Lynn Venhaus

Total Post: 1137

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.

American Remake of ‘The Guilty’ Tense, Gripping With Fuqua at Helm

American Remake of ‘The Guilty’ Tense, Gripping With Fuqua at Helm

By Lynn Venhaus
An American remake that is as tense and gripping as the 2018 Danish original, “The Guilty” will surprise with its carefully crafted twists in a story you think you have figured out – but assumptions are a dangerous tool.

“The Guilty” takes place over the course of a single morning in a 911 dispatch call center. Call operator Joe Baylor (Jake Gyllenhaal) tries to save an emergency caller in grave danger, but he soon discovers that nothing is as it seems, and facing the truth is the only way out.

Gyllenhaal bought the rights to the acclaimed foreign language film, which won the Audience Award at the Sundance Film Festival in 2018 and was Denmark’s entry for the Oscars (not nominated; “Roma” won) three years ago. (The original is currently streaming on Hulu.)

As a producer, he cast himself as the lead, a demoted police officer working as a 911 dispatcher, and assembled a crackerjack team.

The creative crew – including screenwriter Nic Pizzolatto, of HBO’s “True Detective,” has not changed much, but moved the location from Copenhagen to Los Angeles, where the public safety personnel are involved in quelling wildfires. The call center displays horrific scenes of fire ravaging the landscape on its multi-screens.

Original screenwriters Gustav Moeller, who also directed the 2018 film, and Emile Nygaard Albertsen, had written such a compelling script that it really didn’t need much embellishment. It’s a brilliant example of building tension in a contained area in a race against time.

Above all, the source material illustrated that a rush to judgment is often counterproductive. The takeaway is that one should not jump to conclusions before all the details are available.

One change is the temperament of Baylor. Whereas in the original, Swedish actor Jakob Cedergren played the conflicted police officer with a more stoic demeanor, they both are frustrated by the petty calls clogging up the system and show little patience.

Gyllenhaal is a more intense actor, so he plays Joe with pent-up rage. While he answers routine calls, he seems a little more on edge, his inhaler present. Turns out he has a trial set for the next day, but the charges are not revealed right away. Through his conversations with others, we piece it together.

Emily, a mother of two who is in the process of getting a divorce, calls 911, whispers for help, and Joe soon gets involved in a complicated case. She is frantically voiced by Riley Keough.

Gyllenhaal’s ferocity will sometimes get in the way of cool, calm decision making under pressure. He will say and do things that further heighten a dangerous scenario.

Clearly, his conscience is wrestling with some other issues. As a beat cop, he’s trying to be a hero – is this a means of redemption?

Director Antoine Fuqua knows a thing or two about shooting action films – his collaborations with Denzel Washington include the Equalizer reboot and its sequel, the “Magnificent Seven” remake and Washington’s Oscar winner “Training Day.” He directed Gyllenhaal in “Southpaw.”

Fuqua makes a fairly stagnant situation bristle with adrenaline and anxiety. What kind of peril is Emily in? As the film unfolds, we will be able to see the bigger picture.

The voice work is stellar, as one would expect from the supporting players. Besides Keough being the distraught victim on the other end of the phone, Peter Sarsgaard (Gyllenhaal’s brother-in-law in real life) plays her husband Henry, who is living separately from their family.

Ethan Hawke, an Oscar nominee for “Training Day,” is a police sergeant whose work banter with Joe indicates familiarity. Paul Dano, who directed Gyllenhaal in the underrated “Wildlife,” plays a VIP who is mugged while visiting the City of Angels.

The editing by Jason Ballantine is impressive, and the music score by Brazilian composer Marcelo Zarvos conveys an urgency that increases the helpless feelings coming through the phones.

At a 90-minute runtime, Fuqua keeps it taut, and Gyllenhaal displays the effects of compromised morality that’s a necessary ingredient. While this may not be better than the original – they did this tale first after all, so there is a lack of surprise if you have seen it – but for American audiences experiencing it as new material, this puts the thrill in thriller.

