Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

By Lynn Venhaus

In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.

The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.

To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.

This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)

Photo by Jon Gitchoff

When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).

The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.

The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.

This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.

Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.

And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.

Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.

Photo by Jon Gitchoff

The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.

The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.

Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they bring her four ingredients: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” – in three days’ time, she will reverse the infertility curse.

Thus commences a long and winding path through the woods.

It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.

Photo by Jon Gitchoff

The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.

Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.

Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.

O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.

Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.

Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.

Matthew Cox as Jack. Photo by Jon Gitchoff

Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.

Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.

Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).

The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.

Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.

NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.

C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.

Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.

New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).

Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org

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Sarah Gene Dowling as The Witch. Photo by Jon Gitchoff
Photo by Jon Gitchoff

New Line’s Irreverent ‘Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas’ Offers Vintage Vibes, Brazen Bits

New Line’s Irreverent ‘Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas’ Offers Vintage Vibes, Brazen Bits

By Lynn Venhaus
At first glance, the daffy “Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas” takes us back to the fuddy duddy ‘50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls.

But it’s far more subversive than that, and with the book, music and lyrics crafted by New Line Theatre’s Artistic Director and provocateur Scott Miller, would you expect anything different in an original stoner musical comedy with that ripe-for-parody title?

For New Line fans, this is rooted in previous shows — the world premiere of “Johnny Appleweed” in 2006, so it is a 17-years-in-the-making sequel, and the regional premiere of “Reefer Madness the Musical” in 2004.

Only now cannabis is legal in Missouri, and there are dispensaries on many corners of our fair city. Yet, we can recall a time when it wasn’t mainstream – and Cheech Marin and Tommy Chong made a fortune. So, this show is more impish than shocking.

(Although we do live in Missouri, and ‘family values’ legislators have significant agendas, so that leads to a forever “Twilight Zone” feeling. But back to our jolly neighborhood cul-de-sac with shiny, happy people).

Photo by Jill Ritter Lindberg

As a tongue-in-cheek response to the War on Drugs and the Culture Wars, Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation.

For laughs, he’s mashed together the 1936 film “Reefer Madness” that was intended to scare straight those who may be tempted by the evil weed, Charles Dickens’ “A Christmas Carol,” and 1950s musical comedies (with intentional references).

This flip side of “The Donna Reed Show,” “Father Knows Best” and “Leave It to Beaver” has a cardigan-wearing curmudgeon of a dad named Harry Goodson whose family secrets revealed on Christmas Eve 1959 will rock his world – and he’ll be visited by ghosts overnight in the second act.

The family establishes how “Heteronormative” they are in their opening number, setting up the spoof of what passed for a normal, average family 60 years ago.

Terrell Thompson plays Harry as a cross between Archie Bunker, George Jefferson, and Ebeneezer Scrooge. He finds fault with everything, and his dialogue is a series of rants. It’s a hefty, albeit one-note, role for Thompson, a veteran of local musical theater. Musically, he is well-suited for ensemble work, but as the anchor, line delivery wasn’t as polished on opening night. (However, after more performances, I am hoping the cast is just zipping along by now).

Presumably, the brazen material demands an improv troupe feel to the ensemble, with nimble performers who have an affinity for Kids in the Hall and Second City-type sketches necessary to puncture holiday traditions and ramp up the laughs. Daughter Tammy discloses she is pregnant by her black boyfriend Miles, son Chip’s secret is that he’s gay and has a boyfriend named Dick, and brother, Uncle Hugh, is a cross-dresser with an infinity for a blow-up doll.

Kay Love. Photo by Jill Ritter Lindberg

Whew! A National Enquirer panoply of scandalous behavior that could be a laugh riot if everyone’s all-in on an over-the-top satire — but not as effective if the tone is lopsided depending on performer’s slickness. Because the lyrics and lines have enough zingers to elicit plenty of snickers.

It could be that the actor who played Chip was replaced on opening night by Tony L. Marr Jr., the assistant director and choreographer. Marr assumed the role with noteworthy aplomb.

Because this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in, it should not be startling that longtime theatrical sweetheart Kay Love plays typical housewife Bess Goodson as more naughty than nice. She’s infused the Christmas cookies with pot, and lets loose in a defiant, liberating solo.

You know you’re in a bizarro world when you hear Love sing “Hoo-Hoo of Steel” without flinching or blushing. She can shimmy better than your aunt’s Jell-O salad slipping out of a decorative mold.

Love’s poise and classically trained voice, and vivacious Marlee Wenski’s silky, sultry vocals stand out in their numbers. Wenski doubles as teen movie icon Sandra Dee (the original “Gidget”), having a bawdy time in the number “Don’t Look at Me, I’m Sandra Dee,” and parodies a rebellious version of a good saddle-shoe-wearing daughter in “Miles and Miles.”

An unfazed Tawaine Noah leans in as Uncle Hugh, who leads a not-so-secret life, singing “Mary Jane and Mary Jane,” and as unborn twin Jerry, who returns as a ghost.

Can they live in comfort and joy or will their variations from the norm tear apart the family? I was reminded of the classic 1990 “Saturday Night Live” sketch called “Dysfunctional Family Christmas” about a compilation album of songs mocking less than ideal family gatherings.

Cheeky song titles include “Love Doesn’t Suck with My D**k,” “Daddy’s Talking S**t,” and “That Stick Up Your Ass.”

Here, dear old dad might need a comeuppance – his deceased twin brother, Jesus Christ, Sandra Dee and explorer and pot enthusiast Johnny Appleweed are the ghosts who visit. They force him to come to terms with recreational drug use: “Have Another Toke and Have a Merry Christmas.”

