Remember that commercial from the late 80s with the tagline, “This is not your father’s Oldsmobile?” The Repertory Theatre of St Louis’s production of “A Christmas Carol” is kinda like that. This is not your father’s, or grandmother’s (or your crazy Aunt Millie’s) adaptation of this Dickensian tale of Ebenezer Scrooge’s war on Christmas. As you survey St. Louis’s rich assortment of holiday offerings (and there truly is a cornucopia that runneth over), this production entices with a shiny, progressive reboot of this Christmas chestnut.
It’s a new spin on “A Christmas Carol” that’s perfect for those with short attention spans. This adaptation treats the story of Scrooge’s transformation as the plain evergreen upon which the shiny baubles of scenic design (Tim Mackabee), lighting and projections (Seth Reiser and Hana S. Kim), costumes (Dede Ayite), choreography (Kirven Douthit-Boyd) and hip hop choreography (Robert Crenshaw) are hung. Bringing youthful energy to the production are the Webster University conservatory cast, the Big Muddy Dance Company dancers, whose ghost dancers add much to certain key scenes, and a youth ensemble from the Center of Creative Arts.
By flattening the well-known story line whose lead character has been represented by everyone and everything from Alastair Sim and Michael Caine to Bill Murray and Mr. Magoo, this adaptation by Michael Wilson (the same as last year’s) embellishes the story of Scrooge’s transformation with new characters and scenes not in the Dickens novel.
Upon each of the story’s key moments – Marley’s appearance, visits by the three Spirits, the Cratchit family’s penury, etc. – director Hana S. Sharif hangs contemporary dance numbers, special effects and humorous asides among all the dark, dank Victoriana. The dance is an especially effective component of this adaptation; the inconsistent use of modern colloquialisms – not so much.
The result is a Whitman’s Sampler of a production that tries too hard to provide a little something for every taste. And like that holiday box, there’s all sorts of chocolates, including a rap-infused “O Come All Ye Faithful,” a Marley who flies up from beneath the stage like a spectral Peter Pan, a dance number that includes The Worm, and a Ghost of Christmas Yet to Come that’s part-Mad Max, part-Blade and part-Gimp from “Pulp Fiction.”
The latter makes his NFL-inspired entrance complete with hoverboard and ravers glasses. This ghost’s entrance is certainly impressive but calls too much attention to itself and pulls you out of the story. It also undercuts the emotional impact of Scrooge recognizing his tombstone – the climax of the story.
The same holds true for the final scene (not in Dickens’s original) with Scrooge hosting a party. This is a well-intentioned addition that hopes to highlight the new, improved Scrooge, but which borrows too much from the final scene in the “White Christmas” movie. It also weakens the intent of Dickens to use this story to examine the plight of the disadvantaged. As Scrooge promises the Ghost of Christmas Yet to Come, “I will honor Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach!”
Sharif adds another complexity to this production by double casting of most of the key roles. It was fun (and impressive) to see the way Laakan McHardy played both a doll seller and the Ghost of Christmas Past (the best of the portrayals of the spirits) and Paul Aguirre went from a refreshments vendor to a vampy, over-the-top Christmas Present. Michael James Reed also played double duty as Mrs. Dilber (Scrooge’s housekeeper with shades of “Mrs. Doubtfire”) and the spectral Jacob Marley – how’s that for range!
The roles of Scrooge and Bob Cratchit are played by Guiesseppe Jones and Armando McClain, respectively. McClain provides one of this production’s best and most consistent and balanced portrayals as the long-suffering Cratchit. Ultimately, “A Christmas Carol” hinges on the portrayal of Scrooge. Jones displays an impressive range, which he definitely needs in this adaptation that pivots (sometimes to distraction) from lightheartedly humorous to full-on King Lear-level theatricality. As impressive as Jones was in all his scenes, his performance was often too self-contained and lacked chemistry with the other actors.
Overall, this production is designed with lots of wow-factors to defy you to call it anything but bah-humbug. The success of this approach depends on how you like your Scrooge served up. If you’re seeking the more traditional, ye merry ole England version (I remember one from my youth that included real basset hounds on stage), this isn’t that. To its credit, this adaptation avoids the saccharin Timmy-fell-down-the-well savior sub-narrative of so many other productions. And, it brings a modern sensibility to this timeless, still all-too-relevant story.
The Repertory Theatre of St. Louis presents “A Christmas Carol” November 19–December 30 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. For tickets or more information, visit: www.repstl.org.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
The 14th Annual Robert Classic French Film Festival — sponsored by Jane M. & Bruce P. Robert Charitable Foundation — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1990s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features seven such works, including a brand-new restoration of Luis Bunuel’s “The Discreet Charm of the Bourgeoisie,” which is part of our year-long Golden Anniversaries programming, which features films celebrating their 50th anniversaries.
In honor of St. Louis’ own Josephine Baker and her installation in France’s Panthéon on Nov. 30 of last year, the fest will present her silent film debut, “Siren of the Tropics,” with an original score and live accompaniment by the Rats & People Motion Picture Orchestra.
Every program features introductions and discussions by film or French scholars and critics. All films are in French with English subtitles.
The Jane M. & Bruce P. Robert Charitable Foundation is the event’s title sponsor.
Venue: Webster University’s Winifred Moore Auditorium in Webster Hall, 470 E. Lockwood Ave.
Tickets: Tickets are $15 for general admission; $12 for students and Cinema St. Louis members. Webster U. students are admitted free. Advance tickets can be purchased through the Cinema St. Louis website.
Passes: Two types of passes are available: Five-Film Passes are $65, $50 for CSL members; All-Access Passes are $120, and $95 for CSL members.
Intro and discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).
7:30 PM FRIDAY, AUG. 12
Fantastic Planet/La planète sauvage
René Laloux, Czechoslovakia/France, 1973, 72 min., color, French, restoration, DCP
Intro and discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ The Lens blog.
