Impassioned Doc ‘LFG’ Makes Plea for Equal Pay For Women’s Soccer Team

Impassioned Doc ‘LFG’ Makes Plea for Equal Pay For Women’s Soccer Team

By Lynn Venhaus
Three months before the 2019 FIFA Women’s World Cup, on March 8 (International Women’s Day), all 28 players of the U.S. National Women’s Soccer Team filed a class-action gender discrimination lawsuit against the U.S. Soccer Federation.

“LFG” is about the legal battle and features interviews with players Megan Rapinoe, Jessica McDonald, Becky Sauerbrunn, Kelley O’Hara, Sam Mewis and Christen Press, among others, and their attorneys and representatives.

In this hard-hitting documentary, the U.S. National Women’s Soccer Team gives their side of the inflammatory story on their legal fight for equal pay that is considered one of the most important women’s rights issues for athletes since Title IX.

Mixed in with their accomplishments on the playing field – four World Cups (Men 0)  and four Olympic medals — are what happens regarding their case from March 2019 to March 2020, with legal updates through March 2021.

Directed by the Oscar-winning husband-and-wife team of Andrea Nix Fine, who also wrote the screenplay, and Sean Fine, who was the cinematographer too, the movie showcases the players’ boundless energy, unflinching courage and their tenacity about fighting for social change.

This inside look at the pressures of being world-class athletes, the physical and mental demands of their sport and their commitment to each other is compelling.

Their arguments are passionately presented – and they respond to their critics through optimum performance.

Whatever their secret sauce is that makes them extraordinary is exemplified through their character, and their strength is remarkable – as is their deep-rooted loyalty to each other. We have seen how resourceful they are as players and now we see how much integrity they have as people.

Considered game-changers, these women compete with both their heads and hearts. On camera, their belief in themselves and each other comes through – and with candid clarity. They are frank, articulate and not afraid to express how they really feel.

Of course, this documentary is pointedly in the women’s favor. The directors, who won an Academy Award for Best Documentary Short Subject in 2012 for “Innocente,” take an in-your-face approach to the story. They start the film off by saying no one in the U.S. Soccer Federation agreed to an on-air interview.

Using tight close-ups of the players as fervent talking heads, this allows viewers to connect with the players on a very personal level.

They use high-energy music by a female band called Barn Owl, which feels contemporary and urgent.

Through their editing, they show the players’ impact on future generations, and the final montage of devoted little girls honing their ball skills solidifies the impact they are striving for – it is these children that will benefit from the changes they seek.

“It’s so much bigger than this group of people,” said Molly Levinson, the communications director for the women’s team. “We have a lot to lose if we don’t succeed.”

As in all documentaries, the use of archival footage and many newspaper clippings and media cut-outs helps fortify their position.

Lead attorney Jeffrey Kessler and co-counsel Cardella Spangler make convincing arguments. They stress the disparity between the men’s and women’s players and set the record straight on facts and figures. The women must win many more games and tournaments to come close to earning what the guys do, yet still receive less pay per match.

The players acknowledge naivety regarding the U.S. Soccer Federation’s attempts to do right.

When President Carlos Cordeiros said: “We hear you, we believe in you,” they thought agreeing to fair and equitable pay would follow. After all, fans got behind the team. But the executives did not take responsibility and hired lobbyists to fight the team.

Then came the unfortunate statement that biologically, women were inferior to men.

That touched off a firestorm that they had to walk balk. The lack of respect irked the players, who dug in. They wonder have women been brainwashed to be grateful for the basics?

The gender arguments will get under any woman’s skin, no matter what occupation. It’s inevitable.

Because of the pandemic, there have been delays, but the saga continues. A judge rejected the unequal pay claims part of the lawsuit, now in appeal. The movie fills everyone in as much as possible on what has transpired.

Their fight is not over, and their rallying cry continues. Most of the team will play in the 2021 Tokyo Summer Olympics. LFG! And about that title — it’s for “Let’s (Expletive Deleted) Go!”

Jessica McDonald

The documentary premiered at the recent Tribeca Film Festival and is now available on HBO Max. However, it is co-produced by CNN Films, so expect it to land there at some point.

“LFG” is a documentary co-directed by Andrea Nix Fine and Sean Fine. It’s rated TV-MA, for language, and runs 1 hour, 44 minutes. Lynn’s Grade: B

Nature Gets Its Revenge in Eerie South African Horror-Fantasy ‘Gaia’

Nature Gets Its Revenge in Eerie South African Horror-Fantasy ‘Gaia’

By Lynn Venhaus

A revenge horror-fantasy where the natural world has the upper hand, “Gaia” has much to say about mistreatment of the earth.

The title comes from Greek mythology — Gaia is the ancestral mother of all life.

On a surveillance mission in a primordial forest, an injured Gabi (Monique Rockman) is rescued by two survivalists who adhere to a post-apocalyptic lifestyle. She has lost contact with her partner Winston (Anthony Oseyemi) as she searches for a disabled drone.

The renegade father Barend (Carel Nel) and obedient son Stefan (Alex Van Dyk) have a mysterious relationship with nature and seem to follow their own religion. But this female forest ranger discovers there is a greater threat in the wilderness than the philosophical rants of an off-the-grid dad.