The family drama is offset by a quartet of cheery carolers who deliver “The Elves Get Stoned,” “Better Living Through Chemistry” and “Man in the Gray Flannel Life.” Stephanie Merritt, Robert Doyle, Matt Hill, and Lauren Tenenbaum merrily roll along with setting the mid-century tableau.

Mallory Golden’s music direction is breezy, with a fine-tuned machine of John Gerdes on bass, Joseph Hendricks and Alex Macke on reeds, Brad Martin on percussion, and Adam Rugo on guitar (and she’s on keyboard).

Lauren Smith Beardon has outfitted the carolers in festive attire, and the Goodsons in typical suburban family looks, complete with housewife aprons for Love. Lighting designer (and technical director) Matt Stuckel has fun inserting cannabis plant imagery in shadows – I haven’t revisited “Reefer Madness” since my college days, but I believe there was a lot of shadows to signify danger – so touché.

Photo by Jill Ritter Lindberg

As is customary, Rob Lippert’s scenic design is appropriate to the Mid-Century Modern décor of the period – and the height of sophistication with a retro artificial aluminum silver Christmas tree and the reflective color wheel, so tres chic back in the day. He has captured the tone and tenor of the show.

The vintage vibe is one of the most attractive qualities of the production. Miller has managed to include an impressive litany of every pop culture reference significant to the era – and even obscure little nuggets to prod recognition. Commendable wordplay, indeed.

Since founding New Line Theatre in 1991, he has written 11 musicals and two plays, including a rollicking “The Zombies of Penzance” in 2018. His penchant for irreverent theater and socially relevant material has served him well.

This show is basically a fun romp with some jabs on social mores, featuring stand-out performances by several spirited women. In days of yore, when Ladies’ Home Journal arrived in the mail, “The Ed Sullivan Show” was tuned in to every Sunday, and you might have had to make do with a TV dinner if mom was hosting her Bridge Club, everyone would have made a fuss over the “sassy lassies.”

A few nips and tucks, and more collaborative run-throughs, and “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” may be just the antidote to Hallmark movie marathons and wholesome holiday setlists on repeat. With Bess’s special-recipe brownies, it could be one of the hap-hap-happiest Christmas’ since Bing Crosby tap-danced with Danny Kaye.

New Line Theatre presents the world premiere musical “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” from Dec. 1 to Dec. 16, with performances Thursday, Friday, and Saturday at 8 p.m. at The Grandel Theatre, 3610 Grandel Square. For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com.

Tickets are $35 for adults and $30 for students/seniors/To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Discounts are available. Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.

Ten free seats for every performance, open to any college student with a valid student ID.

New Line offers all currently employed educators half-price tickets on any Thursday night, with work ID or other proof of employment.

New Line offers all active-duty military personnel half-price tickets on any Thursday night, with ID or other proof of active-duty status.

All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

Ari Aster’s Absurd, Batty ‘Beau Is Afraid’ Is Wackadoodle Tedium

Ari Aster’s Absurd, Batty ‘Beau Is Afraid’ Is Wackadoodle Tedium

By Lynn Venhaus

“Beau Is Afraid” is an unwatchable exercise in excess.

This absurdist black comedy-drama-horror about an anxiety-riddled man-child going through personal crises makes a mockery of the real psychological issues on display, Why is any of this funny when it should be a tragedy?

Writer-director Ari Aster has created a self-indulgent, meandering narrative that straddles reality and fantasy in a very bizarre way, designed to shock like his other works – “Midsommar” and “Hereditary.” These two polarizing films were disturbing with extreme horrific violence.

The rambling story follows the sudden death of Beau’s mother, which sets off a chain of events, as he embarks on a Kafkaesque odyssey back home that manifests his darkest fears. It appears to be a sequence of nightmares strung together in such an incoherent fever-dream way that the film becomes unbearable during its ridiculous 2 hours, 59 minutes runtime. It is no clearer at the end than it was in the beginning.

Joaquin Phoenix is hardly at his best in this ill-suited role as the arrested development afraid-of -his-own-shadow recluse, Beau, who is in serious mental distress and is either in a catatonic stupor or having major panic attacks and meltdowns in public places.

And neither are the actors playing the peculiar-agenda grown-ups – the normally dandy Nathan Lane and Amy Ryan as affluent strangers who rescue him during an assault, and their chic home is where he recuperates in a captive-like situation. Their Good Samaritan effort seems tinged with menace, but they are no Annie Wilken in “Misery.” However, their Fun House is anything but, particularly with their deranged daughter Toni (Kylie Rogers) and a soldier suffering from PTSD, Jeeves (Denis Pinochet).

Not unlike Lewis Carroll’s whacked-out writing in “Alice in Wonderland,” Aster strings us along with poorly drawn characters attempting to make sense of a script that has no point except to be weird for weirds sake.

However, Armen Nahapetian is fine as the sad and confused teenage Beau, who is schooled about life by a forward girl, Elaine, during a summer vacation – and so is Julia Antonelli as Beau’s first crush. As his young over-sharing histrionic control freak mother, Zoe Lister-Jones is Mona then. Patty LuPone is his monstrous, neurotic mother later in life.

In minor roles are Bill Hader as a UPS guy, Parker Posey as Elaine Bray, who works for his mom, Stephen McKinley Henderson as a therapist, and Richard Kind as a doctor.

The random bursts of violence are upsetting and the shouting, screaming and the maniacal behavior unsettling. Imagined demons roam, Beau is either terrified or trembling, and the paranoia is rampant.

We’ve seen a wide array of movies where people spiral out of control because of their less-then-normal upbringing or society’s pressures, but this scenario is not cohesive in the least and mostly incoherent.

In Aster’s world, rules of form, function and ordinary behavior are thrown out the window in favor of a provocateur making a meal out of what’s in the fridge. This is jump-out-of-the-closet scares and off-the-charts anxiety that can actually trigger viewers.

