Lynn Venhaus

Total Post: 1133

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.

‘Thirteen Lives’ Recounts Daring ‘Miracle in the Cave’ Rescue in 2018

‘Thirteen Lives’ Recounts Daring ‘Miracle in the Cave’ Rescue in 2018

By Lynn Venhaus

Director Ron Howard knows how to tug on the heartstrings, and with its life-or-death scenario, “Thirteen Lives” is ready-made for an agonizing Hollywood adaptation – with a happy ending, of course.

In 2018, a rescue mission is assembled in Northern Thailand where a group of young boys and their soccer coach are trapped in a system of underground caves that are flooding. Based on true events.

Like he did in “Apollo 13,” Howard creates a suspenseful narrative out of a historical account where we know the outcome, but he keeps us enthralled, using William Nicholson’s gripping screenplay to build the against-the-odds story with palpable emotional heft.

The daring rescue of 12 boys and their soccer coach captured the headlines in 2018 – dubbed the “Miracle in the Cave” by the global news media — and the world’s hearts.

If you are fuzzy on the particulars, the soccer players, after practice, went on an outing to explore a nearby elaborate system of caves called Tham Luang. During a storm, they became trapped. The Thai Navy, U.S. Navy Seals, and well-known cave divers combined their know-how for a daring rescue. The Thai government and international leaders take part in the plans.

Howard, Oscar winner for “A Beautiful Mind” and nominee for “Frost/Nixon,” has many moving parts here depicting the dangers of cave diving. It’s a remarkable physical feat working with those unstable natural elements – and the underwater scenes are genuinely harrowing.

Last year, in the inspiring documentary, “The Rescue,” filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi chronicled the story, using never-before-seen material and exclusive interviews.

They also conveyed the enormous outpouring of caring and compassion from the international community, which is necessary to show the scope.

Howard uses those same elements – survival, determination, and ingenuity, as portrayed by the actors. Viggo Mortensen is Rick Stanton and Colin Farrell is John Volanthen, the divers who were the first ones to spot the boys after 10 days.

They were joined by many people to help save the boys, and Joel Edgerton plays Dr. Harry Harris, the Australian diver and anesthesiologist who came up with a risky plan.  His reaction to the news that all the boys are fine will choke you up – such relief.

The actors make us feel the peril, and the claustrophobia ia seems overwhelming. Special mention to Tom Bateman as Chris Jewell as part of the British Cave Rescue Council and Paul Gleeson as Jason Mallinson, another diver flown in to help.

The danger mounts, the clock is ticking, and we hope the anguished parents have a good outcome before monsoon season arrives.

A large international cast, including many Thai characters, help with the realistic approach. Some subtitles are used for the families and government official characters.

Howard, who has been equally at home in comedy and drama since his first film in 1978, has helmed several outstanding documentaries during the past decade, including the Beatles’ “Eight Days a Week,” “Pavarotti,” “Rebuilding Paradise” about California wildfires destroying a community, and most recently, the Emmy-nominated “We Feed People” about Jose Andres’ efforts through the World Central Kitchen.

So, giving this drama a documentary feel is natural. The tension ramps up with a thoughtful score by Benjamin Wallfisch, a frequent collaborator with Howard, who takes a pared down approach.

The cinematography of Sayombhu Mukdeeprom is a marvel, and between the rising waters of the caves and the torrential rain, stunning craftsmanship.

If you’ve seen the documentary, you do feel like you’ve seen this before, but “Thirteen Lives” is a respectable exercise.

This film is another one of those compelling accounts that shows how people come together to overcome adversity. The real people of the “Miracle in the Cave,” are true heroes, and it’s impossible not to be moved.

“Thirteen Lives” is a 2022 action-drama based on true events and directed by Ron Howard. It stars Viggo Mortensen, Colin Farrell, Joel Edgerton, Paul Gleeson and Tom Bateman. Rated PG-13 for some strong language and unsettling images, it runs 2 hours, 27 minutes. It opened in selected theaters on July 29, and began streaming on Amazon Prime beginning Aug. 5. Lynn’s Grade: B

Rebekah Scallet Is New Artistic Director at New Jewish Theatre

Rebekah Scallet Is New Artistic Director at New Jewish Theatre

The J (St. Louis Community Center) is excited to welcome Rebekah Scallet as the New Jewish Theatre’s new artistic director. Scallet is excited to begin her New Jewish Theatre (NJT) career by producing the world-premiere of The Bee Play this September. Scallet replaces previous artistic director Edward Coffield.

