New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

By Lynn Venhaus

OK, Boomers. Does “The Heidi Chronicles” retain its bittersweet ‘voice of a generation’ 37 years after its laudable premiere in 1988?

Yes, it does in New Jewish Theatre’s persuasive production now playing through June 15. One woman’s coming-of-age story and her realization of self-worth still hits home.

Under Ellie Schwetye’s perceptive, poignant direction, an exemplary cast breathes life into these well-defined characters with warmth, wit and understanding. They are as resolute as the director and creative team in sharing this quest for fulfillment.

Those of different generations perhaps can relate in a universal parallel lives’ way, for whip-smart playwright Wendy Wasserstein’s entertaining and profound insights endure.

As a fellow child of the 1960s, Wasserstein’s words have always spoken to me. But now, looking in the rear-view mirror, with humor, heart and hindsight, this ensemble’s backbone and boldness was measurable.

Consciousness-raising, 1970s style. Photo by Jon Gitchoff.

Wasserstein, who sadly died of lymphoma at age 55 in 2006, won the Pulitzer Prize for Drama and the Tony Award for Best Play in 1989 for this masterwork. Fun fact: she was the first solo female writer so honored with the award.

Her long-lasting legacy is apparent, creating richly textured characters and the ever-identifiable self-doubts. She also wrote “The Sisters Rosensweig” and “An American Daughter,” plus an under-appreciated Paul Rudd-Jennifer Aniston 1998 movie “The Object of My Affection.” But none landed like Heidi’s story.

As Heidi Holland, Emily Baker’s transformation from awkward schoolgirl to confident feminist who becomes a well-respected art historian over the course of three tumultuous decades, 1965 – 1989, is realistic.

Hopeful in the 1970s but disillusioned in the 1980s, Heidi continues to search for what matters. She is passionate about women artists, informing students of neglected painters and their achievements in a man’s world. That she is fierce about – and good at teaching.

Owning her hard-fought choices, she eventually eschews the super-woman stereotype of yuppie-ism in favor of humanism, individualism and the road she wants to travel. In a discerning performance, Baker displays strength, vulnerability and intelligence.

Emily Baker, Joel Moses. Photo by Jon Gitchoff

The post-war Baby Boom generation known for navel-gazing and its cultural and societal impact has been analyzed many times, but this is one single woman’s voyage that resonates, and compassion is key.

Wasserstein’s atmospheric look back highlights specific years and events that everyone born between 1946-1964 has etched somewhere in their memory, starting with the agony of a teenage mixer then moving on to college activism, displaying the youthful optimism that presidential candidate Gene McCarthy, who opposed the Vietnam War, sparked in 1968.

That sets the tone for the significant characters who come in and out of Heidi’s life. Her first romance with a smooth-talking heartbreaker, the radical journalist Scoop Rosenbaum, leads to much second-guessing.

As the once-and-future womanizer who sells out for position and money, Joel Moses brings out Scoop’s brash, cocky and opinionated qualities, but also his charm. He winds up a prominent magazine editor who dines at Lutece and steps out on his wife, a children’s book illustrator and mother of his two children. But he and Heidi have always had a testy but candid connection.

Cutting a rug. Will Bonfiglio and Emily Baker. Photo by Jon Gitchoff.

The one constant male in her life is stand-up guy Peter Patrone, a gay pediatrician she met when they were young, and they instantly bonded over snappy repartee. Will Bonfiglio adds nuance to the earnest doctor, for they don’t ignore the scariness and worry during the AIDS epidemic. He shares his concerns with sympathetic Heidi.

Wasserstein selected touchstones as turning points. Her militant feminist friends gather for urgent consciousness-raising (IYKYK) during the growing women’s movement. They also attend baby showers and weddings.

The tides change when her successful friends that once rejected materialism to emphasize social responsibility now care about being seen and embrace status symbols in the 1980s.

Kelly Howe is delightful as Heidi’s trendy best friend Susan Johnston, who knows how to flirt and roll up her skirt in the school gym, throws herself into activism, then achieves major success as a Hollywood producer. They no longer have much in common but past loyalty.

Courtney Bailey, Paola Angeli. Photo by Jon Gitchoff.

Besides the four main actors, there are four others who capably play 16 supporting roles. Courtney Bailey and Ashwini Arora provide much comic relief, most notably Bailey as mother-to-be Jill and Scoop’s bride Lisa.

Arora is amusing as April, a vapid preening TV host, but as radical lesbian Fran, ready for liberation – or unleashing – in society, she is hilarious. “Either you shave your legs, or you don’t,” she says at the women’s meeting.

Wearing New Wave shoulder-padded power suits and colorful attire, Paola Angeli is a hoot as Susan’s and April’s assistants, and in the female gatherings as a friend. In addition, Bailey is Debbie and Arora plays Molly and Betsy.

Joshua Mayfield smoothly tackles five parts, including schoolmate, activist, waiter and boyfriends.

One of the funniest scenes is a morning talk show set, with guest appearances by Scoop, Peter and Heidi on “Hello, New York,” and how they handle the host’s superficial questions. The trio’s body language says so much about their characters.

The politics, music and fashions convey Heidi’s rapidly changing world and Schwetye’s vision is a keen lens into the time. She served as sound designer too, and her selections are a superb life soundtrack.

Joshua Mayfield, Emily Baker. Photo by John Gitchoff.

Showcasing seminal moments, like Nixon’s resignation in 1974, John Lennon’s murder in 1980 and the Berlin Wall being torn down in 1989, sets the moods. Kareem Deanes handled the demanding video projections with flair and Michelle Friedman Siler’s costumes splendidly define the personalities and the periods. It was as if she raided my old closets.

Inventive scenic designer Patrick Huber expertly handled the demands of apartments, Plaza Hotel, pediatric ward, restaurant and TV studio with nifty features. He also skillfully designed the lighting. Props supervisor Katie Orr did a swell job gathering items to decorate a doctors’ waiting room and gift-wrapped baby presents.

By the time we get to Heidi’s speech, “Women, Where Are We Going?” at an alumnae luncheon where she is the keynote speaker, she wants to cut through all the greeting-card platitudes that have ruled the narrative for all good girls. It’s an honest outpouring, sharing frustrations, aggravations and confusion.

Women of The Me Generation wanted it all but discovered there were personal costs and sacrifices to be made. Yet, found that forging one’s own path was possible. At last, Heidi chooses herself – and also finds comfort in knowing her friends have become her family.

Wedding reception guests Kelly Howe, Ashwini Arora. Photo by Jon Gitchoff.

Not seen on a local professional regional stage since The Repertory Theatre of St. Louis in 2007, this was a welcome reminder of the past, present and possible future.

With its potent performances and humor shaped through flawed characters, sarcastic remarks and uncertain times, this “The Heidi Chronicles” unequivocally states its relevance.

One glorious takeaway is that contemporary women’s roles are ever evolving, and when it seems that progress is stymied, we should remember we stand on the shoulders of giants, and can lead the charge into the future supporting uncommon women of any age and their choices.

The New Jewish Theatre presents “The Heidi Chronicles” from May 29 to June 15 at the Wool Studio Theater, 2 Millstone Campus Drive, Creve Coeur, Mo. Performances are on Thursdays, Saturdays, and Sundays. There is an additional show on Wednesday, June 4. Show times and tickets are available online at newjewishtheatre.org or by phone at 314.442.3283. NJT’s 2025 Season is generously sponsored by Mary Strauss. The play is 2 hours and 15 minutes long, with a 15-minute intermission.