“The Guilty” is a thriller directed by Antoine Fuqua and stars Jake Gyllenhaal. Voice work is by Riley Keough, Peter Sarsgaard, Ethan Hawke and Paul Dano. It is Rated R for language throughout and is 90 minutes. In theatres Sept. 24 and streaming on Netflix Oct. 1.
Lynn’s Grade: B+

German Sci-Fi Rom-Com ‘I’m Your Man’ Is A Love Story That’s Far From Robotic

German Sci-Fi Rom-Com ‘I’m Your Man’ Is A Love Story That’s Far From Robotic

By Alex McPherson

Director Maria Schrader’s sci-fi dramedy, “I’m Your Man,” presents multifaceted questions about love, humanity, happiness, and loneliness in a time when technology molds to fit our every need.

Based on a short story by Emma Braslavsky, the film centers around Alma (Maren Eggert), an anthropologist working for the Pergamon museum in Berlin, studying Sumerian cuneiform tablets for traces of poetry. She’s a closed-off workaholic leading a mundane life — getting along well with co-workers, but holding deeper sadness and resistance to anything resembling romance. In exchange for more funding for her research, Alma reluctantly agrees to participate in a three-week-long study where she’s paired with a humanoid “man of her dreams” named Tom (Dan Stevens).

This android is calibrated to match her personality and adapt over time in accordance with Alma’s reactions. Unsurprisingly, things don’t go smoothly at the beginning. From the moment Tom speaks the phrase, “Your eyes are like two mountain lakes I could sink into,” Alma isn’t impressed.

As the days go on, however, Tom grows more sensitive, relatable, and attractive to her. Alma slowly but surely starts falling for him, while simultaneously regretting her burgeoning feelings, and ends up confronting the roots of her melancholy. 

Although this android might develop like a person would, is Alma’s love authentic, or purely artificial? What is Alma willing to sacrifice to achieve satisfaction in a relationship, and should humanoids like Tom be available to the public in an increasingly isolated world? Schrader doesn’t opt for easy, convenient answers — which renders “I’m Your Man” a more contemplative watch than viewers might expect.

In large part, thanks to Alma’s complexity as a protagonist and Stevens’ poignant, drolly humorous performance as Tom, the film soars in both moments of light-heartedness and serious drama, with a story ripe for discussion once the credits roll.

Indeed, “I’m Your Man” isn’t so much a conventional science-fiction story as it is an exploration of desire and the befuddling mechanics of relationships. On top of that, Schrader’s film has comedic moments sprinkled throughout — mostly involving Tom’s flawed attempts at fitting in — that lend the proceedings a certain gentleness, not exploiting the premise for crowd-pleasing cheesiness. 

Eggert’s masterful performance conveys Alma’s yearning, resentment, joy, grief, and emotional growth in a way that ensures we always empathize with her as she navigates morally fraught waters.

The script — co-written by Schrader and Jan Schomburg — gives credence to multiple, contrasting perspectives regarding her situation, and encourages viewers to ponder some of the same topics themselves in their own lives. Does the end goal of true happiness justify the means, and is the pursuit of happiness something that makes us human to begin with?

Stevens, while giving a less naturalistic performance, is absolutely outstanding as Tom. For all his robotic, stilted movements and occasional cluelessness, Stevens imbues him with a tangible soul nonetheless, as he learns and evolves from his experiences. He veers further from his robotic roots into someone approaching a human, as well as a mirror for Alma to explore her own flaws and potential for change.

Funny, cathartic, and bittersweet, this intelligent love story rarely falters. The film’s slow pace is guided along by Benedict Neuenfels’ crisp, eye-popping cinematography — initially framing Alma behind glass, looking outside with her manufactured reflection standing beside her — and Tobias Wagner’s jazz-inflected score that becomes rather haunting by the final act. Some viewers might be frustrated by the plot’s low-key rhythms and somewhat ambiguous ending, but as a meditation on a plausible near-future, “I’m Your Man” whirs with life.