This is someone’s therapy session that we should not be eavesdropping on, and all the mommy and daddy issues raised won’t be solved any time soon. Why should anyone care about these people?

“Beau Is Afraid” is a 2023 comedy-drama-horror film written and directed by Ari Aster and starring Joaquin Phoenix, Nathan Lane, Amy Ryan, Parker Posey, Stephen McKinley Henderson, Kylie Rogers, and Patti LuPone. It is rated R for strong violent content, sexual content, graphic nudity, drug use and language. Its runtime is 2 hours, 59 minutes. It opened in theatres on April 21, is available video on demand and DVD, and began streaming Dec 1 on Showtime/Paramount+. Lynn’s grade: F.

Cooper, Mulligan Soar in Sumptuous Leonard Bernstein Opus ‘Maestro’

Cooper, Mulligan Soar in Sumptuous Leonard Bernstein Opus ‘Maestro’

By Lynn Venhaus

Geniuses are complicated; therefore, the life of America’s first superstar conductor and composer Leonard Bernstein is explored in an uncommon yet charismatic way in “Maestro.”

“Maestro” chronicles the complex 30-year relationship between Leonard Bernstein (Bradley Cooper) and actress Felicia Montealegre Cohn (Carey Mulligan) in an intricate portrait of art and love.

At their career-best are Bradley Cooper and Carey Mulligan who eloquently capture the passion of two people experiencing the highs and lows of an artistic life in the spotlight. They’re terrific together, and they throw themselves into these roles with a heartfelt and powerful intensity that’s mesmerizing throughout this unconventional 30-year love story.

As director, co-writer and star, Cooper masterfully conveys a larger-than-life cultural icon from his first conducting opportunity at Carnegie Hall when he was 25 to his later years after Felicia’s death in 1978. But he doesn’t gloss over his flaws, particularly as an often selfish, self-absorbed artist accustomed to attention.

The dynamic between the couple is the film’s biggest strength. And in crafting indelible portraits, they both are flawless executing the speech cadences of their characters. Mulligan, in particular, adds emotional depth to Felicia’s steely resolve and confused feelings.

Maestro. (L to R) Bradley Cooper as Leonard Bernstein (Director/Writer/Producer) and Carey Mulligan as Felicia Montealegre in Maestro. Cr. Jason McDonald/Netflix © 2023.

The movie isn’t your typical linear womb-to-tomb biopic, and Cooper made the decision to concentrate on the married couple’s mercurial yet unbreakable union that produced three children despite the tangled nature of Bernstein’s sexuality.

His open affairs with men are more implied than delved into, however, with Matt Bomer miniscule as early lover David Oppenheim and Gideon Glick as later lover Tommy Cothran. In real life, Bernstein separated from Felicia to live with Cothran, and then returned when she became terminally ill, but that’s not specifically mentioned – only surmised.

Cooper and Josh Singer, Oscar winner for “Spotlight” who worked with producer Steven Spielberg on “The Post,” focused more on the family situation, with career highlights woven into an intriguing life tapestry.

Bernstein’s zest for living was contagious, and he dreamed big. He achieved unparalleled success in music – both conducting the New York Philharmonic Orchestra and for his legendary compositions and was the first American conductor to get international acclaim.

I remember his “Young People’s Concerts” (1958-1972) on television on Sunday afternoons. He was the first conductor to share and explore classical music to a mass audience that way.

His range was vast, and he won seven Emmys, two Tonys, and 16 Grammys during his lifetime.

One drawback is that if you aren’t familiar with Bernstein’s epic body of work, you may be lost, for there are no date stamps and sometimes only a quick reference to the material. The music score features Bernstein’s most famous compositions, re-recorded for the film.

If you didn’t know about his Broadway musical theater works “On the Town” in 1944 and “West Side Story” in 1957, both choreographed by Jerome Robbins, you’ll not be further enlightened unless you do your own research, for you only hear snippets here.

His supple compositions for “West Side Story,” arguably the greatest musical theater score of all-time with lyricist Stephen Sondheim, are barely a footnote. His propulsive Oscar-nominated score for the 1954 Best Picture winner “On the Waterfront” is another masterpiece getting only a brief mention.

Some of his massive choral pieces “Candide” and “Mass” are presented in rehearsal and performance, but again, without a timeline, one may not recognize their significance. That must be frustrating to those who didn’t grow up with his music, which I did – and recognize there are gaps for a modern audience.

The film’s best scene is Bernstein vigorously conducting the London Symphony Orchestra in Mahler’s Second Symphony (“Resurrection”) performed at the Ely Cathedral in 1973. It’s an incredible show-stopper – but without knowing what or when. Still, that scene is stunning, revealing his musical virtuosity and innate theatricality for six and a half minutes – and resulted in the New York Film Festival audience bursting into thunderous applause and cheers. It was as if we witnessed Bernstein become the music.

Credit must go to conducting consultant Yannick Nézet-Séguin, whose expertise helped Cooper feel the music, and it’s thrilling. He is currently conducts the Metropolitan Opera at Lincoln Center.

The look of the film is luxe, especially the sumptuous black-and-white cinematography by Matthew Libatique that depicts a dazzling magical time for young artists in Manhattan in the ‘40s and ‘50s.

The costumes designed by Mark Bridges are also swoon-worthy, with Mulligan’s outfits not only representing Felicia’s class and grace, but also their rising fortunes. Bridges is a two-time Oscar winner for “The Artist” and “Phantom Thread,” and has a keen eye for textures and detail. The scene where Felicia wears a Chanel suit to get bad news from her doctor is a small, but memorable, character element.