Sunday, June 8 – Post-Show Talkback with the Director and Cast. Join members of the cast and crew following the 2pm performance for an engaging post-show discussion on the creation of NJT’s special production.

Emily Baker. Photo by Jon Gitchoff.

Black Rep’s Superlative ‘Radio Golf’ Examines Progress vs. Legacy

Black Rep’s Superlative ‘Radio Golf’ Examines Progress vs. Legacy

By Lynn Venhaus

With its superlative cast, August Wilson’s powerful storytelling, and impressive milestones, “Radio Golf” is a triumph in all aspects.

Thoughtfully presented by the Black Repertory Theatre of St. Louis through June 8 in the Edison Theatre, this shrewdly observant play says so much about at what cost is doing the right thing vs. getting ahead. While it is set 1997, it speaks to issues for the ages.

The premise of Wilson’s 10th and final play is about a real estate entrepreneur who is determined to become Pittsburgh’s first black mayor. Set in the Hill District, Harmond Wilks and his business partner Roosevelt Hicks are golf enthusiasts with big plans for the neighborhood, and their future. But at what risk?

Their office, Bedford Hills Redevelopment Inc., is a storefront on Centre Avenue. The two partners talk of their hopes and dreams as they work on a modern housing and shopping development that will include Whole Foods and Starbucks.

Ronald L. Conner, a St. Louis native now living in Chicago, is a fiery, slick, upwardly mobile Roosevelt who is a bank vice-president and plays golf games to get ahead. Being accepted by the Country Club movers-and-shakers is a goal that he feels is within reach.

Ronald L. Conner and Reginald L. Wilson as business partners Roosevelt and Harmond. Photo by Keshon Campbell

Reginald L. Wilson, in a slow-burn riveting performance, views the development as a way to lift people up. But a block of the Hill District must be torn down. It’s his Black Rep debut but he has immersed himself in Wilson’s works, and previously starred in “Ma Rainey’s Black Bottom” and “Fences.”

Where Harmond and Roosevelt see blight, others see the heritage that marks the tight-knit families who grew up there. He isn’t looking at the other side – and both a cranky yet wise Old Joe Barlow and no-nonsense handyman-contractor Sterling Johnson remind him of people’s worth, no matter their economic means or position.

Himes is unabashedly brilliant and the audience’s favorite character as Joe, a neighborhood elder who knows its history. He also remembers Harmond’s father who was in the real estate business. Blunt and smart like a fox, Joe tells it like it is.

As street-smart Sterling, Kelvin Roston Jr. is the play’s conscience. A good judge of people and their motives, he warns Harmond about neglecting the reasons why people value their history and turning his back on his neighbors. An ex-con who has lived a colorful life, and his dialogue just sings with authenticity, thanks to Roston.

Savvy Velma Austin is the lone female in the cast, portraying Mame, Harmond’s ambitious wife and public relations professional. She is looking ahead and extremely conscious of image. She doesn’t want him to jeopardize the path they envision for their future.

The conflicts occur organically because the ensemble is skilled in delivering Wilson’s rhythmic prose, making their characters’ struggles well-grounded.

Ron Himes as Old Joe Barlow. Photo by Keshon Campbell.

Director Jon Royal’s layered approach allows Wilson’s realistic dialogue to breathe and to build with tense clashes.

Jim Burwinkel’s scenic design aptly encapsulates Wilks’ needs and his hopes – an MLK poster is near his desk and a Tiger Woods poster is near Roosevelt’s. Lighting designer Jayson Lawshee captures times of day through the windows and Justin Schmitz’ astute sound design includes a terrific soundtrack.

Also setting the moods were costume designer Shevare Perry, who fits the period well, and Mikhail Lynn, who nailed the props, such as stolen golf clubs.

In “Radio Golf,” like he has touched on so eloquently before, Wilson examines the lifelong practices of white-run institutions, and whether minorities getting a place at the table was lip service, or another way for control, or an opportunity. And what would you do to ensure that opportunity?

All good, thoughtful points. As Martin Luther King once said, “The time is always right to do the right thing.”

Wilson published the play before his death in 2005, long before social media could have exploited the efforts of people involved to do the right thing vs. the corporate and political spins of the day. However, at that time, the outrage that is the norm when righteous dudes stand up for rights and beliefs now is sadly absent.

Reginald L Wilson and Velma Austin as Harmond and Mame. Photo by Keshon Campbell.

Wilson’s monumental American Century Cycle covers 100 years of the Black experience in America, chronicling social and historical changes in his remarkable style. He won Pulitzer Prizes for two of the plays – “Fences” and “The Piano Lesson.”

“Radio Golf” is the Black Rep’s second completion of the cycle, which took them 18 years to achieve. The Black Rep first completed it – only the third company in the U.S. to do so – from 1988 to 2003.

Starting in 2007, they have presented Wilson’s collection in chronological order. Thanks to the Black Rep, since 2012, I have seen seven of Wilson’s works, and each one has been a gem to treasure.

“Radio Golf” is also a record for actors Himes, founder and producing artistic director of the Black Rep, and Conner, who complete their own personal cycle this go-round.

They have earned St. Louis Theater Circle awards for outstanding production of a drama with Wilson’s “Two Trains Running” in 2022 and “Jitney” in 2023, and Ron Himes won best actor for “Fences.”

All 10 powerful in their own ways, these finely acted and impeccably produced shows illuminate black heritage and specific challenges as only Wilson can, and it’s always the right time to be reminded of his humanity.

With vibrant performances, The Black Rep’s “Radio Golf” is a masterful production that elevates its timeless message for today.

Kelvin Roston Jr as Sterling talks to Harmond.

The St. Louis Black Repertory Company presents “Radio Golf” through June 8. The opening weekend of May 16 – 18 was cancelled because of tornado damage, and performances have been added from Thursday, June 5 to Sunday, June 8. A portion of those ticket sales will support tornado relief. Performances take place in the Edison Theatre on the campus of Washington University with support from The Whitaker Foundation. For more information: www.theblackrep.org Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more.

‘POTUS’ is Audacious Side-Splitting Satire from Tesseract Theatre

‘POTUS’ is Audacious Side-Splitting Satire from Tesseract Theatre

By Lynn Venhaus

The late great Democratic politician Ann Richards, former Texas governor and vocal feminist advocate, once said: “In politics, if you want anything said, ask a man. If you want anything done, ask a woman.”

She also said, “The roosters may crow, but the hens deliver the goods.”

Amen to that. Such is the example of Tesseract Theatre’s audacious side-splitting satire “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” by Selina Fillinger.

The focus is on the subtitle and resembles recent “Saturday Night Live” zingers as we see seven women connected to the U.S. President trying to get through a terrible, horrible, no good, very bad day without a gentle good night in sight, either.

The president’s off-color remark about his wife has created a frenzy, and while his chief of staff and press secretary try to develop a response, other firestorms are brewing. Conditions spiral from there, as zany as a Marx Brothers movie, with nods to “VEEP” and “Noises Off!” as well.

Kelly Schnider as Harriet. Photo by Florence Flick.

Given the world’s current state of affairs, we might as well laugh, and there are plenty of opportunities to do so. Because the alternative is screaming or crying, and we have more chances for that in the continuous “Twilight Zone” loop we’re living in now.

