Clever, Snappy ‘The Fall Guy’ Celebrates Unsung Stunt Workers

Clever, Snappy ‘The Fall Guy’ Celebrates Unsung Stunt Workers

By Lynn Venhaus
Its basket overflowing with clever Easter Eggs, “The Fall Guy” is an enormously entertaining action-packed valentine to moviemaking that gives stunt men a long overdue standing ovation.

Loosely adapted from the popular 1980s television series that starred Lee Majors as a Hollywood stuntman who doubled as a bounty hunter, “The Fall Guy” is a fast and furious action thriller mixed with a charming romantic comedy that works on both levels.

Man of the Hour Ryan Gosling continues his hot streak, crushing it as the likable goofball Colt Seavers who is the stunt double for an obnoxious marquee movie star. 

He fell hard for a woman camera operator now making her first big-budget film, Jody Moreno (Emily Blunt, warm and wonderful), but a set accident changed his perspective on what he made a career doing.

Now back in action, his battle-scarred hero journey and their relationship are complicated, so no spoilers from me, because it’s just too much fun discovering well-placed zingers, sight gags that pop, and a dizzying number of slick twists.

They’re making a ‘serious’ space cowboys-aliens movie called “Metal Storm,” and the script is filled with many references to popular movies, homages to epic stunts of the past, and tips of the hat to the dedicated people who make up the proficient crew.

Because of the extra effort and care here, the movie is a fun excursion while getting wrapped up in the action and the romance. – sincere and heartfelt.

I hope that unicorns, post-it notes and a dog named Jean-Claude make you laugh as much as I did.

With their effortless charm and palpable chemistry, recent Oscar nominees Gosling and Blunt drive this across the finish line as one of the most enjoyable big-screen experiences of the year.

You can tell they were having so much fun filming this movie within a movie because it easily transfers into a crowd-pleaser.

The supporting cast is also first-rate, with Aaron Taylor-Johnson amusing as the insufferable narcissistic actor Tom Ryder, whose careless ways and excessive partying are about to blow up his image, and not in a good way.

Taylor-Johnson, who’s been memorable in “Kick-Ass,” “Nocturnal Animals,” and as Tangerine in “Bullet Train,” is not afraid to play unlikable, and he’s a total cad here, if a bit cartoonish.

His producer Gail Meyer, played by the savvy Hannah Waddingham, who won an Emmy as team owner Rebecca on “Ted Lasso,” goes into damage control. She is broadly drawn as an on-the-nose caricature of a domineering Hollywood insider.

The always likable Winston Duke is the stunt coordinator Dan, and he is Colt’s longtime pal, sharing a warm connection. Stephanie Hsu, fresh off her Oscar-nominated role in “Everything Everywhere All at Once,” is Alma, one of the movie’s efficient creative team, and so is Zara Michales as tech whiz Venti, and they’re lively additions to the plot. Theresa Palmer shows off striking moves as Ryder’s girlfriend and as an actress in the film.

The writer and director are inspired and experienced at delivering this crowd-pleasing adrenalin rush of a contemporary blockbuster while also incorporating sentimental throwbacks to beloved movies and television. It’s also very funny.

Director David Leitch, who was a stunt man for Brad Pitt and Matt Damon (those Bourne movies), and directed the vastly underrated “Atomic Blonde,” worked with screenwriter Drew Pearce on his “Hobbs & Shaw” movie that was part of the “Fast and Furious” franchise. Leitch’s transition to director first happened with his stunt pal Chad Stahelski on the original “John Wick” movie. And the rest, as they say, is history.

Pearce also wrote “Iron Man 3” and the story for “Mission: Impossible – Rogue Nation,” and has the smarts to pull off a snappy story with nifty hairpin turns and the character-driven humor.

First and foremost, though, the movie celebrates those unsung heroes who keep on ticking after being thrown off buildings, set on fire, inside car rolls, and performing incredible stunts. This should help push the needle towards establishing an Oscar for stunt work, which is long overdue. (Side note: The St. Louis Film Critics Association added a stunt category to its annual awards last year).

You may think you see stunts that resemble scenes from James Bond, “Dune,” “Mission: Impossible” and other tentpole movies, and you would be correct. The writer and director skillfully add plenty of winks and smiles.

Aaron Taylor-Johnson as Tom Ryder

In a movie with dazzling set pieces, it’s nice to see a credit for stunt designer, and that’s Chris O’Hara, supposedly the first credit of its kind on screen. Another meta touch in the movie-within-a-movie is an emphasis on the others who work hard in service of the marquee names.

The movie also benefits from a terrific soundtrack that incorporates classic rock, TV theme songs, and Taylor Swift’s “All Too Well.”

With Gosling and Blunt propelling this brisk-paced movie with their star power, captivating story and thrilling stunt work, “The Fall Guy” kicks off the summer movie season with panache. It incorporates everything I like about going to the movies. You must stay for the credits because there are more delightful visual treats to see.

“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. Lynn’s Grade: A

The original TV series “The Fall Guy,” which ran for five seasons, from 1981-1986.

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

By Lynn Venhaus

Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.

A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.

This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.

This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

 What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

Alex C Moore plays Morgan and Walter. Photo by FF.

Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.

Where to begin with this marathon of a show that defies conventions and embraces universal truths?

Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.

The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.

Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.

Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.

Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.

However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…

It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.

Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.

Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.

This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.

According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”

While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”

So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”

In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.

“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.

Toby at the disco. Photo by FF.

The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.

His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.  

They are the main couple, but the secondary pair are two older, longtime companions –
Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.

In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.

For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.

Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.

Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”

It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.

Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.

He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’

Photo by FF.

A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.

Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.

Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.

One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.

Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.

“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.

Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.

“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.

These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.

Tyson Cole is Adam and Leo. Photo by FF.

Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”

Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).

The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.

Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.

While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.

This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.

Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

The Inheritance cast. Photo by FF.

This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive. Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.

For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance

Martial Arts Mash-Up ‘Boy Kills World’ Has Strong Cast But Too Much Gore

Martial Arts Mash-Up ‘Boy Kills World’ Has Strong Cast But Too Much Gore

By Lynn Venhaus

An ultra-violent wild and woolly “Boy Kills World” benefits from a strong cast, wit, and flashy moves, but is hurt by its lack of restraint.

While destined to be a cult classic among genre fans, it’s just too much excess in every way to take it seriously as a narrative feature when it’s clearly a gonzo video game.

Had first-time director Moritz Mohr and his screenwriting partners Tyler Burton Smith, a video game writer, and Arend Remmers, toned down the sickening and savage splatter-fest, it could have been entertaining in a “John Wick” meets “Scott Pilgrim vs. the World” way.

It’s based on Mohr’s same-titled short film that he wrote. With its high-body count, severed limbs and gushing blood, it’s a tough watch.

The action thriller is set in a dystopian future, where the deranged matriarch of an evil dynasty stages “The Culling,” a brutal organized thinning of the dissident herd. Think “The Hunger Games” and “The Purge.”

Emulating Hong Kong action films in a cartoonish and comic-book way, our hero, simply named Boy, is driven by vengeance. As a youth, he witnessed his mother and sister killed in the annual televised spectacle. He is trained by a mentor and grows up to become a martial art killing machine. Think “Kill Bill.”

In this post-apocalyptic world, Hilda Van Der Koy (Famke Janssen) executes people who are a ‘threat’ to their way of life.

Now grown, Bill Skarsgard is the buff assassin who is deaf and mute from the torture he endured. He has repressed his vivid imagination to become an instrument of death.

His part is narrated by H. Jon Benjamin, who voices Bob on “Bob’s Burgers,” and that’s an inspired move.  So is the boy talking to his sister’s ghost — Mina is played charmingly by Quinn Copeland.

The mysterious shaman Yayan Ruhian has prepared him for a showdown with this insane totalitarian regime, which besides Janssen, includes Michelle Dockery (“Downtown Abbey”!!!), Sharlto Copley as her idiot husband game show host Glen and a very funny Brett Gelman, of “Stranger Things,” as hard-drinking Gideon.

Jessica Rothe, who made a good impression in “Happy Death Day 2 U,” is their ruthless soldier assassin called “June 27.”

Boy’s resistance group pals are played by Andrew Koji and Isaiah Mustafa, and they have a stand-out scene slicing and dicing in a “winter wonderland’ TV set.

“Do you know how hard it is to get a cereal company to sponsor mass murder?” Melanie screams after things go horribly awry.

Mohr confidently and cheekily directed this fever dream in an over-the-top style that will appeal to all short-attention-span viewers. He unleashes torrents of carnage, like a demented Nickelodeon employee dousing folks with slime, only here it’s buckets of fake blood.

Dawid Szatarski, a fight coordinator who has worked on such films as “Kingsman: The Secret Service” and “Wonder Woman,” designed the fight choreography, and it is a barrage of fast moves and gruesome injuries, captured by stylish camerawork from cinematographer Peter Matjasko, with crisp editing by Lucian Barnard.

The stunt work is exceptional, as expected. If the film weren’t so off-putting with its gore for gore’s sake, it could have had some lasting merit, especially with some of the inspired characters, but it’s just exhaustive fighting from start to finish for 1 hour, 55 minutes.

The plot takes a sharp hairpin turn midway that may not work for viewers, but this film’s audience is there for the mayhem. The director has jumbled a bunch of styles from different films, given it a graphic novel sheen, and presented this slaughter with the mind-numbing and relentless action of a video game.

Produced by Sam Raimi, this work premiered at last fall’s Toronto International Film Festival.

“Boy Kills World” is a 2023 action thriller directed by Moritz Mohr and starring Bill Skarsgard, Famke Janssen, Sharlto Copley, Brett Gelman, Jessica Rothe, Yayan Ruhian and Michelle Dockery. It is rated R for strong bloody violence and gore throughout, language, some drug use and sexual references, and runtime is 1 hour, 55 minutes. It opened in theatres April 26. Lynn’s Grade: C-.

Terrific Acting Trio Draws Us Into Upstream Theater’s Enigmatic ‘Don’t Wait for the Marlboro Man’

Terrific Acting Trio Draws Us Into Upstream Theater’s Enigmatic ‘Don’t Wait for the Marlboro Man’

By Lynn Venhaus

Perhaps.

That one little word changes everything in how we perceive “Don’t Wait for the Marlboro Man,” a cryptic collision of lifestyles and values that is interestingly framed in a small space teeming with tension.

The acting trio’s performances are strong, and the production values are too as this enigmatic story unfolds. Director Philip Boehm translated a play written by Olivier Garofalo about two distinctive personalities who meet in a hospital waiting area, from German to English, for its U.S. premiere by Upstream Theater.

An air of mystery pervades because the narrator Eric J. Conners, matter of fact and authoritative, seems to indicate a larger force at work, possibly spiritual and other-worldly in nature.

It is a view askew. But we can only surmise what is real and what is imagined. The two acting partners don’t ever give us a hint, just indicate it may not be so clear-cut by their halting speech patterns and unnatural stylized movements.

Pro Photo STL

That may be because Boehm said the original script did not punctuate any dialogue, leaving it up to the actors to determine what to do, along with the director, in a collaborative spirit.

Superb Caitlin Mickey plays the driven, controlling Sarah, who has rushed to the hospital from her office after receiving the news of her fiancé’s motorcycle accident. With her cell phone in hand, she is working while waiting for news.

