black Rep
  • Amy Loui, My Name Is Asher Lev, The New Jewish Theatre
  • Alma Martinez, Mojada: A Medea in Los Angeles, Repertory Theatre of St. Louis
  • Elizabeth Teeter, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Sharisa Whatley, Two Trains Running, The Black Rep
The Glass Menagerie

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role

  • Allen Gilmore, King Lear, St. Louis Shakespeare Festival
  • Brian McKinley, Spell #7, The Black Rep
  • Shane Signorino, A Piece of My Heart, West End Players Guild
  • Chauncy Thomas, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Chuck Winning, My Name Is Asher Lev, The New Jewish Theatre

Outstanding Leading Performer in a Drama, Female or Non-Binary Role

  • Velma Austin, Sweat, The Black Rep
  • Kari Ely, Comfort, St. Louis Actors’ Studio
  • Debby Lennon, Songs for Nobodies, Max & Louie Productions
  • Michelle Hand, Tiny Beautiful Things, Max & Louie Productions
  • Laurie McConnell, Annapurna, St. Louis Actors’ Studio

Outstanding Leading Performer in a Drama, Male or Non-Binary Role

  • Andre De Shields, King Lear, St. Louis Shakespeare Festival
  • Kambi Gathesha, Mlima’s Tale, Repertory Theatre of St. Louis
  • John Pierson, Annapurna, St. Louis Actors’ Studio
  • Spencer Sickmann, Comfort, St. Louis Actors’ Studio
  • James A. Williams, Two Trains Running, The Black Rep

Outstanding New Play

  • Comfort, by Neil LaBute, St. Louis Actors’ Studio
  • The Gradient, by Steph Del Rosso, Repertory Theatre of St. Louis
  • Madam, by Colin Healy, Fly North Theatricals
  • Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond, by Joe Hanrahan, The Midnight Company
  • Tinsel Town, by Joe Hanrahan, The Midnight Company
Comfort

Outstanding Achievement in Opera

  • Sean Curran, Gianni Schicchi, Opera Theatre of St. Louis
  • Levi Hernandez, Gianni Schicchi, Opera Theatre of St. Louis
  • Karen Kanakis, La Fanciulla del West, Winter Opera St. Louis
  • Patricia Racette, La Voix Humaine, Opera Theatre of St. Louis
  • Leonard Slatkin, Highway 1, U.S.A., Opera Theatre of St. Louis

Outstanding Production of an Opera

  • Gianni Schicchi, Opera Theatre of St. Louis
  • Highway 1, U.S.A., Opera Theatre of St. Louis
  • La Fanciulla del West, Winter Opera St. Louis
  • La Voix Humaine, Opera Theatre of St. Lousi
  • Les Contes d’Hoffmann, Union Avenue Opera

Outstanding Musical Director

  • Charlie Alterman, Chicago, The Muny
  • Colin Healy, Madam, Fly North Theatricals
  • Jeremy Jacobs, Jersey Boys, Stages St. Louis
  • Herve Samb, Dreaming Zenzile, Repertory Theatre of St. Louis
  • Nicolas Valdez, Head Over Heels, New Line Theatre

Outstanding Choreographer

  • William Carlos Angulo, On Your Feet!, The Muny
  • Kirven Douthit-Boyd, A Christmas Carol, Repertory Theatre of St. Louis
  • Marjani Forte-Saunders, Dreaming Zenzile, Repertory Theatre of St. Louis
  • Denis Jones, Chicago, The Muny
  • Dana Lewis, Jersey Boys, Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role

  • Tielere Cheatem, Head Over Heels, New Line Theatre
  • Natascia Diaz, On Your Feet!, The Muny
  • Bryonha Marie Parham, The Sound of Music, The Muny
  • Elizabeth Teeter, The Sound of Music, The Muny
  • Zoe Vonder Haar, Always…Patsy Cline, Stages St. Louis
Jersey Boys

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role

  • Brent Michael DiRoma, Jersey Boys, Stages St. Louis
  • Jason Michael Evans, Jersey Boys, Stages St. Louis
  • Adam Heller, Chicago, The Muny
  • Ryan Jesse, Jersey Boys, Stages St. Louis
  • Mykal Kilgore, Smokey Joe’s Café, The Muny

Outstanding Lighting Design in a Musical

  • Rob Denton, Chicago, The Muny
  • Shelby Loera, The Sound of Music, The Muny
  • Sean M. Savoie, Always…Patsy Cline, Stages St. Louis
  • Sean M. Savoie, Jersey Boys, Stages St. Louis
  • Yi Zhao, Dreaming Zenzile, Repertory Theatre of St. Louis

Outstanding Set Design in a Musical

  • Edward E. Haynes Jr. and Kevan Loney, Smokey Joe’s Café, The Muny
  • Tim Mackabee and Shawn Duan, Chicago, The Muny
  • Tim Mackabee and Kate Ducey, On Your Feet!, The Muny
  • Michael Schweikardt and Caite Hevner, Seven Brides for Seven Brothers, The Muny
  • James Wolk, Jersey Boys, Stages St. Louis