We never see the leader of the free world, but vivid descriptions by the colorful characters piece together an unflattering portrait of an incompetent lout that sure doesn’t appreciate his ninja staff as he should because they deal with his sexual and political fallout. While vulgar, his obscene description of his wife is the least of his problems.

With its spry septet and fleet, whip-smart direction by Jessica Winingham, this regional premiere merges Fillinger’s sly, sharp dialogue and goofy antics into stylish chaos performed with gusto in the Kranzberg Black Box Theatre.

Displaying a farcical team spirit, even at their silliest, the weathered women elevate the nuttiness. Their fierce ‘we’re all in this together’ attitude fuels this stellar female cast.

The best and brightest politicos, now beleaguered, are in various degrees of meltdowns. As Harriet, Kelly Schnider is the epitome of a crisis manager as the sleek chief of staff who has been handling most of the nation’s business anyway.

Sarajane Clark is at her blunt, sarcastic best as Jean, the sharp-tongued press secretary trying to put out fires as soon as the president’s troublemaker sister, haughty unhappy wife, chatty girlfriend and nosy news reporter start them.

Angela Jean Hetz is amusing as Stephanie, the dutiful but hapless secretary who is always worried about losing her job. She throws herself into broad physical comedy with glee, and some blood is spilled.

The other four roles complicate the staff’s workday, which escalates the worsening situation.

Telegraphing B.S. through her facial expressions, Kimmie Kidd is comically delicious as the polished all-image-focused First Lady Margaret, whose line delivery drips with sarcasm as often as possible. She does not suffer fools, although she must act blissfully happy as the president’s spouse.

Angela Jean Hetz and Isa Davis. Photo by Florence Flick.

Isa Davis is a hoot as ditzy Dusty, an unsophisticated smalltown girl who has been invited to the Oval Office to see the president, but she already ‘knows’ him. The disarming Gen-Z’er enlivens the day’s events considerably, using her impressive dance team skills and naivete to benefit them all.

Angelia Prather vies with Davis for the biggest scene-stealer as Bernadette, the president’s black sheep sister, fresh out of prison through a controversial presidential pardon. The drug-dealing lesbian sister also admits to some shady business in the West Wing. She might have the funniest lines of all.

Laurell Renea Costello has fun as Chris, the pushy reporter who overhears and sees things she shouldn’t have, landing in a big puddle of hot water.

Because there aren’t any doors, per se, to dart in and out of, or slam, the creative design dilemma is solved through Winingham’s choice to have moving partitions. This makes the women’s physical comedy unimpeded.

Angelia Prather and Sarajane Clark. Photo by Florence Flick.

Tony Anselmo’s lighting design and Michael Musgrove-Perkins’ sound design add to the atmosphere, with rambling sound bites from the current president and emphasizes the clown-car operations at Pennsylvania Avenue.

Costume Designer Mary Bobbins has made savvy choices suitable for each character’s personality.

Stage Manager Bella Lucero, Production Manager Sarah Baucom and Technical Director Kevin Sallwasser have created an astute playground for power plays, well-suited to achieve success in this production.

While the first act is sharp and skillful, the second act is goofier, often chemically enhanced nonsense – but it’s all madcap, not mean-spirited, in a feel-good but desperate ‘all for one, one for all’ attempt to clean up a very big mess.

Laurell renea Costello as Chris. Photo by Florence Fliick.

While one can pick apart Fillinger’s logic for orchestrating insanity, this delightful cast is so well-choreographed by Winingham that the pleasure is derived from the performances.

Fillinger, who was a staff writer on “The Morning Show,” is clever in her contemporary satire. So is Winingham’s fast-paced direction.

Somehow, the communal laughter is contagious and cathartic, especially at this moment in time. And women indicating there’s strength in community is a lasting takeaway, no matter how pessimistic you are about the future.

Tesseract Theatre Company presents “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” May 22 through June 1 at the Kranzberg Black Box Theatre in Grand Center. For more information, visit tesseracttheatreco.org.

Sarajane Clark as Jean. Photo by Florence Flick

Sightlines: Why May 23 Is a Very Special Date in Our Family History

Sightlines: Why May 23 Is a Very Special Date in Our Family History

By Lynn Venhaus
A little history from this day, May 23: On this date in 1959, the show “Wrestling at the Chase” made its debut on KPLR (Ch. 11); it ran for 24 years.

In 1934, a law enforcement posse ambushed and killed Depression gangsters Bonnie and Clyde in Gibsland, Louisiana, ending a two-year crime spree that left 12 dead.

In 1980, Stanley Kubrick’s “The Shining” opened.  In 1969, The Who released “Tommy,” the first rock opera. In 2010, ABC drama “Lost” aired its finale after six seasons.

And in 2013, Charlie Venhaus was declared in complete remission from his rare, aggressive, t-cell, non-Hodgkins’s lymphoma after nearly seven months from diagnosis, then treatment with both chemotherapy and radiation. Cancer free! And it has not come back.

What a smile! May 23, 2013. Charlie Venhaus cancer-free!

Can I get a Hallelujah? It was brutal, and I felt helpless, but his strength, everyone’s support and the incredible health care teams lifted us through a very dark time.

It’s always a good day to remember this milestone, even if it’s very late. Always must mark today in family history because it means a lot, and with each advancing year, its meaning is deeply felt. What a journey it has been.

We are forever grateful to family, (Venhauses and Zipfels, and more), his co-workers, my co-workers, colleagues, all our tribes, neighbors, acquaintances, Charlie’s Brooklyn pals, Foley’s gang, his advertising company, old friends, new friends, classmates. It meant so very much.

No one fights alone, and he/we were blessed with so much love, prayers, and good mojo – angels among us. Of course, we dubbed you all “Charlie’s Angels.” And you were – and are.

Friends who accompanied him to doctor appointments, sat with him when he was too weak to do anything but lie in bed, who made meals, took him for a ride in the fresh spring air, called, came by, so many acts of generosity and concern. People who asked me how he was every time I saw them.

I realize not everyone is so fortunate, and the list of friends and relatives who’ve lost cancer battles gets longer every year. What a struggle so many have endured bravely. I thought telling our 70-year-old mom to let go in 2001 after her courageous battle with lung cancer would be the toughest time of our lives, but other challenges would be ahead.

I celebrate Charlie as a superhero and a fighter throughout his life — but I also must always recognize the superhero doctors and nurses – forever grateful for those staffs at Beth Israel Hospital in New York City and Siteman Cancer Center in St. Louis who took such good care of him. Everyone we encountered were truly compassionate, caring experts.

We started out very scared on this uncharted course in December 2012. Charlie called with the news on Dec. 3 that he wasn’t having outpatient surgery for polyps in his nose, that it was instead a malignant tumor. Charlie thought he had a sinus infection that wasn’t going away. A sharp ENT Dr. Madeleine Schaberg noticed something that wasn’t quite right — ordered a biopsy, and yep – cancer. Because of her early diagnosis, she helped save his life.

I traveled to NYC for his consulting doctor appointments — we saw six doctors in three days. I took many notes to share with his dad Bob Venhaus, calling him after each visit. When doctors in New York City tell you that they have never seen this cancer in a young white male, well then, you know you are in for one tough ride. He was 24.

According to the American Cancer Society, only 1 percent of people in their 20s get cancer (4 percent under 40 total!),

Charlie called it another bump in the road, and went through it with a ‘keep on keeping on’ attitude even when it was awful. Inspiring. He doesn’t like a lot of fanfare, but what a champ.

