‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

By Lynn Venhaus

The children of the night are making some lusty music in the musical “Dracula,” a different take on the gothic horror classic whose folklore has become a pop culture staple.

Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhorn’s much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas.

Of the many variations of Bram Stoker’s 1897 horror fantasy novel, this very dramatic musical version combines alluring romance with an unsettling thriller narrative devoid of any humor or camp, which has been easy to slide into with vampires over the years. (Case in point: “What We Do in the Shadows.”)

However, Chris Strawhun amuses as one of the characters, a straight-talking Texan named Quincey Morris while delivering his good ol’ boy dialogue.

This tight-knit group, of both familiar and fresh faces, is committed to getting the tone and tempo right. They strive to convince in their portrayals as either under Dracula’s hypnotic spell, resisting it, or desperate vampire hunters.

Brittany Kohl, Vanessa Simpson. Photo by Jill Ritter Lindberg

Their vocal prowess is its strongest suit because this show’s intention is to have more of an emotional core, not aiming to scare or even conjure suspense, in this supernatural world.

Supporting players circle the bewildering nobleman, Count Dracula, an imposing yet enigmatic figure confidently played by Cole Gutmann.

He has summoned solicitor Jonathan Harker (Ian McCreary) to assist in the purchase of a home in England.

Despite being told not to wander around the castle in the Carpathian Mountains, Harker does just that, encountering the Weird Sisters, a trio of nubile undead, who entice him to do bad things. McCreary presents the character as a stand-up guy, but weak.

Ann Heir Brown, Chelsie Johnston and Sarah Lueken bewitch as the seductive trio, slithering around the minimalist stage. With sinful looks and slinky attire, the characters add a provocative edge. They are choreographed by co-director Tony L. Marr Jr.

They initially set the eerie mood with the opening number, “Prologue,” then join McCreary in “Jonathan’s Arrival.” All three have melodic voices, evident on “Forever Young” and joining Guttmann on “Fresh Blood.”

Well, that situation doesn’t go well for Harker, and he winds up in a hospital. His smart and lovely fiancé Mina Murray (Brittany Kohl) changes her holiday plans with best friend Lucy Westenra (Vanessa Simpson) and leaves Whitby Bay, a seaside town in England.

Kent Coffel, Ian McCreary, Kohl, J.D. Pounds. Photo by Jill Ritter Lindberg

A sense of dread surfaces in Mina and Lucy’s duet, “The Mist,” and their nightmares begin.

The women, confined to the society standard of being an adornment on the arms of successful men, keep ignoring red flags but this mysterious aristocrat has captured their fancy. Kohl and Simpson are believable as women who may want more out of life.

The fetching Lucy, wooed by three men, chooses the dullest guy to marry, Arthur Holmwood, earnestly portrayed by Alex Vito Fuegner. Another suitor is Jack Seward, a doctor specializing in psychoanalysis, who is played with authority by J.D. Pounds.

Their number, “How Do You Choose?” sets up their relationships. Despite Lucy marrying Holmwood, the guys are friends and factor into the group trying to protect everyone from sinister forces.

Seward is the gateway to his patient, the insane assistant Renfield (Rafael DaCosta), who is mind-controlled by the count.

DaCosta and the Weird Sisters collaborate on “The Master’s Song,” indicating their servitude.

DaCosta adds some verve to the proceedings, as does Kent Coffel as Professor Abraham Van Helsing, the obsessed vampire slayer. Sporting a Dutch accent and explaining how to snare a vampire, Coffel grounds the show as the iconic presence.

Rafael DaCosta as Renfield. Photo by Jill Ritter Lindberg

Coffel, an MVP in supporting roles, has more contributions musically — two solo numbers, “Nosferatu” and “Summers Come, Summers Go,” and performs “Undead One” and ‘Deep into the Darkest Night” with the suitors. Van Helsing also duets with Dracula in “It’s Over.”

This production focuses on the seriousness of the times, and the traditional roles in Victorian society. Stoker’s aggressively sexual characters were a novel idea in that era, for polite society followed rigid rules of decorum.

Flirting with forbidden eroticism has always been an appealing aspect of the mythology – and if you’ve seen Francis Ford Coppola’s “Dracula” movie in 1992, the ‘True Blood’ series on HBO, and even the ‘Twilight’ franchise, you don’t have to be Fellini to figure out the temptation metaphors.

Director Scott Miller and co-directory Marr keep it tasteful, implying the blood lust without fangs or special effects, or icky graphic stuff.

Both Mina’s and Lucy’s seductions are simply staged, and the deaths through various implements are downplayed. (Although blocking prevented me from seeing Lucy’s beheading).

This cast must build the desire and the fear into their characterizations because, unfortunately, the book by Don Black and Christopher Hampton is like a Cliff Notes version of the source material. It’s neither fascinating nor passionate, and the actors have to do the heavy lifting on their own.

Coffel, Cole Guttmann. Photo by Jill Ritter Lindberg

It’s important to be aware of the basic Dracula scenario, for this script has little world-building, assuming you’re well-versed in it.

The setting toggles back and forth between a castle in Transylvania, England, a ship, Budapest, and a mental asylum, which can be difficult to follow if you’re not plugged into the most famous vampire figure in history.

Black’s lyrics have more exposition than the book. Gutmann’s soulful voice stirringly delivers Wildhorn’s grandiose ballads, injecting a more tortured, troubled persona rather than a monstrous villain into the numbers.

And he does so admirably, from his first number “Solitary Man” to “At Last” and finale. His anguish and his power are explored in “A Perfect Life/Loving You Keeps Me Alive” with Kohl and McCreary, one of the standout numbers.

Lucy is doomed, and Simpson is impressive as the poor unfortunate soul. She and Gutmann display a palpable chemistry, and that may be chalked up to being partners in real life.

Their number, “Life After Life,” joined by the company, sets up the inevitable trajectory, and their harmonies are solid.

Kohl, Guttmann. Photo by Jill Ritter Lindberg.

When Dracula falls in love with Mina, that allows for some outstanding vocal work by Kohl and Guttmann. Kohl is capable of pathos, as exemplified in “Please Don’t Make Me Love You” and “If I Had Wings.”

I wouldn’t say sensuality is evident, but as accomplished singers, they know how to deliver poignancy.

The designers have expertly crafted a creepy atmosphere, with Matt Stuckel’s lighting design and Ryan Day’s sound design establishing an off-balance feel.

Costume designer Zach Thompson has fashioned appropriate 19th century styles and sultry outfits for the Weird Sisters, with nifty little details to make the looks interesting..

Lippert’s skills have highlighted functionality for the scenic design, making the most with a few signature pieces – a centerpiece crypt doubles as a bed and a table and there is a striking stained glass window.

Music Director Jenna Lee Moore, who helmed “Nine” last year, has a terrific group of six musicians and plays keyboard. Paul Rueschhoff is on cello, John Gerdes on brass/bass, Mary Wiley on reeds, Mallory Golden on violin, Buddy Shumaker on guitar and second keyboard, and Clancy Newell on percussion.

Wildhorn is a hit-and-miss with me. When New Line spiffed up his “Bonnie and Clyde” in 2014, it was one of my favorites that year, showcasing top-notch performances and telling a compelling story.

He is the composer of both pop songs (“Where Do Broken Hearts Go” for Whitney Houston) and musicals, including his most famous, “Jekyll & Hyde” that ran for four years on Broadway. In 1999, he made history by having three shows run simultaneously – besides Jekyll & Hyde, “The Scarlet Pimpernel” and “The Civil War” were also on Broadway.