Outstanding Costume Design in a Musical

  • Leon Dobkowski, On Your Feet!, The Muny
  • Eileen Engel, Madam, Fly North Theatricals
  • Courtney Gibson and Sarah Porter, Head Over Heels, New Line Theatre
  • Sully Ratke, Smokey Joe’s Café, The Muny
  • Emily Rebholz, Chicago, The Muny

Outstanding Leading Performer in a Musical, Female or Non-Binary Role

  • Diana DeGarmo, Always…Patsy Cline, Stages St. Louis
  • J. Harrison Ghee, Chicago, The Muny
  • Kimmie Kidd-Booker, Madam, Fly North Theatricals
  • Kate Rockwell, The Sound of Music, The Muny
  • Somi, Dreaming Zenzile, Repertory Theatre of St. Louis

Outstanding Leading Performer in a Musical, Male or Non-Binary Role

  • Christopher Kale Jones, Jersey Boys, Stages St. Louis
  • Chris Kernan, The Story of My Life, New Line Theatre
  • James T. Lane, Chicago, The Muny
  • Omar Lopez-Cepero, On Your Feet!, The Muny
  • Jeffrey M. Wright, The Story of My Life, New Line Theatre
The Thanksgiving Play

Outstanding Ensemble in a Comedy

  • Art, Stray Dog Theatre
  • Dress the Part, St. Louis Shakespeare Festival
  • It Is Magic, The Midnight Company
  • The Thanksgiving Play, Repertory Theatre of St. Louis
  • Wildfire, Upstream Theater

Outstanding Ensemble in a Drama

  • King Lear, St. Louis Shakespeare Festival
  • Mlima’s Tale, Repertory Theatre of St. Louis
  • Spell #7, The Black Rep
  • Sweat, The Black Rep
  • Two Trains Running, The Black Rep

Outstanding Ensemble in a Musical

  • Chicago, The Muny
  • Head Over Heels, New Line Theatre
  • Jersey Boys, Stages St. Louis
  • Madam, Fly North Theatricals
  • Smokey Joe’s Café, The Muny

Outstanding Director of a Comedy

  • Eddie Coffield, Jake’s Women, Moonstone Theatre Company
  • GQ and JQ, Dress the Part, St. Louis Shakespeare Festival
  • Suki Peters, It Is Magic, The Midnight Company
  • Amelia Acosta Powell, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Rachel Tibbetts, Tinsel Town, The Midnight Company

Outstanding Director of a Drama

  • Carl Cofield, King Lear, St. Louis Shakespeare Festival
  • Ron Himes, Sweat, The Black Rep
  • Brian Hohlfeld, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Annamaria Pileggi, Annapurna, St. Louis Actors’ Studio
  • Ed Smith, Two Trains Running, The Black Rep
Jeffrey Wright, Chris Kernan. Photo by Jill Ritter Lindberg

Outstanding Director of a Musical

  • Marcia Milgrom Dodge, Smokey Joe’s Café, The Muny
  • Michael Hamilton, Always…Patsy Cline, Stages St. Louis
  • Michael Hamilton, Jersey Boys, Stages St. Louis
  • Denis Jones, Chicago, The Muny
  • Scott Miller and Mike Dowdy-Windsor, Head Over Heels, New Line Theatre

Outstanding Production of a Comedy

  • Dress the Part, St. Louis Shakespeare Festival
  • It Is Magic, The Midnight Company
  • Jake’s Women, Moonstone Theatre Company
  • The Thanksgiving Play, Repertory Theatre of St. Louis
  • Tinsel Town, The Midnight Company

Outstanding Production of a Drama

  • The Glass Menagerie, Tennessee Williams Festival St. Louis
  • King Lear, St. Louis Shakespeare Festival
  • Mlima’s Tale, Repertory Theatre of St. Louis
  • Sweat, The Black Rep
  • Two Trains Running, The Black Rep

Outstanding Production of a Musical

  • Always…Patsy Cline, Stages St. Louis
  • Chicago, The Muny
  • Head Over Heels, New Line Theatre
  • Jersey Boys, Stages St. Louis
  • Smokey Joe’s Café, The Muny
Chicago

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Bob Cohn (St. Louis Jewish Light); Tina Farmer (KDHX); Michelle Kenyon (snoopstheatrethoughts.com); Gerry Kowarsky (Two on the Aisle, HEC-TV); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Ann Lemons Pollack (stlouiseats.typepad.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on the Aisle, HEC-TV); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

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Hokey Long-Delayed ‘The King’s Daughter’ Is Good-Looking Turgid Drivel

Hokey Long-Delayed ‘The King’s Daughter’ Is Good-Looking Turgid Drivel

By Lynn Venhaus
Once upon a time, a romantic fantasy based on the 1997 book, “The Moon and the Sun” by Vonda N. McIntyre, sat on some studio’s shelf for eight years.

