With its genre mash-up of science fiction, horror, action-adventure and romance, the most surprising of all is that the romance is the most satisfying aspect of “The Gorge.” And that’s because of the sparks flying between charismatic co-stars Anya Taylor-Joy and Miles Teller.
While this mysterious thriller has intriguing menacing elements, it does take a while to get going, but once the creature danger plotline is revealed, it doesn’t take a biochemist to explain it all to us (although that does help) – so then what follows is entirely predictable and borders on the ridiculous at times.
But the pair’s coupling is worth sticking out the extra-long runtime of 2 hours, 7 minutes, because these lost souls are clearly meant to be together. As two lone wolves, they discover not only do they have their line of work in common, but so much more. Tenderly, though, they bond through poetry and music, which is a sweet, thoughtful touch.
Both are hired guns – she’s a Lithuanian assassin whose dad was a KGB agent, and he’s a former U.S. Marine who takes on sniper assignments, used to a solitary existence. They’ve accepted a vague year-long assignment to be guards at an undisclosed location.
They are told they are protecting the world from the present evil in this misty gorge, with eerie noises and a foreboding terrain. The enemy is unseen, but it’s only a matter of time until the threat is disclosed.
Teller’s Levi Kane is in the West Tower while Taylor-Joy’s Drasa is in the East Tower, super-secret representatives of a government pact made during the Cold War, during the tail end of World War II.
Levi, a reader, discovers a wall inscribed with sayings from all the previous guards, hidden behind a bookcase. He’s given a training lesson from his British counterpart who’s about to return to civilization after 365 days. As JD, Sope Dirisu alludes to the “Hollow Men,” a reference to the T.S. Eliot poem that Levi is familiar with, so that’s a tipoff.
Levi is told not to have contact with ‘the other side,’ although it’s unclear why not. The watchtower is self-sufficient with a garden, rainwater system, solar power, and he must perform a radio check every 30 days. Lots o’ firepower for protection as well.
Drasa may not have gotten the same memo, so she fires the first shot – they begin writing messages to each other, visible in their panoramic windows. It doesn’t take long before they’re playing long-distance chess and feeling a strong connection. What develops is fun and joyful, because it all makes sense in a swashbuckling scenario.
The screenplay by Zach Dean, while clever, has limitations because once we figure out who the real threat is, we’re faced with an onslaught of increasingly icky gross ‘things’ that crawl, some form of zombified human-plant-insect hybrids. They are relentless in trying to climb the steep walls of their ‘hell.”
Among other higher profile projects, Dean wrote one of my favorite guilty pleasures, “Deadfall,” so I admire his intentions. Yet, he did write “Fast X,” not chimps, which is what I suspected.
After repeated gnarly attacks, it doesn’t take a nuclear physicist to figure out that some sort of chemical warfare experiments have gone wrong (but of course, there is more to that discovery).
Our heroes now must team up for their survival, and the gauntlet is a disgusting maze of natural and man-made disasters. Director Scott Derrickson, who has crafted some well-received horror movies, including “The Black Phone,” and the mega-blockbuster “Doctor Strange,” has laid out a booby-trapped road map that benefits from cinematographer Dan Laustsen, who is known primarily for his work with Guillermo del Toro and “John Wick” chapters 2-4.
Lausten makes the environment a terrifying living, breathing world for this resourceful and smart couple to navigate, with plenty of tension and threats of bodily harm. Their final attempt to escape is quite an inventive piece of derring-do.
The score is a dandy spooky synth-driven composition by Trent Reznor and Atticus Ross that adds to the creepy atmosphere, and Drasa’s musical taste unearths some alt-rock favorites like the Yeah Yeah Yeah’s “Spitting Off the Edge of the World.”
This is best to enjoy with as few expectations as possible. Come for the romance and stay for the thrills.
“The Gorge” is an action-adventure sci-fi horror thriller romance directed by Scott Derrickson and starring Miles Teller and Anya Taylor-Joy. Rated PG-13 for intense sequences of violence and action, brief strong language, some suggestive material and thematic elements, its run time is 2 hours, 7 minutes. It began streaming on Apple TV+ on Feb. 14. Lynn’s Grade: B.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus The awful truths of a dysfunctional family dealing with addiction and a lifetime of blame games is presented, unvarnished, in Eugene O’Neill’s potent semi-autobiographical masterwork, “Long Day’s Journey into Night.”
St. Louis Actors’ Studio has bravely tackled this challenging behemoth with ambition, dedication and determination, but with an interpretation that isn’t always as hard-hitting as one expected. Perhaps the subtlety sneaks up on us with a final emotional wallop at that sorrowful ending.