7:30 PM SATURDAY, AUG. 13
Breathless/À bout de souffle
Jean-Luc Godard, France, 1960, 90 min., black-and-white, English & French, restoration, DCP
Intro and discussion by Kathy Corley, documentary filmmaker and professor emerita of film at Webster University.
7:30 PM SUNDAY, AUG. 14
Amélie/Le fabuleux destin d’Amélie Poulain
Jean-Pierre Jeunet, France, 2001, 122 min., color, French, DCP
Intro and discussion by Jean-Louis Pautrot, professor of French and International Studies in the Department of Languages, Literatures and Cultures at Saint Louis University.
Intro and discussion by Salim Ayoub, Bruce P. Robert Endowed Professor in French and Francophone Studies and director of the Centre Francophone at Webster University.
7:30 PM SATURDAY, AUG. 20
Le cercle rouge
Jean-Pierre Melville, France, 1970, 140 min., color, French, restoration, DCP
Intro and discussion by Robert Garrick, attorney, former contributor to the davekehr.com film blog, and contributor to Cinema St. Louis’ The Lens blog.
7:30 PM SUNDAY, AUG. 21
Irma Vep
Olivier Assayas, France, 1996, 99 min., color, English & French, restoration, DCP
Intro and discussion by Joshua Ray, film critic for Cinema St. Louis’ The Lens blog and host of The Lens podcast.
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.
Cinema St. Louis is delighted to again offer in-person screenings during the 30th Annual Whitaker St. Louis International Film Festival (SLIFF), held Nov. 4-21, 2021.
Because the effects of the pandemic continue, this year’s fest will be a hybrid — with a significant number of virtual screenings also available — but in-person screenings will be held on all three screens of the Tivoli Theatre from Nov. 4-14 and Nov. 18-21.
Other in-person screenings will take place at Washington University’s Brown Hall Auditorium (on the weekends of Nov. 5-6, 12-14, and 19-21) and Webster University’s Winifred Moore Auditorium (on the evenings of Nov. 5-14).
In addition, the St. Louis Public Library’s Central Library Auditorium will serve as the in-person venue for six Golden Anniversaries screenings of films from 1971. Those screenings will be held on the afternoons of Nov. 6-7, 13-14, and 20-21.
Finally, the Contemporary Art Museum St. Louis will partner with SLIFF on two in-person screenings on the evenings of Nov. 4 and 11.
For those who prefer to view from home, many (though not all) of the films that receive in-person screenings will be available virtually through our partner Eventive from Nov. 4-21. SLIFF will also feature a substantial number of films, shorts programs, and livestreams that can only be accessed virtually.
To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at in-person screenings. No concessions will be available at any of the venues, including the Tivoli, to ensure audience members remain masked throughout films. Full information on the festival’s Covid-19 policies appear below.
Program Overview
The 30th Annual Whitaker St. Louis International Film Festival, a presentation of the nonprofit Cinema St. Louis (CSL), continues to provide the opportunity for St. Louis filmgoers to view the finest in world cinema — international films, documentaries, American indies, and shorts that can only be seen at the festival.
This year, after an all-virtual festival in 2020, SLIFF is pleased to offer a large selection of in-person events, including at all three screens of the Tivoli Theatre, which has been shuttered since the onset of the pandemic. For those who prefer to watch at home, we’ll still provide plenty of options, with nearly 100 virtual programs and livestreams.
Robert Greene
SLIFF begins on Nov. 4 with a powerful new Missouri-based documentary, “Procession,” which is directed by Robert Greene, the filmmaker-in-chief at the Murray Center for Documentary Journalism at the University of Missouri. In the film, six men from Kansas City, Mo. — all survivors of childhood sexual assault at the hands of Catholic priests and clergy — come together to direct a drama-therapy-inspired experiment designed to collectively work through their trauma. Greene, who will receive SLIFF’s Contemporary Cinema Award, and many of the film’s subjects will attend the screening to participate in a compelling post-film Q&A.
On the festival’s final day, SLIFF offers a Tribute to Mary Strauss, which includes a screening of Mary’s favorite film, “Sunset Boulevard.” Mary has played an absolutely essential role in Cinema St. Louis’ evolution, and we’re delighted to honor her with a Lifetime Achievement Award during our 30th edition.
We’ll also honor two other filmmakers: Documentarian and native St. Louis Nina Gilden Seavey, who will present a free special-event program called “My Fugitive” at the fest, will receive the Charles Guggenheim Cinema St. Louis Award; and documentarian Deborah Riley Draper, whose film “Twenty Pearls: The Story of Alpha Kappa Alpha Sorority” screens at SLIFF, will receive the Women in Film Award.
The festival will screen more than 400 shorts and features, and the 2021 SLIFF offers an especially impressive array of the year’s most heralded films, including selections from such destination fests as Sundance, Berlin, SXSW, Hot Docs, Tribeca, Cannes, Venice, Telluride, Toronto, and New York.
Among the most enticing English-language studio films are Kenneth Branagh’s “Belfast” (winner of the People’s Choice Award at Toronto), Mike Mills’ “C’mon C’mon” (with Joaquin Phoenix), Michael Pearce’s “Encounter” (with Riz Ahmed and Octavia Spencer), Stephen Karam’s “The Humans” (with Richard Jenkins, Beanie Feldstein, Stephen Yeun, and Amy Schumer), Clint Bentley’s “Jockey” (with Clifton Collins and Molly Parker), Reinaldo Marcus Green’s “King Richard” (with Will Smith), and Eva Husson’s “Mothering Sunday” (with Colin Firth and Olivia Colman).