This musical version of “Dracula” isn’t as fascinating as one expects, given our knowledge of the story, and a reference base from more than 30 films based on the world’s most famous vampire. But this is a sturdy cast whose efforts are noteworthy.

You may not leave humming a tune or consider any of the songs as memorable as Wildhorn’s “This Is the Moment,” from “Jekyll and Hyde,” but you won’t forget the music New Line’s team made.

Photo by Jill Ritter Lindberg.

New Line Theatre” presents “Dracula” May 30 – June 22, Thursdays, Fridays and Saturdays at 8 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, in the Grand Center Arts District. For more information, visit: https://www.newlinetheatre.com.

To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Photo by Jill Ritter Lindberg.

Stages St. Louis’ ‘Steel Magnolias’ Effusive In Heart and Humor

Stages St. Louis’ ‘Steel Magnolias’ Effusive In Heart and Humor

By Lynn Venhaus

With its Dream Team of actresses eliciting all the feels, a sterling “Steel Magnolias” is a warm and wry reminder about the connective tissue that binds us – whether it’s family, friends or community ties.

In only the second play produced by Stages St. Louis, following the runaway success of last year’s “Clue” (winner of five St Louis Theater Circle Awards out of 11 nominations), the company has kicked off its 38th season with an enduring classic.

Robert Harling’s beloved comedy-drama honored his late sister, Susan-Harling Robinson, who died of complications from Type 1 diabetes in 1985. Taking place over three years, the play celebrates the special bond of a group of women in a small Southern town.

First presented off-Broadway in March 1987, the play opened on Broadway that June, and ran for 1,126 performances until it closed in 1990. The original 1989 smash hit film starred an all-aces ensemble including Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton, Darryl Hannah and Julia Roberts in her first Oscar-nominated role.

Those are some heavy shoes to fill, but with this irresistible group, it’s a pleasure to watch them interact like they’re an Olympic sports team at play. Their fervor for this work is obvious, and they each bring something fresh to their roles.

Photo by Phillip Hamer

In her Stages St. Louis debut, intuitive Amy Loui anchors the cast as doting but worry-wart mother M’Lynn as they get ready for daughter Shelby’s wedding. Taylor Quick is also making her Stages debut as the vivacious Shelby, sparkling with personality.

The women gather at Truvy’s Beauty Spot, an in-home salon. Spunky Jilanne Marie Klaus scampers around as the busy business owner, dispensing homespun wisdom with a side of sass zhuzhing their hair.

Playing off each other like one would expect the grand dames of St. Louis theater to achieve with their snappy banter and impeccable timing, Kari Ely is the elegant and affluent widow Clairee who loves to gossip and Zoe Vonder Haar is the crotchety and very wealthy Ouiser who loves to annoy.

Sparks fly as the two trade barbs and speak their minds. Ely is marking 30 seasons with this company and Vonder Haar has been in 75 shows there.

Ouiser is such a crowd favorite that the audience erupted into applause when Zoe made her blustery entrance. She brought the house down uttering the famous line: “I’m not crazy, I’ve just been in a bad mood for 40 years.”

The character with the most growth is Annelle, hired as Truvy’s assistant. As played by Abigail Isom, she’s timid, but a people-pleaser, with enough problems to fill the lyrics of a country song. After dipping back into the dating pool, she becomes a Bible-thumper, which perplexes some of the ladies.

Photo by Phillip Hamer

Harling grew up in Natchitoches but set the play in the fictional northwest Louisiana parish of Chinquapin. He’s filled the conversations with colloquial references, mentioning the local football games, festivals, beauty pageants, and special occasions that give a place its color.

Those distinctive cadences make the show appealing, smoothly delivered and tugging at our emotions.

While the women cope with life’s rhythms, Shelby’s health deteriorates after a risky pregnancy doctors warned her about, and that stubborn streak puts her at odds with her concerned mother.

In real life, Harling’s sister gave birth to his namesake nephew and when a kidney transplant failed, it led to her body wearing out.

Director Paige Price’s care in honoring these delightful women is notable. She smartly moves the show along in a well-appointed space, with an outstanding scenic design from Kate Rance. They’ve both captured an authentic glimpse of Southern living in the ‘80s.

Taylor Quick as Shelby. Photo by Phillip Hamer.

Shelby’s signature color pink is highlighted in not only her fetching wardrobe but inside the inviting beauty shop too.

Costume designer Brad Musgrove has created an attractive array of looks befitting the characters’ ages and economic status. He selected a pleasing color palette to make the characters come alive.

A big component to the characters’ looks is the wig and hair designs by Daniel Paller, and he managed to create remarkably realistic hairstyles for each character.

Dialect coach Pam Reckamp’s work is especially noteworthy, considering all six’s Southern drawls are maintained without dropping throughout the two acts.

Lighting designer Sean M. Savoie’s customary excellence is on display, after 10 years of memorable work at Stages. The crisp sound design by two-time Tony winner Nevin Steinberg includes a mix of Shelby’s favorite songs playing on the radio. The local DJ is voiced with authority by unseen Kurt Deutsch.

Jilanne Marie Klaus as Truvy and Amy Loui as M’Lynn. Photo by Phillip Hamer.

There isn’t a false note conveying his family’s personal tragedy as Harling adroitly combined heartache with humor. The one-liners zing and the tears are earned.

Because of its believability, “Steel Magnolias” holds a special place in people’s hearts. Anyone undergoing grief and loss can relate. And the women’s strength is to be admired, even when they’re tossing off quips.

Sentimental without being sappy and sincere without being maudlin, “Steel Magnolias” demonstrates the enriching aspect of female friendships. And we’re the lucky ones to be reminded how very special the people in our orbit can be.

This production is a chef’s kiss. And don’t forget your tissues.

Stages St. Louis presents “Steel Magnolias” May 31 through June 30 at the Kirkwood Performing Arts Center in Kirkwood. For more information, visit www.stagesstlouis.org.

Photo by Phillip Hamer

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

By Lynn Venhaus

Whether you have a family that always puts the ‘fun’ in dysfunctional or is going through a temporary rough patch, you will find something relatable in Lila Rose Kaplan’s crowd-pleasing comedy-drama “We All Fall Down.”

Nowhere is an extended family’s quirkiness more apparent that at a holiday gathering, and this setting is a Passover seder with the Jewish but non-practicing Steins coming together.
 
The territory navigated is both familiar and foreign. When the playwright’s wit, director Rebekah Scallet’s finesse, and the cast’s crisp comic timing percolate on all cylinders, it’s splendid.

Yet, there is a busyness that comes across as somewhat annoying. The seven characters are all pre-occupied, with the parents and two grown adult children overstuffed with personality peculiarities, and the three guests underdeveloped. Perhaps some trimming would have made it feel less congested.

While the resolution is heartfelt, it doesn’t feel as genuine or as earned as it could be, for the relationships are complicated, and the revelations feel rushed.

As we all know, often when people try too hard to make a celebration joyful, it fails to meet expectations because of uncooperative moving parts.

Add befuddlement as to why this festival is happening now when it’s never been a big deal, which adds a layer – and everyone is in various degrees of a tizzy.

While psychologist and family therapist mom Linda (Mindy Shaw), history professor dad (Alan Knoll), yoga instructor daughter Ariel (Hailey Medrano), feminist activist-educator daughter Sammi (Bridgette Bassa), sarcastic aunt Nan (Jenni Ryan), a sweet but sensitive friend Bev (Bethany Barr) and an efficient assistant Ester (Taijha Silas) are preparing for this specific meal with their own ‘to-do’ lists, wackiness ensues, and universal truths give way.