Nurse Practitioner Cathy Concert, left, and Dr. Kenneth Hu, at right. Cathy told us that it was so important that I was there, that Charlie had a lot of support. Attitude was also key.

They treated it very aggressively. He was among only 12 percent of lymphoma patients who get both chemo and radiation, and it flattened him, but wow, he fought back hard.

Radiation started in January 2013 at Beth Israel in NYC, 35 treatments. By Friday, Jan. 18, he was so debilitated, he would not be able to work. On Monday night, he called me, and it was clear he needed a caregiver, so I went to Brooklyn, stayed three weeks. At his doctor appointment with him, Dr. Hu had told him: “We’re really worried about you.” He had what appeared to be second degree burns in his throat, and thrush. He was so miserable. They upped his meds.

Then, his dad came to stay a week, and in March, Tim used his spring break week to take care of Charlie and be there for this first chemo treatment. He did not do well, for his body wasn’t ready for it.

The plan was three rounds of chemotherapy (each 3-day 8-hour infusions, followed by one day booster shot). After the one in NYC, and after Tim’s report of how infirmed he was, his dad and I talked about temporarily moving him home so we could have our families and his friends help. We coordinated a move between the doctors there and Siteman — NYC was on board with him being home and wanted Siteman to follow their treatment plan, as since this was the first time dealing with it, they basically were ‘guessing,’ and Siteman was fine with all of this. He came home March 28, and they were able to fit him in for the other two without too much delay.

When Dr. Nancy Bartlett (who told us they had only seen this kind in one young white male about a year before Charlie!) gave us the good news the afternoon of May 23, 2013, that became the best red-letter day ever. I am hopeful that because of Charlie’s case success, they could better treat others down the road.

Charlie had lost 34 pounds and all his hair. He returned to Brooklyn in June, went back to work as a media strategist weeks later, at first part-time, then eased back into a normal routine. His advertising company, PHD Media (a division of Omnicom) was absolutely wonderful to him).

He had wondered aloud if he would ever again get back to normal. But his healing was truly remarkable.

Doctors said that if it didn’t return within two years, he should be in the clear. We could finally breathe at the five-year “survivor” mark, and he ran in the NYC Marathon for the Leukemia and Lymphoma Society on Nov. 4, 2018.

Charlie and his wife Maria after running the NYC Marathon Nov. 4, 2018.

Outstanding oncologists Dr. Kenneth Hu and Dr. Ilan Shapira kept a watchful eye on him at regular tests/check-ups in NYC, but now he’s no longer a patient. Dr. Hu was a lymphoma survivor when he was a young teen.

To see what he has overcome, and become, is truly a remarkable and wondrous thing. I marvel at our minds, bodies and spirit — the healing powers that are present. Early detection and good medical care are factors, too.

There is no rhyme or reason to life sometimes, and when it knocks you down, you must get back up. We don’t know how long we get, so we might as well live life to the fullest while we can. Every day is a gift. Charlie has embraced that attitude with gusto. He continues to be resilient and determined. We can never know what the future holds, but we can move on one day at a time with optimism, grace and humility. And be there for each other.

The outpouring of affection for my son and our family is very humbling. Please know it mattered, and we noticed. And if we can help anyone else with hope and healing, we are here for you. Let’s work on ending this Big-C. Too many loved ones suffer. Thank you. Thank you. Thank you.

#Neverevergiveup.

Tim, Charlie and I at The Washington Square Arch in the park in Greenwich Village — not to far from where Charlie went through his medical procedures at then Beth Israel Hospital nearly two years earlier.
Ringing the bell at Siteman after the last chemo treatment first week of May 2013.
Charlie during his 2009 summer internship at NBC. He would move to NYC in February 2011.
Charlie on San Francisco trip in 2016.

Cover photo: Mother’s Day 2013, Giant City Water Tower in Makanda, Ill. Tim had just graduated from SIU-Carbondale the day before, and we went to the Lodge for Mother’s Day dinner. We climbed up the water tower afterwards.

‘Mission: Impossible – The Final Reckoning’ Is An Exhilarating Epic

‘Mission: Impossible – The Final Reckoning’ Is An Exhilarating Epic

By Lynn Venhaus

Superspy Ethan Hunt is not a superhero, but Tom Cruise is built like one in talent and temperament. Perhaps his superpower is his character’s fierce and unwavering loyalty to his Impossible Missions Force ‘team,’ as exemplified in the full-throttled grand finale “Mission: Impossible – The Final Reckoning.”

Over eight movies in 29 years, he has played the maverick secret agent trying to stop an enemy force to prevent global disaster with the fierce bravado everyone expects. Now 62, he continues to demonstrate remarkable physical dexterity, performing his own stunts – and they are next level here, his best yet.

Eye-popping, jaw-dropping and breathtaking feats in the sky, water and on the ground — the derring-do is dazzling once again, for writer-director Christopher McQuarrie pushes the team farther with each chapter.

With his daredevil gravity-defying aerial sequences and underwater action in the Bering Sea, he outdoes the thrilling train escapade and stunning motorcycle dive in “Dead Reckoning, Part I.”

Preventing the world from Doomsday this time around is exciting, exhilarating and surprisingly emotional, a fitting way to kick off the summer movie season and effectively wrap up this series – if this is its swan song.

Starting in 1996, this storied espionage franchise followed the missions of an elite covert government agency, a movie adaptation of an award-winning and popular television series created by Bruce Geller that ran for seven seasons (1966-1973) on CBS.

That’s when Cruise as Hunt, Henry Czerny as Eugene Kittridge and Ving Rhames as technical wizard Luther Stickell first appeared, directed by Brian DePalma. The ensemble cast grew to include Simon Pegg as Benji Dunn beginning in “Rogue Nation.” Kittridge, the former IMF deputy director, became CIA director and showed up in the last two films.

Sequels arrived in 2000, 2006, 2011, 2015, 2018, 2023 and now. After DePalma, John Woo, JJ Abrams and Brad Bird directed the first four, McQuarrie took over with “Rogue Nation” (MI5) and has been at the helm ever since.

McQuarrie, Oscar winner for “The Usual Suspects” original screenplay, also co-wrote the script with Erik Jendresen, who was on board for the last installment. They’ve crafted a smart, suspenseful storyline that believably escalates the tension.

“Our lives are the sum of our choices,” we’re told, and after a flashback montage of the previous seven films, we are caught up to speed (literally and figuratively) since the movie a mere three summers ago.

That’s when the “Entity” materialized as a massive artificial intelligence that could wage the apocalypse because it is so advanced it manipulates reality and the truth to cause endless chaos. Hunt and the IMF team continue their search for this terrifying AI. By now, it has infiltrated intelligence networks all over the globe – with the world’s governments and a mysterious ghost from Ethan’s past on their trail.

In this version, the dire threat it represents is made clearer, and we grasp its power, so we understand the higher stakes. Esai Morales returns as the morally bankrupt Gabriel, who wants control of the Entity. He is a slippery, shadowy figure, ruthless to the core.

Like Harrison Ford as Indiana Jones, Cruise has crafted Hunt to make him his own, with his specific energy and intensity. Of course, Hunt goes rogue because he doesn’t follow rules that won’t produce a favorable result. The action gets more elaborate and the plots more high-tech focused with each chapter, and you expect Cruise to be all systems go, deliver the adrenaline rush.

With some new allies this time, Hunt has brought a fearless band together, and their warmth and humor stand out. Hayley Atwell’s Grace is a former pickpocket and thief and Pom Klementieff is former assassin Paris, who both turned on Gabriel and are now helping IMF.