“Belfast”
Major international titles include “A Chiara” from Jonas Carpignano, “Ahed’s Knee” from Nadav Lapid, “France” from Bruno Dumont (“Slack Bay”), “A Hero” from Asghar Farhadi (“A Separation”), “Hit the Road” from Panah Panahi, “Memoria” from Apichatpong Weerasethakul (“Tropical Malady”), “One Second” from Zhang Yimou (“House of Flying Daggers”), “Paris, 13th District” from Jacques Audiard (“A Prophet”), “Petite Maman” from Céline Sciamma (“Portrait of a Lady on Fire”), “Wheel of Fortune and Fantasy” from Ryūsuke Hamaguchi (“Happy Hour”), and “The Worst Person in the World” from Joachim Trier (“Oslo, August 31st”). SLIFF also offers a pair of films from Radu Jude (“Bad Luck Banging or Loony Porn” and “Uppercase Print”) and a trio of works by Hong Sangsoo (“In Front of Your Face,” “Introduction,” and “The Woman Who Ran”).
Significant documentaries include Joshua Altman & Bing Liu’s “All These Sons,” John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks,” Rex Miller & Sam Pollard’s “Citizen Ashe,” Andrea Arnold’s “Cow,” Mobolaji Olambiwonnu’s “Ferguson Rises,” Brandon Kramer’s “The First Step,” Matthew Heineman’s “The First Wave,” Jonas Poher Rasmussen’s “Flee,” Julie Cohen and Betty West’s “Julia,” Peggy Callahan & Louie Psihoyos’ “Mission: Joy,” Max Lowe’s “Torn,” Debbie Lum’s “Try Harder!,” and Emily and Sarah Kunstler’s “Who We Are: A Chronicle of Racism in America.”
And that’s just scratching the surface of the 2021 lineup, which includes nearly 20 American indies, 29 shorts programs, and eight free archival selections. Below are some of the other highlights of this year’s SLIFF:
The Divided City
SLIFF’s The Divided City program focuses on the racial divide in St. Louis and other U.S. cities. The films are supported by The Divided City: An Urban Humanities Initiative, a program of Washington U.’s Center for the Humanities that addresses one of the most persistent and vexing issues in urban studies: segregation.
Sponsored by the Center for the Humanities at Washington University
“The First Wave” documentary
Free and Discounted Programs
SLIFF continues our tradition of offering a large selection of free and discounted events to maximize the fest’s outreach into the community and to make the event affordable to all. In addition, for the 18th year, we present the Georgia Frontiere Cinema for Students Program, which provides free screenings to St. Louis-area schools. This year features 31 free in-person programs, including all screenings at the Contemporary Art Museum, St. Louis Public Library, and Washington University. We’re also offering a pair of free screenings at the Tivoli, a free in-person master class, and six free livestreams. And the fest features 31 virtual programs at the special price of $5.
Georgia Frontiere Cinema for Students Program
SLIFF offers free daytime screenings for children and teens from participating St. Louis-area schools. This year’s selections include shorts, documentary features, narrative features, and shorts programs. See the Cinema for Students section of the SLIFF website for full information.
Sponsored by Chip Rosenbloom and Lucia Rosenbloom (in honor of Georgia Frontiere) and the Hawkins Foundation, with support from the Jane M. & Bruce P. Robert Charitable Foundation
Human Rights Spotlight
This selection of documentaries focuses on human-rights issues in the U.S. and the world.
Sponsored by Sigma Iota Rho Honor Society for International and Area Studies at Washington University and the Whitney R. Harris World Law Institute
Master Classes and Seminars
SLIFF provides four free master classes — one in-person event and three livestreams — and a seminar. See the Special Events section of the SLIFF website for full information.
Sponsored by the Chellappa-Vedavalli Foundation
New Filmmakers Forum
The New Filmmakers Forum (NFF), a juried competition of works by first-time feature filmmakers, is an annual highlight of SLIFF. The featured films this year are “Delicate State,” “Papaw Land,” “Shellfish,” “Walk with Me,” and “We Burn Like This,” and the filmmakers will participate in a free roundtable discussion. The screenings and roundtable are hosted by the Missouri Film Office’s Andrea Sporcic Klund. The NFF Emerging Filmmaker Award — nicknamed the Bobbie in honor of the late Bobbie Lautenschlager, NFF’s longtime curator — is presented at SLIFF’s Closing-Night Awards Presentation.
Sponsored by Barry & Jackie Albrecht and Pat Scallet
Race in America: The Black Experience
Because the events in Ferguson continue to resonate in St. Louis and the country, SLIFF again offers a large number of programs organized under the title Race in America: The Black Experience. To maximize accessibility and promote dialogue, 12 of the 26 programs in Race in America are free.
Sponsored by William A. Kerr Foundation
Show-Me Cinema
Films made in St. Louis and Missouri or by current and former St. Louisans and Missourians are an annual focus of SLIFF. This year’s lineup of Show-Me Cinema is typically strong, featuring 18 feature films, three shorts programs, and four special events.
Sponsored by the Missouri Division of Tourism and Missouri Film Office
SLIFF/Kids Family Films
Cinema St. Louis presents a selection of eight family programs, including two documentaries and two free collections of shorts. Because patrons younger than 12 are not able to attend in-person screenings this year, all SLIFF/Kids programs are offered virtually.
Tivoli Theatre in University City
COVID-19 POLICIES FOR SLIFF IN-PERSON ATTENDANCE
The safety of our patrons, filmmakers, and volunteers is Cinema St. Louis’ top priority. To ensure everyone is protected, SLIFF has instituted a number of policies for the duration of the festival.
These policies will be strictly enforced for the protection of everyone.
Guests must follow the instructions of SLIFF staff members and volunteers. SLIFF reserves the right to deny admission or dismiss any customer for noncompliance.
The following policies will apply during SLIFF:
Proof of full vaccination (at least two weeks after the final dose) of any FDA-approved vaccine is required for all staff members, volunteers, audience members, and filmmakers at each in-person screening and event.
Methods of confirming proof of full vaccination are:
CDC Vaccine Card and valid photo ID.
A photo of a CDC Vaccine Card and valid photo ID.
Guests should arrive no earlier than 30 minutes before the scheduled screening time. Any guests arriving earlier will be asked to wait outside in line until the theaters are prepared for seating.