Mindy Shaw, Hailey Medrano. Photo by Jon GItchoff.

In Judaism, Passover commemorates the Hebrews’ liberation from slavery in Egypt, sparing the first-born of the Israelites on the eve of the Exodus. There are specific rituals handed down through generations, and Kaplan deftly explains traditions to those of us not in the know.

Those of other faiths can identify with their own heritage’s touchstones while the evergreen themes of people growing older, and children growing up strike chords.

The ensemble meshes well, conveying all the stress, resentments and aggravations that a holiday represents, but also their unique family dynamic and relationships. As in real life, a delicate balance between mothers, fathers, daughters and sisters is always shifting.

Sunrise, sunset
Swiftly fly the years
One season following another
Laden with happiness and tears

Knoll, whose performances are always lived in and first-rate, has shaded Saul with convincing layers, coming across at first as good-natured but concealing a troubled soul.

His memory is fading, and he’s confused, disconnected, and not understanding what’s happening, although he’s trying to cling tight to his routines.

His patterns are being interrupted by all the hubbub, and glimpses of what’s happening begin to be noticed by the others when they start paying attention. Most everyone is in their own little bubble and must eventually find the compassion they need at this moment. Frustrated, he won’t admit or can’t come to terms with his cognitive decline.

Alan Knoll, Bridgette Bassa, with Jenni Ryan in background. Photo by Jon Gitchoff.

Those who’ve witnessed a loved one lose parts of themselves through Alzheimer’s disease or other forms of dementia can recognize the symptoms that Kaplan astutely presents.

A flustered, frantic melodramatic wife and mother, Linda is played as a demanding perfectionist with nervous energy by the lissome and facile Mindy Shaw.  

This bossy control freak and bestselling author has a hidden agenda that keeps everyone guessing as to why she’s going to all this trouble. She’s a little kooky dressing up in costumes and flitting about.

Her two daughters, with secrets of their own, are focused on their problems and not why their dad may have retired early, why he’s drinking so much, or why mom’s making the signature dishes for what an old neighbor describes as “Jewish Easter.”

As adult daughters, Bassa and Medrano affect a realistic sibling rivalry and dissatisfaction with their current paths. Intelligent and limber performers, Bassa and Medrano bounce off each other like women with a history, and their rhythm is naturalistic.

There is an undercurrent of tension that may be connected to their mother’s book “Mothering Difficult Children”,” which is a hoot.” (What a great title!).

Ryan plays Saul’s outspoken sister, Aunt Nan, a part that seems straight out of sitcom land, as does Barr’s Bev, an empty nester who once lived across the street.

Silas has a nice turn as Linda’s graduate assistant who is tasked with singing “The Four Questions,” and does so beautifully.

Taijha Silas as Ester. Photo by Jon Gitchoff.

The two-story suburban home setting designed by Andrea Ball is a marvel of functionality and comfort. The kitchen is stocked with all the necessary ingredients and tools to make Kugel and matzo balls, and the girls’ childhood bedroom becomes an oasis (as does a bathroom).

The technical design work is as admirable as ever, with Michael Sullivan’s lighting design and Michelle Friedman Siler’s costume design both stellar components. Cecille “Cece” Entz’ prop work is noteworthy — an appealing mix of years of clutter.

Ellie Schwetye’s sound design is always significant, and this time her mix tape choices are interesting — especially the specific “War of 1812 Overture” that’s in the script.

Kaplan crafted this play with heart. Originally produced in 2020 in Boston, this presentation is the regional premiere in St. Louis. She has a flair for tackling issues from a woman’s point of view, which is refreshing. However, the tone shifts several times, which happens when the material is both a comedy and a drama.

Scallet, also the artistic director, has helmed this show in a light-hearted way, even though the theme is heavy – parents must be taken care of even when you can’t take care of yourself

She and the playwright met years ago when Scallet was directing Kaplan’s play “Catching Flight,” which was part of a new play development program, and became friends.

The main takeaway is that traditions should be appreciated and familial love is the foundation of life. Whatever our families are going through, we can lean on each other for comfort and strength. All families deal with loss, lose their way, and re-emerge with new customs, yet never forgetting those who have passed.

Memories are made, and passed on through generations — simple yet profound.

Alan Knoll, Jenni Ryan. Photo by Jon Gitchoff.

The New Jewish Theatre presents “We All Fall Down” from May 30 to June 16 at the JCCA’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. The play is 95 minutes without an intermission. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8.p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

Special Note: Scallet will host two additional talkbacks with show audiences on Saturday, June 14 following the 4 p.m. performance, and on Thursday, June 6, following the 7:30 p.m. performance.

Photo by Jon Gitchoff.

Take Ten with Alan Knoll

Take Ten with Alan Knoll

By Lynn Venhaus

Throughout a long and illustrious career as a professional actor and director, Alan Knoll has been a steady and appreciated presence in St. Louis regional productions. This year, he’s as busy as ever, appearing as flawed dads in two plays — “We All Fall Down” and “August: Osage County,” and directing an acclaimed drama — “Red” — later this summer.

Knoll estimates he has been in more than 150 productions, with his current turn as Saul Stein, a retired history professor, in “We All Fall Down,” now playing at New Jewish Theatre through June 16.

“It appears to be around my 153rd show since I started acting ‘professionally’ right after college. That doesn’t include the many shows I did at St. Mary’s High School, St. Louis University, and all those little gigs I took right out of school that didn’t pay a little something,” he said.

The parts of Saul Stein and Charlie Aiken Sr. this year have been enriching, he said. He has moved easily between comedic and dramatic parts, with occasional forays into musicals.

“This is the year of the family dramedy for me, for sure. Playing Saul Stein in ‘We All Fall Down’ at the New Jewish Theatre took me down an unexpected road of reflecting on my own dad and what he went through at the end of his life. Playing Charlie Aiken in ;August: Osage County” gave me the opportunity to reflect on my successes and failures in raising my wonderful son,” he said.

Alan plays retired history professor Saul Stein in “We All Fall Down,” with Jenni Ryan (back) and Bridgette Bassa (right). Photo by Jon Gitchoff.

The New Jewish Theatre’s production will be its first in St. Louis, after it made its debut in 2020 at Boston’s Huntington Theatre. It illustrates the joys and heartaches of growing older, growing up, and growing to understand the value of tradition.

Mindy Shaw plays Saul’s wife Linda, a brilliant but dramatic matriarch, who wanted to bring her secular family together for their first-ever Passover seder. But as the night continues, the occasion goes from funny to poignant. The play reminds us how culture, personal identity, and family are intricately woven.

“Even with my next project, directing “Red” for the New Jewish Theatre, the play has that father-son dynamic. It brings up strong memories of me as both the son and the father,” he said.

A bonus of being in family-centered plays is the connections you make, he noted.

“The secret no one tells you about acting is every time you do a show you gain a family.  And when that show is about a family, those gained relationships can be even more intense,” he said.

As God.

He last appeared on the Wool Studio Theatre in 2018, playing the Almighty in “An Act of God.”

Knoll has worked with multiple companies in St. Louis, including The Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory..

He has also worked extensively over the years at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and about 160 miles from St. Louis. His wife of 26 years, Laurie McConnell, became the marketing director there in 2023, and they moved from their Dogtown neighborhood to the quaint village of Arrow Rock.