Greg Tarzan Davis is agent Degas, who has switched sides from hunting Hunt, and Shea Wigham’s character arc as Briggs is best not spoiled as allegiances shift and the plot twists.

A pleasant surprise is the return of Rolf Saxon as William Donloe, a CIA analyst who was a minor character in the first film but is back in a more substantial way this go-round. His memorable wife Tapeesa is played by the charming Lucy Tulugarjuk.

Links to the past and present are threaded throughout this spectacle, which is another fine gesture.

The sprawling cast of formidable character actors includes Angela Bassett as U.S. President Erika Sloane, the former CIA director, and playing the military brass are Nick Offerman as Chairman of the Joint Chiefs of Staff General Sidney, Holt McCalleny as Secretary of Defense Serling Bernstein, and Janet McTeer as Secretary of State Walters. Tramell Tillman is a Navy ship commander and Hannah Waddingham as a rear admiral in charge of an aircraft character.

While there are physical encounters, most of the film’s details feature very precise digital cyberspace codes and gadgets, and timing is everything as the IMF team races against the clock.

The film, at 2 hours and 49 minutes, doesn’t feel draggy, but it could have been shaved a little in the mega-action set pieces. Nevertheless, fans are certain to embrace all the elements they’ve grown to enjoy over these 29 years, not the least of which is that iconic music. Hearing composer Lorne Balfe’s orchestrations on Lalo Schifrin’s unmistakable theme song is one of this franchise’s best features.

McQuarrie and Cruise have collaborated on more than this franchise, and it’s a potent pairing — on “Valkyrie” in 2008, followed by “Jack Reacher” and “Edge of Tomorrow.” McQuarrie also contributed to the “Top Gun: Maverick” script.

But this is their legacy. And if they don’t continue, this will stand alone in a significant way. You can be assured they’ll “figure it out.” “Mission: Impossible – The Final Reckoning” isn’t perfect, but it is a dandy experience.

“Mission: Impossible – The Final Reckoning” is a 2025 action adventure directed and co-written by Christopher McQuarrie. It stars Tom Cruise, Hayley Atwell, Simon Pegg, Ving Rhames, Pom Klementieff, Nick Offerman, Holt McCalleny, Angela Bassett, Shea Wigham, Greg Tarzan Davis, Hannah Waddingham, Rolf Saxon, Tramell Tillman. Janet McAteer and Lucy Tulugarjuk. It is rated PG-13 for sequences of strong violence and action, bloody images, and brief language and the run time is 2 hours, 49 minutes. It opens in theatres May 23. Lynn’s Grade: A-

Take Ten with Robert Crenshaw

Take Ten with Robert Crenshaw

By Lynn Venhaus

One encounter with Robert Crenshaw, and you can tell that he is a bright light chasing his dream. Currently on tour in the smash hit Broadway musical “Ain’t Too Proud: The Life and Times of the Temptations,” he will be coming home to perform May 9-11 at the Fox Theatre in St. Louis.

Robert said he is eager to see his family and friends — and enjoy his mom’s home-cooking. A recent guest on our PopLifeSTL Presents podcast, he shared his joy in being part of this high-energy production as well as his life story.

Crenshaw plays founding member Al Bryant and Motown songwriter Norm Whitfield in the musical. The musical explores their brotherhood, family ties, loyalty and betrayals, and includes the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and many more.

He said he chose to pursue the arts because he’s been performing since elementary school.

“I’ve always had dreams of becoming a superstar and leaving my stamp on the world. I went to performing arts school my entire life and attended arts programs as well. I’ve always had fun being on stage! I love portraying different characters and putting my own spin on it,” he said.

“Ain’t Too Proud: The Life and Times of the Temptations” national touring cast

Recognized as a promising young artist when he was in third grade at Ames Elementary School in the Old North neighborhood, Robert began taking classes at COCA (Center of Creative Arts). He studied ballet, hip-hop, tap and jazz.

He graduated from Central Visual and Performing Arts High School, was a Muny Teen, and appeared in shows at COCA, including “Memphis” and “The Wiz,” and The Black Rep.

He was also part of The Dancing Six featuring Channce Williams, David McCall, Daryon Kent, Joshua Hall, Jacob Dorsey and Crenshaw that were part of the St. Louis Teen Talent Competition two years in a row through the Fox Performing Arts Charitable Foundation.

He credits his COCA faculty member Lee Nolting for helping to develop his talents and voice teacher Dr. Philip Woodmore as a big part of his success, as well as Ron Himes, founder of the Black Rep, who has become a mentor to him.

Describing him as a “true triple threat,” Himes commented: “Robert is living his dream now because he worked hard to be ready for the opportunity. He is super talented, humble and dedicated to growing in the craft. He’s a true triple threat with a magnetic smile.”

Robert Crenshaw, left, in “Eubie!: The Musical” at the Black Rep in 2023. Philip Hamer Photo.

At the Black Rep, Robert starred in “Don’t Bother Me, I Can’t Cope” in 2019 and in “Eubie!” in 2023. At Stray Dog Theatre, he was in the “Dreamgirls” ensemble in 2019.

He also was the youth choreographer for “A Christmas Carol” in 2022 at The Repertory Theatre of St. Louis and received an Arts For Life Best Performance Award nomination for his choreography in “Little Shop of Horrors” at Kirkwood Theatre Guild.

In my May 15, 2023, review of “Eubie!”, I wrote: “Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography. He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”

He was part of the choreography team that won the 2024 St. Louis Theater Circle Award for Best Choreography for “Eubie!” (produced in 2023) – including Heather Beal and Vivian Watt.

After a year at the Chicago College of Performing Arts, he returned home to St. Louis, then moved to New York in 2023 to follow his dream.

Performing at COCA.

For 10 months, he hadn’t landed a role yet until he was cast in the musical “Forever Motown.” Then, he cast in the national touring company for “Ain’t Too Proud: The Life and Times of the Temptations” musical, based on Otis Williams’ personal journey, and has been traveling across the U.S.

“What makes being on tour so special is that it’s one of my dream jobs. I put on a showcase where I displayed all of my talents to raise money to move to New York from St. Louis. I moved September 13, 2023, and after 10 months of auditioning, receiving callbacks, and working other jobs to survive in New York, I booked ‘Ain’t Too Proud,’” he said.

The musical, which chronicles The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame, first opened at the Imperial Theatre on March 19, 2019, and received 12 Tony nominations, including Best Musical. It won the Tony Award for Best Choreography for Sergio Trujillo’s electrifying work recreating the group’s signature dance moves.

Robert as the Tin Man in “The Wiz” at COCA, one of his favorite roles.

The first national tour began in 2021, and the second one started in 2024, showcasing the group’s unmistakable harmonies. They topped the charts with 14 of their 42 Top Ten hits reaching number one.

The story explores their heritage and influence — how they met, their successes, and how conflicts derailed people in the group.

His advice to young artists is to work hard, stay prepared and open-minded, be humble, and don’t let negativity get to you.

The Fabulous Fox’s presentation of “Ain’t Too Proud: The Life and Times of The Temptations” will take place from May 9 – 11th at The Fox Theatre. For tickets, showtimes or additional information, visit www.fabulousfox.com.