Dan Stevens and Sandra Huller

“I’m Your Man” is a science fiction romantic comedy that is in German with English subtitles. Directed by Maria Schrader, it stars Maren Eggert, Dan Stevens and Sandra Huller. Rated R for some sexual content and language throughout, the runtime is 1 hour, 45 minutes. It is in theatres Oct. 1 and digitally Oct. 12. Alex’s Grade: A.

Dynamic Duo Showcase in St. Louis Actors’ Studio Compelling One-Acts

Dynamic Duo Showcase in St. Louis Actors’ Studio Compelling One-Acts

By Lynn Venhaus
By the numbers: 2 one-act plays, 2 renowned 20th century playwrights, 2 professional actors, a 97-seat black box — with COVID-19 protocols in place — and one professional theater company restarting its 14th season.

The more things change, the more they remain the same. One thing is for certain – the awards magnet St. Louis Actors’ Studio has re-opened with the edgy, gritty dramadies that it specializes in, re-emerging with an acting showcase on stage at The Gaslight Theatre.

After being dark during the public health crisis of 2020 and 2021, pre-vaccine, these early 1959 works by two iconic individual voices, “The Zoo Story” by Edward Albee and “The Dumb Waiter” by Harold Pinter, are vivid and evocative some 60 years later

It’s all the ingredients necessary to create a mesmerizing live theatrical experience.

Newcomer Joel Moses announces his arrival in St. Louis with two masterful portraits, holding his own with veteran William Roth, who is also the company’s artistic director. The original 14th season was called “Two to Tango,” and their pas de deux is a master class in duet acting.

William Roth as Peter and Joel Moses as Jerry in “The Zoo Story.” Photo by Patrick Huber

Starting with Edward Albee’s first play, “The Zoo Story,” it’s immediately apparent that we are in for something special. The one-act, written in 1958, is where Albee, a rebellious youth with wealthy adoptive parents, crafted a work by using themes we’d become more familiar with as he explored dark societal issues.

He won three Pulitzer Prizes for Drama, and his 1962 masterpiece “Who’s Afraid of Virginia Woolf?” won the Tony Award. “The Zoo Story” is where it all began, thus creating a sea change in American postwar theater, and won the 1960 Obie Award.

As powerful today as when it first appeared in regional theater (rejected by New York status quo), “The Zoo Story” is about isolation, loneliness, class and economic disparities, dehumanization of marginalized people, and the pitfalls of living in a material world.

All of that is brought to life in finely tuned performances by Roth and Moses as Peter and Jerry. They meet on a park bench in Central Park one sunny Sunday afternoon.

Peter, as is his custom, is reading a book in solitude. A married publisher of some means has two daughters, two cats and two parakeets.

He intrigues Jerry, who engages Peter in conversation. As is immediately obvious, Jerry has issues – lonely, disconnected, desperate, he craves companionship. He has no filter and no boundaries, a lost soul.

It’s apparent who is the have-not in this twosome. Jerry’s façade cracks early, and his behavior becomes increasingly alarming. As unsettled as Peter is, his manners allow him a sense of decorum, until the situation escalates.

What was disturbing back in 1960, when the play was first produced off-Broadway with William Daniels and George Maharis as Peter and Jerry, remains distressing today – but for different reasons. Back then, such unstable behavior hadn’t been normalized by society – it was shocking. Sadly, we can see what’s coming by looking through the rear-view mirror of 2021. This is what happens, Albee says, when people are discarded as worthless by society.

Albee’s trademark biting dialogue is handled with seamless agility by Roth and Moses, under the thoughtful direction of Wayne Salomon.

A legendary local theater artist, Salomon’s skill is expected – and the finesse attended to this production is admirable. He has polished both plays until they gleam, like the genuine gems they are.

The setting benefits from Patrick Huber’s panoramic view of Central Park as a serene oasis in the bustling city – and further illustrates the differences between the two characters.

This sharp, savvy production is , hard-hitting and though-provoking theater as it was intended. It’s exhilarating to experience.