Special make-up effects artist Kazu Hiro’s seamless transformation of a 48-year-old Cooper into Bernstein at different ages is stunning, with the prosthetics lifelike. He has won two previous Oscars, for “Bombshell” and “The Darkest Hour,” transforming Gary Oldman into Winston Churchill.

Production designer Kevin Thompson’s affinity for details is striking, from the concert halls to the private residences, particularly Bernstein’s’ idyllic country home in Connecticut and a lavish apartment in the historic Dakota building. Thompson’s previous work includes “Birdman or (The Unexpected Virtue of Ignorance)” and “Ad Astra.”

The sound mixing and editing is astonishing in aural quality and should be recognized with year-end awards. That level of excellence is not just reserved for big blockbuster visual effects extravaganzas.

Even by narrowing the focus, the movie still spans decades of remarkable achievements while offering a warm portrait of a comfortable family life, with the three Bernstein children surrounded by love and affection. Maya Hawke portrays eldest daughter Jamie as a teenager with questions, Sam Nivola is son Alexander and Alexa Swinton is daughter Nina.

Another key supporting performance in this tableau is Sarah Silverman as Lennie’s sister Shirley. Bernstein’s lifelong friend Aaron Copeland (Brian Klugman) doesn’t get much screen time.

The movie packs many details in its 2 hours, 9 minutes run time, and perhaps would have been clearer in a limited series, like “Fosse-Verdon.” However, a second viewing produced far more nuance and narrowed attention.

The majestic grandeur came through on a large screen, and because the scope is ambitious, I hope it is not lost on the smaller screen.

But those bravura performances will linger no matter what format.

“Maestro” is a 2023 drama, biography directed by Bradley Cooper and starring Cooper, Bradley Cooper, Carey Mulligan, Matt Bomer, Maya Hawke, Sarah Silverman, and Gideon Glick. It is rated R for language and some drug use and it’s runtime is 2 hours, 11 minutes. In select local theaters Dec. 8 (St. Louis area) and streaming on Netflix Dec. 20. Lynn’s Grade: A-

John Contini Triumphs in Vibrant Production of ‘Barrymore’ at STLAS

John Contini Triumphs in Vibrant Production of ‘Barrymore’ at STLAS

By Lynn Venhaus

Local treasure John Contini is at his best in a vibrant, vigorous portrayal of legendary actor John Barrymore that is both funny and sad at the same time, but never sags or lags for a second.

It’s a remarkable tour-de-force for a seasoned pro used to delivering classic portrayals of Shakespeare, Albee, Miller, Mamet and more during a career that has spanned over 40 years.

Barrymore came to prominence for his stage work, notably an acclaimed “Hamlet” in 1922, and went on to become one of the most influential and idolized actors of that era. His movies included “Grand Hotel,” “Beau Brummel,” “Dinner at Eight,” “Twentieth Century” and “Svengali.”

He died at age 60 in 1942, and by then, his sordid personal life had eclipsed his professional accomplishments.  

But even with the title “Barrymore,” it’s not a one-man show. One of the most surprising aspects of this captivating work is that it’s a two-hander, and sparring with an offstage prompter, Frank the stage manager, offers insight into the actor’s twilight years.

Frank is voiced by Alexander Huber, and his shifting moods come through loud and clear –exasperated and stern as he pleads and cajoles with the once-great but in serious decline star to get his act together and complete the tasks at hand, which is rehearsing for his comeback as “Richard III.”

The famous actor is, by turns, insufferable, mean, vainglorious, rueful, flamboyant, distressed, ribald and pitiable, and Contini is seamless as he swiftly moves in and out of Barrymore’s many moods.

Playwright William Luce depicts Barrymore a few months before his death as he is rehearsing the Shakespeare tragedy which would be a revival of his 1920 Broadway triumph. This is fiction, of course.

The setting is a small stage that he has rented to prepare for what he hopes will be his comeback. But he is too far gone, ravaged by alcoholism and hard living. But he sure has hilarious stories to share.

In two acts, he jokes with the audience, breaking the fourth wall, imitates his siblings Lionel and Ethel, both legendary actors themselves, and reminisces about better times. He had been married four times and is candid in sharing sexual exploits and off-color jokes.

Luce’s play was produced on Broadway in 1997, with Christopher Plummer in the title role. He won the Tony Award for his performance and reprised the role in a 2011 film adaptation.

Contini has portrayed the superstar thespian before, for the former Avalon Theatre Company at the ArtSpace at Crestwood Court in 2009 and won a Kevin Kline Award for Outstanding Lead Actor in a Play.

While Contini commands attention from start to finish, what is also noteworthy is Erin Kelley’s supple direction. Kelley co-founded the Avalon Theatre Company and served as its managing artistic director for seven years. However, this is a fresh interpretation of that show.

Also lending their talents to this superb collaboration is scenery and lighting designer Patrick Huber, bathing the stage with a ghost light and minimal illumination for a forlorn effect, and costume designer Teresa Doggett, whose wise sartorial choices dress Barrymore in a dapper suit for the first act and in a well-worn regal outfit for King Richard III in the second act.

Emma Glose’s prop designs create a bygone era’s theatrical tools and provide a few of the actor’s possessions. Kristi Gunther, production manager, and Amy Paige, stage manager, keep things moving at a swift clip.

A witty and wise work, “Barrymore” showcases artistry while offering both comedy and pathos in a virtuosic production.

The St. Louis Actors’ Studio presents “Barrymore” in a limited engagement Dec. 1 -10 at the Gaslight Theatre, 360 N. Boyle. Performances are Friday through Sunday Dec. 1-3, and Tuesday through Sunday, Dec. 5-10, at 8 p.m. except for Sundays, which are at 3 p.m. General admission tickets are $40 each plus fees, $35 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before showtime. For more information, visit stlas.org or email help@stlas.org.