Only guests age 12 or older will be permitted to attend.
Masks are required for everyone at all times in indoor spaces, and the face coverings must be consistent with the current CDC guidelines.
Paper masks, scarves, neck gaiters, shirts pulled up, masks with holes/filters/breathing valves, and makeshift masks are not acceptable.
New disposable surgical masks are available to all audience members.
Masks must completely cover the mouth and nose and must be replaced if wet or soiled.
PPE may be inspected for compliance or issued as needed.
No concessions will be available at any venue, and no eating or drinking will be permitted in the theaters. Outside food or drink will also not be permitted.
Guests should stay home if not feeling well or exhibiting symptoms of Covid-19 in the past 10 days.
Guests who have tested positive for Covid-19 within the past 10 days must stay home.
Guests are asked to wash hands as often as possible, use hand-sanitizing stations, and cover nose and mouth when sneezing or coughing.
Gloria Swanson and William Holden in “Sunset Boulevard”
TICKET AND PASS INFORMATION
TICKET PRICES
Individual tickets, for either in-person or virtual screenings, are $15 for general admission, $11 for Cinema St. Louis members and students with valid and current photo IDs. Prices are all-inclusive; no additional fees will be added.
The Tribute to Mary Strauss (held on Nov. 21) is $25 and includes a screening of “Sunset Boulevard,” which follows the event.
SLIFF also offers 31 free in-person screenings, six free livestreams, and 31 virtual programs for a special $5 price. Complete information can be found in the Free Events and Discounted Events sections of the festival website.
Free in-person screenings do not require a ticket.
PASS PRICES
Passes can be used for either in-person or virtual screenings and can be used to purchase multiple tickets for an in-person event. Three forms of passes are available:
Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Hawkins Foundation, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, National Endowment for the Arts, Regional Arts Commission, Chip Rosenbloom & Lucia Rosenbloom, Mary Strauss, Trio Foundation of St. Louis, TV5Monde, William A. Kerr Foundation
Presenting Partners: Center for the Humanities at Washington University, Contemporary Art Museum St. Louis, The Divided City, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Simple DCP, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series
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.
Aug. 20-22 and 27-29: Webster University’s Winifred Moore Auditorium in Webster Hall, 470 E. Lockwood Ave.
Tickets/Passes: Tickets are $14 for general admission; $11 for students and Cinema St. Louis members. Two types of passes are available: Five-Film Passes are $60, $45 for CSL members; All-Access Passes are $100, $80 for CSL members. Passes and advance tickets can be purchased through the Cinema St. Louis website. More Info: 314-289-4150, cinemastlouis.org
The 13th Annual Robert Classic French Film Festival — presented by TV5MONDE, sponsored by the Jane M. & Bruce P. Robert Charitable Foundation, and produced by Cinema St. Louis (CSL) — celebrates St. Louis’ Gallic heritage and France’s extraordinary cinematic legacy, offering a revealing overview of French cinema.
The Robert Classic French Film Festival is the first CSL in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the CSL website when available.
The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacques Deray’s “La piscine,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”
The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Agnes Varda’s “Vagabond” screening from a 35mm print.
As part of CSL’s year-long Golden Anniversaries programming, which features films celebrating their 50th anniversaries, the fest includes a pair of films from 1971: François Truffaut’s “Two English Girls” and Claude Jutra’s French-Canadian “Mon oncle Antoine.”
Completing the fest is a pandemic-delayed tribute to the late Anna Karina, who died in December 2019: Jean-Luc Godard’s essential “Vivre sa vie.”
Every program features introductions and discussions by film or French scholars and critics.
All films are in French with English subtitles (“The Story of a Three-Day Pass” is in both English & French).
TV5MONDE serves as the fest’s presenting sponsor, and the Jane M. & Bruce P. Robert Charitable Foundation is the event’s title sponsor.
With an introduction and post-film discussion by Lionel Cuillé, teaching professor in French and director of the cultural center French ConneXions at Washington University.
7:30 PM SATURDAY, AUG. 14, WASHINGTON U.
Entre Nous/Coup de foudre
Diane Kurys, France, 1983, 110 min., color, new restoration, DCP
Entre Nous
With an introduction and post-film discussion by Colin Burnett, associate professor of Film & Media Studies at Washington U. and author of “The Invention of Robert Bresson: The Auteur and His Market.”
7 PM SUNDAY, AUG. 15, WASHINGTON U.
Mr. Klein
Joseph Losey, France, 1976, 123 min., color, new restoration, DCP
With an introduction and post-film discussion by Pier Marton, video artist, self-described “Unlearning Specialist at the School of No Media,” and former instructor at several leading U.S. universities.
7:30 PM FRIDAY, AUG. 20, WEBSTER U.
The Story of a Three-Day Pass/La permission
Melvin van Peebles, France/U.S., 1967, B&W, 86 min., English & French, new restoration, MP4 file
With an introduction and post-film discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).
7:30 PM SATURDAY, AUG. 21, WEBSTER U.
Vagabond/Sans toit ni loi
Agnès Varda, France, 1985, 105 min., color, 35mm print
With an introduction and post-film discussion by Kathy Corley, documentary filmmaker and professor emerita of film at Webster University.
6:30 PM SUNDAY, AUG. 22, WEBSTER U.
Betty Blue
Jean-Jacques Beineix, France, 1986, 185 min., color, new restoration of extended director’s cut, Blu-ray
With an introduction and post-film discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ The Lens and the Gateway Cinephile film blog.
7:30 PM FRIDAY, AUG. 27, WEBSTER U.
Vivre sa vie/Vivre sa vie: Film en douze tableaux
Jean-Luc Godard, 1962, 83 min., B&W, Blu-ray
With an introduction and post-film discussion by Pete Timmermann, director of the Webster U. Film Series and adjunct professor of film studies at Webster U.
7:30 PM SATURDAY, AUG. 28, WEBSTER U.