But to deprive moviegoers craving a ‘so-bad-it’s-fun-to-watch’ movie in pandemic times would be another cruelty, so “The King’s Daughter” hit the multiplexes in January. Yes, exclusive to theaters. None of this video on demand or DVD release — yet. But oh, it will be here soon enough digitally, and it may entice more unsuspecting viewers, because on paper, it seems harmless enough.

Hoping to achieve immortality, King Louis XIV (Pierce Brosnan) captures a mermaid and plans to steals her life force during a solar eclipse, but a discovery by his illegitimate daughter threatens to ruin the king’s plan.

“How can it be that bad, with Julie Andrews the narrator (I was thinking “Bridgerton”); former James Bond Pierce Brosnan as a King (he played one in Amazon Prime’s original “Cinderella,” though last year, and that was another trainwreck); Oscar winner William Hurt as the king’s priest and confidante; Tony and Emmy nominee Pablo Schreiber as the palace doctor; hunky musical theater star Benjamin Walker (“Abe Lincoln, Vampire Hunter”) – and major Chinese star Fan Bingbing as a mermaid in captivity?” I thought.

Well. Let’s point out what is packed into its 96 minutes: Mermaids! Lost City of Atlantis: A solar eclipse! King Louis XIV of France! An illegitimate daughter! The stunning palace of Versailles (real footage!) and pretty young people.

This Harlequin Romance meets fantasy fiction is given the glossy Hallmark treatment in a film that can’t easily be described. Part legend, part adventure and all preposterous, this does the good people connected with it no favors.

However, in seeking something positive to mention – the cinematographer is Conrad W. Hall, son of the late great Conrad L. Hall, the heralded cinematographer whose work spanned 50 years and won three Oscars for “Butch Cassidy and the Sundance Kid,” “American Beauty” and “The Road to Perdition.” He makes the film look beautiful.

The daughter, Marie-Josephe, whose mother died in childbirth so she was raised in a Catholic orphanage and doesn’t know she’s the king’s daughter – but comes to the court as a cello player. She’s played by the engaging Kaya Scodelaria, who has enough spunk to fit the fearless, feisty heroine role who soon becomes involved in a love triangle, forced to marry a rich, albeit nefarious, duke but instead is n love with the long-locked sea captain Yves (Walker). Apparently, he won her heart in real-life too, for they fell in love during the movie shoot, married a year later and now have two children!

But here’s the real story. It was made in 2014. And only released now. If you do the math, that means eight years. So, what happened? I would love to know because that story is likely more fascinating than this turgid drivel.

Oscar-winning screenwriter Ron Bass, who wrote “Rain Man,” was listed in the earlier screenplay credits but in the film, his name has been removed, with Barry Berman and James Schamus the sole remaining writers. Hmmm…

Despite the film’s lush look, the ridiculous dialogue and a puzzling fashion design make it really hard to like. Not to mention Brosnan’s frighteningly bad rock star wig – I guess going for a Fabio book cover look?

The CGI for the mermaid, living underwater in an underground lair of the palace (!?!), is awful. As are the wigs and clothes of all the humans.

The costumes appear as if they’ve just been in a Vogue magazine shoot – or rejects from the Madonna “Vogue” music video, take your pick.

The court’s populated with mean girls who mock Marie-Josephe’s modest convent garb, but then she’s suddenly donning red-carpet looks from the modern age.

OK, it may be a bunch of hooey, but I do have girlfriends who watch every Hallmark Channel Christmas movie and love historical romances, so I don’t want to be unkind to fans of this genre. I’m not a film snob, and I actually am a fan of soap operas, a fun guilty pleasure for escapism.

But this is so bad, it’s not good – even as comical entertainment. (And you know who you are).

Fan Bingbing and Kaya Scodelaria

“The King’s Daughter” is a 2014 film released in 2022, a romance, fantasy, drama directed by Sean McNamara. It stars Pierce Brosnan, Kaya Scodelaria, William Hurt, Benjamin Walker, Pablo Shreiber and Rachel Griffiths and runs 1 hour, 36 minutes. Rated PG for some violence, suggestive material and thematic elements. In theaters Jan. 21. Lynn’s Grade: D

Sightlines: Remembering My Sundance Volunteer Experience

Sightlines: Remembering My Sundance Volunteer Experience

By Lynn Venhaus

At the 27th Annual Sundance Film Festival, my two sons, Tim and Charlie, and I, were accepted as ushers for the fest. We had never been. They stayed for the duration, I was only there for a week. Tim called it the greatest time of his life — he saw 23 movies in 11 days, worked those screenings around his volunteer shifts. We look back on that time fondly. We were asked back – that doesn’t always happen, so we were grateful. But Charlie had moved to New York City two weeks after Sundance and began a career in advertising, and Tim returned to school to obtain a bachelor’s degree in cinema production. We’ve kept up with friends we made there, and are grateful we had that experience. I told Tim that I wanted to go back when he had a film accepted there — and that was a fun goal, but that dream died when he did, in 2018. I can go back as a film journalist. Just don’t know if I will. Here are my thoughts from that time — I wrote a blog for the Belleville News-Democrat website on that time, brought my laptop to the volunteer lounge to put my thoughts together every day. This is the first one. I hope I can find the others, but this is a good start that encapsulates the first few days.