To listen to the April 23 PopLifeSTL podcast: https://soundcloud.com/lynn-zipfel-venhaus/april-23rd-2025-ft-steve-ewing-robert-crenshaw

Take Ten with Robert Crenshaw:

1. How would your friends describe you?

“My friends would say that I am hardworking, talented, humble and full of love. They would also say that I am an inspiration for so many.”

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

“I really enjoy reading, taking classes (anything arts related), working out, and doing some kind of activity that makes me feel like I’m touching grass.”

3. What is your current obsession?

“My current obsession is Duolingo! I’ve been wanting to learn Spanish so that I could connect with other people. Another thing I’m obsessed with right now is practicing self-awareness, self-improvement, and self-love. Lastly, different foods! I want to expand my palate and try things outside of my comfort zone.”

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

“People are always so stunned when they find out that I am allergic to shellfish.”

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

“My most defining moment is when I put on a showcase to raise money for Central Visual & Performing Arts High School after the school shooting that took place in 2022. I graduated from CVPA, and my brother was shot in the tragedy. I collaborated with community arts organizations, the SLPS foundation, CVPA alumni and current students to raise money in support. The showcase was a little over a month after the tragedy and took place at The Center of Creative Arts (COCA). There were performances and donations from so many organizations. I called it ‘The CVPA Relief Showcase’.”

6. Who do you admire most?

“My mom and Jesus along with some mentors, teachers and peers from my village in St. Louis.”

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

“Sit amongst other celebrities and feel/know that I belong in those circles. I would like to travel to Africa, Tokyo, and Jamaica. Create a family of my own. Be wealthy in knowledge, finances, and health. Perform a one-man show in a sold out a building.”

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

“My favorite things to do in St. Louis is to spend time with family and friends, take classes, and eat home cooked meals!”

9. What’s next for you?

“Let me start by saying I am open to whatever God has in store for me. My plan is to make it back to New York City and audition as much as I can. I have to get my face back in those rooms. If I spend time in St. Louis after touring it will be teaching master classes and taking a few dance classes and voice lessons before going back to NYC. I’m also searching for representation so that I have someone else advocating for me in the business.”

Benefit performance at COCA.

More Info on Robert Crenshaw:

Age: 28
Birthplace: St. Louis
Education: Central VPA, Center of Creative Arts, Chicago College of Performing Arts
Day job: Broadway National Tour: Ain’t Too Proud (AL Bryant & Norman Whitfield)
First job: Journey’s
First play or movie you were involved in or made: “The Music Man”
Favorite jobs/roles/plays or work in your medium? Seaweed in “Hairspray,” Tin Man in “The Wiz,” and Gregory Hines in “Eubie: The Musical”
Dream job/opportunity: Aaron Burr in “Hamilton,” Lead in a Broadway Musical, Movie with Denzel Washington, Kevin Hart, or star in my own.
Awards/Honors/Achievements: St. Louis Theatre Circle Award for Best Choreography: Eubie
Favorite quote/words to live by: “Don’t ever say you can’t, and if you fail, try again.”
A song that makes you happy: Anything by Michael Jackson, Chris Brown, or Kendrick Lamar.

Cover photo courtesy of Robert Crenshaw’s Instagram

Relatable Original ‘Johnnie Taylor Is Gone’ is Comfortable, Engaging

Relatable Original ‘Johnnie Taylor Is Gone’ is Comfortable, Engaging

By Lynn Venhaus

A comfortable slice of life, “Johnnie Taylor is Gone” is part nostalgia trip and part character study with a pleasant panoply of St. Louis cultural references and distinct personalities that draw one into a recognizable old-timey stomping ground.

Gregory S Carr’s warm-hearted and engaging original play is set in a cozy neighborhood hangout, the fictional Golden Zodiac Lounge, which was patterned after a real north city gathering spot. This is where regulars discuss current events, their personal relationships and philosophies on life, all while enjoying a beer and plunking change in the jukebox.

The time is a few years into the Millennium, and change is inevitable in many ways in this natural setting. Owner Will Strong is a man who likes things the way they are, and because he is set in his ways, resists modernizing and catering to a younger clientele. He is fond of an over 30 crowd, although an update would help the bar stay solvent.

As embodied by virtuoso Archie Coleman, Strong is a caring father figure and stubborn proprietor who clings to his heritage. His prized possession is his vintage jukebox that only plays R&B classics and soul singers.

A popular artist, Johnnie Taylor, once visited the bar, and his picture hangs prominently on the wall. .He represents an era that Strong most identifies with, and he doesn’t want the soundtrack of his life forgotten. Taylor, best known for four chart-topping hits including 1979’s “Disco Lady,” died in 2000.

The Chicago blues legend Koko Taylor is also a favorite. Retro tunes are played, and people dance down memory lane, evoking fond memories. A song is often used to shift a mood, too.

In addition to the familiar patrons – everyone knows their names – there is a changing cultural dynamic.

A flashy, hip and imposing young guy, called Jay-G, also known as Jiggy, struts in, projecting major attitude, and is eager to purchase the bar and turn it into a hip-hop club. He is not subtle, putting pressure on Strong, talking big ideas and appearing to live large. As the not-as-smooth-operator as he thinks he is, Sequoi Edwards nails this part.

He’s also involved with someone that has a complicated character arc best not spoiled, but Wanda is a flighty younger woman (Arriel Cummings). Generational clashes figure into the storyline.

Standing out are two of the bar’s employees – the streetwise hostess and world-weary Annie, who can be alternately sassy and sweet, and is fully realized by Mardra Thomas, and the cheery, lovable bartender Bette, played by the cheery and lovable LaWanda Jackson, who just brightens every scene she’s in, oozing optimism and hope.

They smoothly interact with customers like they’ve been working there for years. The patrons enjoying each other’s company include Jeremy Thomas as Pace, a barfly whose wife Myrtle is always calling the landline with grocery lists and checking up on where he is, Juan Smith as opinionated fixture Bruh and Jaz Tucker as a nice-guy delivery man Bud. Talk includes sports, music, art, politics, religion and current events.

In brief but memorable turns, veteran Don McClendon looks dapper in a bright yellow suit and fancy green hat as a church pastor called Churchill and Ieshah Edwards as helpful beat cop Judy, looking out for the welfare of her turf.

The bar has such a lively feeling that you know exactly what kind of place it is, having no doubt entered the door of similar establishments, where the staff knows drink orders and there is always something to talk about, whether it’s criticizing Cardinals manager Tony LaRussa or bringing up people who live in the vicinity. That’s a charming aspect of this 2-hour, 15-minute show.

Another delight is listening to the golden oldies that play. The music is integral to the whole experience and is part of the show’s vibe. Sound designer Darrious Varner has curated an interesting list of tunes, which add authenticity. He also assembled the costumes.

While its heart is in the right place and one applauds their ambition, Aquarian Rising Productions is a fledgling professional theater group that strives to represent black voices and black experiences, and their enthusiasm is contagious.

Because they are so new, this is a very low-budget production that is obviously a labor of love. Some of the technical issues – sound and lights, especially – are problematic. It is often hard to hear characters, which is a shame because Carr has a flair for writing witty dialogue and the local references are fun to hear.

The venue is the Jefferson Avenue Mission, a former old church, so the audience sits in pews, and the small stage provides limited space for some of the action. Wiring for microphones and lights hit some snags opening weekend. Hopefully as the company grows and flourishes, the stagecraft elements will be stronger, for they’re off to a good start with quality performances and eager creatives.