In struts a peculiar fellow, Pedro, and whipsmart Isaiah Di Lorenzo excels at playing oddballs. He is her boyfriend’s motorcycle buddy that she knows nothing about, which immediately puts her on edge. Who is this shaggy dude who brought a grocery sack of snacks and shares information about her, but she’s never heard of him?

She appears to wonder what else doesn’t she know, and what more does he know, but isn’t saying? This establishes an off-kilter sense of action – and reaction.

The pair circle each other warily. Can they trust each other, or will they keep pretending to do this unsettling dance as minutes tick by? They take turns being anxious and apprehensive.

ProPhotoSTL

He has a fondness for ants. She recalls happier times with her partner. His eccentricities agitate her, and her chilly demeanor annoys him. DiLorenzo is always at his best being physical, and Mickey’s skillset is a good foil. The unconventional nature of this play adds to their wordy swordplay.

The sound design by Michael Musgrave-Perkins and Boehm is particularly effective, lending a real but frenetic quality to the proceedings. A vending machine’s noises are contrasted with the medical machine beeps that monitor vital signs, and it’s lulling as we acclimate to the waiting area’s purpose: passing time. But also, eerie.

As the two chat, they touch on personal freedom, social responsibility and risks. The characters are complex, and as the play progresses, their behaviors raise more questions than answers.

Sarah hates motorcycles and disapproved of her beau’s hobby. They don’t seem compatible. But maybe they were attracted by ideology and not by inclination.

Pedro appears to be open-minded but may not like her at all and she acts close-minded but maybe she isn’t so rigid.

Doubtful, but these two are thrown together by happenstance. (Or are they?) And should it matter?

The pieces of the puzzle don’t seem to fit – or maybe they do. It’s up to you, and how you suppose what happened before, during and after figure into this tale.

ProPhotoSTL

The story gives one plenty to ponder once you leave the well-appointed space. Described as a “cold hallway in a hospital with fluorescent lighting,” Mike Loui’s set design is well-suited for the characters’ movements. Steve Carmichael’s lighting design and the intriguing sound design add to the details.

Michele Friedman Siler’s costumes astutely outfit the characters’ personalities – Mickey in a blazer and DiLorenzo in leather jacket, jeans, and bandana, with nifty safety goggles.

“Don’t Wait for the Marlboro Man” is a rumination on life and death that’s well-acted and executed. The characters are drawn together by a man in critical condition. One could overthink it but shouldn’t. Our mortality has an endgame that we all must face, and this taps into that finality.

Upstream Theater presents “Don’t Wait for the Marlboro Man” April 12-14, 18-21, and 25-28 at the Kranzberg Arts Center, 501 N. Grand. All show are at 8 p.m., except Sundays (April 14 at 7 p.m., April 21 at 2 p.m. and April 28 at 2 p.m.). For more information, visit www.upstreamtheater.org

Glossy and Messy, ‘Challengers’ Fumbles With Emotional Connection

Glossy and Messy, ‘Challengers’ Fumbles With Emotional Connection

By Lynn Venhaus

Basically, Francois Truffaut’s “Jules and Jim” knockoff set in the highly competitive world of professional tennis, “Challengers” is a baffling vanity exercise that is a disservice to the considerable talents of its super-cool star trio.

Director Luca Guadagnino has always favored more style than substance, which is frustrating because he tends to meander. (Cases in point: “Call Me by Your Name” and “A Bigger Splash” – although fans like that he is fond of pretty people and luxurious settings.)

He teases an erotic menage-a-trois between best friends broken apart by their fixation and desire for a golden child, but doesn’t complete the game, set, and match. He’s ineffective with pacing, tone, and emotional connection, and the back-and-forth volleying with the timeline becomes distracting.

This melodramatic film is 2 hours, 11 minutes, with a nearly unbearable 45- minute third act as tensions collide that ultimately crashes into an unsatisfying conclusion.

The superficial screenplay is credited to Justin Kuritzkes, and it’s a glossy mess of a love triangle between a former child prodigy and the two high-level players she met as teenagers that have been a major part of her life ever since.

Tough and ambitious Tashi Duncan (Zendaya) first dated slippery Patrick Zweig (Josh O’Connor) but married earnest Art Donaldson (Mike Faist). Art is a champion on a losing streak, and Tashi not only is the mother of his daughter Lily, but his demanding coach. Patrick is down on his luck despite growing up as a rich kid.

Gifted athletes and savvy marketers, Art and Tashi’s lifestyle is a brand, but they rarely look happy. Misery seems to be hanging like a rain cloud, although their creature comforts indicate they once enjoyed pleasure in all aspects of life.

When her strategy for his redemption involves playing a Challengers tournament, which is like the minor leagues, surprise – the former BFFs must face each other!

The timeline toggles between a 2019 setting, then back as college students, and their hook-ups during the past 13 years. The guys, once doubles partners nicknamed “Fire and Ice,” have known each other since they were 12 and roommates in a tennis boarding school.

Betrayals at different stages make the characters hard to like, and Disney teen alum Zendaya, two-time Emmy winner for “Euphoria,” is completely unlikable. She’s mesmerizing but the aloof character is soulless. Guadagnino likes to linger the camera on her, which becomes excessive, and she’s too vague emotionally to sustain interest.

Now the guys, believably boyish and intense, have serious acting cred. They deliver fascinating performances, although not trustworthy because of the secrets and lies, but we needed more. Despite the trio’s magnetic screen presence, their characters’ vulnerabilities are never fully realized.

BAFTA-nominated Faist, who broke through as Riff in the 2021 remake of “West Side Story” after establishing a career in musical theatre on Broadway (Tony nominee as Connor in “Dear Evan Hansen” and was in “Newsies”) has the physicality and energy for the athletic role.