He received Kevin Kline Award acting nominations for “It’s a Wonderful Life” and “Conversations with My Father.” Besides acting, he has been nominated for directing Neil Simon’s autobiographical comedies “Brighton Beach Memoirs” and “Broadway Bound” at New Jewish Theatre by the St. Louis Theater Circle Awards.

He has also appeared in several films, including as a prison warden in 2023’s “Penitentia,” and in the 1998 mini-series “A Will of Their Own” as a reporter, which was shot in St. Louis.

Despite his busy schedule, he graciously gave us his time to answer our Take Ten questionnaire.

With Steve Isom in “Wittenberg” at Upstream Theater.

Take Ten Q&A

1. What is special about your latest project?

“Lila Rose Kaplan’s family comedy/drama is just great. I didn’t realize it would be so special to me, but in rehearsing it, it has become a role that is very close to my heart. It has made me reflect on my own dad and what he was going through toward the end of his life.”

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

“It was the only thing I felt comfortable doing! As a kid, I was pretty lonely and isolated, not very happy at all. At St. Mary’s High School, I met Rich Contini, the drama teacher, which changed the trajectory of my life. That continued at SLU under the guidance of Alan Hanson, Robert Butler and Wayne Loui.”

3. How would your friends describe you?  

“What friends?
I guess as an easy-going nice guy. I hope so anyway. I have a sense of fairness and I make them laugh. Also, if you need to know who won Best Supporting Actor in 1942, I’m faster than Google.”

Alan Knoll as the U.S. president in “November” at St. Louis Actors’ Studio.

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

“What is this spare time you speak of? Reading, watching old movies, finding a streaming show for us to become obsessed with, walking our rescue pooch, Truman.”

5. What is your current obsession?

“Abbott Elementary and running from cicadas.” 

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

“I’m very shy.”

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

“Marrying the best girl in the world, Laurie McConnell.”

8. Who do you admire most? 

“I would have to say my wife, Laurie McConnell. She’s amazingly talented and so sweet to everyone. She always becomes a rockstar at whatever she does, whether it’s in her radio career, her acting career or her marketing career. I don’t know how she does it.”

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

“Travel, because I have done very little of it. Touring the UK (or whatever it’s called since Brexit) is a dream of mine.”

Alan and wife Laurie McConnell. Provided photo.

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?

“2020 was scheduled to be one of my best years.   I had acting and directing gigs lined up all over the place.  None of that happened.  Of course, this nothing compared to the millions who lost their lives.

Laurie and I got through it by teaching ourselves to cook and visiting with our neighbors over the fence in the back yard.  6 feet apart of course.  It reminded us of our inter-connectedness and how we’re not in this alone.

The St Louis arts scene was terribly affected.  All the theatres shut down and some never came back. Patrons got out of the habit ongoing to the the theatre and we’re still trying to fix that.”


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

This is my hometown, but now that I don’t live here, it’s fun to see the city and all it has to offer with fresh eyes.  Forest Park, Ted Drewes, hanging out with my son in the Bevo neighborhood, Imo’s pizza, smelling the hops emanating from the brewery where my Dad worked for forty years.  I love my hometown and the Cardinals…….even this year!


12. What’s next?

“Directing “Red” for the New Jewish Theatre, then performing in “Noises Off” at the Arrow Rock Lyceum Theatre, then a long nap.”

Playing a priest in “Flanagan’s Wake” at the Playhouse at Westport. The run was cut short by the pandemic shutdown in March 2020.

More About Alan Knoll

Name: Alan Vincent Stephen Knoll
Age: My wife Laurie says I act like I’m 12
Birthplace: St Louis
Current location: Home base, Arrow Rock, Mo.  Currently working in St Louis.
Family: Laurie McConnell & Ben Knoll
Education: Bachelor’s degree from Saint Louis University
Day job: Dog walker (just mine….unpaid)
First job:  Dishwasher at Al Smith’s restaurant on Grand, 7 Meramec in South St Louis
First play or movie you were involved in or made: My first play was the Caine Mutiny Court Martial.  I was a sophomore in high school.
Dream job/opportunity: I really want to play Willy Loman in “Death of a Salesman”
Awards/Honors/Achievements: The late, great Riverfront Times named me Best Actor as George in “Who’s Afraid of Virginia Woolf?”
A Woody award as a best supporting actor for the Black Rep’s “Intimate Apparel.” A Piglet Award for directing “Putnam County Spelling Bee” for St. Louis University.
Being enough of a working actor to earn a pension from Actor’s Equity.
Favorite quote/words to live by: Dying is easy, Comedy is hard — Edmund Gwenn
A song that makes you happy: “Gimme Shelter” – The Rolling Stones

The ensemble cast of The Rep’s “August: Osage County.” Alan is in the foreground, center.

Sparks Fly Between Two Great Actors, But ‘The Judge’ Is Over-Stuffed

Sparks Fly Between Two Great Actors, But ‘The Judge’ Is Over-Stuffed

Editor’s note: This review originally appeared in the Belleville News-Democrat on Oct. 10, 2010. We are running this review because of its resurgence streaming on Netflix.

By Lynn Venhaus
For the News-Democrat

What It’s About: In a clash of acting titans, two powerhouses go mano a mano in “The Judge,” an over-stuffed yet unpredictable dysfunctional family-legal drama.

Oscar winner Robert Duvall (“Tender Mercies”) is a respected judge who squares off with his estranged son Hank, played by Oscar nominee Robert Downey Jr. (“Tropic Thunder”), who reluctantly oversees his defense during a murder trial.

Hank is a slick Chicago lawyer who reunites with his small-town Indiana family after his mother dies. His older brother Glen (Vincent D’Onofrio) was a promising ball player whose career prospects were cut short after an accident. His younger brother Dale (Jeremy Strong) is a developmentally disabled adult living at home.

The tension is thick, underlining simmering resentments and long ago cold shoulders. You’ll find out why when we head into the courtroom, when the cantankerous dad is accused of a hit-and-run accident he doesn’t remember.

Performances: The joy of watching Robert Duvall create an authentic senior citizen to add to his august body of work is reason enough to see this relentlessly hyped film. Add the always electric Robert Downey Jr. and sparks fly.

Since “Iron Man” in 2008, Downey has spent considerable time being action hero Tony Stark, a great screen presence with his jocular manner and rapid-fire verbal riffs. He carries off sarcastic humor like few can, and you know he will make you laugh.

But the guy has serious acting chops. Since his first Oscar nomination for “Chaplin” in 1992, he left the Brat Pack movies behind, and has delivered interesting work (“Zodiac,” “The Soloist,” “Wonder Boys”), fulfilling the promise of his breakout “Less Than Zero” (1987).

So, “The Judge” is one of his smart roles, a touch of scoundrel, but also a smidgeon of the lost boy. The only drawback is that he talks so fast during frequent motor-mouth deliveries that he can’t always be understood.

They are joined by always intriguing Billy Bob Thornton as smug prosecutor Dwight Dickham, noteworthy Vincent D’Onofrio (“Law and Order: Criminal Intent”) and Vera Farmiga, under-utilized as the girl who got away. There is also a surprising turn from Dax Shepard (“Parenthood”) as a bumbling, inexperienced trial lawyer.

What Works: While the characters each have dense backstories, this story is too sprawling. The film is at its best when focusing on the complexities of father and son relationships.

Janusz Kaminski’s cinematography has a nostalgic feel to it, warmly lit to evoke memories of days past. The score by Thomas Newman is appropriately wholesome, with the surprise of Willie Nelson singing Coldplay’s “The Scientist” over the credits

What Doesn’t Work: Director David Dobkin (“The Wedding Crashers”) is in over his head. He is heavy-handed, cramming way too much in multiple story threads, and then under-serving the genuine moments. He needed to pick a tone and stick with it, and his pacing was poor. There is no value whatsoever in being more than two hours’ long.