Scallet brings years of theater experience to NJT through her previous work as the Producing Artistic Director at the Arkansas Shakespeare Theatre, a professional equity summer theatre festival part of the University of Central Arkansas. During that time, she produced 32 plays and musicals and directed eight productions. She also oversaw the creation of Arkansas Shakespeare Theatre’s all-virtual “Revisiting Shakespeare,” an online festival celebrating and investigating Shakespeare and his work’s role and relevance today.

“I am thrilled to be joining the amazing team at the New Jewish Theatre and the J. I believe theater is a vital tool in growing and strengthening communities, something the New Jewish Theatre has an incredible track record of doing through their work,” Scallet said.

Scallet moved to St. Louis two years ago and has been working as a freelance director and teacher, most recently with the Sargent Conservatory at Webster University where she directed The Learned Ladies. remembers visiting St. Louis and her grandparents many years ago as a child and remembers seeing her grandmother perform in a Yiddish play at the J.

“The J itself has also meant a lot to my family. Though I only moved to the area a couple of years ago, my family has deep St. Louis roots, and I have fond childhood memories of seeing my grandmother perform on stage here. The building and the theatre itself have changed a lot since then, but this is truly a full-circle moment for me, and I am excited to walk in my grandmother’s footsteps as I create and share stories with this community,” said Scallet.

Rebeka Scallet. Photo by Caroline Holt.

During her time at Arkansas Shakespeare Theatre, she was responsible for more than doubling theatre’s audience size, expanding their performance season, founding the Arkansas Shakespeare Theatre’s Artistic Collective and establishing a hugely successful educational touring program. Her production of Twelfth Night for the Arkansas Shakespeare Theatre won her the Arkansas Art Council’s Individual Artist Award.

Additionally, Scallet worked as the Producing Artistic Director at the University of Central Arkansas, where she also taught two to four courses per year and directed the theatre program every other year for the Department of Film, Theatre and Creative Writing. She also spent 10 years in Chicago working as a director, dramaturg, artistic administrator and teaching artist.

Scallet received her Bachelor of Arts Degree in Theatre Arts and English and American Literature from Brandeis University in 2000. In 2009, she completed her Master of Fine Arts in Directing from Illinois State University.

Rebekah is involved in many community-led Jewish organizations. In St. Louis, she served on the L’Chaim Gala Planning Committee, which is the Women’s Philanthropy Division of the Jewish Federation of St. Louis and is a member of the National Council for Jewish Women St. Louis. In Arkansas, she was involved with the Jewish Federation of Arkansas where she served as a Board of Trustee from 2012-2018 and served as Chair of the Events Division, including overseeing the 2019 Jewish Food and Cultural Festival.

EDWARD COFFIELD HEADED TO OHIO

From the former artistic director on Aug. 2, posted on the New Jewish Theatre Facebook page:

“Today is my last day as Artistic Director of the New Jewish Theatre. I have accepted an offer to join the faculty and staff at Baldwin Wallace University in Berea, Ohio, as Production Manager and to lead their Stage Management Program.

I’ve been so lucky to have worked with NJT for 20 years. I directed my first production, Crossing Delaney, in 2002, and became artistic director in 2018. I have watched the theatre grow and survive the pandemic when other theatres simply disappeared. The truth is not one individual can ever define the theatre’s success or resilience.

Eddie Coffield

I am honored to have served the theatre well and to be a part of its story. I have lived in St. Louis for 34 years, and I have made friends and colleagues that have meant a great deal to me along the way. I had the chance to create a lot of theatre in this community. I am thankful for the friends and colleagues that have been a part of my journey that has changed me for the better.

I leave behind an incredible theatre and a great theatre community. I hope you will all continue to support NJT – Please take care of NJT for me – it’s important to our community!

-Eddie Coffield


ABOUT THE J:

The J is an interactive, multi-generational gathering place that offers a variety of programs and services to both the St. Louis Jewish community, and the community at large. The Jewish Community Center provides educational, cultural, social, Jewish identity-building and recreational programming and offers two, state-of-the art fitness facilities, all designed to promote physical and spiritual growth. Everyone is welcome at the J.

For more information, visit jccstl.org

Montage of New Jewish Theatre Productions

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

By Lynn Venhaus
How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.

A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.

At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.

And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.

However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.

In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.

The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.

Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.

Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.

Photo by John Lamb

While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”

Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.

The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand.  Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.

The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’

Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.

She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).

Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.

Photo by John Lamb

Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.

Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.

The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”

Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”

The troupe’s strong voices harmonize well in the group numbers, too.

Photo by John Lamb

Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.

Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.

Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.

The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.

For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.

My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.

It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.

Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org

Note: Tickets are only offered in physically distanced groups of two or four.

Photo by John Lamb.