O’Connor won an Emmy in 2021 for playing Prince Charles in “The Crown,” so his playing against type is interesting, and he’s surprisingly robust and gymnastic.

The competitive dynamics are intriguing, and the level of commitment the three make to portraying world-class athletes is remarkable. If only Guadagnino would have taken a page out of Michael Ritchie’s competition films playbook (including “The Candidate,” “Downhill Racer,” and “Smile”), where even victories are at great personal cost. Aesthetics can only take a film so far.

Kuritzkes wants to say a lot, especially on the characters’ codependency, but there is no resolution. Again, we never fully understand the three. What is the price of winning? Why should we care?

There is also a homo-erotic undercurrent that is only teased, if you are looking for that (the film’s trailer is misleading). Apparently, they can’t quit each other, and it’s complicated.

Now the camera work by Sayombhu Mukdeeprom is sensational – and the tennis action is Grand Slam-level. Mukdeeprom has worked with Guadagnino before, and excelled in Ron Howard’s “Thirteen Lives.”

The music score is by Oscar winners Trent Reznor and Atticus Ross (“Social Network” and “Soul”), and it’s mainly modern electric-synthesizer heavy compositions not unlike the hypnotic score for “American Gigolo.” While propulsive, it is at times overpowering.

The guys preface a request or rationale to goddess Tashi by saying “You’re going to get mad at me…”

As if that’s their excuse for tiptoeing around her all the time. Please…get out of your own way and move on!

“Challengers” is a 2024 drama directed by Luca Guadagnino and starring Zendaya, Josh O’Connor and Mike Faist. It is rated R for language throughout, some sexual content and graphic nudity and runtime is 2 hours, 11 minutes. It opened in theaters April 26. Lynn’s Grade: D+.

Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

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

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

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

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

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

If I told you, it wouldn’t be a surprise.

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

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. 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?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb

Kate Bergstrom Named The Repertory Theatre’s New Artistic Director

Kate Bergstrom Named The Repertory Theatre’s New Artistic Director

By Lynn Venhaus

Described as a cultural shaper and visionary creator, Kate Bergstrom assumes the role of Augustin Family Artistic Director at The Repertory Theatre of St. Louis beginning May 13.

While she is new to St. Louis, theatergoers are familiar with her work, as she directed “It’s a Wonderful Life: A Live Radio Play” at Christmastime, for which she was nominated for best director by the St. Louis Theater Circle. She also directed “The 39 Steps” in 2022.

“The unwaveringly beautiful and crucial component of The Repertory Theatre of St. Louis is, of course, St. Louis! I am honored and humbled to return to this wonderful community in this role to celebrate – through excellent, engaging, and relevant storytelling – this beloved region,” Bergstrom said.

Her appointment follows a six-month nationwide search after Hana S. Sharif’s departure last summer. Sharif stepped down after five years in the role and moved on to The Arena Stage in Washington, D.C., to serve as artistic director there.

Bergstrom becomes the eighth artistic director in The Rep’s 58-year history. The region’s premiere theater was founded in 1966 and made its home at the Webster University’s Loretto-Hilton Center for the Performing Arts.

Kate Bergstrom. Photo by Antonio T. Harris

After a bombshell announcement last fall that The Rep season was in jeopardy and they needed to cover a $2.5 million budget shortfall to continue, community support came through in an organized “Rally for the Rep” multi-year fundraising campaign.

People had cited dwindling ticket sales, season subscribers not renewing, employee turnover, shows in several different venues, and eroding community support as factors that led to the predicament, in addition to challenges brought on by the pandemic.

Managing Director Danny Williams acknowledged the need for better communication and consistency in programming.

“We had to change. We are listening to what people are saying. Some of the shows were not up to the Rep’s standards,” he said last October.. “We are committed to programming for St. Louis audiences.”

Williams became managing director in January 2022 when Mark Bernstein retired after 32 years in that role. He had served as senior director of finance and administration at New York’s Public Theater.

The Rep was able to complete the 2023-2024 season because of the Rally success. A Holiday Benefit Experience that featured St. Louis alumnus John Goodman raised more than $150,000.

Williams announced in January that 80% of the goal had been reached to fund the second half, productions “Moby Dick” and “August: Osage County.”

At that time, Williams said the goal was to ensure continuing to bring world-class, adventurous new works and beloved classics to their stage as they approach their 60th anniversary.

“We are so grateful for the outpouring of love and support that we’ve received from the St. Louis community, he said. “While our first big hurdle is behind us, the need for continued support remains as we build a sustainable future for The Rep to inspire generations and ensure the arts thrive in our beloved city.”

Williams cited the need to build a stable future amid an industry undergoing radical change.

The Rep exterior. File photo.

“We are working to build a model that responds to today’s cultural landscape so that we remain an anchoring cultural force for St. Louis, using the transformative power of the arts to build bridges in our region and beyond,” he said.

On Tuesday, the Rep stated: “With her appointment, Bergstrom brings a passionate energy for The Rep’s next chapter that builds on the theater’s success as a vital, celebrated, cultural cornerstone of St. Louis.”

Bergstrom said she considers The Rep more than a theater.

“It serves as a critical cultural heart in St. Louis by elevating and expanding the capacity for the extraordinary in us all. I’m excited to set down roots and galvanize transcendent work, using my skills and experiences to foster engagement that uplifts and world-class storytelling that is both tremendously entertaining and vital,” she said.

Williams said he looked forward to partnering with Kate to realize this new chapter.

“Kate is a bold and generous leader, who works with a heart-forward approach to center an artistic vision that will bring out the best in The Rep. At this critical juncture in the organization, her passion, energy, and commitment to St. Louis makes her an inspired choice to ensure a vibrant future for the theatre,” he said.