For those familiar with the clinical aspects of addiction psychology, the play is nearly a textbook example of how people in a family are affected by years of resentment, bickering, excuses, and unhealthy confrontations. And this is at an unenlightened time.
Mary Tyrone (Meghan Baker) has returned home after a sanitarium stay for her morphine addiction, which she blames on her rheumatoid arthritic pain, and her difficult pregnancy with her second son, Edmund. She fusses about her appearance, and frets about the family’s misfortunes.
Dustin Petrillo as Edmund and William Roth as James. Photo by Patrick Huber.
Her obsessive husband James (William Roth) is a once-famous stage actor who had a prosperous career, but is a notorious penny-pincher, haunted by his poor Irish immigrant upbringing. He is often chastising his sons for wasteful spending and not living up to their potential. He and the boys are heavy drinkers, likely he and Jamie are alcoholics, which they don’t acknowledge but keep enabling.
Oldest son Jamie (Joel Moses) is also an actor, not as successful, while Edmund (Dustin Petrillo) is a writer and poet, working for the local newspaper. He is also in ill health, likely consumption (tuberculosis). They are used to their flawed and stingy father finding fault with them, already beaten down by life.
Mary’s family is welcoming, but worried, afraid that she will slide back into use. Given the family’s penchant for blaming each other for their shortcomings and failings, it doesn’t take long to return to those bad habits.
They lack coping skills, and it’s obvious how deep the grudges go. It’s a sad, but inevitable dark trajectory, and unfortunately, a familiar one to many. Hence, the universal theme that remains recognizable.
Set in August 1912, over the course of one day, O’Neill wrote the play between 1939-1941, but it wasn’t staged until 1956, after the writer’s death in 1953. He posthumously won the Pulitzer Prize for Drama in 1957, and it is considered one of the great plays of the 20th century. Of course, these days, one can admit the exposition is lengthy, and the penchant for narrating memories is overused, but that was O’Neill’s style.
Meghan Baker and William Roth as Mary and James Tyrone. Photo by Patrick Huber.
As characters tiptoe around their deeply felt animosity, they recite their laundry lists of grievances, and each of the four acts explores a toxic atmosphere of bitterness despite a foundation of familial love, although broken.
The gloomy setting is their seaside summer home in Connecticut, and the tech crew has incorporated mist rolling in and sounds of the sea, which is a nice atmosphere in contrast to the claustrophobic drawing room where most of the action, well heated conversations, take place.
Everyone excuses their behaviors, and as Mary, in serious denial, becomes increasingly miserable and delusional, no amount of numbing themselves through whiskey matters.
The assignment is to bring out each character’s humanity and that is a tough one. Director Austin Pendleton has taken a measured approach, and the pace does not sag. While at times, the parents seem to be talking at each other, not with each other, they hint at the inescapable conflicted feelings that make them unavailable emotionally for each other. However, Roth and Baker exhibit a tenderness towards each other at times.
Most impressive are the brothers, Moses and Petrillo, who are dynamic scene partners, conveying an unbreakable brotherhood bond even when they lash out at each other.
Petrillo’s performance as the brooding, seemingly doomed brother, is the right amount of fear, confusion, and conflict. He’s closest to his mother, and therefore crestfallen when he fears a relapse. He earns the most sympathy.
Jamie could just be a caricature of an insensitive jerk unable to break a cycle of irresponsibility and anger, but Moses has found the right shift in tone, the character’s inability to break his abusive cycle. He’s the more pitiable character.
The elder James is too stubborn and intolerant, which is to his detriment, so Roth’s performance is an unwavering one-note in judginess.. He can’t understand his family’s falling apart because it would mean he has to shoulder some of the blame, and he lacks that capability. I thought, because his background is old-timey stage-acting, he’d offer more grandstanding, but it’s a stern tone throughout. at times rushed.
As the most tragic Mary, Baker appeared to be too young for the emotional heft of the role, but perhaps she didn’t project her desperation enough. The haunted Mary has spent a lifetime of disappointment looking back and never dealing with the present issues at hand. She has become irrelevant and a bystander in her own life, which is incredibly morose. Nevertheless, her longing is palpable.
Meghan Baker and Bridgette Bassa. Photo by Patrick Huber.
While the melancholy play is a mixture of fire and ice, it can appear tedious, but the celebrated Pendleton kept the action conventional, where the actors stay focused in the moment on the oppressive dysfunction. Amy J. Paige, longtime stage manager, is a master at calling a show, too.
Bridget Bassa, as the Irish maid Cathleen, engages in moments of levity, which are nice comic relief.