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

By Lynn Venhaus

In its Muny premier, “The Color Purple” is a momentous experience — one that cannot be missed for its historic and landmark significance, but also because it’s one of the finest ever ensembles in its 104 seasons.

The cast takes us on an unforgettable emotional journey, and their glorious harmonies soar into the summer night.

Delivering a story of uncommon courage and grace in a harrowing account of deeply rooted cruelty and oppression, the core group of female principals makes us feel their sorrows, love, pain, and indomitable spirit.

To paraphrase Annie Lennox and Aretha Franklin, sisters are doing it for themselves (referencing a 1985 Eurythmics female empowerment song). And what a sisterhood it is!

In 1909, Celie is a humble, hard-working 14-year-old poor black girl living in rural Georgia, who has delivered two babies whose father is her father, and Pa (Duane Martin Foster) has taken them away.

Several years later, he makes a deal to give Celie to Albert “Mister” Johnson, an emotionally and physically abusive widower and farmer, to care for his unruly children and serve him and his family.

She spared her sister, Nettie, so that she could follow her dream of being a teacher. Unbeknownst to Celie for a long time, the compassionate Nettie winds up with a missionary family in Africa, and is eventually tracked down by Shug Avery, another important influence in Celie’s life.

Celie has gone from one house of horrors to another. This is unsettling, of course, but her unwavering faith sees her through these tough times, as do the people who raise her up. She has always found solace with her sister and in church, and as time passes, it is the community that relies on her that pays back her kindness.

While taking care of Mister’s home, the nurturing Celie meets the glamorous, worldly, and determined nightclub chanteuse Shug Avery. They eventually share a romantic relationship and deep bond despite the singer having an on-again, off-again affair with Mister and a marriage to Grady.

One of Mister’s grown children, Harpo, marries Sofia, and she is a strong-willed free spirit, known for her independence and speaking her mind, with her phrase: “Hell, no!” even a song title. She cannot be ‘tamed,’ but she loves Harpo. Sofia’s stance will bring her serious harm.

Over the course of several decades, what the women learn, how they grow and overcome obstacles will tug at our hearts, so that the mercy shown in the second act leads to triumph– and for the men too.

Marsha Norman wrote this tough adaptation of Alice Walker’s Pulitzer Prize-winning touchstone novel, a National Book Award winner in 1982, which told Celie’s story through letters she wrote to her sister and children.

Sisters Nettie and Celie “Our Prayer.” Photo by Phillip Hamer.

For director Steven Spielberg, Menno Meyjes adapted the book into a 1985 movie that garnered 11 Academy Award nominations (but famously did not win any). A new movie based on the musical is set for a December 2023 release.

The heart and soul of any version is Celie, and it’s no fluke that both actresses who played Celie on Broadway — LaChanze in the original 2005 production and Cynthia Erivo in the 2016 revival — won Tony Awards (Director John Doyle’s re-imagining also won the Tony Award for Best Revival).

In this powerhouse role, Anastacia McCleskey is transcendent, bringing out the dignity, heartbreak, and virtues of a true survivor of overwhelming trauma. This tour de force performance is deeply felt and delivered with remarkable strength and skill.

Her eyes glistening with tears, McCleskey became a bona fide star in her 11 o’clock number, “I’m Here,” in which she expresses self-love and perseverance, and left us in awe. The thunderous ovation that followed was one of the longest in memory. Goosebump moments, indeed.

When she leads the cast in the finale, a fervent reprise of “The Color Purple,” it’s impossible for the audience to not have been affected by this sublime show.

Yes, it’s gut-wrenching, but it’s also about healing, resilience, and the mighty power of love. Throughout our history, we have learned that we should never forget what’s happened before, those teachable moments that make us better people.

The score includes gospel, jazz, ragtime, blues, and African beats, with songs by Brenda Russell, Allee Willis, and Stephen Bray that bring out the purpose, yearnings and period of these early 20th century lives.

“Mysterious Ways” number. Photo by Phillip Hamer.

The cast is stellar from leads to brief parts, evident from the Sunday church services depicted in “Mysterious Ways,” with Omega Jones belting out praise as the preacher and Alexis J. Rosten, Shantel Cribbs and Melanie Loren instant crowd-pleasers as the supremely talented trio of church ladies Doris, Darlene, and Jarene.

You will quickly discover what a joyful noise this ensemble will make, their strong vocals providing a sense of faith, hope and charity that church communities share.

Nasia Thomas, who stood out in last year’s “Smokey Joe’s Cafe,” is impressive as Celie’s beloved sister Nettie. You can feel a palpable bond between them, as if they were real sisters. Their duets are beautiful, especially the touching “Our Prayer.”