La piscine
Jacques Deray, 1969, France, 122 min., color, new restoration, Blu-ray
With an introduction and post-film discussion by Calvin Wilson, theater critic for the St. Louis Post-Dispatch, who also writes on film, dance, and music.
7 PM SUNDAY, AUG. 29, WEBSTER U.
Two English Girls/Les deux Anglaises et le continent
François Truffaut, 1971, France, 130 min., color, Blu-ray
With an introduction and post-film discussion by Robert Garrick, attorney, board member of the French-preservation nonprofit Les Amis, and former contributor to the davekehr.com film blog.
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.
Dance
the Vote, a St. Louis based arts and civic engagement initiative, founded by
theatre artist and activist Joan Lipkin four years ago will be featured in an
upcoming program, Every Vote Counts: A
Celebration of Democracy, a nationally televised event on Thursday, Oct 29,
at 8pm Central on CBS and other platforms.
Following
their first performance outside Vintage Vinyl, an iconic record store in St.
Louis for a few dozen people on a rainy afternoon, Dance the Vote attracted
over one thousand people at the midterms at the Missouri History Museum for a
community dance class, performances by diverse dance companies, spoken word
artists and singers about the history and importance of voting, paired with
voter registration.
When
the pandemic hit and following the deaths of Breonna Taylor and George Floyd,
they pivoted to commission and center dance videos, predominantly by
choreographers of color. The themes continue to be about the history and
significance of voting, as well as what issues might compel someone to vote
including: climate change, racial justice, disability, incarceration, gender
equity, women’s suffrage, the wall, and more.
The
pieces were released in a series of weekly episodes in pairs of two or three
dances, and each episode included information on how to register to vote, check
voter registration, and the phone number for the election protection hotline
for questions or issues at the polls.
The
pieces may be seen on YouTube, Instagram (@dancethevotestl), Facebook
(@DanceTheVoteStl), Twitter (@DanceTheVoteStl), and Vimeo as well as their
website www.dancethevotestl.org.
This
summer, Dance the Vote and Webster University partnered to offer a competition
for college students throughout the United States honoring the late congressman
John Lewis, called Make Good Trouble: Why
John Lewis Inspires Me to Vote. Cash awards have been issued in several
categories including mixed media, video, dance pieces, painting, collage, and
photo essay.
Joan Lipkin
“We
are honored to be included in this exciting program about voting because it
recognizes the essential role that the performing arts can play in voter
education and advocacy. In addition, Dance the Vote exemplifies how a small
grass-roots organization with a promising idea can offer a model for the arts
and civic engagement for many communities. We are pleased to have St. Louis
showcased on this important national platform,” said Joan Lipkin, founder of
Dance the Vote.
Every Vote Counts is a celebration of civic engagement and one last push to
get people to vote.
Hosted by Alicia Keys, America Ferrera, and Kerry
Washington, with appearances by Amy Schumer, Chris Rock, Cobie Smulders,
Coldplay, Condoleezza Rice, Eva Longoria, Jennifer Lopez, John Kasich, Kelly
Clarkson, Leonardo DiCaprio, Lin-Manuel Miranda, Natalie Portman, Shaquille
O’Neal, Tan France, Wilmer Valderrama, and more, with performances by Alicia
Keys, Dan + Shay, Offset, and Shawn Mendes.
Every Vote Counts: A Celebration of Democracy, a
nationally televised and streamed event, will air on the CBS Television Network
and will be streamed via CBS All Access on Thursday, October 29, 2020 at 9 PM,
ET/PT, 8PM CST. The special will also be available via the following platforms:
iHeartMedia radio stations and app, Apple Music, Apple TV App, Amazon Music,
Twitch, NowThis, YouTube, Twitter, TIDAL and Facebook, with more to be
announced.
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 A 10-time Tony winner’s national tour comes to the ‘Lou, world premieres of “The Roommate” and last chance to see a whole roster of shows. There is a feast of choices as we usher March in, and spring can’t be far behind. Here’s what’s on local stages.
“Annapurna” St. Louis Actors’ Studio The Gaslight Theatre N. Boyle Ave., St. Louis Thursday – Saturday at 8 p.m. Sunday at 3 p.m. Feb. 14 – March 1 www.stlas.org 314-458-2978
Laurie McConnell and John Pierson star as Emma and Ulysses in Sharr White’s play about love and loss in the backdrop of the Colorado Rockies. Once married, they have a child, but haven’t seen each other for a long time.
“The Band’s Visit” Fox Theatre 527 N. Grand Feb. 25 – March 8 www.fabulousfox.com
Winner of 10 Tony Awards, including Best Musical in 2018, this joyously offbeat story is set in a remote town where a band of musicians arrive, lost. They bring the town to life in unexpected ways. This is an adaptation of a 2007 Israeli film, with music and lyrics by David Yazbek. It is performed without intermission.
Here is our review: https://www.poplifestl.com/unforgettable-music-big-heart-distinguish-tony-winner-the-bands-visit-at-the-fox/
“The Ever After” Curtain’s Up Saturday, Feb. 29, at 6:30 p.m. Dunham Hall, SIUEdwardsville www.curtainsuptheater.com
A cheesy talk show host invites familiar fairy tale characters who have been estranged for 20 years to reconcile on the show.
Brett Amber
“Flanagan’s Wake” Emery Entertainment The Playhouse at Westport Plaza 635 Westport Plaza Jan. 24 – March 21 www.playhouseatwestport.com
This interactive hit show from Chicago is set in an Irish pub, and Flanagan’s family and friends give him a comedic memorial with plenty o’ pints, crazy sing-a-longs and witty tales. Cast includes Brian Ballybunion, Fiona Finn (Jennifer Theby-Quinn), Mickey Finn Father Damon Fitzgerald (Patrick Blindauer), Kathleen Mooney, Mayor Martin O’Doul
“Ghost”
Metro Theatre Company
Feb. 2 – March 1
Fridays at 7 p.m., Sundays at 2 p.m.