“Long Day’s Journey into Night” has strong technical work from scenic designer Patrick Huber, always a treat, who also designed the outstanding lighting. Costume designer Teresa Doggett’s period appropriate garb established the family’s positions, although Baker’s wig seems overwhelming. Noteworthy were Kristi Gunther’s crisp sound work, Chuck Winning’s technical direction, and Emma Glose’s props. Shawn Sheley’s work on the fight choreography was also convincing.
While a painful glimpse into one American family’s addiction ordeal, the fact that O’Neill was candid enough to recognize his trauma wasn’t unique, and lays bare fragile episodes we can identify with, and grow from (hopefully).
For anyone wondering if “Long Day’s Journey into Night” remains relevant, yes it does, and St. Louis Actors’ Studio’s effort is commendable because of the depth and difficulty required.
St. Louis Actors’ Studio presents “Long Day’s Journey into Night” from Feb. 10 to Feb. 23, Thursdays through Saturdays at 8 p.m., and Sundays at 3 p.m. at the Gaslight Theatre. The play is about 3 hours, with a 15-minute intermission. For tickets, visit www.Ticketmaster.com. They are also on sale at the box office an hour before showtime.
Meghan Baker and William Roth. Photo by Patrick Huber.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
When is a sandwich not just our daily bread, but a symbol of an American Dream and the sustenance we need for nourishment? When it’s the specialty of the house at “Clyde’s.”
Lynn Nottage’s pungent work thrives as food for the soul – as in redemption, second chances and the power of food as community. It is surprising in its depth of flavors and the power in its connection.
Starting out as gray and bleak as the winter weather, “Clyde’s” combines zesty, peppery comedy and tough-as-nails drama led by an exceptionally sinewy, robust ensemble.
As they convincingly weave tales of dashed dreams and delayed hope, many layers reveal themselves slowly once we embrace this hub — a grungy truck stop diner in the struggling Rust Belt city of Reading, Penn.
The gritty location is important, because it ties into Nottage’s Pulitzer-Prize winning 2015 play “Sweat,” about what happens when the town’s economic center, Olstead’s Steel Tubing plant, goes on strike. Most of that play’s main characters work there, as have their families, for generations.
Ron Himes as Montrellous. Photo by Jon Gitchoff.
The town’s manufacturing industry decline, resulting in high unemployment and abandoned factories, is represented by the withdrawn character Jason, who is a part of both scenarios. In “Sweat,” he goes to prison for badly beating a Columbian busboy. In “Clyde’s,” he is on parole and desperate to outrun his past. You feel Brendan D. Hickey’s anguish.
Clyde hires ex-cons, as she is one herself. But in her cruel tirades and harassment, she reminds them that she gave them a second chance when no one else would. As played by Phyllis Yvonne Stickney, Clyde is as fiery as her red-haired wig and mean in a nasty irredeemable way.
Despair is heavy in the air, for the ragtag staff seeking a glimmer of hope and a brighter day. They are between a rock and a hard place, trying to earn a living as they keep paying their debt to society. The stakes are high for them not to mess up again and return to prison.
They eventually become each other’s lifelines.
Rafael (Alfredo Antillion) wears his heart on his sleeve. The master of the grill and the fryer, he tries to be a cheery coworker. Now clean and sober, he served time for robbing a bank with a BB gun when he was high, to buy his girlfriend a pedigree dog.
Phyllis Yvonne Stickney as Clyde. Photo by Jon Gitchoff.
He is sweet on his co-worker, Letitia (Essence Anisa Tyler), known as “Tish,” who has a disabled daughter and a worthless baby daddy. She served time for stealing prescription drugs from a local pharmacy. She knows her options are limited. She likes to project a tough exterior, but she is not hardened – yet.
As Montrellous, Ron Himes is the heart and soul of this operation. As Rafael says “He’s like Buddha, if he grew up in the hood.” It’s a sturdy, grounding performance to marvel at, makes you believe in the goodness of people.
A wise sage whose selflessness is remarkable, Montrellous believes in the power we have in ourselves to create opportunities. He is an artist in the kitchen too, crafting delicious blends of bread, meats, cheeses, condiments and garnishes. He calls his creations “sublime,” and his belief wins the staff over.
They soon collaborate by describing various flavor combinations. If your mouth doesn’t water as they imagine appetizing versions, then you may have no taste buds.
His zeal is contagious, and soon his co-workers’ creativity is in overdrive. Their efforts get noticed by a local food writer, but Clyde doesn’t care. Through this invigorating endeavor, the staff feel worthy, and they display a renewed sense of purpose. They work together as a team, and in the motivational word of Ted Lasso: “Believe” – especially when their boss wants to beat them down.