DATELINE: SUNDANCE FILM FESTIVAL, DAY ONE

Opening Night, Jan. 20, 2011

Italian director and fellow Sundance rookie Roberta Torre sat next to me on the shuttle as we looped around snow-covered but well-manicured Park City, Utah, late Thursday night. Her first submission for the World Cinema Dramatic Competition, “Lost Kisses,” would screen Friday.

Her previous work – a musical on the Mafia – had been at Venice and Cannes, but as Sundance is synonymous with risk-taking and exciting emerging filmmakers, this satire focusing on a 13-year-old girl’s vision and a statue of the Blessed Virgin Mary is one of 115 features that will be screened during the 10-day festival. (Update: Her film was a Grand Jury Prize nominee).

Every January, this old silver mining town in the shadow of the Rockies becomes a mecca for movie lovers from around the globe and the epicenter of the entertainment business. Lives change overnight – filmmakers fortunate to strike a chord with a Hollywood mogul in the audience can depart with a multi-million deal. Ever hear of “Little Miss Sunshine” and “Reservoir Dogs”? Household names and unknowns with a dream vie to be the toast of the town.

But the ideals on which the festival began hold true today. Robert Redford, president and founder of the Sundance Institute, summed it up this way in our program:

I’ve always believed that our best chance to understand the world around us comes in the form of stories and, in particular, stories that represent a unique perspective and are told with an authentic voice. So my first and continued hope for the Sundance Film Festival is the same: to provide a vital platform for these kinds of stories and a community for these kinds of artists. And because a film is not complete until it finds its audience, the film lovers who join our community each January are key to making this platform vital.”

Then he told us to be careful crossing the streets.

The local newspaper referred to the fest as “controlled chaos” and residents say it’s their shot to ski without any lines at the three nearby resorts.

Charlie, Tim and Lynn Venhaus


But it’s unlike anything I’ve experienced. This year, my two sons and I are working as ushers.

We’re among the 1,670 volunteers who help make this the premier fest in the U.S. celebrating independent cinema. Upon our arrive from Salt Lake City, we were handed hats, scarves, gloves, water bottles, transit maps, grub stubs (free food at designated restaurants), movie ticket vouchers, credentials, and thick film guides.

Since our selection the first week of December, we’ve been training online, and now have the hands-on details.

Everyone has been so incredibly helpful and friendly, from helping us navigate the free bus routes to advice on drinking lots of water. And those who are in charge are supremely organized.  It’s a marvel to observe how it all comes together.

Besides a full-time year-round staff, the festival relies on volunteers for a multitude of tasks. Every fall, 3,000 apply, they fill the slots with returning volunteers first, then pick newbies for remaining slots.

We met interesting folks from around the world at our volunteer kick-off party – an Australian bartender, a student from Brazil, a Spanish filmmaker who’s on our theatre team, an aspiring actress from L.A., a Kentucky housewife, a bus driver from Canada, a Cornell grad who runs an event-planning business, an Oregon artist, and a former St. Louisan who never comes back.

Six of 10 volunteers are from Utah. They sure love their state. What’s not to love about the clean, crisp air and wide-open spaces with breathtakingly gorgeous views of the mountains? Park City is 800 feet higher elevation than Salt Lake City, so the weather pattern in the valley is totally separate.

We’re all here for various reasons but we have at least one thing in common: We love movies. To show their appreciation, the festival staff screened the comedy “Submarine” strictly for us volunteers Thursday night. We were jam-packed into the theater, and you could have heard a pin drop – everyone was enthralled. And most everyone stayed in their seats after applauding to read the credits.

The welcoming programmer spoke of the feeling of ‘community’ every year at the fest, and you sense a strong cool vibe too, but it is comparable to a summer camp or old home week – old friends connecting.

What a delightful movie to start the fest with (more on that later), but we will be hearing about this charming, clever coming-of-age tale. Remember the protagonist’s name: Craig Roberts.

The movies that create the biggest buzz here probably won’t arrive in St. Louis until the summer or fall – if past years are any indication.

Last year’s Sundance introduced St. Louisan Davis Guggenheim’s “Waiting for Superman,” which is now considered a leading contender in the Oscar category for best documentary.

And the dramatic jury prize winner “Winter’s Bone” has received numerous nominations and year-end critics’ awards.

The major (and minor) celebrities supposedly arrive on the weekend, and Main Street becomes this wall-to-wall place to be seen.

And if that’s not enough excitement, trying to spot James Franco or Demi Moore, the Westboro Church based in Topeka, Kansas, plans to protest Kevin Smith’s new horror film “Red State,” starring John Goodman, on Saturday afternoon.