To conduct the search, The Rep engaged Arts Consulting Group. From a field of many applicants with diverse backgrounds and experiences, the committee narrowed down the search to three extremely qualified candidates.

Each candidate participated in Zoom interviews and full-day in-person meetings, during which The Rep staff were encouraged to meet and ask questions with the potential candidates. The process took six months and included Rep staff and leadership, along with a search committee of arts leaders and community stakeholders led by Board Vice President Ann Cady Scott, the board of directors and independent search firm ACG.

“The Rep has a long-storied history of inspiring and thoughtful leaders, and we are thrilled to pass the torch of leadership to Kate Bergstrom,” said Brian Clevinger, The Rep’s Board President. “Kate’s It’s a Wonderful Life was an electrifying production that brought out the best in our local talent and inspired joy throughout St. Louis. We look forward to her work in deepening The Rep’s impact on its stages and in the community.”

“It’s a Wonderful Life: Live Radio Play” at The Rep.

New Season

The Rep’s 2024-2025 season, which kicks off in September with the suspense thriller “Dial M for Murder,” was programmed by Williams and the current artistic team. Bergstrom will lead the selection of the Steve Woolf Studio Series this season.

Bergstrom said she will continue to deepen her relationship with St. Louis and the local arts community by actively listening to audiences as crucial collaborators to bring about a vision and strategic plan for the 25/26 season and beyond.

“We have the grand opportunity ahead to celebrate the power of extraordinary togetherness in this beloved region during a divisive time. By bridging the differences that make us unique and the undergirding humanity that unites us all, The Rep looks to spark joy, discovery, and that extraordinary togetherness towards a thriving St. Louis and beyond. I’m ready to infuse care, love for this community and a clear, heart-forward vision of excellence into the Rep for years to come,” she said.

Williams said, in announcing that “August: Osage County” was a go thanks to completing the fundraising, that the season had rallied their staff, board, volunteers, artists, and community to keep the magic of live theatre alive at The Rep.

“We are deeply grateful for the outpouring of support that we’ve received from the St. Louis community. It is their belief in our 57 years of work and dedication to the arts that propels us forward and allows us to continue to bring world-class theatrical experiences to our stages,” he said.

Next year’s season is:  Dial M for Murder Sept.18 – Oct. 13; the holiday musical “Million Dollar Quartet Christmas” in partnership with Stages St. Louis on Dec. 4 – 22; Lynn Nottage’s Tony-nominated comedy, “Clyde’s,” Feb. 5 – March 2, 2025; the retelling of “Sherwood: The Adventures of Robin Hood,” March 19 – April 13, 2025, all performed at the Loretto-Hilton Center, in the Virginia Jackson Browning Theatre on the campus of Webster University.  Tickets are on sale now. Visit www.repstl.org for details and follow @repstl.

In December 2023, The Rep was named a Missouri Historical Theatre, which is awarded to theaters that contribute to tourism in Missouri, promote arts in its community and throughout Missouri, and has been operational for a minimum of 50 years.

Kate Bergstrom. Photo by Antonio T. Harris

About Bergstrom

Born in California, Bergstrom holds an MFA in directing from Brown University and a BA in Directing and Acting from UCLA. She will move here from New York. with her husband Mike and their dog Crispy.

Among her credits are directing at regional theaters across the country, which belong to the League of Resident Theatres, including the Marin Theatre Company, Alabama Shakespeare Festival and Trinity Repertory Company and more.

As a festival director, she programmed the Big Eddy Film Festival in Upstate New York where her responsibilities included fundraising, audience and community development and partnership building.

This grew from her tenure as Founder and Producing Artistic Director of On The Verge, a festival premiering female and LGTBQIA writers in Santa Barbara, Calif.

As a performance coach and account manager at Stand and Deliver, she has worked with dozens of large corporate clients such as Google, Genentech, and Cisco co-leading multi-day programs and long-term adviserships toward improving external and internal organizational communication.

The Rep interior, File photo.

Take Ten with Nadja Kapetanovich

Take Ten with Nadja Kapetanovich

By Lynn Venhaus

At only 16, Nadja Kapetanovich is beginning to make a splash on local stages. She is appearing as Ellie in “The Whale,” a role she says is her favorite to date: “It has been a true gift.”

A junior in high school who lives in Alton, Ill., she has appeared in community theater, youth productions and recently, in regional professional theater. She was Tony Manero’s little sister Linda in Stray Dog Theatre’s “Saturday NIght Fever” last fall and a dancer in St. Louis Shakespeare Festival’s “Winds of Change,” an original production presented in the Bevo Mill neighborhood as part of the Shakespeare in the Streets event in 2022.

She played another daughter in “From the Garden,” an original play by Don Cameron Miller, that was produced by Wee Laddie Theatrics. She will be part of a reading this summer for another original play, “13 Hours of Sun,” by Elizabeth Breed Penny.

And then trying to figure out school, future, and what’s ahead.

Here’s a glimpse into the young actress currently in “The Whale” at St. Louis Actors’ Studio Thursday, Friday and Saturday evenings at 8 p.m. and Sundays at 3 p.m. April 5 through April 21 at The Gaslight Theatre, 358 N. Boyle. For more information: stlas.org.

Take Ten Q & A with Nadja Kapetanovich

Nadja Kapetanovich and William Roth in “The Whale.” Photo by Patrick Huber.

1. What is special about your current project?

“The Whale” has been a true gift. Getting to play a character who is so misunderstood and broken has been a big challenge, but doing it alongside this cast of actors is everything I could have ever wished for. Being directed by Annamaria Pileggi has taught me so much, and I will always thank her for showing me what it feels like to really understand a character and allow myself to truly feel every emotion that comes in a natural way.