The Grandel Theatre
3610 Grandel Square
www.metroplays.org
World premiere of a new play adapted by Idris Goodwin from
Jason Reynolds’ award-winning bestseller for young readers. Castle Cranshaw,
aka “Ghost,” has only known running, but he runs for all the wrong reasons
until he meets Coach. Directed by Jacqueline Thompson and stars
“Men on Boats”
The Performing Arts Department at Washington University
Feb. 21 – March 1
Edison Theatre on campus
pad.artsci.wustl.edu
John Wesley Powell’s expedition down the Green and Colorado rivers is a 19th
century journey.
“The Mystery of Irma Vep” The Repertory Theatre of St. Louis Feb. 14 – March 8 Loretto-Hilton Center on the Webster University campus www.repstl.org
One dark and stormy night…two actors play eight characters, with a few dozen costume changes, a lot of wigs and a blending of classic horror, B-movie mysteries and farce. Charles Ludlam’s supernatural comedy includes a newly revived mummy, a mysterious portrait, a family curse and a howling werewolf.
“The Office! A Musical Parody”
Emery Entertainment
March 4 – 8
Wednesday-Friday at 8 p.m.
Saturday at 4 p.m. and 8 p.m.
Sunday at 2 p.m.
The Grandel Theatre
Tickets: Metrotix 314-534-1111 or one hour before showtime at Grandel box
office.
www.theofficemusicalparody.com/tour
Dunder Mifflin is opening an office near you. This is the third
North American tour of the unauthorized off-Broadway show, written by Bob and
Tobly McSmith. It is still playing at the Jerry Orbach Theatre at 210 West 50th
Street in NYC.
Mashable calls it “the world’s most elaborate inside job,
created with a whole lot of love, just for fans.” It’s a typical morning at
Scranton’s third largest paper company until, for no logical reason, a
documentary crew begins filming the lives of the employees.
“Picnic” Webster University’s Conservatory of Theatre Arts Feb. 20 – March 1 Thursday and Friday at 7:30 p.m. Saturday at 2 p.m. and 7:30 p.m. Sunday at 2 p.m. Stage III Auditorium www.webster.edu 314-968-7128
William Inge’s play is set in a small town one Labor Day Weekend in the joint backyards of two widows. One lives with her two daughters and a boarder; the other is a woman and her mother. A studly young man, Hall, comes to town, and the resulting electrical charge causes some friction.
Photo by John Lamb
“The Roommate” The West End Players Guild Friday and Saturday at 8 p.m. Sunday at 2 p.m. Additional Thursday show Feb. 27 at 8 p.m. Feb. 21 – March 1 Union Avenue Christian Church 733 N. Union at Enright www.westendplayers.org 314-367-0025
St. Louis premiere of Jen Silverman’s contemporary comedy
has been described as “The Odd Couple” meets “Breaking Bad.” Sharon, a divorced
empty nester takes on a roommate in her Iowa City house – and Robyn has come from
the Bronx. She has a mysterious, shady past who moves around a lot. She is
everything Sharon is not — a vegan and gay, for starters. They begin to
influence each other in surprising ways.
“Saint Joan of Arc”
The University Theatre at Saint Louis University
Collaborative piece with Prison Performing Arts
Thursday through Saturday at 8 p.m.
Sunday at 2 p.m.
Feb. 21 – March 1
Kranzberg Arts Center
501 N. Grand
Tickets: www.metrotix.com
Inspired by love of God and country, Joan became a 15th century
French military leader. This is a contemporary retelling directed by Lucy
Cashion.
“Spell #7”
The Black Rep
Wednesday at
Feb. 19 – March 8
A.E. Hotchner Studio at Washington University.
www.theblackrep.org
Ntozake Shange’s Spell #7 is a choreopoem set in a bar in St. Louis frequented
by Black artists and musicians, actors, and performers. In a series of
dreamlike vignettes and poetic monologues, they commiserate about the
difficulties they face as black artist.
“Transluminate”
A short-play festival
The Q Collective
Thursday and Friday, Feb. 27 and 28, at 7:30 p.m.
Saturday, Feb. 29, at 4 and 7:30 p.m.
Sunday at 4 p.m.
The Chapel
6238 Alexander Drive www.theqcollective.theater
“The Vagina Monologues”
St. Louis College of Pharmacy
Friday, Feb. 28 at 7 p.m.
Academic and Research Building Auditorium
4531 Children’s Place, St. Louis, MO 63110
Tickets: $5 at the door (cash only) or available for purchase on Eventbrite
ahead of time
Note: All proceeds from ticket and dessert sales will go
directly to Lydia’s House in St. Louis
Eve Ensler’s play is based on interviews with more than 200
women. With humor and grave, the piece celebrates sexuality and strength.
Through this play and the liberation of this one-word, countless people throughout
the world have taken control of their bodies and their lives.
The play gave birth to V-Day, a global activist movement to end violence against
all women and girls. Activists are working to end harassment, rape, battery,
incest, female genital mutilation and sex slavery. (https://www.vday.org/homepage.html)
It is sponsored by the Department of Liberal Arts and the
Office of Diversity and Inclusion. For more information, email angela.doerr@stlcop.edu
Lydia’s House works in faith to end domestic violence by
being a place of healing and a voice of hope for abused women and their
children.” (https://www.lydiashouse.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.
The Black Rep will present a concert version of the
Broadway hit musical “Ain’t Misbehavin’” at the 560 Music Center on Saturday,
Oct, 12, for One Night Only.
“Ain’t Misbehavin’” is a musical revue with a book by
Murray Horwitz and Richard Maltby, Jr., and music by various composers and
lyricists as arranged and orchestrated by Luther Henderson. It is named after
the song by Fats Waller (with Harry Brooks and Andy Razaf), “Ain’t Misbehavin’”.