Joel Moses as Gus and William Roth as Ben in “The Dumb Waiter.” Photo by Patrick Huber

After a welcome intermission, as we’re processing the brilliance of the first act, we’re treated to one of Huber’s stunning set changes. How did he do that between shows? It’s a grimy, dingy basement somewhere in England, where two hitmen are awaiting their orders.

This is a fun change-of-pace. Just as absurd as “The Zoo Story,” and also a comedy with dramatic overtones, the British playwright and Nobel Prize-winning Harold Pinter’s early work from 1957 is indicative of his later much-heralded plays, like the menacing “The Birthday Party” and “The Homecoming.”

Moses, in another tour-de-force, is the impatient and somewhat dim-witted Gus, who seems to have grown weary of his routine, monoytonous life waiting for “the call” and killing time on assignment. Without so much as a needed cup of refreshing tea, he’s antsy, bored and hungry.

His companion, Ben, a man resigned to his lot in life, is keenly played by Roth, who becomes aggravated by Gus’ incessant chatter. He’s the teacher to the pupil.

Both actors adopt working-class English accents, and they give out a little information here and there, shaping their characters and how they operate.

They are taken aback when a dumb waiter opens with a slip of paper indicating a food order. The small kitchen’s stove is inoperable, so they can’t even light the kettle for tea. And here orders are coming in with a variety of restaurant dishes listed, expecting to be prepared. A few biscuits, a warm bottle of milk, a stale tea cake and some crisps are all that Gus has brought. They send that up, not knowing what to expect.

The exchange is comical – and involves a whistle and some sort of horn in which to communicate.

Ah, Pinter. A stuffy, claustrophobic setting? Check. Mundane but witty dialogue? Check. Hidden meanings? Check.

The actors get into an appealing rhythm that sadly must end, because well, the play ends. “The Dumb Waiter” leaves you wanting more – dialogue, funny bits, threatening in a mysterious way, and actors having fun — but that is a good thing, not a drawback.

Both plays are humorous, ironic, and suspenseful in their own ways, and it’s interesting to watch the accomplished actors switch gears. Roth and Moses make a dynamic duo – and best of all, this won’t be the end of them working together, at least I hope not.

The two one-acts continue its final weekend, Oct. 1-3, with Friday and Saturday at 8 p.m. and Sunday at 3 p.m. at The Gaslight Theatre in the Central West End, 358 N. Boyle Ave. Tickets are available through Ticketmaster or you can arrive at the box office within an hour of the show. For more information, visit stlas.org or call 314-458-2978.                                                                                                          ,                                                                                                                                                         

‘The Many Saints of Newark’ Enhances ‘Sopranos’ Legacy With Savvy Cast, Gripping Story

‘The Many Saints of Newark’ Enhances ‘Sopranos’ Legacy With Savvy Cast, Gripping Story

By Lynn Venhaus

Thoughtfully constructed with insightful character snapshots foreshadowing the people they become in the landmark television series, “The Sopranos,” the well-cast “The Many Saints of Newark” is one of the year’s best films.

Molti Santi translates to “Many Saints” in English, and the backstory connecting the people to Tony Soprano is a fascinating, yet tangled, web. The movie begins with a voice from the grave, and an Emmy-winning actor reprises his famous role through narration.

Set in the late 1960s and early 1970s, this prequel to “The Sopranos” follows Dickie Moltisanti (Alessandro Nivola) as he climbs the ladder in the DiMeo crime family. His nephew is Anthony Soprano (Michael Gandolfini), a teenager who idolizes his uncle.

Dickie’s influence over his nephew will help shape the impressionable teenager into the all-powerful mob boss we came to know in the HBO series, which ran from 1999 to 2007. Tony is growing up in one of the most tumultuous eras in Newark’s history as rival gangsters rise and challenge the DiMeo crime family’s hold over the increasingly race-torn city.

The year is 1967, and one mobster notes it’s the “Summer of Love,” which is ironic, given all the violence on the Newark streets. Race riots erupt, creating chaos and confusion. The times, they are a-changing, and rival gangsters try to muscle in on the Italian mob’s stronghold.