Alfredo Antillion as Rafael and Brendan D. Hickey as Jason. Photo by Jon Gitchoff.
Even though Nottage wrote “Clyde’s” in 2021, before “The Bear” premiered as a television series, it shares that unmistakable sense of time and place, of found families, and what “family dinner” means — that food is love, food is community.
“Clyde’s” kitchen characters renew a faith in their contributions, that they could do something worthwhile. For people trying to make a fresh start, someone’s belief in them could be a catalyst, could make that difference.
With the guidance of Prison Performing Arts organization’s staff, they have brought insight and meaning to the difficulties of the former incarcerated trying to navigate re-entry with roadblocks in their way.
Josiah Davis directs with a full heart and a sharp eye for human comedy, and this vibrant cast comes together through rocky journeys and believable transformations. With Davis’ empathy and grace, they don’t make a false step.
The technical aspects are also first-rate, with a realistic restaurant kitchen by set designer Jean Kim, and working/casual attire that suits the characters’ personalities, designed by costumer Haydee Zelideth and wig designer Shevare Perry. Lighting designer Christina Watanabe uses a mystical approach and works in sync with sound designer Michael Costagliola.
At times, Nottage’s plot is shaggy, but the ensemble’s authenticity – in both the bitter and the sweet – pierces our hearts for an indelible impression.
Hickey, Essence Anisa Tyler, Antillion and Himes. Photo by Jon Gitchoff.
The Repertory Theatre of St. Louis presents “Clyde’s” Feb. 5 – March 2 at the Loretto-Hilton Center on the campus of Webster University. The runtime is 105 minutes without intermission. Tickets can be purchased online at www.repstl.org or by phone at 314-968-4925. The box office is also open on Tuesdays and Wednesdays from 10:30 a.m. to 5 p.m. and two hours before the curtain.
Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time.
Student Tickets: Students can purchase $20 tickets available by calling the Box Office at 314-986-4925
A RepresentSTL talkback following the performance on Feb.15 will further engage audiences in meaningful dialogue.
The Rep has also partnered with Laughing Bear Bakery, which supports re-entry opportunities for formerly incarcerated individuals, and will have their goods available at concessions during the run of the show.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A sweet and tender-hearted foray into found families, “The Curious Savage” is brought to vivid life with warmth by an eclectic cast of 11 characters.
Reminiscent at times of the screwball antics of “You Can’t Take It with You,” this 1950 amiable comedy by playwright John Patrick kicks off Stray Dog Theatre’s season with a heartwarming effort.
Set in a live-in psychiatric center called The Cloisters, Ethel Savage has been placed there by her three awful stepchildren. Greedy, self-centered and rude, the trio are cartoonish villains played in over-the-top characterizations by seasoned pros Matt Anderson, Sarajane Clark and Joseph Garner, who have great fun being despicable.
Anderson is a condescending senator, Clark is a vain actress who has been married six times, and Garner is a haughty judge. All display degrees of entitlement and indignation, for they think their father’s second wife is mentally unstable. She inherited $10 million and wants to give it to people who want to pursue their dreams.
The bratty kids want the money for themselves, therefore, wreak havoc at the sanitarium by badgering her, bullying the staff and disrupting the fragile ecosystem among the patients.
Tyson Cole, Liz Mischel, Gansner and Lindsey Grojean. Photo by John Lamb.
In an amusing performance, Liz Mischel excels as a crazy-like-a-fox senior citizen, whose compassion and kindness is in stark contrast to her stepchildren’s demanding threats.
Ethel quickly ingratiates herself with the staff and the residents, and bonds form with the damaged/broken people whose mental trauma resulted in a sanitarium stay.
Director Gary F. Bell deftly directed this piece to bring out The Cloisters’ characters’ goodness and dignity, and the staff’s humanity. While what they say is often funny, they are not punchlines to any cruel jokes and are treated as individuals. The well-cast performers are convincing in portraying their characters’ issues, and they all gel as a satisfying ensemble.
Lindsey Grojean is delightful as the childlike Fairy May, who is unfiltered and funny, while Anne Vega is a caring mother, Florence, whose loss of her infant son caused a breakdown. She believes John Thomas is still alive.
Camille Fensterman is tormented Mrs. Paddy who professes to “hate everything” and delivers laundry lists of things she dislikes, but she doesn’t speak other than those litanies, only painting seascapes in a corner.
Tyler Cole plays a skittish World War II veteran Jeffrey, who was a pilot who survived a crash while all his men perished. He’s convinced he has a horrible facial scar and holds his hand to his face hiding it.