A ruggedly handsome lad working at the lodge where volunteers got their groove on Wednesday night told me: “Get ready for an incredible journey.”

Toto, I don’t think we’re in Kansas anymore.

Farhadi’s Shrewd ‘A Hero’ Explores Life’s Messy, Many Shades of Gray

Farhadi’s Shrewd ‘A Hero’ Explores Life’s Messy, Many Shades of Gray

By Lynn Venhaus
While actions usually have consequences, what is it that we can live with – the choices we make that aren’t always so black-and-white.  The superbly crafted “A Hero” is about that gray area, which we all have experienced. Aarrgggghhh, Life!

Rahim Soltani (Amir Jadidi) is in jail for a debt he can’t repay. On a weekend furlough, desperate to erase the debt, his plan goes awry – and he gains notoriety over finding a bag of money. That, too, goes south because he doesn’t keep the story straight. A misunderstanding then spirals out of control, and as he attempts to restore his reputation, he must make some tough decisions.

Iranian writer-director Asghar Farhadi knows this subject very well. He has explored dilemmas of conscience in his two Oscar-winning films, “A Separation” in 2011 and “The Salesman” in 2016.

“A Hero” won the 2021 Grand Prix at the Cannes Film Festival and will likely be an Oscar nominee.

In “A Hero,” the stakes are high, and Farhadi convincingly builds a compelling case about a decent (we think) guy who is beset by a series of unfortunate events, which at times is subtle and other times is heart-wrenching.

A smart, perceptive filmmaker, Farhadi tackles the complexities of morality in his home country, for the lines drawn aren’t always so definitive, but it is that universality that grabs us.

At first, soulful actor Amir Jadidi depicts Rahim’s frustration with the system and with the unyielding stance of the creditor that we are sympathetic to his plight. Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint.

He has served three years. During his brief respite he sees his girlfriend Farkhondeh (Sahar Godust), a secretive relationship so far, who found money on the street – 17 gold coins! They are euphoric about this stroke of luck because they think they’ll be on easy street – sell them and pay off the debt, they can marry, but the fluctuating gold prices won’t cover what he still owes to Bahram (Mohsen Tanabandeh), a thoroughly unsympathetic man who turned against Rahim very early. He does not want a partial payment – he demands it in full. (Oh, and he’s Rahim’s ex-wife’s brother-in-law. Like I said, it’s complicated.)

Farhadi’s realistic approach includes unfolding Rahim’s motives clearly at first, but as the story takes a few unexpected detours, we see this desperate yet good-hearted man shift his priorities. Is it better to do the right thing for us or the right thing for others? Can they co-exist or that impossible?

Like such much of life, things do not always go as planned. Add to this race against time complicated family dynamics, which gives the film a broader viewpoint.

Rahim can’t catch a break. He sees his son ((Saleh Karimai), who has been staying with his sister and brother-in-law. Their reunion is rocky, and that’s just one of the plot threads that add up to a significant messy situation.

Rahim’s sad young son stutters, and there are simmering emotions, exasperating conflicts and a boy who needs his father. Karimai grabs our hearts, and you feel where both guys are coming from, and trying to work through.

And just sometimes, children teach their parents. And parents need their children as much as the kids need them.

The prison finds out Rahim tracked down the real owner of the coins and contacts a TV station for them to feature such an upstanding prisoner. The publicity backfires. Of course. Let’s follow down the rabbit hole.

Jadidi’s eyes are windows to Rahim’s soul, and with his beautiful smile, his performance is key to how your feelings shift through the weekend.

Should our loyalties be with him? Is he sincere or is he playing people, strings attached? Is he honorable or is he a schemer? We change our minds about him as doubts creep in– and it’s a deft display of Farhadi’s gifts. But if he is a good man, why should he go through such hell?

Farhadi’s well-constructed ambiguous drama shows us what a slippery slope life is, and how, even with the best of intentions, no good deed goes unpunished.

This international film is such a fascinating account of a thorny situation with ripple effects, which translates to other cultures and speaks to our humanity – in any language.

“A Hero” is a 2021 international drama directed by Asghar Farhadi and stars Amir Jadidi, Sahar Godust, Mohsen Tanabandeh, Saleh Kanmai. It is rated PG-13 for some thematic elements and language and its run time is 2 hours, 7 minutes. It is in select theatres Jan. 7 and streaming on Amazon Prime Jan. 21. Lynn’s Grade: A

Bold ‘Scream’ Requel Playfully Pokes Fun At Horror Fans and Formulas

Bold ‘Scream’ Requel Playfully Pokes Fun At Horror Fans and Formulas

By Lynn Venhaus

“What’s your favorite scary movie?” Uh-oh.

If hearing that menacing modified voice on the other end of a landline (!) sends shivers down your spine, you may be pleasantly surprised by this “Scream,” for it delivers on the franchise’s terror and laughs.