Vera Farmiga, as Hank’s ex-girlfriend who runs the local diner, seems to be a contrived convenience, and was extraneous to the plot.

Dobkin is responsible for the story that the screenplay by Nick Schenk and Bill Dubuque (“Gran Torino”) is based on, and felt the need to insert tornado-like weather as a metaphor. Oh boy.

Substituting picturesque Massachusetts for bucolic Indiana wouldn’t have been that jarring had it not been for the green mountains on view. Say what? Filmmakers might have researched topography of Indiana.

“The Judge” is the kind of film that is entertaining despite being emotionally manipulative. And the performances keep you watching.

Stars: Two and a half
Director: David Dobkin
Starring: Robert Duvall, Robert Downey Jr., Billy Bob Thornton, Vincent D’Onofrio, Vera Farmiga, Leighton Meester
Rated: R for language including some sexual references
Length: 2:21

Stunts Dazzle, Story Fizzles In Grisly ‘Furiosa: A Mad Max Saga’ Prequel

Stunts Dazzle, Story Fizzles In Grisly ‘Furiosa: A Mad Max Saga’ Prequel

By Lynn Venhaus

Another thunderous full-throttle fever dream from visionary filmmaker George Miller, “Furiosa: A Mad Max Saga” repetitively smashes and crashes a megaton of souped-up vehicles in a savage and dusty post-apocalyptic world.

That loud and noisy thrill ride is expected in the prequel to Miller’s ambitious fourth foray nine years ago – “Mad Max: Fury Road,” which continues his gritty, grungy, and gruesome sci-fi world he created in 1979.

Filmgoers enthralled with this high-on-carnage, low-on-story dystopian adventure will again be dazzled by the extraordinary stunt work, eye-popping aerial feats, and the stunning visual effects as survivors’ barrel through the Australian Wasteland.

Nevertheless, Miller’s reliance on more CGI than its predecessor makes this action spectacle’s excess mind-numbing, accompanied by a grating music score composed by Tom Holkenborg that sounds like an incessant cruise ship’s horn.

When clips from Fury Road play over the end credits, it’s another reminder of how much better and epic it was.

After all, the 2015 film earned 10 Academy Award nominations, and won six – for costume design, film editing, production design, sound mixing, sound editing, and makeup and hairstyling. (This one may duke it out with “Dune, Part Two” in technical categories, however.)

Not to take anything away from the efforts of Anya Taylor-Joy, who is terrific, and so is her remarkable young counterpart, Alyla Browne, in creating the backstory of Imperator Furiosa, the mysterious and fierce warrior who was memorably played by Charlize Theron in the Fury Road installment.

With her striking appearance – shaved head and missing part of one arm, she teamed with Tom Hardy’s Max Rockatansky against the evil Immortan Joe and his War Boys to rescue five imprisoned brides.

Taylor-Joy, who proves her mettle as an action star, is a captivating middle piece in the puzzle established by Browne’s astonishing turn that deftly sets the table for the faster, more furious grown-up.

The youngster was snatched from The Green Place of Many Mothers, and had no choice but to become a rebel, disguising herself as a male, saying little, and staying sharp. In fact, the character only has 30 lines of dialogue for 2 hours and 28 minutes.

The technical elements are first-rate, with Simon Duggan’s cinematography an outstanding achievement, as is the gnarly production design by Colin Gibson, who created “Fury Road” – and that Australian classic “Priscilla, Queen of the Desert.” Costume Designer Jenny Beavan, who has won three Oscars, including one for “Fury Road,” continued her punk aesthetic.

But there is little freshness to this dystopian adventure now being told for the fifth time. The resolution takes too long, and the plot holes are obvious in the script, co-written by Miller and Nico Lathouris.

While a movie is only as good as its villain, Dr. Dementus is not a strong one, despite showy antics from a nearly unrecognizable Chris Hemsworth. He’s a preening and pompous buffoon who acts like a carnival barker and controls Gastown with his marauding biker boys.

The supporting cast is nondescript and interchangeable, except for Tom Burke as Praetorian Jack, who becomes Furiosa’s ally. This movie is the first one without Mad Max, although there is a brief cameo that means nothing.

Increasingly more brutal, the Mad Max series began 45 years ago, when a little-known Mel Gibson portrayed the cop whose wife and daughter are murdered by a biker gang. As the world fell in a future Australia, he came a drifter roaming through the bleak radioactive desert.

The 1979 film, which dubbed Gibson’s voice for an American audience, helped usher in the Australian New Wave.

A superior “The Road Warrior” followed in 1981, establishing Miller as an action force. By then in the sci-fi plot, society had broken down to such an extent, after war, a ruined environment, and critical resources in short supply, that it’s survival of the fittest, and an unsettling barbaric culture.

The third film, 1985’s “Mad Max: Beyond Thunderdome,” was the weakest, yet Tina Turner’s performance as Aunty Entity was impressive. It wasn’t until 30 years later that Miller revisited this landscape.

Miller has directed them all with bombast, which is quite a departure from his beloved Oscar-winning animated film “Happy Feet” and Oscar-nominated “Babe” and its joyous sequel “Babe: Pig in the City.”

If you’re still interested in watching the Mack Truck war rig and tricked-out dune buggies as bodies pile up amid the swirling dust, “Furiosa” is meant for you. However, my eyes glazed over.

Sure, the wild stunts are appealing — those acrobatic polecats are still tremendous additions as we drive full-speed-ahead into a hopeless world.

“Furiosa: A Mad Max Saga” is a 2024 sci-fi action adventure directed by George Miller and starring Anya Taylor-Joy, Chris Hemsworth, Alyla Browne, Tom Burke, and. It is rated R for sequences of strong violence, and grisly images, and the runtime is 2 hours, 28 minutes. It opened in theatres May 24. Lynn’s Grade: C-

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

By Lynn Venhaus
On the surface, “IF” looks warm and fuzzy, a relatable story about the power of imagination and how it affects our childhoods. And while there is much to like about the film, the whimsy doesn’t quite live up to the magic it strives to capture.

While being imaginative and heartfelt, it is also sad and dark, which may confuse parents of young children who are unaware of the story’s tragic elements. The 12-year-old heroine, Bea, who has been through some things, faces another potential heartbreak.

Writer-director John Krasinski, who knocked it out of the park with his “A Quiet Place” films, was inspired by his two daughters to make a live-action Pixar movie, and the ambitious concept is a dandy one.

Yet I struggled to make sense of this alternate reality, for the logic doesn’t seem to be there, even in a fantasy. Lonely Bea, dealing with loss and staying with her grandmother while her dad is in the hospital, meets neighbor Cal, who sees abandoned imaginary friends. 

Cal serves as a matchmaker of sorts, finding new pals for IFs to hang around with, and be useful, for their previous childhood buddies grew up. Think of him as the guardian of the portal. He enlists the earnest and creative Bea.

Cailey Fleming is heart-tugging as a guarded Bea, and warms to Carl, wonderfully played by Ryan Reynolds, who appears more vulnerable than his usually jovial characters. His trademark snappy patter is here, but he’s also some emotional heft to display.

As a human, he blends into the visual effects with flair, standing out in two scenes that wow – a splashy dancing sequence and one where he materializes from a painting.