‘American Symphony’ Triumphs as Tender Look at Art, Life and Love

‘American Symphony’ Triumphs as Tender Look at Art, Life and Love

By Lynn Venhaus

Transformative in the very best of ways, both heartbreaking and heartwarming, “American Symphony” is an ode to believing in art, hope, and love.

It’s a portrait of two artists, musician Jon Batiste and writer Suleika Jaouad, at a crossroads in life, and how their devotion to each other, and their creative expression become their survival mechanism.

The longtime couple are two remarkable and talented human beings whose hearts beat as one. What started as a documentary detailing Batiste putting together an ambitious and genre-jumping symphony became something different when they found out Suleika’s leukemia had returned after 10 years in remission.

It was the same week in November 2021 that Jon became the most celebrated artist of the year with 11 Grammy nominations. For the next seven months, they share their intimate journey as they experience the highest of highs and the lowest of lows.

Directed with keen insight and empathetic sensitivity by Matthew Heineman, Oscar nominee for “Cartel Land” in 2016, this film is not only one of the best feature documentaries of the year, but also one of my favorite films of the year.

Jon Batiste in concert

When he is not composing and rehearsing “American Symphony,” an original work that reimagined the traditions of the classical form, bringing together an inclusive cultural group for a one-night-only performance at Carnegie Hall on Sept. 22, 2022, he is at his wife’s hospital bedside while she recovers from a bone-marrow transplant.

Batiste, Oscar winner for the music score to “Soul” (along with Trent Reznor and Atticus Ross), and five-time Grammy winner, including Album of the Year for “We Are,” is likely most known as the bandleader of “Late Show with Stephen Colbert” from 2015 to 2021. He left that job to help care for his wife.

Jaouad is a best-selling author whose book “Between Two Kingdoms: A Memoir of a Life Interrupted” was about how she began again after her first four-year battle with cancer – a diagnosis she had received post-college graduation, at age 22. She writes The Isolation Journals, which has developed an online community.

Suleika Jaouad

Now 35 and 37, they met at a summer band camp when she was 12 and he was 14, and they’ve been in a relationship since 2014.

The love song that plays over the end credits, “It Never Went Away,” is one of many lullabies that he wrote Suleika during her cancer treatment. He composed the song, “Butterfly,” that is included on his “World Music Radio” album, in her hospital room and it is now nominated for a Grammy for Song of the Year.

Gayle King once described Batiste as “walking joy,” and he exudes that performing. But here, he’s open about his grappling with the weight of Suleika’s treatment on his mental health.

During a concert performance, he dedicates his last song to Suleika, but frozen with raw emotion, he must ‘compartmentalize’ his feelings to push forward. It’s these genuine moments that define the film.

Suleika and Jon at Memorial Sloane Kettering Cancer Center

Just like their bodies of work soothe the soul, they have collaborated on a touching chronicle of their tremendous courage, resilience, and deep love for each other. 

They trusted Heinemann, and consented to have cameras present during some of their most vulnerable moments, and their willingness to be honest about their struggles deepens our connection.

“American Symphony” is a testament to the human spirit, and will be able to reach a lot of people who need that assurance.

“American Symphony” is a 2023 documentary directed by Matthew Heineman. It is rated PG-13 for strong language and runs 1 hour, 43 minutes. It streams on Netflix beginning Nov. 29. Lynn’s Grade: A.

(Note: I am a paid subscriber to Suleika’s Isolation Journals and highly recommend signing up for her Sunday writings – free or fee, for anyone, but especially those who have loved ones or themselves who have undergone serious illness, a loss, or setbacks out of our control.)

Jon Batiste conducting “American Symphony”

Shakespeare Festival’s Jolly ‘Q Brothers Christmas Carol’ Sparkles

Shakespeare Festival’s Jolly ‘Q Brothers Christmas Carol’ Sparkles

By Lynn Venhaus

Even the most mean-spirited holiday-hater won’t be muttering “Bah! Humbug” after sampling the jolly high-octane hip-hop musical remix of Charles Dickens’ classic because “Q Brothers Christmas Carol” will make them laugh instead.

This unique 80-minute variation makes it easy to be swept up in the merriment, a welcome antidote to the ongoing misery in a turbulent world.

With the recognizable imprimatur of the incredibly talented Q Brothers Collective, those unconventional creatives from the Chicago Shakespeare Theatre, this joyous boogie beat mashes reggae, rap, and epic rock ballads together.

Dickens’ novella was published in 1843 and there have been numerous interpretations in the 180 years since, including Muppets and Disney movies, a rom com with Matthew McConaughey, and musical comedy with Will Ferrell and Ryan Reynolds, not to mention TV shows and specials, and countless stage versions.

This modern madcap romp is a special presentation by the St. Louis Shakespeare Festival in a festively decorated nook of the National Blues Museum downtown. Performances take place from Wednesday through Saturday at 8 p.m. and Saturday at 3 p.m. too, from Nov. 24 to Dec. 23.

Written and directed by GQ, JQ, Jax and Pos of the Q Brothers Collective, they proclaim they make art that rhymes, and they are not slackers in that department, following through with impressively snappy lyrics. Not a ninny-muggins among them.

They bring the same level of rat-a-tat-tat quick-change artistry that characterized their two-hander “Dress the Part” here in the Grove in early 2020. That was locally produced by the Shakespeare fest folks and won several St. Louis Theater Circle Awards when we resumed honoring regional theater post-pandemic in 2022.

If you attended that show, then you know you are in for a special treat.

This don’t-miss variation was developed with Rick Boyton and the music composition is by JQ. It’s such a spirited blend of dance, dubstep, and DJ-spun beats that it has become a holiday tradition on Chicago’s Navy Pier.