In the showy role as the irrepressible Shug, singer Tracee Beazer sashays across the stage with ultra-confidence. She leads the big splashy number “Push Da Button” but it’s her poignant ballads, “Too Beautiful for Words” and “The Color Purple,” that showcase her vocal strengths, as well as the exquisite “What About Love?”, a tender duet with Celie.

Nicole Michelle Haskins as Sofia and Gilbert Domally as Harpo reprise their roles from the acclaimed 2019 Drury Lane Theatre production in Chicago and endear as a dynamic couple — and as individuals. They have a fun, playful duet “Any Little Thing.”

Gilbert Domally, Nicole Michelle Haskins, Evan Tyrone Martin, Anastacia McCleskey. Photo by Phillip Hamer.

As the villain Mister, Evan Tyrone Martin inspires a gamut of emotions as the heartless husband perpetuating a long cycle of suffering. After he’s cursed and lost everything, “The Mister Song” begins his redemption.

Fine in supporting roles are Erica Durham as the colorful Squeak, Sean Walton as flashy Grady, and Jos N. Banks as lively Buster. Muny favorite Kennedy Holmes portrays Olivia and Rodney Thompson is Adam, Celie’s children.

The staging on a simple slab with different levels depicting various locales is a smart move by scenic designer Arnel Sanciano, which narrows our focus to the human interaction. Other accoutrements, such as Harpo’s sign for his juke joint and fields of purple flowers, are deftly handled on the LED screen by video designer Paul Deziel.

The creative team is new to the Muny but not the material. Director Lili-Anne Brown, music director Jermaine Hill and choreographer Breon Arzell were responsible for the Drury Lane Theatre production in fall 2019 that received seven Joseph Jefferson Awards nominations and won two — for directing and supporting role (Haskins).

Their collaboration has transferred well to the large outdoor stage. Every part of this exercise is told with attentiveness and passion.

The trio’s vision is brought vividly to life by the top-tier ensemble and their team, including outstanding craftsmanship by lighting designer Heather Gilbert and sound designers John Shivers and David Patridge. Production stage manager Jhanae Bonnick keeps everything at a brisk pace.

“Miss Celie’s Pants.” Photo by Phillip Hamer.

The costumes are a panoply of 40 years of style, with costume designer Samantha C. Jones dressing a church-going community in their Sunday best, what they wear to work and play in a Southern town, and how they dress up for a juke joint. Wig designer is Kelly Jordan.

With Celie designing pants in the second act, a striking array of comfortable yet stylish outfits are on display. That celebration number “Miss Celie’s Pants” marks such a turning point in the story and is one big smile.

If you believe, as I do, that if you spread light and love in the world, and are a good person, then the universe responds in kind. That is ultimately why Celie’s story resonates. Yes, she endured hell on earth, but she never gave up her belief in goodness, and finally realized her worth as a human being.

Purple symbolizes strength, transformation, power, wisdom and bravery, and all meanings can be applied here.

What an inspiration Alice Walker’s book was to the world 40 years ago, and continues to be, and what a distinguished accomplishment this show is for The Muny and St. Louis.

Nasia Thomas, Anastacia McCleskey, Rodney Thompson, Kennedy Holmes. Photo by Phillip Hamer.

The Muny presents the musical “The Color Purple” Aug. 3-9 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For more information or tickets, visit www.muny.org.

Church Ladies. Photo by Phillip Hamer.

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

By Lynn Venhaus

A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.

This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.

The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.

From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.

This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.

As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).

Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.

Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”

Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”

However, Salgado isn’t the only original connection involved at Stages.

Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.

This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.

Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.

Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.

The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.

Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.

Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.

His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”

Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.

Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.

Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.

Robles, Alvarado, Garcia. Photo by Phillip Hamer.

While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”

The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.

Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.

Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).

 Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.

Leoni and Hipps. Photo by Phillip Hamer.

The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”

Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.

As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).

Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).

Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.

And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.

The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.

Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.

As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.

Hagans and Juvier. Photo by Phillip Hamer.

Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.

Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries. 

Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.

This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”

Amanda Robles as Vanessa. Photo by Phillip Hamer.

Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org

Photo by Phillip Hamer

Free Shakespeare in 24 Different Local Parks: ‘A Midsummer Night’s Dream’

Free Shakespeare in 24 Different Local Parks: ‘A Midsummer Night’s Dream’

The Festival’s 20-year-old touring program returns for the second time as the free and outdoor public park tour, TOURCO, throughout Missouri and Illinois with A Midsummer Night’s Dream. The production will be directed by Tre’von Griffith, St. Louis/NYC-based theater artist, composer and founder of WerQfest also known as Tre-G, and featuring costumes by acclaimed local fashion designer Brandin Vaughn. This 90-minute highly musical afro-futurist adaptation will play in 24 different locations August 2-27 starting on opening night at Kiener Plaza in the heart of downtown St. Louis.