Especially the opening scene, which skillfully amplifies the suspense, only with a couple different twists. The new home-alone heroine Tara (Jenna Ortega, of “Yes Day”) says she likes “elevated horror,” such as the 21st century game-changers “The Babadook,” “It Follows” and “Hereditary.” Touche!

But the iconic “Scream” world is among the highest-rated and most popular B-movies, those dubbed “slasher” because of the high body count, and they do not wander out of that lane here.

Round 5 is excessively stabby – those squeamish about pools of blood are warned – and the deft editing by Michel Aller puts the thrill in thriller. Why Wes Craven’s innovative original stood out in 1996 is because it flipped the formula with a wink and a smile but didn’t skimp on the scares.

|Twenty-five years after the original killing spree in Woodsboro, a new killer begins a series of murders, and first-target and ‘final girl’ Sidney Prescott (Neve Campbell) returns to help find out why that creepy Ghostface mask is back.

So is the distinct malevolent voice of Roger L. Jackson. Fasten your seatbelts, and we’re off on a nostalgic wild ride, waiting to see if the new team has the right stuff. That’s the thing with series – fans are very invested and vocal, and these filmmakers know this – and run with it, mock it, and set up their own path with the serial-killer curse in the sleepy small-town of Woodsboro.

Hotshot co-directors Matt Bettinelli-Olpin and Tyler Gillett, who made the cheeky “Ready or Not” in 2020 and are part of a film collective called Radio Silence, are obviously fond of Craven, who died in 2015. Astute fans of scary movie tropes, they are inspired enough to craft a quick-witted reboot-sequel hybrid.

At once fresh and familiar, the ‘requel’ doesn’t reinvent the slasher horror genre in the way Craven did, but its playful poking fun at how self-aware it is helps smooth over its shortcomings.

Emulating the old tricks and jolts, this thriller has clever reveals, very gory and gruesome murders, snarky humor, and well-orchestrated tension.

Without a number, this fifth bold and brazen installment may be the most brutal, funniest, and is even more meta than “The Matrix: Resurrections.”

Its cynical commentary on internet fandom and social media outrage over major franchise missteps slyly riffs on David Gordon Green’s rekindled “Halloween” and Rian Johnson’s “The Last Jedi” chapter of the new “Star Wars” trilogy.

Bettinelli-Olpin and Gillett succeed in how self-aware this is, as do the screenwriters Guy Resick (also of “Ready or Not”) and James Vanderbilt, who wrote “Zodiac,” “White House Down” and the two Andrew Garfield “Spider-Man” movies.

However, getting the surviving original characters back together – Sidney Prescott (Neve Campbell), Gale Weathers (Courtney Cox) and Dewey Riley (David Arquette) – seems to be an opportunity squandered.

They’ve been an enduring trio since 1996, including sequels in 1997, 2000 and 2011, so they lend a legitimacy to the new one.

Ex-sheriff Dewey is a bigger part of the story this time – and while a welcome sight, he’s a sad shell of his former self. The quirky Arquette plays the retired and reclusive lawman both for laughs and pathos. But the trio’s much-too-brief insertion as supporting players doesn’t do them, or their legacy, justice.

As in the previous four, the main roster is filled with screen-savvy young talent who engage as best they can, given the structure limitations. Nevertheless, we should care more about the two sisters at the center — Tara is the younger sister to Samantha, capably portrayed by Melissa Barrera (Vanessa in “In the Heights”) as somewhat of a mess.

She’s been carrying a big secret around with her, so she acted up in high school, tarnished her reputation, and skedaddled out of town. It must be an in-joke that she moved to Modesto, not exactly ‘bright lights, big city,” and works at a bowling alley.

When she gets a call that her estranged sister’s been attacked, Sam rushes home with her boyfriend Richie (Jack Quaid) in tow. He’s never seen a “Stab” movie – the faux franchise based on what happened in Woodsboro that was filming in the first sequel. For the record, “Stab” is up to seven movies referenced here.

Richie gets up to speed quickly. As Sam reconnects to her past, the screenwriters introduce us to the new characters that have links to the old gang. Twins Mindy ( Jasmin Savoy Brown) and Chad (Mason Gooding) are the niece and nephew of victim Randy Meeks (Jamie Kennedy) and Amber (Mikey Madison) lives in the former home of killer Billy Loomis’ accomplice Stu Macher (Matthew Lillard)

Kevin Williamson, who created the original characters that launched many a career, was back for the second and fourth films, and is a current executive producer. He had a knack for capturing youth behavior and culture – and that hallmark continues, even with more jaded kids. His stamp is evident. After all, he went on to create “Dawson’s Creek” in 1998, which ran for six seasons (Does anyone else think the offspring of Meg Ryan and Dennis Quaid looks like Pacey?) – and develop “The Vampire Diaries” in 2009, which ran for eight seasons.

The teen party scenes, a staple, propel the funhouse jumps. A character goes into the basement alone! A character says he’ll be right back! The kids generally pay for ridiculous decisions.