The musical is a tribute to the black musicians of the
1920s and 1930s who were part of the Harlem Renaissance, an era of growing
creativity, cultural awareness, and ethnic pride. It was a time when Manhattan
nightclubs like the Cotton Club and the Savoy Ballroom were the playgrounds of
high society and Lenox Avenue dives were filled with piano players banging out
the new beat known as swing.
An ensemble of performers present an evening of rowdy, raunchy, and humorous
songs that encapsulate the various moods of the era and reflect Waller’s view
of life as a journey meant for pleasure and play.
The Chicago Sun Times said: “Fun and off-the-charts
galvanic energy are the main orders of the day in this show… Talk about
“Spreadin’ the Rhythm Around.” Pure joy.”
The Huffington Post said: “This is a boozy, after hours
party, and we’re all invited.”
The cast of Ain’t Misbehavin’ in concert features cast
members from the Season 43 opening hit production of “Don’t Bother Me, I Can’t
Cope” led by Drummond Crenshaw, Amber Rose, Tyler White, Robert Crenshaw, and
Sieglinda Fox.
It is directed by Producing Director Ron Himes, with
musical direction by Charles Creath, choreography by Kirven Douthit-Boyd and
Heather Beal.
Proceeds from the 2019 Gala go to support The Black Rep’s
Community and Education programs such as:
Summer Performing Arts (SPA), Teen Tech Program, The Professional Intern
Program and many others.
Other highlights of the evening will also feature a
presentation of the Frankie Muse Freeman Spirit Awards to Anne Marie Clark and
Wesley Bell as well as the Woodie King Jr. Lifetime Achievement Award to Dr.
Glory Van Scott and George Faison.
“Ain’t Misbehavin’” is sponsored in part by Centene
Corporation, Enterprise Rent-a-Car, Edward Jones, Webster University, McCormack
Baron Salazar Inc., Keith Williamson, Gisele Marcus, Tom and Barbara Feiner,
Loren and Marcia Grossman, Lionel Phillip, Hank Webber and Chris Jacobs.
For tickets or more information, contact the box office at
314-534-3807 or go online to theblackrep.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.
By Lynn Venhaus
Managing Editor
Rain, heat, humidity and bugs. Acting on outdoor stages brings its own set of
problems, which Patrick Blindauer knows first-hand. He performed in three shows
this summer, kicking off the season with Shakespeare Festival St. Louis as
Costard in “Love’s Labors Lost,” then moving on to the Muny in “1776” and
“Footloose.”
“I’ve never been as aware of the weather as I am when
working outdoors. If I see it’s going to be hot, I have to make sure to start
hydrating an hour or so beforehand. I’m also a big proponent of sunscreen and
bug-spray,” he said.
An above-average rainfall has wreaked havoc on performance schedules, and recently,
an extreme heat wave has made performing outdoors a challenge. In “Footloose,”
he is rocking a permed mullet as Coach Roger Dunbar. Although when the weather
broke, Monday’s crowd was the highest of the season – a beautiful night at the
Muny.
“Footloose” is the third time he is working in a show with his wife, Rebecca Young.
“First was “My Fair Lady” at Stages St. Louis and then there was “Annie” at the Muny last year (She played Warbucks’ maid Mrs. Pugh, he was Bundles – picking up the laundry at the orphanage). This year we’re actually playing husband and wife (Eleanor Dunbar, who is on the Bomont school board),” he said.
Young is a veteran of regional and national stages. She toured in “The Producers” and the Radio City Christmas Spectacular, appeared in “Carnival!” at the Kennedy Center and at Stages St. Louis in “Fiddler on the Roof” and “On the Town,” in addition to the “My Fair Lady,” where she met Patrick. They have been married for eight years and have one daughter, Magnolia, aka Maggie, who is 3 years old.
Blindauer graduated from the Conservatory of Theatre Arts at Webster University and moved to New York City in 1998. He can be seen in the Oscar-winning “A Beautiful Mind” – he had one line — and was on seven episodes of “Strangers with Candy,” a Comedy Central series that ran for three seasons. Never mind working with Russell Crowe. What was working with Amy Sedaris like?
“She’s awesome. So sweet off-camera, but such a cut-up on
the set. She would have an idea for a moment and do a couple of different takes
so they could pick later. I’m so glad she’s having continued success,” he said.
The Rime of the Ancient Mariner presented by Upstream Theater at Kranzberg Arts Center in St. Louis, MO on April 9, 2015.
He returned to St. Louis in 2011 and became known for an eclectic body of work. He is versatile enough to join Jerry Vogel in the intense drama “The Rime of the Ancient Mariner” at Upstream Theater and to cavort as the accordion-playing Cheshire Cat in the musical “Wonderland: Alice’s Rock and Roll Adventure” at Metro Theatre Company last holiday season.
Besides this year’s Shakespeare Festival, he has worked
with the group in last year’s “Romeo and Juliet,” as part of the prologue and
played Peter and the Apothecary. He was in the Festival’s “Shake in the Streets”
original “Twelfth Night” take “The World Begun,” performed in north St. Louis in
September 2015.
He thinks the festival is one of the city’s best summer
traditions.
“It’s incredible. Where else can you have a picnic and
watch free Shakespeare under the stars with thousands of other people?” he
said.
Patrick Blindauer as Costard in “Love’s Labors Lost”His performance as Costard in “Love’s Labors Lost”received rave reviews from theater critics. A comic character, he is a country bumpkin who is arrested for not adhering to the king’s proclamation that all men of the court avoid the company of women for three years.
He enjoyed portraying Costard and the opportunity to work with executive producer Tom Ridgely, who directed for the first time after moving here last year.
“Costard is such a fun role. He’s a clown who also figures into the plot, and I was given lots of freedom to play around, which I appreciated,” he said. “Tom speaks the speech very well, and I thought that he fostered a collaborative, congenial atmosphere in the rehearsal hall. I’d love the chance to work with him again.” Another fun role was the iconic Cowardly Lion in “The Wizard of Oz” for the Variety Theatre in 2017. He will return in this year’s “Mary Poppins,” set for the Touhill Center for the Performing Arts Oct. 18-20 and 25-27. The Variety Children’s Charity sponsors an annual musical that includes children with physical and developmental disabilities working with professional actors.