Racist attitudes prevail, although Dickie has Harold McBrayer (Leslie Odom Jr.), who collects money from the black side of town for him, as he runs the numbers game.

Leslie Odom Jr., 2016 Tony winner as Aaron Burr “Hamilton” and Oscar nominee as Sam Cooke in last year’s “One Night in Miami,” stretches his acting chops as the ambitious and fearless defender of his turf. He becomes a formidable foe.

A warning, although expected — there is a lot of bloodshed. In scenes of grisly torture and gruesome murders, the violence is explosive on the mean streets, and sometimes, directed at their own inner circle. Such is the way of the family business. Lines are frequently crossed, matter-of-factly, and sometimes without consequence.

Dickie, who has had a love-hate relationship with his menacing father, Aldo “Hollywood Dick” Montisanti, played with verve by Ray Liotta, is drawn to dear old dad’s new Sicilian bride, Giuseppina, played by the beautiful Michela del Rossi, who looks like an actress in a Fellini film. She soon becomes his goomah (mistress).

Connecting the dots gets even more complicated – see the movie to find out how everyone is six degrees of separation.

Vera Farmiga and Jon Bernthal as Tony’s parents

Familiarity with the series, which ran for six seasons, is helpful, although not a prerequisite. However, people with knowledge of the series will understand the references and anticipate the mix of dark humor, and secret revelations.

Universally regarded as one of the best shows ever on TV, “The Sopranos” won 21 Primetime Emmys and 2 Peabody Awards.  In 2013, the Writers Guild of America named it the best-written TV series of all time, and TV Guide ranked it the best television series of all time. In 2016, it ranked first in Rolling Stone’s list of the 100 greatest TV shows of all time.

Some of the indelible characters from the television series earned Emmy Awards and nominations, and are an integral part of the prequel, while others barely emerge from the background.

Writer (and show creator) David Chase teamed up with an alum, Lawrence Konner, who was Emmy-nominated for writing “Second Opinion” (Sopranos) and this is a fascinating look back as to how things developed and about the people who made things happen.

In the series, Tony Soprano juggled the problems with his two families – his wife Carmela and their two children, Meadow and Anthony Jr., and his mob family. Power struggles, betrayal, violence, panic attacks, affairs and keeping the business from being exposed as a criminal enterprise were all part of the intoxicating mix. And a lot of people were whacked.

The movie has many of the same issues compacted into nearly two hours – concentrating on the personal and professional struggles of Dickie Moltisanti. And a lot of people get whacked.

For fans, seeing Janice Soprano (Alexandra Intrator) as a rebellious teenager and a young Silvio Dante (John Magaro), wearing a different hairstyle, is just fun.

Corey Stoll is an intriguing Uncle Junior and Vera Farmiga conjures up memories of the mean elderly woman she became as Tony’s mom, so no wonder she is such a non-stop nag here.

Sharp and savvy, Alan Taylor is at the helm. He was previously nominated for primetime Emmy Awards for ‘Game of Thrones” and “Mad Men,” and won for directing “The Sopranos” episode, “Kennedy and Heidi.”

While the writing is top-notch, so are the vintage costume designs by Amy Westcott and the production design by Bob Shaw. It steeps us in the cultural shifting times and the by-gone post-war life in eastern American cities.

In addition, another highlight is a killer soundtrack, just like the series. The eclectic music selection perfectly captures each mood and time: The Rat Pack-vibe of the smoky clubs, the rock music pouring out of Tony’s new stereo speakers and a wide range of tunes punctuating the action.

But the very best element of the film is its cast. In an exceptional star turn, Alessandro Nivola emerges as someone to watch, who rises to the occasion as Dickie – and he’s mesmerizing.