Reynolds’ agility goes a long way in liking Cal, and his story arc that comes full circle in the third act just might bring a tear to your eye, like it did mine. In fact, my tissue got a workout, like when I watched Pixar’s “Coco” and “Toy Story 4.”

The point about the need for human connection is well-taken, particularly after living through the global coronavirus pandemic. The central theme of the film is loss and grief, and the opening montage is comparable to the start of Pixar’s “Up.”

I can’t recommend this for children under 8, and don’t think a PG-rating is enough warning. If you take young children, be prepared to address some heavy questions.

And there are a few disconcerting choices – Bea walks to a bodega late at night alone, and we’re talking New York City (OK, Brooklyn, but…) and grandma (Fiona Shaw) is apparently OK with her wandering the city by herself.

Granted, we can’t shield our children from life’s cruel blows, and even classic Disney films feature death – Mufasa in “The Lion King” and the momma deer in “Bambi” come to mind – but this film’s marketing makes it look like shiny, happy people having fun.

Nevertheless, the all-star voice cast delivers funny and charming characterizations of various creatures, including Steve Carell as Blue, a gentle Muppet-like giant, and Phoebe Waller-Bridge as a cartoonish Betty Boop named Blossom.

In less substantial but full of personality vocal performances are Krasinski’s wife Emily Blunt as an excitable unicorn, Amy Schumer as a high-strung gummy bear and George Clooney as a spaceman (remember “Gravity”?). In his final role, Louis Gossett Jr. is a wise Teddy bear.

Christopher Meloni plays one of the more animated characters, Cosmo, and the who’s who of Hollywood includes Brad Pitt, Matt Damon, Blake Lively, Matthew Rhys, Jon Stewart, Maya Rudolph, Sam Rockwell, Awkwafina, Bill Hader and Keegan Michael-Key. Outstanding talent is assembled, but with so many, not everyone gets moments to shine, more like snippets.

Alan Kim, whose breakthrough role was in “Minari,” plays Benjamin, a hospital patient who befriends Bea, and it’s a sweet, but underdeveloped character

The film does have a striking fairy tale-storybook glow to it, courtesy of cinematographer Janusz Kaminski, who has worked with Steven Spielberg since 1993 and won Oscars for “Schindler’s List” and “Saving Private Ryan.”

Jess Gonchor’s production design is also noteworthy, especially using Coney Island as a fantastic playground for the IFs, as well as a nifty retirement home. Gonchor, longtime collaborator with the Coen Brothers, also created the striking set design for “White Noise,” another difficult world to build. He previously worked with Krasinski on “The Quiet Place, Part II.”

Jenny Eagan’s costume design is delightful, and the army of special and visual effects wizards dazzle with their playfulness.

Krasinski’s heart is in the right place, and the intention is admirable, if not the execution. While the third act redeems the storyline to an extent, the movie fails to live up to expectations, which is a letdown, given the enormous amount of talent involved.

“IF” is a 2024 comedy-drama-fantasy written and directed by John Krasinski, starring Ryan Reynolds, Cailey Fleming, Fiona Shaw, Steve Carell, Alan Kim and Krasinski. Rated PG for thematic elements and mild language, its runtime is 1 hour, 44 minutes. Opens in theatres May 17. Lynn’s Grade: C

Take Ten with Kelly Howe

Take Ten with Kelly Howe

Editor’s Note May 22: “Just One Look” returns to the Blue Strawberry on Wednesday, June 26, at 7:30 p.m. Tickets are on sale now, and can be reserved at BlueStrawberrySTL.com or by calling 314.256.1745.

By Lynn Venhaus

Originally scheduled for three performances, the Linda Ronstadt tribute show “Just One Look” has been playing for more than a year.

Now 19 performances (and counting) later, the original cabaret will be on stage for a return engagement on Wednesday, May 15, at the Blue Strawberry. Kelly Howe reprises her critically acclaimed performance.

The Midnight Company first mounted the show in March 2023. Creative Director Joe Hanrahan wrote and directed the piece, framed as an interview and career retrospective, with Howe singing Ronstadt’s most iconic songs.

“The response has been absolutely bonkers. People have seen it three and four times. They’re not only sending friends, they’re coming back with friends. And the audiences are consistently great, hooting and hollering. I’ve never really been a part of anything like it. It’s great! I’m having more fun with every show,” she said.

“I love singing these songs. Lucky she has incredible taste in music, so we really couldn’t go wrong in choosing if we tried. She really chose great great songs, as we talk about in the show,” Howe said.

Ronstadt ruled the pop charts and filled stadiums in the 1970s and 1980s. The reigning rock goddess of her era, she later sang Gilbert and Sullivan in “The Pirates of Penzance” on Broadway and the Great American Songbook in collaborations.

Her worldwide album sales totaled more than $50 million, she won 10 Grammy Awards, and received the National Medal of Arts and Humanities, plus was inducted into the Rock and Roll Hall of Fame in 2014.

Her songbook featured collaborations with some of the biggest names in music, and her personal life included long-term relationships with, among others, California Governor Jerry Brown when he was running for president, and filmmaker George Lucas best known for the “Star Wars” universe.

In “Just One Look,” Hanrahan portrays a veteran rock ’n roll journalist who finally gets to interview his unrequited love, Ronstadt, though she’s now retired to her hometown of Tucson, suffering from Parkinson’s disease. During the course of the show, they remember her debut in Los Angeles, and Howe becomes the younger Linda, recalling her storybook career and singing her great songs.

“Both Kelly and I have a deep appreciation for the great music Linda Ronstadt delivered. Both her rockers and her ballads are among our favorite songs. We aim to remind people who she was, and to honor her work and her life,” Hanrahan said.

Howe recreating a version of Ronstadt’s album “Hasten Down the Wind.”

After Ronstadt’s long success on the pop music charts, she went on to triumphs on Broadway with Gilbert and Sullivan, three albums of the Great American Songbook with Nelson Riddle, Mariachi and lullaby albums, and much more. She had three number 1 hit albums, and 10 albums in the top ten. 

She recorded over 30 albums, and appeared as a guest on 120 albums by other artists – from Philip Glass to a duet with Homer Simpson. There was a number 1 single,  3 number 2s, 10 top ten singles, 21 reaching the top 40, and two number 1 hits on the Country charts. 

Ronstadt’s hits included “Different Drum,” “Blue Bayou,” “Desperado,” “It’s So Easy,” the title song of this show and many more.

“When Joe and I first talked about doing a show like this, we didn’t know at first who it would be about. We both thought of Linda Ronstadt separately. He’s a big fan, and I’ve always been a big fan of hers too. She was still coming out with huge hits when I was a kid. I can’t remember not knowing who she was or wanting to sing like her,” she said.

“In preparation for the show, I really dug into her music more than I had before. She is just incredible. One of the greatest singers of all time. And one of the coolest people too. I love her. I didn’t imagine I’d get to play Linda Ronstadt when I grew up, but I’m sure glad I did! It’s a cool gig, man,” she added.

Howe is an award-winning performer herself. She was nominated twice for Outstanding Supporting Performer in a Drama, Female or Non-Binary Role, by the St. Louis Theater Circle — for this year’s awards in March for her role as a grieving mom in “See You in a Minute” from Contraband Theatre, and for her role as a factory worker in “Sweat” presented by the Black Rep in 2021.

She has also been in “Tommy” as Mrs. Walker at Stray Dog Theatre and the title character in “Rodney’s Wife” at The Midnight Company, as well as part of two Aphra Behn Festivals from SATE. Kelly earned her BFA in theatre from Stephens College then moved to New York City where she worked as an actor, vocalist, and occasional producer for a decade before coming home to St. Louis. 