The director is veteran actress and artist Thomasina Clarke, who is Jaz Tucker’s mother. Tucker not only is in the ensemble, but is the group’s founder. Clarke also wore several hats – designing a functional set for easy interaction, despite the limitations, giving everyone maximum visibility when sharing their story.

You’ll recognize these characters, and this place, feel the community spirit, and enjoy a sentimental journey. The conflicts and crises that make up the dramatic elements are quickly resolved, in some ways you don’t expect, and you’ll want to root for everyone to do better as time marches on.

Aquarian Rising Productions presents “Johnnie Taylor is Gone” from April 25 to May 4, with performances Fridays and Saturdays at 7 p.m. and Sundays at 4 p.m. at the Jefferson Avenue Mission, 2241 Jefferson, in the Fox Park neighborhood. For more information: www.jamstl.org.

Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

By Lynn Venhaus

“Life is what happens to you while you’re busy making other plans” – “Beautiful Boy,” John Lennon, 1980

Grounded but teeming with uncertainty, an off-kilter sense that an alternate reality is emerging for a pair of lost women becomes clearer as we watch them grapple with their fate in Upstream Theater’s compelling, bravely acted two-hander “Meet Me at Dawn.”

As life partners Helen and Robyn, Michelle Hand and Lizi Watt are riveting after they wash up on a distant shore following a boating accident. Dazed and worried about each other, they attempt to get their bearings and find a way home.

But this sandy patch of seascape is not what it seems, nor are they who they appear to be, which will come into focus as their circumstances unfold. This may sound like a twisty sci-fi drama, but playwright Zinnie Harris wrote this as a lyrical meditation inspired by the myth of Orpheus and Eurydice.

This modern fable reveals its goal – tackling love, loss, and grief – during a 90-minute play without intermission. As time and space is disrupted, the performers recreate a mysterious sense of being “in between.”

Michelle Hand and Lizi Watt. Photo by ProPhotoSTL.

Through their distinctive raw and real characterizations, Hand and Watt lead us through the transitional state of “liminality.” This other world is jarring, but how they process fate is a remarkable feat.

We’re watching two actors being present and giving their all in convincing portraits, conveying a range of emotions in a profoundly moving way. The pair’s chemistry is palpable – in moments of tenderness, exasperation and fear. And they convey a dreamlike, surreal state in their body language and exchanges, not just intimacy.

Helen, a scientist who is more high-strung and very funny in mining situations for humor, complements Robyn, who is an academic and more deliberate and less impulsive when speaking, deftly handle the squabbles as well as the caring between longtime companions.

Can they figure out what is real and what is fantasy? Can they trust their memories? Their hope turns to despair, and paranoia mixes with the metaphysical. When the play comes together, you feel what they feel — pain, helpless, resignation, mourning.

Hand, an actor for 25 years whose name in a program means you will always be treated to a robust characterization and often in a thrillingly alive way, has met her match in intensity in Watt.

During the past couple of years, Watt has impressed with vivid characterizations in “The Whale,” “Copenhagen,” and “Pictures from a Revolution.”  With their expressive work, they boost their reputation as being among the best theater artists of their generation.

Photo by ProPhotoSTL

Harris, who is known for specializing in modern interpretations of classic literature, debuted this play at the Edinburgh International Festival in 2017. The Scottish playwright’s work includes “Macbeth (An Undoing),” “The Scent of Roses,” “This Restless House” and “How to Hold Your Breath.”

Perceptively directed by Larissa Lury, she understands the allegorical nature and rhythms of the play, trauma, and appreciates the quality of her dynamic duo.

The show is enhanced by the technical team’s contributions. The simple sandbank set is meticulously detailed by scenic designer Patrick Huber, atmospherically lit by lighting designer Tony Anselmo and featuring added depth through sound designer Kristi Gunther’s inobtrusive work, with sounds of the sea and sky. The women are dressed in casual wear designed by costumer Lou Bird.

Note: Some reflections may trigger emotional feelings or upsetting memories for audience members.

Photo by ProPhotoSTL

Loss is a tough fact of life, but grief is a personal journey that rips your heart out in different degrees. As one who experienced three major family deaths in five years, understanding that grief affects everyone differently, but it’s never something you “get over,” helps as you learn acceptance.

As the play alludes, everything shifts, you learn to live with trauma. What is necessary is talking about grief, because our society tends to shy away from talking about letting go and the powerlies in talking about it to heal.

This play may spark conversation, and isn’t that a wonderful opportunity? Going through something that others experience too means we’re not alone, and we can learn and grow when material resonates.

Poignant and meaningful, “Meet Me at Dawn” showcases two extraordinary actresses fearlessly not holding back in showing us their humanity in a thoughtful drama produced by Upstream Theater.

Upstream Theater presents “Meet Me at Dawn” April 11 – April 27, with performances take place at The Marcelle in Grand Center. For more information: www.upstreamtheater.org.

Photo by ProPhotoSTL

Going Around in Circles, Disjointed ‘On Swift Horses’ Is Frustrating Misdirect

Going Around in Circles, Disjointed ‘On Swift Horses’ Is Frustrating Misdirect

By Lynn Venhaus

Pretty people and sun-dappled scenery wind up being ineffective in a shallow head-scratcher, “On Swift Horses,” a stagnant 1950s melodrama heavy on turgid soap opera and light on authentic emotion.

Two card sharks, a freedom-yearning woman from Kansas, and a traditional breadwinner in the 1950s seek the suburban American Dream after the Korean War. While their lives intersect, they are actually very far apart in their wants, needs and desires.

Trying to imitate Douglas Sirk’s lush films from that era, director Daniel Minahan’s queer period piece addresses how homosexuals had to remain closeted during a very repressed and cookie-cutter time but fails to connect in any meaningful way.

An example of style over substance, this is the kind of film where chain-smoking cigarettes substitute for pensive thoughts and inner torment. And they all live in the shadows.

Sirk, who made “Magnificent Obsession,” “All That Heaven Allows,” “Written on the Wind,” and “Imitation of Life” from 1954 to 1959, captured attractive people who were trapped by social conditions, and his overwrought stories appealed because his filming featured splendid cinematic set pieces, and matinee idols like Rock Hudson and Lana Turner.

With such well-regarded performers as Daisy Edgar-Jones, Jacob Elordi and Will Poulter in what you may think is a seductive love triangle (trailer is a misdirect), one hoped they’d make us care about their journeys, but the story fails to provide reasons to be interested in what happens.

The trio is built up to appear “longing,” only they smolder and do not ignite. This disjointed adaptation of Shannon Pufahl’s 2019 novel by screenwriter Bryce Kass is overstuffed, not satisfying with basics. Neither did his lackluster “Lizzie” in 2018, which did not go far enough in fleshing out accused ax murderer Lizzie Borden.

Sure, they are a tempting pair, Elordi and Edgar-Jones, but do their character’s mutual connection benefit either? They spend most of their time in separate turmoil, with only a few scenes together.ccc

Oh, the trio try for big emotions, but it’s dialed down, as they speak in hushed tones and move around in scenes lit in such moody, murky atmospheres that it is almost too dark, so that is aggravating. Now, the stylish costumes designed by Jeriana San Juan, and distinct make-up and hairstyles are fabulous, but that can’t be the only selling point.

Muriel (Edgar-Jones) chafes at convention – doomed to be a typical wife in post-war America although she reluctantly attempts to fit in — while brothers Lee (Poulter) and Julius (Elordi) are Korean War veterans. The film starts in 1952 but it’s not clear how much time passes.