The gamble of casting the late James Gandolfini’s son, Michael, as the younger version of his father’s character, turns out to be a smart decision. He soulfully embodies teenage Anthony with his father’s mannerisms, if not his speaking voice, slipping into the role with ease. He’s another one to watch. It’s guileless and seamless,

Michael Gandolfini as teenage Tony Soprano

Gritty and gripping, “The Many Saints of Newark” bristles with an excitement that describes a fitting backstory and a welcome return to these characters.

“The Many Saints of Newark” is a crime drama directed by Alan Taylor. It stars Alessandro Nivola, Michael Gandolfini, Corey Stoll, Ray Liotta, Vera Farmiga, Jon Bernthal, Leslie Odom Jr., Billy Magnussen and Michela del Rossi. It is rated R for strong violence, pervasive language, sexual content and some nudity and has a runtime of 2 hours. It is in theaters and streaming on HBOMax on Oct. 1. Lynn’s Grade: A.

Irish Charmer ‘Bloomsday’ Engages with Time Travel – and a Love Story

Irish Charmer ‘Bloomsday’ Engages with Time Travel – and a Love Story

By Lynn Venhaus

Set in Dublin, “Bloomsday” is a little charmer that whisks you away to the Emerald Isle in a time travel love story. (Yes, you read that right).

Written by Steven Dietz in 2017, the playwright has an ear for the rhythms of youthful adventurers and the wistful reminiscences of older adults.

“Bloomsday” highlights James Joyce’s use of the Irish capital city’s landmarks during an ordinary June 16 in 1904, the setting for his masterwork novel, “Ulysses,” which was published in 1920.

There is such devotion to the novel that every June 16, fans dress up as characters and celebrate Bloomsday in Dublin, some making a pilgrimage.

With his literary use of modernism, the Irish novelist, short story writer, poet, teacher, and critic is regarded as one of the most influential writers of the 20th century.

The West End Players Guild opened its 110th season with Dietz’s witty drama, which had been postponed from last year during the COVID-19 pandemic lockdown. His play, “This Random World,” was previously performed in the Union Avenue Christian Church basement.

With minimal staging representing several locales, West End is well-suited to produce such an intimate play. The pleasing set design features a view of Dublin’s shops and pubs lining cobblestone streets, with excellent artwork by Marjorie Williamson and Morgan Maul-Smith.

Four endearing performers star as a young couple, Robbie and Caithleen, in scenes from 35 years ago, and as the older Robert and Cait one day last June.

Megan Wiegart and Jeff Lovell. Photo by John Lamb.

Jeff Lovell, topped with a straw boater hat familiar to Joyce fans, plays the 55-year-old American college professor Robert, whose life changed during one magical day. He was 20 years old and taking a walking tour highlighting James Joyce’s Dublin.

That’s when he met tour guide Caithleen, 20, played with verve by Megan Wiegert. She won Robbie’s heart that day — but he did not take her back to America with him. Why not? The dreamer in her was certainly willing.

Wondering what might have been with “the one who got away” is the focus in this no-frills yet delightful production. The takeaway is to make the most of the present before it is past because we can’t get back lost time.

The cast conveys the urgency to pursue that road less taken so that looking back isn’t such a heartache. Dietz injects humor into the discoveries as the quartet moves back and forth through time, reliving the impetuousness of youth as the older adults look back with regrets and “what ifs.”

Could it still happen after all these years? The older Robert, with the benefit of hindsight, has returned to Dublin for a reunion with Caithleen, who now calls herself “Cait.” However, he finds the spunky young Caithleen instead, having somehow traveled back in time to that only day they spent together. She remains full of wanderlust, and he remembers her attractive qualities.

The young – and directionless — Robbie is played earnestly by an energetic John T. Moore, and the older Robert realizes he should have been more decisive.

Colleen Heneghan is a sweet-natured Cait, playing the spry but aged woman with a twinkle in her eye and a song still in her heart. The yearning to experience all that life offers is still there, although she basically settled for complacency. In her conversations with her younger self, she is surprisingly candid and explains her choices.

Both women have worked to perfect convincing Irish dialects, and those lovely lilts are uplifting.

Costume Designer Tracey Newcomb has outfitted the foursome in suitable attire for travels, age and time periods while Jackie Aumer accented the scenes with appropriate props.