Set in South Africa, director Jaco Bouwer builds suspense with a sure hand. A foreboding sense of dread permeates every frame, and grotesque creatures who can viciously attack people, leading to strange outcomes, creates a frightful mood.

Because of her unfamiliarity with the terrain and lack of preparation, tough Gabi’s every move, every step outside the primitive cabin is met with trepidation. Even when the story is murky, the atmosphere sustains the terror, whether seen or unseen.

The technical crew work is superb. Yet, the film ultimately fumbles because of some half-baked notions and unclear motivation that should have been rectified to maintain the momentum.

The screenplay by Tertius Kapp makes points about science and divinity but veers in such weird trippy directions that we rarely have a firm grasp on the plot’s intentions. Do the fever dreams materialize into reality or stay in fantasy?

Stefan’s crush on Gabi, and her growing attachment to the teenage boy, is rather unsettling, and just what are the father-and-son’s intentions?

All three main characters do a good job in portraying their conflicted natures – with Monique Rockman’s doubt and suspicion as realistic as Carel Nel’s explosive temper revealed in his rambling manifestos. The former chemical engineer appears to hide too many secrets, especially about what happened to his wife. The son’s lack of experience in civilization is obvious.

While the always present danger in the form of icky screeching marauders who come out at night to hunt, using sound (sound familiar?), is disturbing, the characters’ inner turmoil adds another layer to the creepy vibe.

Because of the old-growth forest and illusion that not much has been disturbed, the crisp sound design by Tim Pringle is crucial, and the music score by Pierre-Henri Wicomb escalates the anxiety.

However, the visuals are the real stars here. The make-up and special effects departments create elaborate and bizarre ecological growth after people are infected — but the contagion threat is not explained.

Jorrie van der Walt and Film Initiative Africa won the ZEISS Cinematography Award at the 2021 SXSW Film Festival in mid-March, and his work is exceptional contrasting light and darkness in the Tsitsikamma Forest along South Africa’s coast.

The amount of detail is captivating. Rocco Pool’s production design creates believable scenarios in several worlds.

Yet, it’s the lack of satisfying answers to the growing number of questions we ponder that let us down in the end. Still, the unusual topic and its other-worldly setting engage in mysterious ways. It’s not nice to fool Mother Nature.

Carel Nel as survivalist father

“Gaia” is a 2021 horror-thriller directed by Jaco Bouwer and starring Monique Rockman, Carel Nel, Alex Van Dyk and Anthony Oseyemi
Rated R for some violence and bloody images, sexual content, nudity and language, its run time is 1 hour, 36 minutes. Lynn’s Grade: B-. It premiered at the SXSW Festival in March. In theaters on June 18 and available Video on Demand June 25.

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

By Lynn Venhaus

It is tempting to use food metaphors to describe “Feast.” After all, we are the invited guests at a banquet presided over by a glamorous and flamboyant hostess, who appears to be gracious and welcoming.

The carefully crafted experience is not unlike a tasting menu prepared by a Michelin- starred chef. Playwright Megan Gogerty and dramaturg Melissa Trepa have deftly mixed textures and flavors to create bold statements and subtle undercurrents.

A St. Louis premiere, this unusual and provocative one-woman show is an ambitious work by the intrepid Gogerty, written in 2019. She has woven a tapestry using images of an ancient myth, revisionist thinking on the classic literature “Beowulf” and a cultural reckoning.

In an Old English epic poem set in the 6th century, the valiant Beowulf is lauded for his strength over demons and beasts. He has traveled to help a king whose hall is terrorized by a monster, Grendel. He slays Grendel and later kills his mother, but not before she has crushed an advisor, Aeschere, in retaliation. Later, the hero becomes king, ruling for 50 years, but is eventually defeated by a dragon. Despite his death, a feast goes on in his honor.

In one of her finest performances yet, a fiery Donna Parrone reveals a personal tale of vengeance, in vivid details. We witness a maelstrom of outrage, grief and feminist comeuppance as she seethes with anger – and is gleeful about her perceived victory against a mighty enemy.

This unnamed character, the “She” here, is mother to Grendel. She might be a magical mythological creature disguised as a middle-aged woman, trying to reconcile past actions. As she reflects on what she has done, there are greater implications regarding humanity.

At first, she comes across as mercurial, and as she discloses the reasons behind her rage, she delves deeper into her emotions, recalling past grievances. Hell hath no fury liked wronged mothers.

Gogerty, using the tragedy as power, makes the case that maybe Beowulf is not such a good guy after all – especially if you read between the lines and view it from the eyes of a mother.

The Tesseract Theatre Company, which specializes in presenting new plays in intimate settings, always has something to say – using drama to create a new point of view.

Maybe you haven’t thought about “Beowulf” since college. Perhaps you have never read it (I admit my ignorance). Even with the “Feast” reimagining, it’s worth knowing the basic plot — but you can enjoy the presentation as a newbie, especially as a universal truth about dominant male patriarchy and how society views motherhood.