The Variety Theatre’s “The Wizard of Oz” in 2017“Variety is an amazing organization, one that truly
transforms lives, and their yearly musical is a thing of beauty. ‘Oz’ was a ton
of fun and working with those kids and Lara (Teeter) was a real treat. I can’t
say anything about ‘Mary Poppins’ quite yet, I’m afraid,” he said.
Returning to the Muny the past few seasons has been a pleasure, he said.
His first role at the Muny was in “42nd Street” in 2016 – well, actually three, as Mac, Thug and Doctor. He performed several parts in last season’s “Annie” and “Singin’ in the Rain.”
He was cast as Samuel Chase, a representative of Maryland
in the Continental Congress, in “1776,” which was a special experience for him.
“I was actually born on the 4th of July, and I’m named
after Patrick Henry, so anything patriotic definitely catches my attention.
I’ve been a big fan of the movie for many years, and this is my second
production, having previously played Lee,” he said.
Patrick as Samuel Chase is second from left. Photo by Phillip HamerThe Muny’s closing performance of “1776” was on July 3, but because of a rain delay, the actors actually signed the Declaration of Independence on stage on July 4 – very cool because it was not only our real Independence Day, but Patrick’s birthday too.
He was looking forward to working with two-time Tony winner Christian Borle as director of “Footloose,” making his Muny debut. (This interview was done before the show rehearsals had begun).
“Oh my God, I can hardly believe it. I will have to refrain
from pinching myself constantly,” he said.
He has ventured out of St. Louis, too, portraying Horton in “Seussical” this spring at the Lyceum Theatre in Arrow Rock, Mo., part of their theater for young audience program.
“The World Begun” Shake in the Streets with Marlene Coveyou
Being a working actor in St. Louis means side gigs, too.
His day job is quite impressive, however, and has gained him national
recognition.
He is a professional crossword puzzle constructor, publishing more than 60 in the New York Times, including a week-long contest similar to his Puzzlefests.
He has had work published in USA Today, Washington Post, Wall Street Journal, Crosswords with Friends and the GAMES magazine.
He is one of the 10 constructors featured in Will Shortz’s
Favorite Puzzlemakers. He cohosts the crossword tournament Lollapuzzoola, which
takes place in NYC every year on a Saturday in August. He also writes for the
American Crossword Puzzle Tournament.
A proud word nerd growing up, he began his lifelong love of puzzles from the time his mom bought him Mr. Light and his dad shared his Games magazines, he said. The theater bug bit hard in junior high school.
But he didn’t take up solving crosswords until the summer
of 2004.
“I quit smoking cigarettes and wanted something else to do
with my free hand, so I took up solving. After about a year, I tried to make
and sell one, which was much harder than I’d imagined,” he said. “My first
puzzle was published by the New York Times on July 21, 2005 (a Thursday).”
He is considered a clever puzzle writer by the industry and fans.
“I just try to make fun puzzles, puzzles that push the
envelope and revolve around a theme or gimmick that I would find exciting to
discover as a solver. I like to break the crossword rules and surprise solvers
or give them a real aha moment,” he said.
You can find more about his work at his website,
www.patrickspuzzles.com
The Rime of the Ancient MarinerQUESTIONS WITH PATRICK BLINDAUER 1. Why did you choose your profession/pursue the arts?
“My first production
was ‘Oliver!’ when I was 12, and it was truly a family affair: I played the
Artful Dodger, my dad played Fagin, my sister was an orphan, and my mom helped
with costumes. I loved the sense of community and the feeling of working
together toward a common goal — I still do.’
2. How would your friends describe you?
“Probably as someone who likes to make people smile,
whether that means telling a joke or a story, being silly, or giving them my
latest crossword to try.”
3. How do you like to spend your spare time?
“As the father of a three-nager, my spare time lately is
taken up by playing make believe, going to the park or library, and reading
books. I also enjoy letterboxing, which involves following clues and going on
hikes to find hand-carved rubber stamps.”
4. What is your current obsession?
“When I’m not in
rehearsal or performing, I’m constructing crossword puzzles for newspapers,
various clients, or my website: patrickspuzzles.com.”
5. What would people be surprised to find out about you?
“I was a professional magician when I was a teenager, and I
still love to do tricks with coins or a deck of cards.
6. Can you share one of your most defining moments in life?
“Being present at
the birth of my daughter was the most incredible thing. She has made my life
richer and fuller than I ever thought possible.”
7. Who do you admire most?
“My wife, Rebecca–she is so funny and caring and
thoughtful. I’m very lucky to have found her, and she makes me a better person
every day.”
8. What is at the top of on your bucket list?
“Going into outer space is a dream of mine–astronauts need
theatre, too, right?”
9. What is your favorite thing to do in St. Louis?
“Visiting the Magic House or the City Museum with my wife
and kiddo.”
10. What’s next?
“My wife and I will both be in “Footloose,” where
we will be playing husband and wife.
And “Mary Poppins” at Variety.
MORE ABOUT PATRICK:
“Wonderland: Alice’s Adventures in Rock and Roll”Name: Patrick Blindauer Age: 42 Birthplace: Louisiana Current location: Ballwin, Mo. Family: daughter Magnolia Education: BFA from Webster University Day job: Crossword constructor and Dad First job: Fry Guy at Red Lobster First role: Artful Dodger in “Oliver!” Favorite roles/plays: Horton in “Seussical,” Cowardly Lion in “The Wizard of Oz” Dream role/play: King George in “Hamilton,” Nostradamus in “Something Rotten!” Awards/Honors/Achievements: One of Will Shortz’s 10 favorite puzzlemakers Favorite quote/words to live by: “All the world’s a stage…” A song that makes you happy: “Happy,” by Pharrell Williams
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.