The Just One Look Band is led by Music Director/Pianist Curt Landes, who has played with Chuck Berry, Albert King, Glenn Campbell, John Hartford and the St. Louis Symphony Orchestra, and has appeared at numerous national and local music festivals.

Tom Maloney is on guitar and bass. He was the music director for an international Johnnie Johnson tour. He’s played with everybody from Jerry Vale to Homesick James, and co-wrote and produced Jeremiah Johnson’s #1 song on the Billboard Blues Chart, HiFi Drive. 

And Mark Rogers will handle percussion and provide backup vocals. Mark co-founded many local bands, including Street Corner Symphony, Walnut Park Athletic Club and The Heaters.  He proudly claims that he’s used the same drum set since 1968, and and the same milk can as a drum stool since 1973.

Kelly Howe as Mrs. Walker in “Tommy” at Stray Dog Theatre in 2019.

This partnering with Blue Strawberry wasn’t the only collaboration that Midnight has mounted several over the past year.

“Jim Dolan of The Blue Strawberry and I have discussed incorporating a theatrical element into classic cabaret, and with the Linda Ronstadt show, we’re aiming to create that,:” Hanrahan said last March.

“Blue Strawberry is excited to be working with Joe Hanrahan and Midnight to present this show. As a longtime fan of Joe and Midnight’s work, we are honored to be a part of this production,” Dolan said.

The Midnight Company’s performance of “Just One Look” takes place at 7:30 p.m. on Wednesday, May 15, at The Blue Strawberry, 356 N. Boyle. For more information, visit: bluestrawberrystl.com

“Rodney’s Wife” at The Midnight Company in 2022.

Take Ten Questionnaire With Kelly Howe

1.What is special about your latest project?
Well, my current project “Just One Look: A Tribute to Linda Rondstadt” has been running for more than a year. It was originally scheduled for three performances, 18 sold out performances and a quick stint at City Winery later, we’re still going. So, I’d say it’s definitely special. It’s certainly fun.

2. Why did you choose your profession/pursue the arts?
I’m not sure I’d call it a choice. Since the first time I was on stage as a kid, there wasn’t really any other option. It’s kind of
just part of who I am.

3. How would your friends describe you?
This is funny, I don’t know! Nice like, kind of funny, good in the kitchen, Beatles obsessed…that basically sums me up lol.

4. How do you like to spend your spare time?
I like to see plays! Lucky this town is lousy with them! I also love to travel. Anywhere and everywhere. Wish I could do it
more.

5. What is your current obsession?
I just finished watching “Ripley” on Netflix. It was very well done, very compelling. But most of all beautiful to look at. A
trip to Italy has been on my list for a while, but the show has made it more a priority. My current obsession is figuring out
when and how I can get my old man and me to Italy. Itinerary TBD.

6. What would people be surprised to find out about you?
I hate mayonnaise, ketchup and yellow mustard. Pickles too. I’m basically anti-condiment.

7. Can you share one of your most defining moments in life?
I was in the St. Louis Children’s Choir as a kid. When I was in the 8th grade we went on a trip to Russia, Czechoslovakia (it
was called at the time), and Austria. It was amazing. I think being exposed to such different cultures at such an early age
really defined who I am in many ways. Travel is the best education there is, in my opinion.

8. Who do you admire most?
Hmmm, I am filled with admiration for a lot of folks about town…I’d have to say my parents though, and my husband. Two I
was lucky enough to be born to, one I chose. They are definitely the people I aspire to be most like.

9. What is at the top of your bucket list?
I have a long list of places I still have to see. My bucket list is populated with travel destinations. Plenty of roles I’d like to
play too, too many to list.

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?
Man, this is a lot. I was tending bar before the pandemic started, I will never forget the night I closed the bar when everything shut down. So crazy. Jack Patrick’s survived the pandemic and is still one of the best spots in town! But I didn’t feel comfortable continuing that work in the pandemic, I’m a bit compromised. I did not like the isolation though! It was very difficult. I spent most of it tutoring a 10 year old…tutoring is generous, I was more like her school chum as she was isolated and doing online learning. She is very smart and needed little help, but the time spent with her was a great gift. We read a lot. It was definitely helpful to be around such positivity and optimism, the optimism and wonder of a 10 year old was good medicine when all else seemed lost.

It felt like theatre was over. Zoom plays and the like were happening, but of course nothing compares to live in-person performance, and when we were in it, it felt like that was gone forever. What I’ve learned working on some early post-pandemic productions, and how the community has fought back since is that theatre, art and artists are resilient. We can creatively adapt and move forward, because if you make art, if you make theatre, there’s really no other choice in the matter. Life is so much less beautiful without it. So we must keep on
keepin’ on.

11. What is your favorite thing to do in St. Louis?
Man, I love St. Louis. It’s hard to choose a favorite thing. There is endless theatre to see. The food scene is top notch. There are the baseball Cardinals! STL City, The Blues. If you’re hip to the goings on in town, it’s hard to be bored.

12.What’s next?
“Old Times” with The Midnight Company. A Pinter play! I’m really excited for this one. Sarah Holt is directing. Joe Hanrahan, Colleen Backer, and myself will appear. I’m really excited to work with Sarah and Colleen. I know I love working with Hanrahan. July 11 – 27.

More Information On Kelly Howe:

Birthplace: Centralia, IL
Current location: South St. Louis City
Family: me and my old man, Kyle
Education: BFA in theatre from Stephens College
Day job: Swade Cannabis Dispensary (drug dealer)
First job: St. Louis Bread Company, one of the first!
First play or movie you were involved in or made:
Peace Child The Musical at Stages. Pretty much sealed the deal for me.
Favorite jobs/roles/plays or work in your medium? I was lucky enough to perform SWEAT for Lynn Nottage with The Black
Rep. We were a part of The William Inge Festival that honored Lynn Nottage that year. Hard to beat that one.
Dream job/opportunity: Man, I just wanna keep getting hired for stuff. I’m not so picky. Ha.
Awards/Honors/Achievements: Lots of nominations, no awards. Yet.
Favorite quote/words to live by: All you need is love!
A song that makes you happy: Yikes, so many. Beyoncé’s cover of “Blackbird” has so far made me cry every time I’ve
heard it. Happy tears from the beauty and weight of it.

Linda Ronstadt

Chase Cinemas Special Event Scores ‘The Cabinet of Dr Caligari’

Chase Cinemas Special Event Scores ‘The Cabinet of Dr Caligari’

By Lynn Venhaus

A special presentation of the digitally remastered 1920 silent German horror movie “The Cabinet of Dr. Caligari” will be scored by organized Gerry Marian this weekend at the Chase Park Plaza Cinemas.

The 74-minute film will be shown at 11 a.m.  Saturday and Sunday, May 11 and 12 in the main auditorium. Tickets are $5.

Theatre Manager Robert Hunt said they hope to schedule similar type events. At Halloween, they will show Lon Chaney’s version of “The Phantom of the Opera.”

Gerry Marian, house organist at the Chase Park Plaza Cinemas. Photo provided.

We’re trying to do two or three of these silent movie performances a year, with Gerry performing his own scores. He did ‘Mark of Zorro’ in February, and it was a great success.  In the past, he’s done ‘Phantom of the Opera’ and ‘Nosferatu,’ he said.

Marian, who has been the staff organist at the Chase Cinemas for 25 years, entertains with live music in Theatre 3 usually Wednesday through Sunday before matinees.