These young adults have different goals and desires, but fumble badly in their communication with each other. Lee talks in code about his wayward, secretive brother Julius who is always flirting with the wild side. “He has passions of his own. He’s just not like us,” he tells his wife.

The handsome Julius is a smooth gambler and gay hustler who falls in love with Henry (Diego Calva) while working in Las Vegas. Much of the interaction doesn’t feel genuine, and lack of convincing chemistry is an issue.

However, Elordi and Edgar-Jones have a spark when Julius and Muriel meet, becoming pen pals and share some, but not all, of their secrets. Don’t think this is going anywhere because it’s not.

At the diner she works at, Muriel overhears customers talking about their picks for the racetrack, so she starts playing the ponies with those tips. It’s a thrill for her to win and live a double life, stashing away the cash without her husband’s knowledge.

Lee, a total straight arrow who loves his wife and desperately wants the fantasy suburban life including a ranch house in a subdivision that signals middle-class prosperity. Developers are buying up farms and fields in San Diego for the “Baby Boom.”

One of the neighboring farms where Muriel purchases eggs and takes a shine to olives – and the woman selling them, Sandra (Sasha Calle). They become entangled in a clandestine affair.

Those hiding secrets are on a collision course for crash-and-burns, but whether you want to invest in their mess depends on how impatient you feel, for the pace is sluggish and resolutions are prolonged. And why does it take nearly 2 hours to tell this insipid story?

I fret that Elordi, promising as Elvis in “Priscilla” and as the rich golden-boy Felix in “Saltburn,” is a one-trick pony, destined to be the bad boy with the sad eyes. Let’s hope not, because he’s playing Heathcliff to Margot Robbie’s Catherine in Emerald Fennell’s adaptation of Emily Bronte’s classic gothic novel “Wuthering Heights,” due out next year.

Poulter, who seems to be everywhere these days, recently in “Warfare” and “Death of a Unicorn,” is saddled with an underdeveloped character and being boxed in as the cuckolded husband. And would you believe he and Elordi are brothers?

After taking risks, Edgar-Jones’ character is mired in blandness. The actress, feisty in last year’s “Twisters” and superb in “Where the Crawdads Sing,” makes Muriel sympathetic but needed to give her more dimension. It’s a letdown.

Tell us something we don’t know and would like to know and not foist half-baked performative junk at us and call it alluring. “On Swift Horses” goes in circles and limps to the finish line with a clumsy ending that doesn’t answer any questions raised. It’s a safe bet you can skip this gussied-up charade.

“On Swift Horses” is a 2025 drama directed by Daniel Minahan and starring Jacob Elordi, Daisy Edgar-Jones, Will Poulter, Diego Calva and Sasha Calle. Its run time is 1 hour, 57 minutes, and it’s rated R for sexual content, nudity and some language. It opens in theatres April 25. Lynn’s Grade: D+

Lovable Cast Boosts Queer Rom-Com ‘The Wedding Banquet’ Remake

Lovable Cast Boosts Queer Rom-Com ‘The Wedding Banquet’ Remake

By Lynn Venhaus
A modern re-imagining of Ang Lee’s first 1993 breakthrough film, “The Wedding Banquet” is a funny, charming queer family romantic comedy about personal growth, making a home, and your chosen family becoming your real family.

The story is about a gay man (Han-Gi Chan), hoping to stay in the U.S., proposes a green card marriage to a female friend (Kelly Marie Tran) in exchange for paying for her IVF treatment. However, things soon get complicated when his grandmother (Youn Yuh-Jung) surprises them with plans for an extravagant Korean wedding banquet.

It’s safe to say much of society has changed towards more acceptance of same-sex couples in the three decades since Lee and his screenwriter James Schamus imagined a green-card marriage between a gay bride and groom, noting marriage equality and LGBTQ rights achieved since 1993.

This remake has many things it wants to say through writer-director Andrew Ahn, who also teamed up with Shamus for this version. Ahn, an L.A. filmmaker whose previous film “Fire Island” also starred Bowen Yang, was a summer vacation rom com inspired by Jane Austen’s “Pride and Prejudice.”

Bowen Yang, Han Gi-Chun, Kelly Marie Tran, Lily Gladstone.

The cast is all aces-high, with Joan Chen, ‘Minari’ Oscar winner Youn Yuh-Jung, Oscar nominee Lily Gladstone, Emmy nominee Yang, Kelly Maria Tran and newcomer Ha Gi-Chan endearing characters you can relate to through a modern lens.

As the two same-sex couples, Tran, Gladstone, Yang and G-Chan nimbly play complicated Millennials and give us enough genuine emotion to make a connection.

Lee, the Taiwanese filmmaker who has won two Oscars for directing “Brokeback Mountain” and “The Life of Pi,” was considered a legitimate talent after his “The Wedding Banquet” was both Oscar-nominated and won the Golden Bear at the Berlin Film Festival, the first of his two (no one else has achieved that). It was also his first film to release theatrically in the U.S. (Fun fact: He has an undergraduate degree from University of Illinois).

Fast-forward 32 years, and the Ahn-Schamus American remake collaboration still concerns cultural friction and a sham marriage ceremony — only it’s South Korea and not Taiwan as the immigrants’ home country, they’ve shifted the action from New York City to Seattle, and they’ve increased the involved couples from one to two.

Bowen Yang, Han Gi-Chun,

Min (Gi-Chan) and Chris (Yang) have been in a five-year relationship and live in the garage of their good friends Angela (Tran) and Lee (Gladstone), who live in Lee’s family home. They would like a child and have tried IVF twice with Lee. Angela doesn’t want to carry the baby, for she has an overbearing mother (Chen), and she frets about what kind of parent she’d be. Chris and Angela became good friends in college.

Min has family money, but his grandmother Ja-Young (Yuh-Jung) is not happy with his reluctance to join the family business – a multinational corporation, and with his student visa about to expire, is making demands.

The pair hatch this scheme — Min will pay for the IVF again if Angela marries him, basically helping both couples — but it becomes more complicated when Min’s grandmother shows up.

As played by the wonderful character actress Youn Yuh-jung, who won an Oscar as the grandmother in “Minari,” Min’s grandmother Ja-Young steals every scene she’s in, and will also break your heart as she reveals confidences to her grandson. After all, Yuh-jung has five decades’ worth of film credits.

Kelly Marie Tran, Lily Gladstone

The characters could all easily have been one-note, but the performers provide unexpected layers, while also crowd-pleasing with broad laughs. OK, it may be cliché, but the scene where they “de-queer” the girls’ home is very funny, especially when Yang is shown taking down a framed Lilith Fair poster.

While one can easily predict “all’s well that ends well” after mishaps and complications arise, yet there are some sweet surprises that await.

“The Wedding Banquet” may have some clunky moments, awkward baggage, and appear not svelte enough in its execution, but one can feel its sincerity, its concern over Asian-American representation, and appreciate its lovable cast.

“The Wedding Banquet” is a 2025 romantic comedy directed by Andrew Ahn and starring Kelly Marie Tran, Lily Gladstone, Bowen Yang, Han Gi-Chun, Joan Chen and Youn Yuh-Jung. Its runtime is and it is rated R for language and some sexual material/nudity. It opened in theatres on April 18, became available on premium VOD May 13, and will stream on Paramount + beginning Sept. 8. Lynn’s Grade: B.

Kelly Marie Tran, Lily Gladstone, Han Gi-Chun, Bowen Yang.