And we all know what happens when characters open doors, cabinets, and refrigerators. In one of the best scenes, Wes Hicks (Dylan Minnette), son of Sheriff Judy Hicks (Marley Shelton, another returnee), filmmakers ingeniously stretch it out as he prepares for dinner.

One of my hesitations about embracing these tales fully is that I never totally buy into the whodunit. I like how they get there, but I’m usually let down by the identity and motivations of the murderers. There are many dots to connect and sometimes they don’t.

Will this movie set sequels in motion? Time will tell, but we need to care about the new characters as much as we did the core group

One must remember what the horror movie landscape was like in the 1990s to appreciate how groundbreaking “Scream” was – a lackluster crop of stale Jason Voorhees, Michael Myers, and Freddy Krueger sequels. But after “Scream” rejuvenated the genre, M. Night Shamylan introduced “The Sixth Sense” in 1998 and “The Blair Witch Project” kicked off the found-footage subgenre in 1999.

Jack Quaid as Richie

Lessons will hopefully be learned about annoyance over cash-grab sequels that they make a point about so well.

“Scream” is a 2022 horror thriller that is fifth in the series. Directed by Matt Bettinelli-Olpin and Tyler Gillett, it stars Neve Campbell, Courtney Cox, David Arquette, Melissa Barrera, Jenna Ortega and Jack Quaid. Rated R for strong bloody violence, language throughout and some sexual references, its runtime is 1 hour, 54 minutes. It opens only in theaters on Jan. 14. Lynn’s Grade: B.

Formidable Female Dream Team Needs a Better Script in ‘The 355’

Formidable Female Dream Team Needs a Better Script in ‘The 355’

By Lynn Venhaus
In the international spy game, girls can take a licking and keep on ticking – that’s the calling card of “The 355,” a wildly uneven full-throttle action thriller.

Four women from different countries with spy agency experience join forces to save the world from cyber-catastrophe, the kind that would cause World War III. The action rockets from Columbia to Virginia to Paris to London to Shanghai on this deadly mission, as a mysterious woman tracks their moves.

The concept here is that women can be lethal weapons and front action movies, just like Tom Cruise and Jason Statham. Their task is to outsmart mercenaries up to no good. Cue the propulsive music score by Tom Kolkenborg, aka “Junkie XL,” as we watch chases, shootouts, stick-fighting, and explosions just like a “John Wick” or “Jack Reacher.”

A quartet of top-shelf actresses unite for this rogue mission: two-time Oscar nominee Jessica Chastain, in full “Zero Dark Thirty” mode, as fiery CIA agent Mason “Mace” Browne; two Oscar winners, Lupita Nyong’o as crackerjack cyber-sleuth Khadijah, formerly M16, and Penelope Cruz as compassionate Graciela, a psychologist who works with DNI agents in Colombia; and Diane Kruger as cunning German operative Marie Schmidt of the Bundesnachrichtendienst, or BND, the foreign intelligence service.

They slip into their roles with ease, and genuinely develop a bond working together in a frantic race against the clock. Their action scenes are quite impressive – as is the editing of Oscar-winner John Gilbert.

The bold and brave mavericks show off sharp skills as they try to prevent a top-secret weapon — a computer drive with a master key —  from falling into nefarious hands. They can do everything 007 and other secret agent boys can do while globe-trotting. The movie gets far more interesting when Bingbing Fan, as the mysterious Lin Mi Sheng, is added to their girl power grid. However, Sebastian Stan, as Mace’s CIA partner, is unconvincing.

Like Beyonce sang, girls can run the world – and co-writer-director Simon Kinberg seized upon the idea pitched by Chastain when he directed her in the worst “X-Men” movie sequel ever, “Dark Phoenix.” She wanted to see women get the rock-star action-goddess treatment and is one of the producers here.

“The 355” refers to the codename of an unidentified female spy in the American Revolution. (They tell us this fact far into the film).

Huzzah! Any time girls are shown on equal footing with the guys, it’s a good thing – even if it’s a pedestrian project. Last year’s “Gunpowder Milkshake” comes to mind, and the ruthless aspects of the superior “Widows” in 2018.

The plot is convoluted and often implausible, but the fight scenes are well-choreographed and are entertaining when they have the upper hand and slip out of harm’s way. The movie could have ended at least three different times, so it feels long at 2 hours and 4 minutes.

Comparisons to “Charlie’s Angels” for the 21st century are fair. The women are having such a good time kicking butt and getting names that it’s a shame that the formulaic plot devices slow it down.

Major characters shockingly get killed early, there are betrayals you see coming a mile away, and then of course we have the tough bosses and the clueless co-workers who are making bad assumptions (do these creaky tropes work anymore?).

And the main villain is a weak one — a generic billionaire fueled by greed and power. We don’t ever know much about him, and he is as bland as those stock photos companies put in their frames to entice purchasers. I couldn’t find his name in the credits, that’s the impression he makes.

Kinberg has many producing and writing credits, but as a director, hasn’t exhibited much to get excited about – yet.