Photo by Phillip Hamer.

Spreading goodwill with the rhythms and rhymes, the cast includes Victor Musoni as Jacob Marley, Lil Tim and others; Maya Vinice Prentiss as Bob Cratchit, Ghosts of Past and Present, and others; and Mo Shipley as Oliver, Fred, and others.

Garrett Young, memorable in the aforementioned “Dress the Part,” feigns crotchety as a scowling Scrooge (who can remarkably bust a move). The fleet-footed quartet seem to be in constant motion and grooves in sync to Steph Paul’s kinetic choreography. Perhaps you recall her outstanding designed movements in “The Royale” at the Repertory Theatre of St. Louis in 2017. Mel Bady keeps the jingle jangling as DJ Stank.

The performers are all superb entertainers, with crisp comic timing and engaging personalities. As nimble as a skilled improvisational troupe, you’ll marvel at their energy.

The story follows the familiar tropes of Dickens’ story about a horribly selfish, mean jerk who is redeemed after visits from four ghosts enlighten him on the error of his ways. This script leans into the humor and the heart to connect with an eager-for-adventure crowd.

A delightful surprise is that this supple presentation includes many references to contemporary Christmas movies, songs, and pop culture shorthand. They might not pull out a Red Ryder BB gun, but someone’s tongue is going to wind up on a frozen pole.

The sparkly scenic design by William Attaway is evocative of the Dickensian settings, enhanced by lighting designer Jesse Klug’s moody illumination. Costume designer Erika McClellan, a St. Louis native, has fashioned outfits more street savvy than Victorian era. And Stephen Ptacek’s expert sound design keeps the flow percolating.

Stage Manager Kathryn Ballard, who worked on “Dress the Part,” and assistant Patrick Siler are veterans who know how to keep things fluid, and there isn’t a minute wasted, no draggy middle whatsoever. The show runs without an intermission.

The engaging troupe exudes warmth and a playful attitude. However, if you’re seeking an old-fashioned family-friendly cup of cozy Hallmark comfort, this show is not that. Nor will any phrase be needlepointed onto a throw pillow. The material includes mature themes and adult language, so it’s best enjoyed by ages 12 and up.

For more information, tips on parking and what seasonal cocktails are available at the pop-up bar Club Fezzy: https://stlshakes.org/production/carol.

Take Ten with Actor-Director-Writer John Contini

Take Ten with Actor-Director-Writer John Contini

By Lynn Venhaus

Back in his day, John Barrymore was considered one of the most influential and idolized actors of stage and screen. He died at age 60 in 1942, and by then, his personal life — four divorces, alcohol abuse — had overshadowed his professional career. However, his glorious stage work, particularly his “Hamlet” in 1922, drew rave reviews for his tragic portrayals, and his body of work has been a testament to his legendary impact.

So, it seems fitting that John Contini, one of St. Louis’ most respected and tenacious actors, would assume the title role for a new production at the St. Louis Actors’ Studio in a limited engagement Dec. 1 -10 at the Gaslight Theatre, 360 N. Boyle. Performances are Friday through Sunday Dec. 1-3, and Tuesday through Sunday, Dec. 5-10, at 8 p.m. except for Sundays, which are at 3 p.m. For more information, visit: www.stlas.org

John Contini as “Barrymore.” Photo by Patrick Huber

The two-person play “Barrymore” by William Luce depicts the famous actor a few months before his death as he is rehearsing “Richard III,” which would be a revival of his 1920 Broadway triumph. Each act begins with a grand entrance onto the stage that he has rented to prepare for his comeback performance. He jokes with the audience, spars with the offstage prompter, reminisces about better times, and does delicious imitations of his siblings Lionel and Ethel. Frank, the stage manager that can be heard over the theatre’s loudspeaker, is voiced by Alexander Huber. The play is directed by Erin Kelley.

Produced on Broadway in 1997, Christopher Plummer won the Tony Award for Best Performance by a Leading Actors in a Play, and reprised the role in a 2011 film adaptation.

Contini, who describes the actor as fascinating, has portrayed the larger-than-life thespian before, for the Avalon Theatre Company at the ArtSpace at Crestwood Court, both no longer in existence, in the summer of 2009. For that effort, he won a Kevin Kline Award for Outstanding Lead Actor in a Play.

“I am grateful I get to revisit and revive John Barrymore,” he said.

His award-winning performance as Willy Loman in “Death of a Salesman” in 2014.

He has been an Equity and SAG/AFTRA actor for more than 40 years, and has performed in over 300 productions across the country. He has been in shows at the St. Louis Repertory Theatre, The Black Repertory Theatre, New Jewish Theatre, and The Muny in St. Louis, as well as the Fox in Atlanta, Starlight Theatre in Kansas City, August Wilson Theatre in New York City, Ozark Actors’ Theatre in Rolla, Mo., Maples Repertory Theatre in Macon, Mo., and the Bluff City Theatre in Hannibal, Mo., among others.

He won a St. Louis Theater Circle Award for Outstanding Actor in a Drama for his portrayal of Willy Loman in Insight Theater’s “Death of a Salesman” in 2014. For his “King Lear” at St. Louis Actors’ Studio, he received the GO Magazine Award as Best Actor. Other favorite roles include Tevye in “Fiddler on the Roof,” Norman Thayer in “On Golden Pond” and Henry Drummond in “Inherit the Wind.” He’s appeared in the film “Four Color Eulogy” with his son Jason Contini, who is also an actor.

He has also directed over 60 productions, including “Who’s Afraid of Virginia Woolf”: at St. Louis Actors’ Studio, for which he won Outstanding Director from the St. Louis Theater Circle. Other credits include “The Gin Game,” “American Buffalo,” “Tuesdays with Morrie,” “Deathtrap” and “I Do! I Do!”