“It’s family-friendly. It’s fun. It’s completely free to attend. And it’s coming to a park near you.” – Director Tre-G.

Cast includes:
Tiélere Cheatem … Helena/Hippolyta/Peter Quince
Rae Davis … Hermia/Tom Snout/Titania
Ricki Franklin … Demetrius/Nick Bottom
Asha Futterman … Theseus/Oberon
Mel McCray … Lysander/Francis Flute
Christina Yancy … Egeus/Snug/Robin/Puck

The Cast

Frequently Asked Questions:

WHAT TIME IS THE PERFORMANCE?

  • 6:30 PM – 8:00 P.M. Central Time

HOW CAN I ATTEND?

  • TourCo is free and open to everyone, no reservations are required. Seating is first come first serve. Bring your own chairs or blankets. All ages welcome. 
  • Find the location closest to you: https://bit.ly/3yn393j

WHAT NIGHT ARE THE PERFORMANCES?

  • There are performances nightly Tuesday-Sunday. There is no show on Monday. 

ACCESSIBILITY

  • Audio Descriptions will be provided by Mind’s Eye Radio on August 3 at Tower Grove Park
  • ASL Interpretation will occur on August 26 at Chroma Plaza

Guests are encouraged to call ahead to the Box Office (314-287-3348) with any Park accessibility questions for the tour date they plan to attend. 

ARE PETS ALLOWED?

Yes! Well-behaved and leashed pets are allowed at all performances. 

FOOD & DRINK OPTIONS

Guests can bring their own food and drink. Select sites will have vendors as noted. 

RAIN POLICY

It is always our hope to perform, so the decision to hold or cancel the show is rarely made before showtime (6:30 pm). In the event of bad weather, the performance may be delayed. Check social @stlshakesfest across platforms for updates or call 314•287•3348.

Schedule:

TUE AUG 2Kiener Plaza500 Chestnut St,. St. Louis, MO
WED AUG 3Tower Grove Park [AD]4257 Northeast Drive, St. Louis, MO
THU AUG 49 Mile Garden9355 Gravois Ave, Affton, MO 63123
FRI AUG 5Etzel Heights SubdivisionSparta Ct and Robert Powell Pl, St. Louis, MO
SAT AUG 6Bellevue Park401 Bellevue Park Dr, Belleville, IL
SUN AUG 7Fairground Park3715 Natural Bridge Ave, St Louis, MO
TUE AUG 9Crown Square (Old North)1400 St. Louis Ave, St. Louis, MO
WED AUG 10O’Day Amphitheater1000 O’Day Park Dr, O’Fallon, MO
THU AUG 11Schroeder Park359 Old Meramec Station Rd, Manchester, MO
FRI AUG 12Love Bank Park2851 Cherokee St, St Louis, MO
SAT AUG 13Harney Mansion Grounds332 S Mansion St, Sullivan, MO
SUN AUG 14Pomme Creek Park1 Golfview Dr, Arnold, MO
TUE AUG 16Schlalfy Bottleworks7260 Southwest Ave, Maplewood, MO
WED AUG 17Carondelet ParkLoughborough Dr and Field, St. Louis, MO
THU AUG 18Chesterfield Amphitheater631 Veterans Pl Dr, Chesterfield, MO
FRI AUG 19City Park101 S Buchanan, Edwardsville, IL
SAT AUG 20January-Wabash Park501 N Florissant Rd, Ferguson, MO
SUN AUG 21Heritage Park131 Illinois River Rd, Brussels, IL
TUE AUG 23Fountain ParkFountain Ave & N. Euclid Ave. St. Louis, MO
WED AUG 24Jones Water Park2600 Caseyville Ave, East St. Louis, IL
THU AUG 25Shaw Park27 S Brentwood Blvd, Clayton, MO
FRI AUG 26Chroma Plaza [ASL]4041 Chouteau Ave, St. Louis, MO
SAT AUG 27Hermann Farm526 E 1st St Hermann, MO
Schedule

For more information, contact Allie at allie@stlshakes.org or call 314-287-3348. 

Fields of Gold: Sunflowers Blooming Now in the Bi-State Area

Fields of Gold: Sunflowers Blooming Now in the Bi-State Area

By Lynn Venhaus
If you grow it, they will come. But the sunflowers dotting our regional landscape have a brief life in the summer. Now is the absolute peak time, so don’t wait to make plans.