“I love it. It’s part of my life. It makes people happy. They remember times in their past, good memories,” he said. “I think it adds something to the movies. We get good feedback.”

Marian was a protégé of legendary Stan Kann, who was the resident organist at the Fox Theatre in St. Louis for 22 years. Marian was his assistant for 10 years.

Marian, who grew up in St. Louis and graduated from Southwest High School, started playing the organ when he was 14. He said modern technology has improved the sound quality so that he is able to provide an audio experience evocative of grand movie palace organs.

The Cabinet of Dr Caligari.

A movie buff, Marian looks forward to providing something different with a classic of early cinema.

Considered the first horror movie and an outstanding example of German Expressionist cinema, “The Cabinet of Dr. Caligari” is about an unhinged hypnotist (Werner Krauss) who uses a brainwashed sleepwalker (Conrad Veidt) to commit murders.

A young man and his fiancé recall a horrible experience with the mysterious doctor at the annual fair in Holstenwall. Francis and his friend Alan visit the exhibit, The Cabinet of Dr. Caligari, where the doctor wakes up Cesare, a somnambulist. Cesare tells Alan he will be dead before dawn. Sure enough, after his body is found, Francis starts investigating. He spies on both the doctor and Cesare.

Robert Weine directed the film, which features a dark, twisted visual style. The set design features sharp-pointed forms, curving lines, landscapes in unusual angles, shadows, and streaks of light.

For more information, visit https://www.stlouiscinemas.com/movie/The%5FCabinet%5Fof%5FDr%5FCaligari%5F1921

The Cabinet of Dr Caligari

Gosling and Blunt Elevate Amusing Spectacle in ‘The Fall Guy’

Gosling and Blunt Elevate Amusing Spectacle in ‘The Fall Guy’

By Alex McPherson

Fun, charming, and heartfelt, albeit insubstantial, director David Leitch’s “The Fall Guy” is purely entertaining – letting us watch two hot leads sizzle up the screen in an action rom-com that’s an ode to stunt teams and behind-the-scenes workers.

Leitch’s film, very loosely based on the 1980s TV series of the same name, centers around Colt Seavers (Gosling), an outwardly confident yet insecure stunt double for the superstar Tom Ryder (Aaron Taylor-Johnson, suitably obnoxious), who lies about doing his own stunts. Colt is in a fling with camera operator Jody Moreno (Emily Blunt), and everything seems great:

Colt can do what he loves, impress Jody, and feel cool. At least, until it all falls apart. Colt breaks his back while redoing an aerial stunt — Tom claims that Colt’s face was visible on Take One — which makes him question his life choices. Colt (perhaps because of his bruised ego), pushes Jody away, and wants to abandon the profession altogether. Jody is heartbroken, and Colt begins working as a valet at a Mexican restaurant.

Eighteen months later  Colt, stuck in a rut and regretting his decisions, is contacted by the high-strung, Diet-Coke-addicted Gail Meyer (Hannah Waddingham), Tom’s film producer. Gail informs Colt that Jody is directing her first film — a mishmash of “Dune” and “Mad Max” called “Metalstorm” — and Jody wants Colt to come aboard. Colt is thrilled, seeing this as a chance to get back together with Jody. He heads to Sydney, Australia, to begin filming. 

Upon arrival, however, Colt discovers that Jody never actually asked for him. On the contrary, she’s highly resentful, at one point taking out her anger by making Colt repeat a painful stunt until her bloodlust is satisfied. But there’s still a flirtation between them, a flicker of the love that used to be, that shines through in their alternately combative and affectionate banter.

Before long, Gail reveals to Colt that Tom has gone missing and tasks Colt with finding him before time runs out and production shuts down on “Metalstorm.” This could be Colt’s chance to save Jody’s movie, redeem himself in her eyes, and rekindle their bond. Thus, the stage is set for an adventure that succeeds most if viewers sit back, let the increasingly convoluted plot wash over them, and go along for the crowd-pleasing ride.

Indeed, “The Fall Guy” is a breezily diverting experience, with pop culture references galore and an obvious appreciation for filmmaking and the people who work tirelessly behind the scenes to make it all a reality. It’s also an opportunity to bask in the star power of Gosling and Blunt, whose dynamic gives the film a sexy burst of energy that buoys a plot that becomes a little too unwieldy for its own good by the chaotic final act.

Aaron Tyler-Johnson as mega-star Tom Ryder.

Leitch’s film tries to simultaneously be a cheesy romantic comedy, a self-effacing send up of blockbusters, and a tribute to the tireless efforts of stunt crews, but it ultimately short-changes all of these threads, becoming far less than the sum of its parts. But damn, is it a likable ride nonetheless.

Over the years, Gosling has proven himself as a versatile actor, and “The Fall Guy” gives him yet another opportunity to shine. His performance as Colt won’t win any awards – Leitch doesn’t bother much with backstory or give Colt’s “serious” moments time to breathe without balancing them with self-aware humor or broad slapstick comedy. However, Gosling’s brand of goofy charisma works well here, as Colt becomes the lead star of his own action film.

Gosling’s always a joy to watch, whether engaging in Leitch’s creatively-staged action sequences (a psychedelic nightclub beat-down and a battle within a garbage-truck-turned-wrecking ball are the standouts), preparing for a particularly grueling stunt on a film set, or crying his heart out to Taylor Swift’s “All Too Well” while reminiscing about his former fling with Blunt’s Jody. Much of the character’s appeal rests on Gosling’s shoulders, though, with him delivering sporadically eye-rolling dialogue with infectious sincerity.

Blunt is given less to work with here – and is largely sidelined for most of the film’s cluttered second act – but she has great chemistry with Gosling. Jody’s a passionate, career-focused woman, but can only hide her continued yearning for Colt for so long. Colt and Jody’s back-and-forth dialogue and will-they-won’t-they dynamic (elevated by Leitch’s perhaps overly self-assured direction) never loses its appeal, regardless of the story’s predictability.

Less successful is the satirical industry exposé element of the plot, which becomes too cartoonish, and almost becomes a parody of itself. It’s disappointing, in a way, since Leitch makes a lot of effort to immerse us in the thick of the “Metalstorm” film set early on, emphasizing all the coordination necessary to craft the perfect scene.

There’s an obvious reverence for the process that’s satisfying and immersive, but “The Fall Guy” ultimately doesn’t do much with this set-up. The peek-behind-the-curtain approach becomes window dressing for a film that leans into extremes, distracting us from otherwise relevant commentary on greed, fame, and AI.

  And that’s perfectly fine. As a summer blockbuster, “The Fall Guy” delivers, chock full of suitably crunchy fight sequences (Leitch’s background in stunts and action films is on full display), thrilling chases, quip-filled, reference-heavy dialogue, and a central romance that’s earnest and sentimental, carefully tuned for date-night-viewing.

But there are no stakes, which sits strangely, since the nature of stunt work involves performers putting themselves at risk for our entertainment.

There’s a lack of emotional engagement outside of watching beautiful people in a goofy lark that’s watchable without being especially memorable. Supporting turns from Winston Duke, Stephanie Tsu, and a dog that only responds to commands in French are amusing, but underdeveloped.

Footage of Leitch’s actual stunt crew on the film plays over the credits, too, and one can’t help but wish “The Fall Guy” paid more attention to the sacrifice and bravery that goes into the craft — rather than devolving into 80s-inspired ludicrousness.

The film remains consistently funny, however, and never boring. It deserves to be watched on the big screen with a lively crowd as a safe, reliable, mainstream experience accompanied by a large bucket of popcorn.

“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Alex’s Grade: B