John Contini in the movie “Four Color Eulogy”


Take Ten Q &A with John Contini:

1. What is special about your latest project?

 I like that I get to revisit and revive John Barrymore, who I find fascinating.

2. Why did you choose your profession/pursue the arts?

I could never see myself doing anything other than something in the Arts.  The arts are the windows to our culture.

3. How would your friends describe you?

Loyal, dependable and dedicated…I hope

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

Watching old movies, researching movies and writing and drawing.

5. What is your current obsession?

 Godzilla movies and drawing at the moment

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

That I am a comic book collector, writer and artist.

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

Professionally : the first time I appeared on stage at the age of 18. I just knew that this is what I had to do for the rest of my life.

8. Who do you admire most?

I have always admired the actor and the man Vincent Price and how he handled his life and his career.

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

I’m pretty easy.  Go to the Oscars or the Tonys LIVE would be fun.

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

Father and son awards

The Covid years gave me a chance to finish the book I was writing and soon publishing, and to spend more time at home also to make plans for the future when things could open up again. It gave me time to reflect on what was important to me and how I wanted to spend the time I have left.  As for how Covid effected the Arts, I would say that the Arts became more private and personal because of the isolation. 


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

Walking in different parks

12. What’s next? 

I am working on a small independent film with my son Jason and promoting my book.

Inherit the Wind

More About John Contini
Birthplace: St Louis
Current location: St Louis
Family: wife Sharon, sons Jason and Nathan, daughter-in-law Danielle
Education: highest level Master in Theatre Arts from St. Louis University
Day job: retired
First job: Bagger at South Public Market
First movie you were involved in or made: Escape From New York
Favorite jobs/roles/plays or work in your medium? Tevye in Fiddler on the Roof, Wily Loman in Death Of A Salesman, Barrymore, directing: classic dramas like Who’s Afraid of Virginia Wolff
Dream job/opportunity: Work for Spielberg
Awards/Honors/Achievements: Go Magazine Award Best Actor for King Lear, Kevin Kline award Best Actor for Barrymore, St Louis Theatre Circle awards: Best Actor for Wily Loman (Death of a Salesman) and Best Director for Who’s Afraid of Virginia Wolff
Favorite quote/words to live by: Love the ART in yourself, not yourself in the ART.
A song that makes you happy: “Comedy Tonight” from “A Funny Thing Happened on the Way to a Forum“

Bobby Miller and John Contini in “King Lear”

“Barrymore” is a limited engagement Dec. 1- 10, with shows performed Thursday through Saturday at 8 p.m. and Sunday at 3 p.m., with special performances Tuesday, Dec. 5 and Wednesday, Dec. 6. General admission tickets are $40 each plus fees, $35 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before showtime. For more information, visit stlas.org or email help@stlas.org.

About St. Louis Actors’ Studio

St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.


See the trailer for “Barrymore”: https://youtu.be/3h-7-XfS13k?si=__jG3lsqRCMFCNkV

John Contini, David Wassilak, Richard Lewis in “The Dresser” in 2018 at STLAS, directed by Bobby Miller.

Disney’s ‘Wish’ Lacks the Luster It Is Striving For in Centennial Tribute

Disney’s ‘Wish’ Lacks the Luster It Is Striving For in Centennial Tribute

By Lynn Venhaus
The idealist in me wants to believe in Disney magic, of good triumphing over evil, of the power of community, and memorable moments, often with hopeful songs, that “Wish” embodies. 

Nevertheless, the cynic in me wonders if Disney’s reliance on their formula, just in time for the holidays, to endear a whole new line of toys to their loyal fans, makes the film lack the luster that “Frozen” and “Encanto” did.

Because the leading lady Asha’s pet goat Valentino, voiced by Disney regular Alan Tudyk, is certain to fly off the shelves, with its lovable demeanor and snappy dialogue. And the cosmic force that changes the plot’s trajectory, a Star, is drawn as a golden ball of energy. Cha-ching.

But we should be used to this, especially after the Disney Renaissance of the 1990s, where the Disney princesses became icons and prestige was bestowed with many awards for the animated musicals’ songs and scores. The bar was raised.

However, in recent years, the Disney output has been a mixed bag of highs and lows. For every “Zootopia,” there’s a “Strange World.” And I’m not even going to mention the live action remakes.

For all its good intentions to celebrate the Walt Disney Studios’ centennial, “Wish,” which is supposed to be the musical origin story for the “Wishing Star” that Disney is famous for, feels like a cut-and-paste tribute. 

Co-written  by the “Frozen” team of Chris Buck and Jennifer Lee, along with Allison Moore, “Wish” follows a young girl named Asha who attempts to save the fantastical Kingdom of Rosas from darkness. She wishes on a star and that trouble-making beacon comes down from the sky to join her because King Magnifico, a sorcerer, isn’t all that he seems to be.

Asha has seven friends who are grumpy, dopey, sneezy, and so forth – wink, wink. Sure, plenty of Easter eggs, but the homages are often nods to better efforts, and are missing the magic they are trying so hard to create.

The plucky heroine, a compassionate and smart peasant girl, rallies her beloved community because the cunning ruler, King Magnifico, voiced by a first-rate Chris Pine as both unctuous and ruthless, becomes a megalomaniac before our eyes. The whole wish symbolism gets a little muddled if you think about what all that means — putting your hopes and dreams into an omnipotent ruler.

As Asha, Ariana DeBose is a powerhouse vocalist, and the animators wisely capture her lithe dancing style, plus she can emotionally connect as the character.