The Columbia Bottom Conservation Area is 4,300-acres located south of the Missouri River in Spanish Lake. For years, the Missouri Department of Conservation has planted fields of sunflowers. It’s a couple miles’ drive from the entrance gate, which is located a few miles north of Interstate 270 on Riverview Drive. Take that exit, and then travel north about three miles. Follow the sign.

The location in North St. Louis County is at the confluence of the Missouri and Mississippi Rivers, and.Columbia Bottom has wetlands, forests, prairies and croplands. The area encompasses the 110-acre Duck Island on the Mississippi River as well as more than six miles of river frontage.

Columbia Bottom Conservation Area, July 30, 2022. Lynn Venhaus photo

The Missouri Department of Conservation reports that visitors can see sunflowers in the area from early July through the middle of August — depending on weather conditions. There is no charge.

The area is closed from one-half hour after sunset until one half-hour before sunrise, except for authorized hunting, fishing and boat ramp use.

The confluence is the fourth largest river system in the world — and can be observed from the site’s Confluence Viewing Platform, which is located at the end of the road.

The road that runs through the area has eight exploration stations along the way. It is a self-guided learning experience, and visitors can view surrounding habitats. The area offers hiking, biking and river access.

There is a visitor center with educational displays that will help guests become acquainted with the site. For educational programs that are offered to the general public, call ahead, as most require advanced registration.

I ventured there on July 30. These are my photos.

Families, couples, photographers explore the paths in early evening July 30, 2022. Photo by Lynn Venhaus

Eckert’s Belleville Farm

The two-acre field has gorgeous photo opportunities. The Sunflower Trail opened last weekend and runs through Aug. 7.

You must register online for a time and a date to visit. The cost is $5 plus field access admission for $6.50. Besides the field, the adventure includes one sunflower to cut and take home, a sunflower cookie from the bakery and a sunflower sticker. For more information, visit www.eckerts.com.

Someone put shades on a flower, so I had to include him/her in my selfie.

A Coastal Elite Gets His Hat Handed to Him in Comedy-Mystery ‘Vengeance’

A Coastal Elite Gets His Hat Handed to Him in Comedy-Mystery ‘Vengeance’

By Lynn Venhaus

Ah, preconceived notions. In journalism parlance, we have a phrase in the newsroom, “When you assume, that makes an ass out of you and me.” This universal truth gets a workout in the fish-of-out-water irreverent black comedy, “Vengeance.”

First-time director B.J. Novak has a lot to say about many topical and philosophical issues currently tapping into the cultural zeitgeist. Perhaps he takes on too much in this ambitious film that while hitting numerous bullseyes, has too many smug and wince-induced moments to prevent us from fully embracing a muddled message.

Novak is a droll supporting actor best known for playing Ryan Howard on “The Office” (and wrote several episodes too). In “Vengeance,” his character, Ben Manalowitz, is a condescending coastal elite. Ben might be better educated and talks a good game, but he and his toxic pals (John Mayer!) are no better than the male chauvinist pigs that feminists railed about in the 1970s. (I know, satire!)

Abilene Shaw (Lio Tipton), with dreams of being a singer-songwriter, has returned home from the big city, and has been found deceased in an oil field near an area known as “The After-Party.” Opioids are used there, and everyone thinks she has died from an overdose – except her brother Ty (Boyd Holbrook in a terrific performance), who is eager to seek revenge.

Ty calls the “Ben” in her cell phone, led to believe he is her boyfriend, and breaks what he thinks is devastating news. This jolts Ben during one of his many one-night stands (apparently), and although reluctantly, he commits to attending her funeral, as the brother is insistent.

Ty wants Ben to help him solve Abilene’s murder. Eureka! The social climber has landed on a topic ripe for a buzz-type podcast “Dead White Girl.”

He gets the green light from a nationally renowned podcast producer, played assuredly by Issa Rae, and she seems to like everything he turns in, sort of puzzling, although always has questions. This could be his big break.

He interviews her family and friends, and as Ben navigates an unfamiliar culture, he surprises himself by growing close to her eccentric family that he’s staying with, and discovers people are not what you expect them to be.

Novak’s city slickers vs. country yokels’ stereotypes are broadly drawn, and mocking the rodeo-loving, gun-toting, Whataburger devotees of the small unnamed town in west Texas is funny, to a point. But then some barbs lean towards the cruel. (I know, parody!).

As Ben evolves into a more caring, a tad less insufferable metrosexual who shipped his fancy coffee pot from Brooklyn, you can feel some genuine sincerity, especially between Abilene’s kid brother Mason, who is derided as “El Stupido” by his much older siblings.