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

“My favorite memories from when I was a little kid were going to see musicals and plays in St Louis with my family. My childhood dream was to be an actor, and my parents were extremely supportive and helped me to find my first few auditions. I have always loved dissecting people’s personalities and finding out who they really are, which is why I found the process of developing your own version of a show with your cast and crew members to be extremely exciting and rewarding.”

3. How would your friends describe you?

“I did not know how my friends would describe me, so I asked them! Here were some of the things they said: “outgoing,” “super-funny and spontaneous,” “constantly bursting into song, would burst into dance but space often doesn’t allow,” “hard-working and persevering,” “passionate about her dreams,” “kind-hearted, honest, and true to her word,” and “quick-witted.” I have the best friends ever.”

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

“Recently, I have been spending my free time going on walks with my friends, trying to teach myself guitar, playing piano, painting and drawing, and reading.”

5. What is your current obsession?

“My current obsession is going on walks after school and on the weekends. I love walking around my neighborhood while listening to my favorite music. I am also currently very obsessed with vegetarian chicken sandwiches.”

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

“Many people are very surprised to find out that I speak Bosnian. I do not tell my new friends this, and just let them find out by hearing me speak to my dad in Bosnian for the first time. I really appreciate the shock value.”

:The Gingerbread Lady” at KTK Productions. Nadja was nominated for an Arts For Life Theater Mask Award in 2023.

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

“One of my most defining moments was when I was 3 years old and I saw my first musical. I think it might have either been “Annie” or “Cinderella.” At this moment, I absolutely fell in love with live theatre. On the way home from the show, I turned to my mom and said “Mommy? On Monday I need you to find out how I can become an actress.” The rest is history!

8. Who do you admire the most?

“The person I admire most in my life is my grandma. She is the most caring and helpful person I have ever met, and she is full of a huge amount of love and life. She has taught me so so much, and has been there for me whenever I needed help with anything. She is truly inspiring, and I hope that I will be like her in my future.”

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

“Currently, moving to a big city is at the top of my bucket list. Chicago, New York, or St. Louis are all places I would really love to live. Also, I would love to be in a film in the near future.”

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?

“The COVID-19 pandemic was extremely hard for my family and I. A few months after quarantine started, my grandpa was infected with COVID. He ended up passing away from the virus, and we were not able to say goodbye to him because of social distancing. I learned that I get my energy from being around other people, so having to be apart from all of my friends and loved ones during that time was extremely difficult. Also, not getting to perform for a year was very sad. I was supposed to make my professional debut in “Looking For Normal” at Max and Louie Productions, but the show was cancelled due to the pandemic. Moving forward from COVID in the arts was extremely exciting, and it feels great to be able to come back and make my professional play debut four years later.”

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

“As someone who lives about 45 minutes away from St. Louis, I come often, but usually visit the same places over and over. I love the Zoo and the Art Museum. I also really enjoy walking in Central West End before rehearsals with my dad. In my hometown, Alton, I really love walking down by the river and on the docks with my friends.”

12. What’s next?

“I’m currently auditioning for some summer shows, and I will be doing a reading of a play by Elizabeth Breed Penny called “13 Hours of Sun” this summer. Apart from theatre, I am very focused on school right now. I’m going to be a senior next year, which means I have to start applying to colleges and decide what I am going to do with my future.”

Nadja in “Winds of Change,” an original production presented in the Bevo Mill neighborhood as part of the Shakespeare in the Streets event in 2022.

More Information on Nadja Kapetanovich

Age: 16 years old
Birthplace: Alton, Ill.
Current Location: Alton, Ill.
Family: Jennifer and Mirsad Kapetanovich are my incredible parents.I do not have any siblings, but spend a lot of time with my grandparents.
Education: Currently a high school junior.
Day job: High School
First Job: Selling vegetables at a farmers’ market
First play you were involved in: “Shrek the Musical” when I was 8 years old.
Favorite Jobs/Roles/Plays or work in your medium: My favorite role I have played is Ellie in “The Whale,” but Jeannine Pratt in “Ordinary People,” Esther Smith in “Meet Me in St. Louis,” and Polly Meara in “The Gingerbread Lady” are also high on my list.
Dream job/opportunity: Professional actor/clinical psychologist
Awards/Honors/Achievements: I was nominated for Best Supporting Actress in a Drama for my role in The Gingerbread Lady” a few years ago! I also won Best Supporting Performer in a Play for the 2023 St. Louis Broadway World Awards.
Favorite quote/words to live by: “There are places you haven’t been where you already belong”
A song that makes you happy: “Here Comes the Sun” by The Beatles

“Freaky Friday” at Christ Memorial Productions in 2023..









Exemplary Cast Delivers Emotional Honesty in Prodigious ‘The Whale’

Exemplary Cast Delivers Emotional Honesty in Prodigious ‘The Whale’

By Lynn Venhaus

Anyone who has experienced grief knows that moving forward, life is measured by “Before” and “After.”

“The Whale” delves into the mental and physical health problems of a morbidly obese recluse, showing us the “After” and explaining the “Before” in an emotionally honest drama by Samuel D. Hunter.

In yet another well-cast, impeccably directed production, St. Louis Actors’ Studio imbues this gut-punch of a script with empathy and authenticity.

In his play, Hunter forces us to see the complexities in human nature, so impressions aren’t so easily defined, and judgment can wait. He has crafted flawed characters who have dealt with adversity and challenges in very different ways. Yet, they are stuck in time.

First presented in 2012, Hunter later wrote a bleak screenplay adaptation for the 2022 film that won two Oscars – one for Brendan Fraser’s performance and the other for makeup.