Two screenwriters, Theresa Rebeck – Emmy-nominated for TV work, with a long resume including “Law and Order” and “NYPD Blue,” and Bek Smith, joined Kinberg on the script. They pile on the cliches about the women not necessarily enjoying being lone wolves and trust issues. When protecting everyone from danger, it’s tough to have what people regard as a conventional lifestyle. Their pity parties are short-lived, though, because they like being Girl Bosses.

They leave the film open-ended for a sequel, just in case they want to get the band back together. The dream team would need a better script, but seeing them triumph in this long-delayed film is an OK escape during the dreary part of frosty winter.

“The 355” is an action thriller directed by Simon Kinberg. It stars Jessica Chastain, Lupita Nyong’o, Diane Kruger, Penelope Cruz, Sebastian Stan, Edgar Ramirez and Bingbing Fan. Rated: PG-13 for sequences of strong violence, brief strong language, and suggestive material, it opens only in theatres on Jan. 7. Lynn’s Grade: C.

Tedious, Airless Prequel Lacks Series Charm in ‘The King’s Man’

Tedious, Airless Prequel Lacks Series Charm in ‘The King’s Man’

By Lynn Venhaus

Devoid of the first two’s offbeat charm, an airless and choppy prequel loses its way and winds up a tedious mess, despite a feisty Ralph Fiennes (Duke of Oxford) and tony cast in “The King’s Man.”

Don’t expect more oomph in the same manner as the playful spy adventure energetically captured in “Kingsman: The Secret Service” in 2014 — and less so in “The Kingsman: Golden Circle” in 2017, because it only feebly imitates some of that style and cheeky fun.

Like the original one and its sequel four years ago, “The King’s Man” is based on the comic book “The Secret Service” by Mark Millar and Dave Gibbons, with a story by director Matthew Vaughn, who co-wrote the screenplay with Karl Gajdusek.

In the early years of the 20th century, the Kingsman agency, the first independent British intelligence agency, is formed after founders were part of a secret group that takes on a cabal plotting a war to wipe out millions. The group includes some of history’s worst tyrants and criminal masterminds, and one man will race against time to stop them.

Taking creative license with the events leading up to World War I, and exaggerating the leaders involved, “The King’s Man” uses the link between Kaiser Wilhelm, King George of England, and Tsar Nicholas II of Russia as cousins to frame its conflicts between might and right and the pursuit of political agendas.

It covers too much territory, too many people without a distinguishable identity and doesn’t rely on the truth behind “the war to end all wars.” England and Russia did team up as allies against Germany but other than a few references, it isn’t interested in being clear with the facts, bending the story to suit its alternate reality arc.

Though Fiennes is all-in and leads a solid British cast that features Matthew Goode, Tom Hollander, Gemma Arterton, and Charles Dance. Harris They can’t salvage a thin premise.

Standouts include Dickinson as Oxford’s son, Conrad (played as a youngster by Alexander Shaw) and Djimon Hounsou as the noble Shola, in loyal service to the Oxfords, who also has a secret identity and shows his deft combat skills.

Dickinson, who played Pete in another recent release, “The Souvenir, Part II,” shows much promise as the brave lad, and displays a strong relationship with Fiennes. He also portrayed J. Paul Getty III in the TV series “Trust” and was Prince Philip in “Maleficent: Mistress of Evil.”

Initially protecting Conrad, whose mother was killed in an ambush in South Africa in 1902, has been Oxford’s mission, but the stand-up son’s ambition to serve can no longer be ignored.

He is shown the secret room at the tailor shop, and soon becomes a courageous warrior in seeking out useful information to help the war effort.

First is a dangerous trip to Russia, meeting with the unstable Rasputin, zestfully played by Rhys Ifans as a cartoonish madman. His over-the-top portrayal seems thrown together as a comic interlude, more in line with a Mel Brooks movie, while the rest of the movie is dead serious (and mostly dull).

Although it doesn’t have the panache and zing of that first film, the swordplay and fight choreography are as impressive as before. So is the cinematography by Ben Davis, a Marvel veteran who has been director of photography on “Doctor Strange,” “Captain Marvel,” “Eternals,” and “Guardians of the Galaxy,” among others.

Apparently, the pandemic isn’t the only reason behind this prequel’s long delay – it’s just not a well-constructed film, so why a Christmastime slot? It had been slated for release on Nov. 15, 2019, then pushed back to a couple dates in 2020 and this year, then finally now.

Rhys Ifans as Rasputin in 20th Century Studios’ THE KING’S MAN. Photo credit: Peter Mountain. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

“The King’s Man” is a 2021 crime thriller, action-adventure directed by Matthew Vaughn. Starring Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Harris Dickinson, Daniel Bruehl, Djimon Hounsou, and Charles Dance.. Rated: R for sequences of strong/bloody violence, language, and some sexual material, its runtime is 2 hours, 11 minutes.. In theatres on Dec. 22 and on Hulu Feb. 18. Lynn’s Grade: C-