Gansner is helpful statistician Hannibal, who lost his job to an electronic calculator. He plays the violin, badly. The characters have personal quirks, such as Miss Paddy who gave up electricity for Lent, and is turning off the lights at inopportune times.
David Wassilak is Dr. Emmett, the matter-of-fact and fair doctor-administrator, while Claire Coffey is pleasant Miss Willie, who helps with patients. She also shares a secret.
Over the course of three acts, we are charmed by this smart, intuitive ensemble, portraying lovable characters with a great deal of heart, and the bad guys who are at their grumpiest and at times, histrionic. The joke is often on them.
Lz Mischel, David Wassilak, Anne Vega, Joseph Garner, Matt Anderson and Sarajane Clark. Photo by John Lamb.
The playwright has become a favorite of community and school theaters, and the most famous of his works is “The Teahouse of the August Moon,” which won a Pulitzer Prize for drama and a Tony Award for best play in 1954.
The only drawback to presenting a 75-year-old play is its outdated views on mental illness and mental health but does make strong points about the insanity on the outside that wields ugly power in society.
Think of it as a period piece, like the classic “Harvey” and other old chestnuts. Costumer Colleen Michelson has gathered frocks and casual attire from the 50s era, while dressing Lily Bell in scarlet dresses. As Ethel, Liz wears a dandy gaudy hat.
As is customary, Bell, as scenic designer, created a cozy interior on stage, while lighting designer Tyler Duenow and sound designer Justin Been enhanced the atmosphere.
A thoughtful and enjoyable approach to a heart-warming comedy, “The Curious Savage” is a comical kiss to kindness elevated by captivating performances.
Camille Fensterman, Lindsey Grojean, David Wassilak. Photo by John Lamb
Stray Dog Theatre presents “The Curious Savage” Thursdays through Saturdays at 8 p.m., Feb. 6-Feb. 22, with additional performances at 2 p.m. Sunday, Feb. 16, at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. There are two 10-minute intermissions. For more information: www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A haunting and hard-hitting portrait of human tenacity in the face of injustice, “I’m Still Here” has now opened in local theaters.
A political drama based on a harrowing true story from Brazil, it has become one of the most acclaimed films of the year, and is nominated for three Academy Awards, including Best Picture, Best International Feature, and Best Actress – Fernanda Torres in a riveting performance as shattered wife turned human rights crusader.
During Brazil’s military dictatorship in 1971, Rubens Paiva, a former congressman and open critic of the new regime, was taken from his home in Rio de Janeiro, ordered to give a deposition to government officials. He was never again seen by his family.
His wife, Eunice, mother of their five children, will begin a search for the truth about his disappearance that lasted for decades. Based on their son Marcelo Rubens Paiva’s memoir, the screenplay by Murilo Hauser and Heitor Lorega details her own horrific experience when she was imprisoned for 12 days. She was interrogated and asked to identify anyone with Communist affiliations from photographs, including her family. Her oldest daughter, Eliana, was also arrested.
From that point on, she could not get any information about her husband. They were not alone, but through one family, director Walter Salles shows us the costs of defending freedom of speech, of the press and protests.
For historic reference, several generals served as president at this time: Emílio Garrastazu Médici from 1969 to 1974, Ernesto Geisel from 1974 to 1979 and João Figueiredo from 1979 to 1985. During the 20-year reign, over 20,000 people were tortured and murdered.
Selton Mello depicts Ruben as a compassionate family man, involved in his children’s active lives and in a loving relationship with his wife. He worked as an engineer, and his family didn’t realize he was assisting dissidents in the opposition movement.
Eunice returns to school at age 48 and becomes a human rights attorney. She had moved her family to Sao Paulo, and courageously continued seeking answers about Rubens. Torres’ poignant performance stands out, as a mother who does what she needs to do and follows her convictions.
The film follows her journey until 2014, when she passes. In her old age, Torres’ own mother, actress Fernanda Montenegro plays the character. Fun fact: Montenegro, 95, is considered the greatest Brazilian actress of all-time, and was the first from her country to be nominated for an Oscar, for the 1998 film, “Central Station,” and now her daughter is the second actress to follow in her footsteps.
Salles, who directed “Central Station” and “The Motorcycle Diaries” (2004), takes a methodical approach and allows the film to unfold naturally, showing the close-knit family bonds, their resilience, and above all, Eunice’s remarkable strength.
A cautionary tale, “I’m Still Here” reminds us to pay attention to the insidious way powerful people take control and take away rights, and how one person can make a difference.
“I’m Still Here” is a 2024 political drama directed by Walter Sallas and starring Fernanda Torres, Selton Mello, Maria Manoella, Marjorie Estiano, and Antonio Saboia. It runs 2 hours, 17 minutes, and is rated PG-13 for thematic content, some strong language, drug use, smoking and brief nudity. It opened in St Louis theatres on Feb. 7.It is in Portuguese with English language. Lynn’s Grade: A-.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.
Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”
This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.
After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.
He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.
Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.
Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.
He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.
In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.
Take Ten Q & A with Joel Moses
1. What is special about your latest project?
“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.
I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”
2. Why did you choose your profession/pursue the arts?
“My mom says that from an early age I was always in character. Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.
When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”
3. How would your friends describe you?
“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.
With Nicole Angeli in “Lungs.”
4. How do you like to spend your spare time?
“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”
5. What is your current obsession?
“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”
6. What would people be surprised to find out about you?
“I get anxious in social settings and can sometimes struggle with words.”
7. Can you share one of your most defining moments in life?
“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”
8. Who do you admire most?
“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”
9. What is at the top of your bucket list?
“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”
10. What is your favorite thing to do in St. Louis?
“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”
I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”
11. What’s next?
“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”
In his award-winning role in “The Christians” at West End Players Guild.
More Information on Joel Moses
Birthplace: near Kansas City, Mo. Current location: St Louis Education: BFA: Theatre Performance – University of Central Missouri – 2006. Moscow Art Theatre – Summer Acting Intensive – 2012. MFA: Acting – Northern Illinois University – 2013.
Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.
First job: Fry Cook. Dairy Queen. First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.” Favorite jobs/roles/plays or work in your medium?
It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.
• Ubu in King Ubu, Organic Theater Company
• Einstein in Picasso at the Lapin Agile, Organic Theater Company
• Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.
• Branwell in Bronte Sister House Party, SATE.
With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.
And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.
• Lungs, Albion Theatre.
• George Deever in All My Sons, New Jewish Theatre.
• Heisenberg in Copenhagen, St Louis Actors’ Studio
• Duke Frederick in As You Like It, St. Louis Shakespeare Festival.
Awards/Honors/Achievements:
St. Louis Theater Circle Awards:
• Outstanding Performance in a Drama: The Christians – West End Players
• Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE
Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner
“What is utterly absurd happens in the world.” Gogol
A song that makes you happy: “Scatman” – Scatman John
With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.
“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.
The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email [email protected].
Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell photo.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A trio of ragtag revolutionaries cling to their cause and their rules as they hide from an authoritarian regime in the very quirky and vague-on-purpose “Pictures from a Revolution” (Quadri di una rivoluzione) by Sicilian playwright Tino Caspanello.
Strange but intriguing because of the agile skills of the acting quartet, this U.S. premiere is uneven in tone, perhaps because of the English translation by Haun Saussy, but then again, Caspanello is committed to keeping us guessing and in the esoteric structure with the sketchiest details.
While the men – called by numbers, initially act like the Three Stooges, they are in a serious battle to maintain their resistance against totalitarian forces in an unidentified country.
While living inside the walls of a stadium, they take turns being on guard, convinced enemies are lurking outside, waiting to capture the rebels. They make grand gestures and believe there is a purpose to their righteous anger. After all, they are following their rules.
What do they stand for, and why are they still fighting? They’re hungry, tired and cranky, debating actions to take. J. Samuel Davis, in a wonderfully comic role, is the sage 584, the oldest of the group. He decides to journey outside their encampment in hopes of lassoing a cow – for milk and eventually meat. His slapstick is a delight.
Isaiah DiLorenzo and Andre Eslamian. Photo by ProPhotoSTL
Instead, he has captured an unnamed woman (Lizi Watt), who ferociously fights him like a caged animal on the attack. They are confused by her then eventually won over by her charms. She changes her story but begs them to believe her. She must stay or they may be found out.
Watts is impressive in this fierce and fearless role that she tackles with robust physicality. Should they trust her or is she dangerous? She throws off the dynamic of the trio – Isaiah DeLorenzo is at his idiosyncratic best as 892, the chief. He likes to pontificate about ideals and how important their mission is. We don’t really know who the enemy is.
As the youngest rebel 137, Andre Eslamian has another fine turn after strong work in Lize Lewy’s “Longing” last summer and in SATE’s “The Palpable Gross Play: A Midsummer adaptation” the year before. His character seems the most pragmatic and tends to a garden.
Director Philip Boehm has added a performance art quality to the production by his artful staging, and using dance-like movements for all characters, which become more pronounced as the 90-minute play unfolds. Cecil Slaughter was the movement coordinator, and the ensemble is elegantly in sync.