That’s because director Shane Signorino, no stranger to the classics, has made sure the political overtones can be translated to the present. As we have sadly been forced to confront, authoritarianism isn’t just in the past. Kayla Bush is the assistant director.

Donna Parrone in “Feast”

Signorino moves Parrone all over the small space with purpose – pleading, scoffing, distressed. This woman refuses to be ignored. It’s one of those virtuoso portrayals where you are mesmerized by the nuances, the change in tempo and tone – and the interpretation of every mood and meaning.

This absorbing production is challenging in ways we have missed during the pandemic. Parrone demands that we listen. Quiet, please – there is a lady on stage! She has been wronged in the worst possible way. After the loss of a child, mothers have an unfathomable depth of sorrow, and this woman, on the periphery of a dark abyss, must be heard.

Parrone has specialized in strong women roles during the past few years, particularly at Tesseract, and one of her finest performances was as Lee Harvey Oswald’s controlling mother Marguerite in “Mama’s Boy” by Rob Urbanati, presented in the fall of 2018.

But this demanding role is on another level and requires a special reserve of stamina.

The technical elements – scenic and lighting design by Taylor Gruenloh and Brittanie Gunn, sound by Megan Barris, music – all create an atmosphere that is highly theatrical.

Watching Parrone’s physicality makes the show very real. She interacts with the audience, with some seated at a few tables, and in chair groupings. You can’t not be a part of the dinner party.

Yes, it’s serious – but it is inspired and not devoid of humor. Consider the presentation as food for thought. If you are hungry for an uncommon drama, “Feast” is worth tasting.

The play runs from June 11 to 27, with performances at 8 p.m. on Fridays and Saturdays and at 4 p.m. Sundays at the .Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com

You can request socially distanced seating, and they ask that your masks remain on during the performance for the safety of all patrons.

’12 Mighty Orphans’ Is Satisfying But Not Quite Mighty Sports Drama

’12 Mighty Orphans’ Is Satisfying But Not Quite Mighty Sports Drama

By Alex McPherson
An uplifting, inspiring, though unremarkable sports drama, director Ty Roberts’ new film, “12 Mighty Orphans,” meets expectations without going the extra mile.

Based on Jim Dent’s novel of the same name and inspired from true events, the film transpires within the grimy, dust-swept landscape of Texas during the Great Depression of the 1930s. Many orphaned children were sent to such places as Fort Worth’s Masonic Home until able to join the workforce.

Rusty Russell (Luke Wilson), an orphaned World War I veteran himself, begins teaching math and science there. He is accompanied by his wife, Juanita (Vinessa Shaw), who teaches English, and his young daughter. He also becomes the new football coach, with kind-hearted physician Doc Hall (Martin Sheen) taking on assistant duties. Rusty believes the sport can help give the teenaged players a sense of community despite their hardships. 

With the kids lacking shoes, protective gear, and footballs to practice with, Rusty immediately realizes the challenges ahead of him. Difficulties are exacerbated by the abusive treatment the boys receive from superintendent Frank Wynn (Wayne Knight), who forces the boys to operate an in-house printing press, as well as by the tempers of several players, including the mentally scarred Hardy Brown (Jake Austin Walker). Will they be able to overcome these challenges and acquire a renewed sense of purpose in their lives?

Offering neither surprises nor genuine thrills, “12 Mighty Orphans” rides on its crowd-pleasing cliches and likable performances to score touchdowns. While Rusty’s team pioneered innovations in football that became widely used later on, “12 Mighty Orphans” plays much more to tradition, for better and worse. Some viewers might be left underwhelmed, but Roberts’ film delivers a sentimental story of comradeship and hope during crushing times.

Luke Wilson as Rusty Russell

Indeed, “12 Mighty Orphans” offers a sense of comforting predictability that’s difficult to fault, even though there isn’t much to ponder once the credits roll. All the expected plot beats of the “inspirational sports film” genre are covered, including the value of perseverance and the true meaning of victory, with ample speechifying to boot. The cast of characters — especially Rusty, Hardy, and the other orphans on the team — are largely sympathetic and likable, with fine acting across the board. 

Wilson gives a fittingly sincere effort as Rusty, conveying a stubborn optimism that yields both frustration and life-affirming joy, belying deeper insecurities. Sheen is decent, swigging alcohol and providing dry-humored remarks, in addition to delivering the film’s simplistic narration. Less strong are Shaw, not given much to work with, and Knight — rendered a one-note antagonist whose subplot doesn’t meaningfully add to the themes being explored. Lane Garrison is amusingly over-the-top portraying a petty rival coach from a nearby, wealthy high school.

The true standouts are the kids themselves. Walker brings a shattered, tormented quality to his performance as Hardy, portraying an individual suffering from impossible grief thrust into a new environment. His arc over the course of the film, as he discovers a passion for football and gradually bonds with his teammates, is moving and heart-warming, albeit easy to foresee. Jacob Lofland is excellent as Snoggs, a lean sap with a penchant for immaturity who nevertheless deeply cares for his peers.