While female empowerment is always worthy, with positive portrayals to propel this musical comedy, the other message is a noble one, and actually a little daring with its cautionary tale on authoritarianism and fascism. (Real world headlines intrude!)

The vocal work is fine – among the recognizable names, Victor Garber is a sympathetic grandfather Sabino, Evan Peters is Simon, one of Asha’s friends, and Ramy Youssef is Safi.

But the script is rather slight, and the music doesn’t seem to have a break-out original song like the “Encanto” or “Moana” songbook. Nevertheless, “This Wish” and “Knowing What I Know Now” are catchy – just not earworms like “Let It Go” or the Menken-Ashman canon. 

Stay for the credits because they will include every Disney animated feature in artwork, and there is a bonus scene with an iconic Disney song.

“Wish” is pleasant enough – just not as endearing as we’ve come to expect from the Mouse House. But its statement, perhaps aimed at a certain governor of the state where Disney World is based, is funny in a sly master stroke way. The movie’s message: Be careful what you wish for.

“Wish” is a 2023 animated musical fantasy directed by Chris Buck and Fawn Veerasunthorn and starring Ariana DeBose, Chris Pine, VIctor Garber, Alan Tudyk, Angelique Cabral, Evan Peters and Ramy Youssef. It is rated PG for thematic elements and mild action, and the run time is 1 hour, 35 minutes. It opened in theatres Nov. 22. Lynn’s Grade: B-.

Silly Offbeat ‘Next Goal Wins’ Is By-the-Numbers Crowd Pleaser

Silly Offbeat ‘Next Goal Wins’ Is By-the-Numbers Crowd Pleaser

By Lynn Venhaus

Think a second tier “Ted Lasso” meets a “Cool Runnings” vibe in this rough-around-the-edges underdog sports comedy-drama that is based on a true story.

The now infamous American Samoa soccer team, known for a historically brutal 2001 FIFA match they lost 31-0 to Australia, seeks redemption — and a goal — in 2014 or they’ll be booted out of the football federation.

Aimed at the heart with emphasis on quirky, director and co-writer Taika Waititi focuses on the likability of the Pacific Islanders involved with the soccer team, and the colorful inhabitants of American Samoa, a U.S. territory in the South Pacific Ocean.

It’s a mixed result. Waititi and co-screenwriter Aian Morris follow the template of the 2014 documentary of the same name, but naturally embellished for a narrative. 

Set in 2014, many people still have not gotten over the 2001 humiliation and are doubtful about the next World Cup qualifying match as the team hasn’t scored a goal since. Football Federation President Tavita, wonderfully played by charmer Oscar Kightley, is determined to get the team across that hurdle, so he hires a hothead Dutch-born coach Thomas Rongen (Michael Fassbender), who has been fired for egregious behavior, four weeks away from the game.

Naturally, he’s a fish out of water – faced with the ultimatum to leave or take the American Samoan job. His surly demeanor is at odds with the happy-go-lucky islanders, and does he even like soccer? He drinks too much, yells too much, and cares far too little. 

Following the familiar beats of goodness triumphing over meanness, like every true-story sports movie, “Next Goal Wins” is a crowd-pleaser but average paint-by-numbers movie.

New Zealander Waititi is known for his offbeat work in “What We Do in the Shadows” and “Hunt for the Wilderpeople” won an Oscar for “JoJo Rabbit,” and has directed a couple mega budget “Thor” movies.

Michael Fassbender and Jaiyah

Most surprising is seeing the intense Michael Fassbender cast as the down-on-his-luck maverick coach Thomas Rongen, who is tasked with turning the world’s worst soccer team around as World Cup Qualifiers approach. American Samoa is ranked last, and if they do not win, will be booted.

Fassbender, two-time Oscar nominee for “Steve Jobs” and “12 Years a Slave,” is known for serious roles. He is an odd choice, but this rage-aholic coach is a high-strung guy, so playing cantankerous, screaming so much his veins stand out, is within his specific set of skills. 

The character is designed to be redeemed, of course, and he gets his big speech, although throws a couple curves in, to explain some of his behavior. Fassbender is never going to be warm and fuzzy, or funny, for that matter, but you do root for him to get out of his own way.

In the spirit of “The Mighty Ducks” and “Bad News Bears,” the team players espouse the ‘old college try’ philosophy, and fit the kooky mold Waititi was going for, along with providing a strong sense of community. 

The likable Jaiyah, a transgender player, portrayed by a winsome Kaimana, is horribly disrespected by Rongen, and that relationship development is a focus of the plot, but the others aren’t given much to work with – Beulah Koale as Tavita’s son, Semu Filipo as police officer Rambo, and Uli Latukefu as the former goalie Nicky Salapu stand out.

Armani, the kid helping Rongen, is another source of comic relief, and Waititi uses the young actor Armani Makaiwa wisely. 

In supporting roles are Elisabeth Moss as Rongen’s divorce-headed wife, Will Arnett, who replaced Armie Hammer, as football federation board’s Alex Magnussen, and Rachel House as Tavita’s wife Ruth.

Showcasing the natural beauty of the island makes for a pleasant backdrop, with beaches, reefs and stunning cliff outlooks. And the characters’ relaxed way of life adds to the authentic depiction.

If you’re looking for heartwarming, you can find it here. However, if you are seeking a rousing underdog sports film that’s a cut above the usual, seek out the Oscar-winning documentary “Undefeated.”

“Next Goal Wins” is a 2023 Sports Comedy directed by Taika Waititi and starring Michael Fassbender, Elisabeth Moss, Will Arnett, Oscar Kightley, Kaimana, and David Fane. It’s rated: PG-13 for some strong language and crude material and runs 1 hour, 43 minutes. It opens in theatres Nov. 17. Lynn’s Grade: C.