 Besides Ty, there is Paris (Isabella Amara) and sister Kansas City (Dove Cameron), who both want to be social media influencers and crave the spotlight.

It is satisfying to see Ben get his comeuppance and discover that rural people aren’t all IQ-deficient. It’s a lesson in the country version of ‘street smarts.’

At the rodeo

The message, somewhat, is don’t judge a book by its cover.

The cast is uniformly good, especially Eli Bickel heart-tugging as the little brother missing his big sister, who let him sleep on the floor of her bedroom. And J. Smith-Cameron does a complete 180 from her Emmy-nominated turn on “Succession” as the fiercely protective matriarch.

Surprising to see Ashton Kutcher noteworthy as a philosophical music producer in the hinterlands. But then, when you realize he gave Novak one of his first Hollywood jobs on his MTV hidden camera reality show “Punk’d,” not so hard to see the connection. Novak was a field agent in the first and second seasons. As sharp-dressed Quintin Sellers, Kutcher is more than meets the initial eye.

Then, the bottom falls out in the last half hour. And everything we were led to believe the previous 70-some minutes isn’t the case, and things are topsy-turvy. The last 10 minutes are out of a completely different film, and I am still pondering ‘what just happened?’!

For the most part, the third act betrays the story – and it is hard to determine what Novak is trying to say by then.

Novak, a smart, witty guy, has a lot of potential in future projects. He should have edited more of his talking points, not cram everything into one movie.

This is likely to be polarizing, like “Don’t Look Up,” and while overall, it is confusing, Novak proves to be an original voice. Maybe next time, he won’t pick such easy targets. It would be good to see him make a splash.

“Vengeance” is a 2022 comedy, mystery, thriller directed by BJ Novak and starring B.J. Novak, Issa Rae, Ashton Kutcher, Boyd Holbrook, J. Smith-Cameron, Dove Cameron and Lio Tipton. It is rated R for language and brief violence and runs 1 hour, 47 minutes. The movie premiered at the Tribeca Film Festival and opened in theaters on July 29. Lynn’s Grade: C.

BJ Novak and Ashton Kutcher

Flooding Cancels Muny’s ‘Legally Blonde’ Performance For July 26, Moved to Aug. 1

Flooding Cancels Muny’s ‘Legally Blonde’ Performance For July 26, Moved to Aug. 1

The Muny announced today that the Tuesday, July 26 performance of Legally Blonde The Musical, which opened last night, will be postponed due to flooding in Forest Park and on The Muny campus caused by record-breaking rainfall overnight.

The rescheduled performance will take place on Monday, August 1 at 8:15 pm. All tickets will automatically be rescheduled for Monday evening’s performance. Ticket holders may visit muny.org for more information. The Wednesday, July 27 performance will go on as scheduled.

“Above all else, our thoughts are with all other flood victims in the region,” said Kwofe Coleman, President and CEO. “Despite the shocking damage we found today on the grounds of The Muny, we are thankful to be able to reschedule tonight’s performance for Monday evening. I am personally grateful for everyone who adjusted so quickly and worked to make this happen.”

Tickets for tonight’s July 26, 2022 performance will be honored on the new date of Monday, August 1, 2022 at 8:15pm. If this date does not work for you, you may exchange your ticket in person at The Muny Box Office for a different performance of Legally Blonde.

Your Options:
A) Attend Monday, August 1 – no action required. Your current ticket will gain entry into the theatre.
B) Attend a different  performance of Legally Blonde – Exchanges can be made in person at The Muny Box Office, open daily 9 AM – 9PM
C) Should you be unable to attend another performance, refunds will be honored.

Have a mobile ticket? If you have downloaded your ticket, it will remain valid. If you have not downloaded your ticket yet to your phone, you will be sent a new ticket for Monday, August 1.

Thank you for your patience and understanding as we get The Muny campus ready for your arrival

To stay connected virtually, and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.

The Muny’s 2022 Season includes Chicago (June 13-19), Lerner and Loewe’s Camelot (June 22-28), Disney and Cameron Macintosh’s Mary Poppins (July 5-13), Sweeney Todd: The Demon Barber of Fleet Street (July 16-22), Legally Blonde, The Musical (July 25-August 1), The Color Purple (August 3-9) and Joseph and the Amazing Technicolor Dreamcoat (August 12-18).

The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce world-class musicals each year and welcome over 350,000 theatregoers over our summer season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org.