Although “12 Mighty Orphans” fails to delve into its time period or the inner-workings of the Masonic Home with much nuance, it’s easy to root for “The Mighty Mites” as they grow closer as a family unit and achieve national attention. Still, overdone narration sometimes breaks the flow, especially when Sheen bluntly explains themes near the end, as do some eye-rollingly trite bits of dialogue and abrupt flashbacks to Rusty’s wartime past. 

Fortunately, the film is so heartfelt in its ambitions, and ultimately affecting in its execution, that the numerous criticisms I have don’t detract much from the experience. Not everything needs to be an unforgettable, emotional powerhouse, and “12 Mighty Orphans” succeeds where it counts.

“12 Mighty Orphans” is a 2021 fact-based sports drama directed by Ty Roberts and starring Luke Wilson, Martin Sheen, Vinessa Shaw, Wayne Knight, Jake Austin Walker, Jacob Lofland and Lane Garrison. It is rated PG-13 for violence, language, some suggestive references, smoking and brief teen drinking, and the run time is 1 hour, 58 minutes. Alex’s Grade: B. The film is in theatres June 18. 

Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

By Lynn Venhaus
Of all this summer’s films, “Luca” might be the one that gives you a serious case of wanderlust – and nostalgia for the summers of your youth.

The playful computer-generated animated feature sweeps us away into two exotic worlds – under the sea and on land – for a fun, fast-paced teenage adventure. You will wish Portorosso was real – not just a reference to Hayao Miyazaki‘s film “Porco Rosso” from 1992.

Set in a beautiful seaside town on the Italian Riviera, “Luca” is a sea monster-turned-little boy experiencing an unforgettable summer filled with gelato, pasta and scooter rides. Luca Paguro (Jacob Tremblay) shares adventures with his new best friend, Alberto (Jack Dylan Grazer), who is also a sea monster, and meets Giulia (Emma Berman), who will change his life, and her fisherman father Massimo (Marco Barricelli), while he’s hiding from his fretful parents Daniela and Lorenzo (Maya Rudolph, Jim Gaffigan). Can he still live in both worlds without fear?

Following a long line of Disney dreamers, Luca Paguro is a charmer – coming of age as he straddles his natural sea world and the picturesque fishing village he discovers during an escapade with his new best friend, the worldlier and more mischievous Alberto.

Jim Gaffigan and Maya Rudolph voice parents Lorenzo and Daniela

Luca herds goatfish by day, trying to stay safe, warned by his protective mother (Maya Rudolph) about dangers of the outside world. But he yearns to see what’s out there for himself. When he ventures above the surface, he appears to be a human, but once wet, he reverts to his sea monster scales.

With wide-eyed wonder and an insatiable curiosity, Luca wants to explore the vast universe that he is only now experiencing. It turns into an unforgettable summer on the sun-kissed shores of Italy, set in the ‘50s – captivating us in the grand time-honored tradition of a hero’s far-away journey.

The vivid animation matches the creators’ limitless imaginations, and the swift shapeshifting between the ‘human’ boys and the sea monsters is remarkable. During the credits, watercolor drawings, reminiscent of old picture books, dot the frames.

Pixar’s latest and 24th feature, “Luca,” isn’t as profound or ground-breaking as “Soul,” “Coco” or “Inside Out,” but is a pleasant excursion into a gorgeous nook of land-and-sea, as refreshing as an ocean breeze.

The characters, conceived by director Enrico Casarosa and co-writers Jesse Andrews (“Me and Earl and the Dying Girl”) and Mike Jones (“Soul”), are distinguished by colorful personalities and exaggerated physical features – whether it’s a brawny dad bod with a thick mustache or a swaggering pompadoured bully in sunglasses.

The appealing voice cast imbues characters with warmth and humor, and particularly amusing are Sandy Martin, Mac’s Mom on “It’s Always Sunny in Philadelphia,” as the saucy grandma, and Sacha Baron Cohen as the hulking gravel-voiced Uncle Ugo (stay for the credits for more on this imposing creature).

 Tremblay, now age 14, conveys enthusiasm and amazement over everything Luca sees and does. The guileless Tremblay broke through in “Room” (2015) and has followed up with the earnest “Wonder” and the hilarious “Good Boys.” He is a natural fit for the sea creature-out-of-water Luca.

He pairs well with Jack Dylan Grazer, Eddie in the “It” movies, who is the headstrong Alberto, and Emma Berman as the smart and lively Giuilia. Their silly shenanigans recall vintage cartoons – and even “Stand By Me.”

Casarosa’s directorial debut was the lush moonlit “La Luna,” an animated Pixar short shown before “Brave” in 2012 and nominated for an Academy Award. Inspired by his childhood in Genoa for both the short and feature, he has infused this film with a marvelous sense of atmosphere.

Through a big-hearted approach, Casarosa has expanded on the themes of family, friends and community, while also bathing it in a gorgeous glow at nighttime. The lighting here is exquisite.

Cultural touches – on food, lifestyle and landscape – add to the film’s precise sense of style.

The music is another memorable aspect – Dan Romer’s score blends Italian opera, folk music and spirited instrumental pieces to amplify the jolly and jaunty elements.

An original story that may be more of a pastiche and feels like a beach read, “Luca” is an enchanting take on celebrating differences and youth friendships.