Another unusual aspect of this play is its inclusion of 11 works of art by some of the world’s most famous painters – shown as slides, with Boehm narrating as if he’s teaching an art history class. Among them: “The Night Watch” by Rembrandt, “Leda Atomica” by Salvador Dali, “The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, “Ballet Rehearsal on Stage” by Edgar Degas and “Cornfield with Crows” by Vincent Van Gogh.
Lizi Watt as The Woman. Photo by ProPhotoSTL.
The scenes often echo the themes of the famous painting being shown before it, which is interesting. Patrick Huber’s projection work is fluid in presenting the paintings. He also worked on the scenic design, fashioning an enclave for the squatters that has a lived-in feel, aided by propmaster Rachel Seabaugh.
Because the dialogue is fanciful, and the situation almost surreal like, there is little emotional connection, and the conflicts are both petty and daunting. Much bickering wears down one’s goodwill — but the funny situations do elicit laughs.
The technical work is uniformly first-rate, with Michele Friedman Siler’s costume design giving each man a distinctive look and outfitting The Woman in a slinky dress, an evening bag and nice heels, so that questions are raised by her appearance.
Boehm and Huber also handled the intricate sound design while Steve Carmichael took care of the lighting design, reflecting the different times of day. Joe Schoen worked as a vocal consultant.
“Pictures from a Revolution” continues Upstream Theater’s commitment to exploring thought-provoking works from around the globe that are universal in its themes. At times, it seems like theater of the absurd, while other moments are dark comedy.
And the cast’s commitment to bringing different elements of humanity to their roles is admirable, which is why their performances stand out, not only individually, but as a quartet.
Upstream Theater presents “Pictures from a Revolution” from Jan. 24-26, Jan. 30-31, Feb. 1-2, and 6-8, at The Marcelle Theater, 3310 Samuel Shepard Drive, St. Louis. There is a 2 p.m. matinee and an 8 p.m. performance on Saturday, Feb. 8. The play runs for 1 hour, 30 minutes without intermission. This play contains language that some may find offensive and well as discussion of mature themes. For tickets, contact metrotix.com. For more information, visit www.upstreamtheater.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A silly but harmless light-hearted comedy, “You’re Cordially Invited” is a low expectation streaming movie that turns out to be a welcome diversion for the winter doldrums.
If I consistently laugh out loud during a predictable rom-com, then I consider it a victory. Because this is a personality-driven project, Will Ferrell and Reese Witherspoon are in their comfort zone – he plays the doofus helicopter widower dad Jim who is well-meaning and she’s Margot, an uptight high-strung career woman who is estranged from her family. Sound familiar?
His only daughter, Jenni (Geraldine Viswanathan) is getting married, and so is Margot’s sister Neve (Meredith Hagner), and they have both booked a charming small inn on an idyllic island for the same weekend. Naturally, chaos ensues.
In wanting to throw unforgettable celebrations for their loved ones, the pair go head-to-head as they stop at nothing to make that happen. Both are tightly wound and kick it into high gear with their competing egos.
On the other hand, their relatives are horrified at their acting out, which makes for more awkward situations. But the families try to make the best of sharing the venue.
The venue is picture-perfect gorgeous, which is the real resort Lake Oconee, about 75 miles east of Atlanta, subbing for the fictional Palmetto House.
Of course, the story is goofy, featuring some good slapstick bits, but also stretched thin (and goes a tad too long – 110 minutes), but it’s fun to watch this ensemble.
Ferrell and Witherspoon have never worked together before, but they both have that Def-Con 5 tendency to go over-the-top, which suits their roles. They display their customary crisp comic timing, which makes their skirmishes funny.
Witherspoon’s job as a reality TV producer also provides some laughs, including a Bobby Moynihan-hosted show called “Is It Dead?”
The two brides-to-be are charming and sweet, unfortunately caught in the middle of the shenanigans.
The supporting players include Jack McBrayer, who was a hoot as Kenneth the page on “30 Rock,” as the inn proprietor; hilarious Tennessee comedienne Leanne Morgan who dryly delivers some of the best lines as Margot’s lonely sister Gwyneth; comedian Rory Scovel as her brother Colton; and Jimmy Tatro and Stony Blyden as the two grooms, Dixon and Oliver. Dixon works as a Chippendales dancer, so you know what will happen there.
Character actress Celia Weston hits the right notes as the judgmental Southern family matriarch Flora and Keyla Monterroso Mejia is loud as the excitable party-girl Heather, Jenni’s maid of honor. The bridesmaids, while not in many scenes, are their own comedy troupe.
There are also a couple surprise cameos that add to the fun. And the music soundtrack is an important element of the film. You’ll never quite hear the Dolly Parton-Kenny Rogers duet “Islands in the Stream” the same way again.