Forest Park outside the Muny
Bathroom

Best of Fest ‘All Gone Wrong’ Wins Seven at 22nd Annual St Louis Filmmakers Showcase

Best of Fest ‘All Gone Wrong’ Wins Seven at 22nd Annual St Louis Filmmakers Showcase

Josh Guffey’s crime drama “All Gone Wrong” won seven awards, including Best of Fest, at the closing-nights awards ceremony in the Duck Room at Blueberry Hill on Sunday, July 24. The Whitaker St. Louis Filmmakers Showcase, an annual presentation of the nonprofit Cinema St. Louis (CSL), serves as the area’s primary venue for films made by local artists.

The Showcase screened works that were shot in the St. Louis region or were written, directed, or produced by St. Louis-area residents or by filmmakers with strong local ties who are now working elsewhere. The Showcase’s 14 film programs ranged from narrative and documentary features to multi-film compilations of fiction, experimental, and documentary shorts.

The closing-night awards presentation took place in the Duck Room at Blueberry Hill on Sunday, July 24. Announced were nearly two dozen Showcase jury awards — including a $500 prize to the overall Best Showcase Film.

Cinema St. Louis staff also announced the films that will move on to the 31st Annual Whitaker St. Louis International Film Festival in November. SLIFF is set for Nov. 3-13, returning to theatres. Schedule to be announced in October. (Note: “All Gone Wrong” debuted at the 2021 SLIFF).

Below are the winners.

Jake Kaufman

Narrative jury awards:

Best Costumes – “All Gone Wrong”

Best Makeup/Hairstyling –  Shaina Paulson & Jose Carlos Guillen, “Viral”

Best Use of Music – Lupe Medina, “Paragon”

Best Sound – Sean Kilker, “Hungry Dog Blues”

Best Production Design/Art Direction – Cameron McCarthy, “All Gone Wrong”

Best Special/Visual Effects – Shane Dioneda, “Space Race”

Best Editing – Bret Hoy, “All Gone Wrong”

Best Cinematography – Levi Kirby, “All Gone Wrong”

Best Screenplay – Jason Millner, “Hungry Dog Blues”

Amy Hargreaves “Hungry Dog Blues”

Best Actor – Jake Kaufman, “All Gone Wrong”

Best Actress – Amy Hargreaves, “Hungry Dog Blues”

 Best Ensemble Cast – “Un-resolved

Best Direction – Jason Millner, “Hungry Dog Blues”

Best Animated Film – Michael Long, “Island Hopping”

Best Comedy – Rick Petty, “Bird Bullies”

Best Drama – Jason Millner, “Hungry Dog Blues”

Best Narrative Film under 20 minutes – Adrian Todd Zuniga, “Hold Me, Don’t Touch Me”

Best Narrative Feature over 20 minutes – Josh Guffey, “All Gone Wrong”

‘A New Home” documentary

Documentary & Experimental jury awards:

Best Animated Documentary or Experimental Film – Van McElwee, “World Skin”

Best Use of Music – Dana Christian & Lyah LeFlore-Ituen, “Poetry in Motion: St. Louis Poets Take the Mic”

Best Sound – Alvin Zamudio & Steve Cakouros, “A New Home”

Best Editing – Seth Ferranti, “Night Life”

Best Cinematography – Gabe Sheets, “Who is Syd?”

Best Direction – Gabe Sheets, “Who is Syd?”

Best Documentary under 20 minutes – Gabe Sheets, “Who is Syd?”

Best Documentary Feature over 20 minutes – Joe Puleo, “A New Home”

Best Experimental Film – Pier Marton, “(a human) being”

UN-RESOLVED

Films invited to SLIFF:

Bird Bullies directed by Rick Petty

Ethan and Edna directed by Andy Compton

(a human) being directed by Pier Marton

Hold Me, Don’t Touch Me directed by Adrian Todd Zuniga

Hungry Dog Blues directed by Jason Millner

Interstellar Gunslinger directed by Nate Carroll

Island Hopping directed by Michael Long

A love letter to Brian, Lesley, and Michelle directed by Hettie Barnhill

The Lungs directed by Zlatko Cosic

A New Home directed by Joe Puleo

Night Life directed by Seth Ferranti

Poetry in Motion: St. Louis Poets Take the Mic directed by Dana Christian

Space Race directed by Shane Dioneda

Un-Resolved directed by Bruce Carlton Cunningham

Viral directed by Michael Rich

Who is Syd? directed by Gabe Sheets

World Skin directed by Van McElwee

Chellapa-Vedavalli Foundation Best of Fest Essy Award $500 cash prize: 

Josh Guffey, All Gone Wrong
To see the trailer, visit: https://youtu.be/_aOd9DrPoSs

To see the trailer of the documentary feature winner, “A New Home,” visit: https://youtu.be/dnmVnGjdn9M