If you notice nods to “The Little Mermaid,” “Finding Nemo” and “Pinocchio,” so be it, but it also is an homage to Casarosa’s major influence Miyazaki — plus Fellini and other Italian cinema greats too.

Dive in and just have fun with it, an Italian ice optional.



“Luca” is a 2021 animated feature and comedy-adventure. Directed by Enrico Casarosa, it has voice work from Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Marco Barricelli and Jim Gaffigan. Rated PG for rude humor, language, some thematic elements and brief violence, it has a run time of 1 hour, 35 minutes. Lynn’s Grade: A-. The film is streaming on Disney Plus beginning June 17 at no extra premium fee.

Rita Moreno Doc Honors a Trailblazer

Rita Moreno Doc Honors a Trailblazer

By Lynn Venhaus
EGOT winner Rita Moreno, who will turn 90 on Dec. 11, traveled from Puerto Rico to America with her mother when she was 5 years old. She would go on to a legendary career as an actress, singer and dancer that has spanned 70 years.

A candid documentary, “Rita Moreno: Just a Girl Who Decided to Go for It,” is a loving and illuminating look at her life and struggles.

Just when you think this will be a fawning showbiz portrait, Moreno matter-of-factly points out the bumps in the road in a difficult journey to stardom. She shares intimate details about the racism and sexism she endured on Broadway and in Hollywood, reveals jaw-dropping abuse and a toxic relationship with Marlon Brando.

Her resilience, and talent, would help her triumph over adversity – but what a remarkable, strong woman. Fiesty and fearless now, the former Rosita Dolores Alverio is still going strong. She is an executive producer on Steven Spielberg’s remake of “West Side Story,” to be released this December, and was on the rebooted sitcom “One Day at a Time” from 2017 to 2020.

 Often cast as a stereotypical ethnic minority early in her career, she discusses her efforts to break barriers, fight for representation and forge a path for other artists.

Winning the Oscar in 1962

The talking heads include George Chakiris, fellow Oscar winner for “West Side Story” (1961) as Bernardo to her Anita; Morgan Freeman, who appeared with her on PBS’ “The Electric Company,” for which she won a Grammy; and Latino performers who consider her a role model: Gloria Estefan, Eva Longoria, Justina Machado. Karen Olivo and Lin-Manuel Miranda, who is one of the executive producers on the documentary.

The spry Moreno, a widow and mother of one daughter, is a marvel of movement. An activist ready to take to the streets, she chronicles her early involvement in civil rights and how she continues to fight injustice.

The career achievements are vast – including two Emmys, for ‘The Rockford Files” and “The Muppet Show,” and a Tony for “The Ritz” in 1975. The director has inserted copious amounts of archival footage, and Moreno’s body of work is impressive.

For 89 minutes, this fascinating and inspiring documentary shows how the gutsy Moreno survived – and thrived – in a cutthroat business. I’m eager to see the next chapter.

“Rita Moreno: Just a Girl Who Decided to Go for It” is a 2021 documentary directed by Mariem Perez Riera.
It is rated PG-13 for mature thematic content, some strong language including a sexual reference, and suggestive material, and has a run-time of 1 hour, 30 minutes. Lynn’s Grade: A

Available in local theatres June 18 and at the Tribeca Film Festival June 9-20, with virtual screenings at Tribeca at Home through June 23.

Quirky ‘Here Lies Henry’ May Tell You Something You Don’t Know

Quirky ‘Here Lies Henry’ May Tell You Something You Don’t Know

By Lynn Venhaus
Oh the irony. Henry, who is an off-kilter sort, likes to sing “On the Sunny Side of the Street” when his life is anything but – or at least appears that way. That sets the tone for “Here Lies Henry,” a kooky one-man show that opened by The Midnight Company at the Kranzberg Arts Center’s blackbox theatre last weekend.

Part jester, part blowhard, Henry’s personality is central to his act, a freeform stream of conscience where he wonders aloud why there are yellow fire trucks and repeats his schtick with some twists. He wants to tell you something that you don’t already know. He can rant but he’d rather get a laugh. Did he really say that? Did he commit any of the crimes he takes credit for?

Henry is an entertainer created by the fertile mind of quirky Daniel MacIvor, a Canadian playwright, actor and screenwriter. MacIvor specializes in solo pieces, just like Joe Hanrahan, a St. Louis theater veteran, who acts, directs, writes and produces. He adds the peculiar and curious Henry to his repertoire of uncommon characters.

Hanrahan likes choosing works that aren’t part of the mainstream, and as The Midnight Company’s latest one-man show, the first since the coronavirus public health restrictions lifted, it’s a good fit.

Hanrahan has previously performed MacIvor’s other works, “Cul-de-Sac” and “House,” and understands the rhythm the playwright attains in this 1995 work.

As he tackles love and death, Hanrahan displays Henry’s awkwardness, his impish penchant for odd jokes and puns, and builds more confidence as he weaves tall tales. Henry might be “not quite right,” but will we know?

Director Ellie Schwetye, who has worked with Hanrahan multiple times, is also familiar with the off-center and the screwball. There is an ease to the presentation, maintaining a mood where you don’t quite know what’s happening or where it will go, but you’re willing to take the ride.