The film, while much dimmer inside the claustrophobic apartment, is very similar to the stage play, yet the characters are more severely portrayed, and redemption doesn’t seem plausible.

Set in a small town in northern Idaho, over the course of a week, four people interact with a nearly immobile Charlie (William Roth) in his dingy living room – nurse and friend Liz (Colleen Backer), estranged daughter Ellie (Nadja Kapetanovich), ex-wife Mary (Lizi Watt), and Mormon missionary Elder Thomas (Thomas Patrick Riley).

All affected by loss and loneliness, they are each wrapped in their own cocoons, and grace has eluded them. Director Annamaria Pileggi has drawn out nuances among this exemplary cast as they reveal truths about themselves. You feel their misery, but you also see signs of hope.

In a brave, towering performance, William Roth has never been better as Charlie, a sensitive soul whose heartache and regrets have led to self-destructive behavior. A writing instructor who now conducts classes online, he has ballooned to 600 lbs., suffers from congestive heart failure and is on a trajectory to imminent death.

Roth has delivered virtuoso performances before, notably as George in “Who’s Afraid of Virginia Woolf?” and as Charlie Aikin in “August: Osage County,” both at St. Louis Actors’ Studio, which he founded and is the artistic director.

William Roth as Charlie. Photo by Patrick Huber

But this realization is both heartfelt and haunting. Hunter enlists many ways to display Charlie’s self-loathing, visually masking his pain with an eating disorder, and describing memories from what had been an ordinary life. Roth disappears into the role, wistfully recounting happier times at the seashore with his wife and child, and then later being with his lover and former student Alan. Will he ever forgive himself for what he perceives are his failings?

Using a colloquial term, Charlie has “let himself go.” Eating his feelings since Alan’s death eight years ago, he has guilt in his psyche – but passion in his heart for literature. You feel his remorse – and his enormous capacity for love.

Through grading papers, talking to his class via computer, and reading aloud their essays, Charlie displays a fine mind, a keen grasp of literature, what authors meant, and encourages self-expression.

Conveying that love for the written word that once gave him great joy makes it much sadder that, sidelined by grief, he’s not the teacher he once was, and not entirely comfortable connecting with his students (yet, astute in his comments). The isolation, as reflected in that tiny room, is crushing.

He also has vast unconditional love for his daughter Ellie, a sullen teenager who feels abandoned and lashes out cruelly. After years of no contact, he has attempted to reconnect with her, and she is seemingly unreachable – tough, rebellious, impulsive.

Her mother, angry and filled with rage too, has kept her from establishing a relationship with her father. At 17, she hates everything and everybody, and is flunking out of school. She is repulsed by his appearance, but visits anyway — after all, he is writing her English papers, and there is a pledge of money.

Displaying hostility, confusion, forlornness, and defiance, Nadja Kapetanovich is a knockout in a finely textured performance as Ellie. It’s a sensational breakthrough performance in regional theatre.

Kapetanovich, Riley, Watt, Backer, Roth. Photo by Patrick Huber.

Thomas Patrick Riley also has a breakout opportunity as Elder Thomas, and he’s splendid. He has the most complicated backstory of them all, and represents the evangelical religion that Hunter focuses on as a root to issues expressed here, particularly religious homophobia, and pointedly The Church of Jesus Christ of Latter-day Saints.

More dots in the plot are connected through Liz, the tough-love nurse played with heartbreaking compassion by Colleen Backer, whose ability to shift moods between comic and dramatic is one of her finest features.

Liz is Alan’s sister, so there is that. And she’s trying to keep Charlie healthy and alive, but also enabling him with high-fat, high-sodium foods (fried chicken, sub sandwiches, pizza, doughnuts and soda). She offers comfort while admonishing him with lectures. It’s an endearing performance by the always entertaining Backer.

In a brief but pivotal role, Lizi Watt blows in as the blustery ex-wife Mary, whose resentment is at a full rolling boil. She’s full of outrage, and vents to Charlie on how exasperated she is about their daughter. While she’s snarling, she’s also drinking copious amounts of vodka. It’s apparent that Ellie is a mirror image of her mother.

What is interesting about these hardened characters is you see them mentally and physically soften when confronted with Charlie’s predicament – if only fleeting. There is also more humor in the play than I recall from the film, which are moments of relief from the grim subject matter and the blame game volleys.

Wearing an impressively designed body suit by Angela B. Calin and engineered and constructed by Laurie Donati of the South Coast Repertory Theatre in Costa Mesa, Calif., Roth’s physicality is key to the character, portraying the very real struggles of someone so overweight as to be in pain from the slightest exertion.

Costume Designer Teresa Doggett also worked skillfully on Roth’s prosthetics to ready him for this appearance on stage, and her casual outfit choices for the five actors were on point.

Patrick Huber’s scenic and lighting design reflects the slovenly quarters but also Charlie’s thirst for knowledge, with crammed bookshelves and papers everywhere. Props designer Emma Glose did a fine job littering the apartment with discarded food boxes, beverage containers and academia.

Caleb D. Long supervised the crafts parts as technical director. Another standout is the sound design by Kristi Gunther, also production manager, which incorporated hearing seaside noises like seagulls and the waves on the beach to evoke pleasant memories.

Others responsible for shaping this tight production: Bryn McLaughlin was the assistant director, and stage manager Amy J. Paige, with Glose her assistant.

This show’s cast was able to let us into their world, tinged with melancholy, and indicate the possibility of mercy, which is a final grace note.

And we can debate the ending for a long time, but I choose triumph, even if it is just in the teeniest glimmers of change that may be ahead for all.

St. Louis Actors’ Studio presents “The Whale” Thursday, Friday and Saturday evenings at 8 p.m. and Sundays at 3 p.m. April 5 through April 21 at The Gaslight Theatre, 358 N. Boyle. For more information: stlas.org.