Nicholas Stoller, who wrote and directed “You’re Cordially Invited,” has made some crowd-pleasing hits including “Forgetting Sarah Marshall,” “Neighbors” and “The Five-Year Engagement.” He also wrote “The Muppets” and its sequel.
The story gets a tad schmaltzy wrapping up all the families’ turmoil. Turns out Jim and Margot have more in common in their fear of being alone and not needed. The family connections add some warmth and sincerity.
Weddings are often fertile ground for wacky comedies, among them: “The Wedding Planner,” “Wedding Crashers,” “Shotgun Wedding,” “My Best Friend’s Wedding,” “Father of the Bride,” and “Bridesmaids.” This falls somewhere in the middle of the road. But at this time of year, it fits the bill for something amusing and mindless.
“You’re Cordially Invited” is a 2025 romantic comedy written and directed by Nicholas Stoller and starring Will Ferrell, Reese Witherspoon, Celia Weston, Leanne Morgan, Meredith Hagner, Geraldine Viswanathan, Rory Scovel, Jack McBrayer, Jimmy Tatro and Stony Blyden. Its runtime is 1 hr. 50 minutes and is rated R for language throughout and some sexual references. It began streaming on Amazon Prime Jan. 30. Lynn’s Grade: B-.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
For a small show, “Athena” packs a mighty punch. Set in the specific world of competitive fencing, the 75-minute two-hander is a remarkable achievement for a fierce pair of young actresses whose skill and timing are paramount to the show’s success.
Led with a deft hand and an acute ear by director Nancy Bell, “Athena” tells a slice-of-life story between two 17-year-old athletes as they train for national competition, with the goal of qualifying for the Junior Olympics.
A third character, Jamie (Carmen Cecelia Retzer), is seen briefly near the end.
The worldlier Athena (Isa Venere) appears to have the upper hand in this rivals dynamic, while studious Mary Wallace (Jaelyn Genyse) for all her bravado, is more insecure and sheltered.
Both ambitious and driven, they have teamed up to practice together after school – Athena lives in the city while Mary Wallace commutes from Teaneck, N.J. They have spent so much of their lives competing that they don’t make friends easily, but a bond, no matter how bumpy, forms based on mutual respect and admiration. They push each other and accept nothing but their best. Much is riding on their success and their future.
Jaelyn Genyse and Isa Venere/ Photo by Jon Gitchoff.
Athena, aka Darby Schlossberg, has named herself after the Greek mythological goddess of wisdom and warfare, known for heroic endeavors. She projects confidence, and a command of the sport, but her life skills aren’t as developed yet. They both crave experiences but have devoted themselves to the goal of making it as far as they can in the sport.
Playwright Gracie Gardner’s nimble dialogue is matched by the actresses’ physical agility as they realistically banter and spar. It’s as if we are eavesdropping on two teenagers and their Gen Z viewpoints, frustrations and assessments of their daily routines.
Laced with humor, hormonal angst and that age group’s never-ending melodramas, “Athena” pops with personality and pizzazz.
The tremendous amount of work involved in mounting this show can’t be overstated – what a monumental task for all involved. With its warrior attitude, this intimate 2018 play is a good fit for the Steve Woolf Studio Series
Isa Venere as Athena. Photo by Jon Gitchoff.
Venere and Genyse are flawless in their natural portrayals, conveying appealing vitality as their characters and handling physicality with grace and aplomb. They appear to be well-trained in this ancient sport, and much credit goes to Fight Director Paul Steger and Fencing Consultant Annamaria Lu.
Seth Howard’s set design of a rectangular “piste” is functional and formatted for an in-the-round experience, while Jayson M Lawshee’s lighting design suits the competition and training demands.
Sound designer Jimmy Bernatowicz keeps the fast-paced action at a lively clip, interspersing contemporary dance hits to pump up the energy. Costume designer Renee Garcia outfits the pair in their practice and competitive uniforms, one recognizable through her neon orange shoes and the other by her colorful socks.
With bravura lead performances, this coming-of-age journey of self-discovery is a compelling look at girls trying to grab the brass ring, and ways female friendships are put to the test.
Jaelyn Genyse as Mary Wallace. Photo by Jon Gitchoff
The Repertory Theatre of St. Louis presents “Athena” by Grace Gardner Jan. 15 through Feb. 9 “Performances take place in the Emerson Studio Theatre of the Loretto-Hilton Center on the Webster University campus. This production lasts 75 minutes without intermission. It contains strobe lights, strong language, and is recommended for ages 16 and up. For more information: www.repstl.org.
Mary Wallace and Athena (Jaelyn Genyse and Isa Venere. Photo by Jon Gitchoff.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