That uncertainty is the chief tone throughout – as Henry, who admits he lies, embellishes stories about his parents and life. Is he serious? Is this a TED talk? Or is this a comedy club’s open-mic night? It has that feel of a guy telling big whoppers at a bar – but you can’t ignore him here as he is compelled to get on your good side.

As always, Hanrahan is entertaining in his unconventional, idiosyncratic way. “Here Lies Henry” doesn’t necessarily answer the Big Questions, but you’ll have fun with the asking.

Technically, the show flows smoothly, with Tony Anselmo’s lighting design and Kevin Bowman’s production design. Anselmo designed lighting for Midnight Company’s past works, “Popcorn Falls” and “A Model for Matisse.”

“Here Lies Henry” is an interesting look at one man’s point of view. The play is presented without intermission and runs 70 minutes.

Photo by Joey Rumpell

“Here Lies Henry” will be performed at 8 p.m. Thursday through Saturday, from June 10 to June 26, with a 2 p.m. matinee on Sunday, June 27, at the Kranzberg Black Box. For tickets, visit MetroTix.com or MidnightCompany.com. Call 314-487-5305 for more information.

Exuberant ‘In the Heights’ Pops with Charismatic Performances and Heartfelt Story

Exuberant ‘In the Heights’ Pops with Charismatic Performances and Heartfelt Story

By Lynn Venhaus
“In the Heights” is indescribably delicious — and one of the best movie musicals of the 21st century, splendidly transferred from stage to screen.

Bursting with exuberance and featuring a bustling street tableau, this long-awaited adaptation of Lin-Manuel Miranda’s 2008 Tony-winning musical is teeming with colorful sights and sounds.

Besides a richly textured, pulsating score with primarily hip-hop lyrics and a salsa beat, what made the musical special is how it captures a universal story of people chasing their dreams with a specific sense of place.

Usnavi de la Vega (Anthony Ramos) is the owner of a small bodega in New York City’s Washington Heights. As the neighborhood braces for changes and people follow their dreams, family stories are revealed.

Usnavi has a crush on Vanessa (Melissa Barrera), who dreams of being a designer and wants to live in the West Village. His childhood friend, Nina (Leslie Grace), the “one who made it out” by landing a scholarship to Stanford University, thinks she is disappointing her dad, Kevin Rosario (Jimmy Smits), who owns a local car service company. Nina’s love interest, Benny (Corey Hawkins), works for her dad. Meanwhile, Abuelo Claudia (Olga Merediz) dispenses love and advice as the neighborhood’s matriarch. Merediz played the role on Broadway.

And Usnavi discovers his store has sold a winning lottery ticket for $96,000 – money that could make a lot of dreams possible.

Anthony Ramos and Melissa Barrera

As a celebration of Latino heritage, from Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, this film arrives at the perfect time – it’s a valuable immigrant representation and a major achievement in 2021.

Set during a blistering summer heat wave in the barrio over the course of three days, you feel “all the feels” — You will fall in love with these characters and their devotion to family, culture and finding their place in the world.

Showcasing an abundance of charisma, three stars are born: Anthony Ramos as Usnavi, Melissa Barrera as Vanessa and Leslie Grace as Nina. Ramos, most known as John Laurens and Alexander’s son Philip in “Hamilton,” sings and dances up a storm, but also has the emotional heft for good-hearted, hard-working Usnavi. Barrera and Grace dazzle in every musical number – and their personal stories tug at the heartstrings.

The entire cast is terrific — Corey Hawkins as Benny, Daphe Rubin-Vega as Daniella, Olga Merediz as Abuela Claudia, Jimmy Smits as Kevin Rosario and Gregory Diaz IV as Sonny, among them.

Jon M. Chu, who directed “Crazy Rich Asians,” has a flair for keeping things moving at a brisk pace in massive musical numbers but also creating an intimacy with the duets and personal struggles. For a movie with a running time of 2 hours and 23 minutes, that is no small feat.

Quiara Alegría Hudes, who wrote the musical’s original book plus the screen adaptation) brings it into today, with references to Dreamers (DACA), activism and current class struggles. The women characters are all strong role models, too.

Best of all are the energetic dance scenes. Vibrant choreographer Christopher Scott will have you moving and up from your seat! He brings so much joy to these lively street scenes, and their precise moves – on asphalt, park, water or sand – are striking. He is a Busby Berkeley for the modern age, keen on making the action ‘pop.’

And for Miranda’s devotees and “Hamilton” fans, there are a few tasty in-jokes. Check out the phone muzak while Jimmy Smits is on hold – recognize a signature tune? — and there is a rivalry between his “The Piragua Guy” and a Mr. Softee truck (with a certain actor once known as Mr. President – and who played Benny in the original cast). Christopher Jackson and Miranda go way back to 2002.

Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009. While that is remarkable in itself, what he has managed in his career to date is awe-inspiring — and means a lot is expected from him. Next up, his directorial debut with “Tick, Tick…Boom,” basically the Jonathan Larson story, which will premiere on Netflix this fall. He credits the “Rent” composer with being one of his influences.