Garland’s ‘Civil War’ Is an Unflinching Look at a Near-Future Dystopian U.S.

Garland’s ‘Civil War’ Is an Unflinching Look at a Near-Future Dystopian U.S.

By Lynn Venhaus

Unrelentingly grim, the harrowing action film “Civil War” is a provocative look at a nightmarish “What If?” scenario — and claims to be science fiction as it’s set in the future.

Disturbing real-life events in recent years have stirred up thoughts of a domestic doomsday, a cataclysmic reckoning with armed militias if our country’s structures of power, authority and social norms are subverted.

Projecting a second Civil War without getting too deep into politics, British writer-director Alex Garland has escalated America’s current divisions to envision a ravaged war-torn landscape with refugee camps, resistance fighters, military checkpoints, and violent conflict zones. We don’t see how it starts, just that it did, and the nation is engulfed in violent conflicts.

He focuses on the press documenting the atrocities in besieged areas, and their struggles to work and survive in a dystopian dictatorship. Those ethics and their costs personally are a key part of the story.

As a professional journalist for 46 years, I found this very raw and realistic film triggering. It ramped up my anxiety from start to finish, so it’s hard for me to separate fact from fiction here. 

However, as a film the technical work is first-rate while Garland’s screenplay, meant to be an allegory, is a tad wobbly.

It’s no coincidence that the national release date, April 12, just happens to be the day in 1861 that the first — and so far, only — Civil War started. (Note: The film did have its premiere at SXSW on March 14).

This much is true: Actions have consequences. We can all agree on that.

And whether you’re alarmed by seeing a partisan extremist holding an assault rifle and asking what kind of an American are you while he stands next to a mass grave is going to determine how you feel about this hard-hitting but not entirely convincing film.

The primary character is Kirsten Dunst as Lee Smith from Colorado, a bold, taciturn war photographer patterned after the famous World War II chronicler Lee Miller, who embedded with the military in Europe, and was among the first in Dachau concentration camp after liberation.

Dunst plays Lee as a hardened risk-taker who eventually shows signs of being weary of all the horror she’s witnessed. Wagner Moura is her more gregarious but still jaded colleague Joel, a reporter for Reuters News Service.

Their dispatches are defining images for a homeland where some folks are pretending it’s not happening. Their next assignment is taking them from New York City 800 miles away to D.C. to interview the president. 

With no mention of a name or party affiliation, he is serving his third term and is played with gravitas by Nick Offerman. We do know he abolished the FBI, and a bit of dialogue refers to an ‘anti-fa massacre.’

The pair are trying to get to the White House before rebel factions do, and complications arise with the addition of two passengers. 

Their professional rival, a grizzled veteran named Sammy from the New York Times, tags along – and he’s played by first-class character actor Stephen McKinley Henderson.

The film’s strength lies in the performances, with Cailee Spaeny a standout as Jessie, a novice photographer whose encounter with her role model Lee leads to her inclusion in the car. Lee is reluctantly forced to take Jessie under her wing, and it’s on the job training in a hurry.

Garland prefers to keep a distance instead of emotionally engaging us, as the desensitized journalists are sketched in broad strokes. Fueled by adrenaline, they fearlessly rush into danger while others flee it – because that is what they do.

Garland uses snapshots of their work to demonstrate the impact of visual images in telling a story. Cinematographer Rob Hardy’s vivid work is exceptional as he contrasts the bucolic countryside with the bloody chaos of bombings. Hardy has collaborated with Garland before, on his acclaimed “Ex Machina” and “Annihilation.”

While journalists are notorious for gallows humor, these cynical correspondents go about their jobs with workmanlike precision. Yet, the trauma they witness has changed them – although we don’t get too many details.

That is a frustrating aspect of this film – the lack of specifics, which is intentional, but confusing because it is so vague. I get Garland’s point that he’s trying to be sly, but whether he’s lensing the aftermath of apathy or anarchy — or both — is unclear.

Several states have alliances, and soldiers from the Western Forces are headed to the capital. Don’t waste time trying to figure out what California, Texas and Florida are up to because you’re not going to find out.

Garland has written some of the best sci-fi films of the new millennium, including “28 Days Later,” “Sunshine” and “Never Let Me Go.”

His films always pack a visceral punch, and for this one, the examples of torture and war crimes are grisly. Just as chilling, though, are glimpses of random weaponized citizens roaming in quaint small towns.

Editor Jake Roberts has done a fine job of plunging us into the darkness and despair of this depiction. The sound work is award-worthy, from the loud bursts of ricocheting bullets to the primal screams you don’t hear.

However, for all its bravura, the film’s needle-drops are puzzling, and are more jarring than appropriate. Ben Salisbury and Geoff Barrow’s odd choices in music don’t seem to fit the action that we’re witnessing.

In the controversy-courting “Civil War,” a Brit gives us an unsettling look at a fractured America without much rhetoric, which could be a clarion call if it wasn’t so detached in its details.

Yet, it’s impossible not to be affected in some way by it. We have been watching similar footage in other countries, and now, this hits close to home. Garland is fueling opinions, that is for sure. Given such an inflammatory subject matter, the post-release debates should be interesting. 

(As Harper Lee wrote in “To Kill a Mockingbird”: “People generally see what they look for and hear what they listen for.” — Judge Taylor)

“Civil War” is a 2024 action science fiction film written and directed by Alex Garland and starring Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, Cailee Spaeny, Sonoya Mizuno, and Nick Offerman. It is rated R for strong violent content, bloody/disturbing images, and language throughout, and runs 1 hour, 49 minutes. It opens in theatres April 12. Lynn’s Grade: somewhere between a B- and a C+.