His “Hamilton” Dream Team of Tommy Kail, Alex Lacamoire and Andy Blankenbuehler worked together on all the stage versions of “In the Heights,” so while not specifically involved in the movie, their influence can be felt.

Miranda wrote a new song, “Home All Summer,” which plays over the credits and features Marc Anthony, who has a minor role as Sonny’s father, in addition to Ramos and Grace.

Sonny’s father wasn’t in the original musical, and there are a few alterations here, including a new framing device and ending, but it only adds to the material, not detracts. A few songs were cut from the 25, and the soundtrack now includes 17, including the new one.

Movie musicals can be a dicey proposition these days, for every “Chicago” (Oscar winner) and “Les Miserables” (Best Picture nominee), there is an epic failure like “The Phantom of the Opera” and the unwatchable “Cats.”

This is a fun, global experience that will be a certain summer sizzler. After a pandemic delay, “In the Heights” is a welcome refresher in the magic of music and movies.

“In the Heights” is a musical directed by John M. Chu and starring Anthony Ramos, Melissa Barrera, Leslie Grace, Daphne Rubin-Vega,  Corey Hawkins, Marc Anthony and Jimmy Smits. It is rated PG-13 for some language and suggestive references, and runs 2 hours, 23 minutes. Lynn’s Grade: The movie is in theaters starting June 10 and on HBO Max June 10 – July 11.

Creepy ‘The Conjuring: The Devil Made Me Do It’ Takes Trilogy Beyond Haunted Houses

Creepy ‘The Conjuring: The Devil Made Me Do It’ Takes Trilogy Beyond Haunted Houses

By Lynn Venhaus
As in all “The Conjuring” movies, this sinister tale is based on a true story, which raises the chills.

But unlike the first two that involved haunted houses, this focus is on how a mild-mannered 19-year-old could viciously stab his neighbor/landlord to death in a small New England town without direction from the dark side?

Real-life paranormal investigators Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) investigate a murder that may be linked to demonic possession. The 1981 case is the first time in U.S. history that a murder suspect would claim demonic possession as a defense. It made national headlines as “The Devil Made Me Do It” trial, and the Arne Cheyenne Johnson (Ruairi O’Connor) case was one of the most sensational to involve The Warrens.

Oh, there are still creepy houses, with eerie things lurking in shadows, spooky basements/cellars and more delving into the occult – always disturbing. Production Designer Jennifer Spence is effective in building an ominous atmosphere and capturing the early ‘80s look.

Shifting between the real and paranormal worlds, this third film – and eighth overall in “The Conjuring” spin-offs (Annabelle, The Nun), provides the unsettling unease we have come to expect. Demonic possession gives me the heebie-jeebies anyway, and then when you add other supernatural elements, well, the sense of dread is unrelenting.

Only James Wan, responsible for the first two smash hits in 2013 and 2016, is not directing this macabre well-documented film, it is a protégé instead – Michael Chaves, who helmed “The Curse of la Llorona” in 2019, another spin-off film.

Chaves doesn’t veer off the path of a successful formula. Like Wan, he is good at escalating terror, although he spent more time setting up the spine-chilling jolts where you gasp, jump or scream.

Wan, however, is credited with the story, along with screenwriter David Leslie Johnson – McGoldrick. The characters are based on those created by Chad Hayes and Carey W. Hayes. The story does get rather complicated as the Warrens explore what a former priest, Kastner (John Noble), has stored away.

The movie starts out with an exorcism of a demon possessing an 8-year-old boy, David Glatzel (an angelic-faced Julian Hilliard), which is truly frightening and cuts to the chase in swift fashion. His sister’s boyfriend, Arne Cheyenne Johnson (Ruairi O’Connor), pleads with the spirit to enter him and leave David alone.

Thus starts the horrific transformation of Arne into a wicked presence, igniting a fight for his soul by “The Occultist,” who summons demons to satisfy the Prince of Darkness. With her severe skeletal build features, Eugenie Bondurant is menacing with just a quick glance.

The story takes on the structure of a crime procedural as the police involve the Warrens in a missing girls’ case in Danvers, Mass., that may be related, and broaden the research about Satanic cults.

Sometimes, it is a little too on the nose, and why people in big rambling old houses insist of not having too many lights on, I’ll never understand. Editors Peter Gvozdas and Christian Wagner set up the scares with flair and composer Joseph Bishara, who scored the first two, is back enhancing the action.

While Wilson and Farmiga excel in portraying this ordinary married couple with extraordinary abilities, some of the acting by lesser supporting characters gets a tad hammy, like the old-timey horror icons in early Hollywood.

Lorraine Warren, who served as a consultant on these films before her death at age 92 in 2019, was a clairvoyant, and her visions are an integral part of cracking these cases.

As the murder suspect, O’Connor is believable as someone caught up in forces beyond his control. Sarah Catherine Hook gives sincere support as his girlfriend Debbie Glatzel and as her brother, Hilliard is a natural as the innocent boy thrust into the supernatural world.

The trial is wrapped up quickly, almost like an afterthought, and there is plenty of archival footage on the case, including this gem – a clip of Tom Snyder of “The Tomorrow Show” interviewing the Warrens. (Stay to see it during the credits).

This third film delivers what it sets out to do and is convincing in its depiction of ghosts and Satanic worshippers. It will just depend on how skeptical you are about demons fighting for our souls.

Ruairi O’Connor as Arne Cheyenne Johnson

“The Conjuring” trilogy is the kind of movie best-suited to watch when you’re not alone in the dark.


“The Conjuring: The Devil Made Me Do It” is a 2021 horror thriller directed by Michael Chaves and starring Patrick Wilson, Vera Farmiga, Ruairi O’Connor and John Noble. Rated R for terror, violence and some disturbing images, the film runs 1 hour, 52 minutes. Lynn’s Grade: B. The movie is in theatres and steaming on HBOMax starting June 4.


‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

By Lynn Venhaus
A cheeky live-action prequel that delves into the down-and-out origins of one of Disney’s iconic villains, “Cruella” is a dark tale of dueling divas hell-bent on revenge.

That’s an unexpected underdog twist – and this glossy reimagining bursts with a bold, brassy attitude.

Estella de Vil (Emma Stone) wasn’t born to be bad, but she was a nonconformist at an early age.

Born with the unmistakable two-tone hair, Estella’s a creative but mischievous child (a spunky Tipper Seifert-Cleveland) who is a handful for her mother (Emily Beecham).

When she strikes out on her own on the streets, that begins her relationship with Jasper and Horace, who are rakishly played by character actors Joel Fry of “Yesterday” and Paul Walter Hauser of “Richard Jewell” as adults — good-hearted blokes. They survive as grifters.

But the future fashionista has a dream and is singled out by superstar designer The Baroness (Emma Thompson), who likes her style – and appropriates it for her collections. Haughty and vain, the Baroness has destroyed everyone in her way – but has she met her match in Cruella? The rebellious alter ego of Estella, Cruella’s punk rock outfits are redefining fashion in 1970s London, and it is game on!

The story, long in the works, was first drafted by screenwriters Aline Brosh McKenna, Kelly Marcel and Steve Zissis. McKenna wrote “The Devil Wears Prada” and you see those fingerprints all over this latest chapter in the “101 Dalmatians” oeuvre by co-screenwriters Dana Fox and Tony McNamara.

This is where Emma Thompson takes over, commanding every frame she is in, with personality and pizzazz, as she forges Estella/Cruella’s identity.

A chance encounter with The Baroness von Hellman, the prima donna of haute couture, puts Estella on the path to realize a career as a designer. As played by Thompson, the wickedly evil Baroness is a despicable human and corrupt fashionista. As Cruella learns more, she stakes her claim as  “The Future” of fashion. She takes swinging London by storm.

This is when the movie explodes with fresh and fun outfits in a swirl of black, white and red — the notorious colors associated with all things Cruella. Jenny Beavan’s costume designs are marvelous, a big loud rebel yell of punk-inspired outfits and gorgeous evening garments perfect for dramatic entrances. Beavan’s won Oscars for “Mad Max: Fury Road” and “A Room with a View,” and her use of different fabrics and textures is stunning.

These costumes are worn with flair by two of our best actresses, Oscar winners Stone and Thompson, who have a ball with the campier aspects of their roles — but also vividly create their characters’ dead-serious nature.

As for the Dalmatians that first created the Disney franchise all the way back to 1961, three mean ones appear as the pets of the Baroness. Hence, Cruella’s aversion to the spotted creatures. Estella’s own pet dog is a beloved mutt named Buddy.

Stay past the credits to find more on Anita and Roger, a nod to Pongo and Perdita’s future family.

The source material for all of the successive movies, including the live-action “101 Dalmatians” in 1996 and the 2000 “102 Dalmatians” starring Glenn Close as the imperious villain, has been Dodie Smith’s 1956 novel.

She turned a character’s last name from Bram Stoker’s “Dracula,” Count de Ville, into this greedy villainess, driving a Rolls Royce and barking orders to her henchman, to fill her insatiable need for animal fur.

Where the franchise is headed after “Cruella” is anyone’s guess – because how would Stone’s character turn into the menacing de Vil that steals the dogs for their fur?

Well, that discussion is for another day, but it’s a logical question – where does it go from here after Cruella takes over Hell(man) Hall?

As for a stand-alone movie, “Cruella” is a vibrant creation with a banging period soundtrack and a game cast.

Just as he did with “I, Tonya,” director Craig Gillespie zigs when you expect him to zag.

The Baroness’ actions are too frightening for young children, so parents be aware. There is nothing remotely cute about this movie.

But as it is Disney, expect lots of merchandise, tie-ins and another one in the works. That’s about the only predictable element to this film.

“Cruella” is a 2020 comedy-drama directed by Craig Gillespie. Starring Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste and Mark Strong. Rated PG-13 for some violence and thematic elements and the run time is 2 hours, 14 minutes. It is available in theaters and on Disney Plus for a one-time premium access fee on May 28. Lynn’s Grade: B+

In theaters and on Disney Plus with Premier Access one-time additional fee May 28