The four are an engaging ensemble – all making their WEPG debut — and the creative team has made this a memorable romantic comedy. Director Jessa Knust, also making her debut, has ensured that the unusual format is understandable. She was assisted by Karen Pierce.

Celtic folk tunes are used effectively to set a merry mood, and Ted Drury’s sound design is noteworthy, with Mason Hagarty crisply operating the sound board. Jacob Winslow has done a nice job with the lighting design.

I felt like I was on an interesting journey, which is a good thing after being mostly housebound during quarantines and the 18-month public health crisis.

After all, no one is alone in wondering what might have been. Having some interesting points to ponder was entertaining live theater.

John T. Moore, Colleen Heneghan, Jeff Lovell, Megan Wiegart in “Bloomsday.” Photo by John Lamb.

The show has seven performances from Sept. 17 through Sept. 26, with Thursday, Friday and Saturday starting at 8 p.m. on the second weekend and a Sunday matinee at 2 p.m. at the Union Avenue Christian Church, 733 Union in the Central West End. For tickets and more information, visit www.westendplayers.org

This season, the theater company is employing touchless ticketing, socially distanced seating and indoor masking of all patrons and front-of-house staff and volunteers. They are operating under special policies and procedures to minimize the risk of Covid-19 transmission and infection.  For full details on our public health policies, please visit www.WestEndPlayers.org/covid-19-policies/.

‘Dear Evan Hansen’ Worthy Adaptation with Heart, Strong Ensemble and Those Songs

‘Dear Evan Hansen’ Worthy Adaptation with Heart, Strong Ensemble and Those Songs

By Lynn Venhaus

On stage, “Dear Evan Hansen” was a deeply personal and profoundly emotional experience, which the movie attempts to achieve through pared-down scenes that opt for intimacy.

When they ‘open up’ musical numbers just to expand the landscape, that’s when it becomes less effective. Those who connected with the musical because it struck a chord about belonging and understanding in a chaotic and often cruel social media age will find this a worthy adaptation.

Evan Hansen (Ben Platt) has a severe social anxiety disorder, and his therapist wants him to write a daily affirmation letter. Because the anti-social and angry young man Connor Murphy (Colton Ryan) snatched the letter, it is found in his possession after he commits suicide. His grieving parents (Amy Adams and Danny Pino) mistake it as one their troubled son wrote to his only friend and invite Evan to dinner. Instead of telling the truth and wanting to please, he keeps up the charade, which quickly spirals out of control. Suddenly, classmates who ignored him make him an internet star.

One drawback is that Evan’s self-deprecating humor, which worked so well on stage making the nerdy high school senior relatable, is missing.

The score, by golden boys Benj Pasek and Justin Paul, still resonates in a timely way, particularly after 18 months of dealing with a public health crisis that created even more distance between people.

While nothing can duplicate the live theater ‘feels,’ this adaptation has been thoughtfully crafted to tug at your heartstrings. I mean, how cynical do you have to be to resist sharing in the desire to matter?

The musical, which opened on Broadway in December 2016, won six of the nine Tony Awards it was nominated for in 2017, including Best Musical.

When I saw the national tour in November 2019 at the Fox Theatre in St. Louis, I was a puddle, crying through most of it. I figured that the movie would provoke the ugly cry reprise, so I brought plenty of tissues along, and while I teared up through key moments, it wasn’t the waterworks that happened while discovering the stage musical. Perhaps I am now too familiar with the songs, but when Heidi (Julianne Moore) sings “So Big/So Small” (Everybody in the Fox audience could be heard sniffling through it) it’s heart-breaking, and Ben Platt’s voice just prompts eyes to tear up during the ballads.

Of course, when you first hear that everything is based on a lie, it’s a ‘wait – what?’ reaction, but because people are comforted by the tall tales, leading Evan on a journey of self-discovery, most do not get all judgy—instead, investing in the story.

There are those who think exploiting a tragedy for personal gain is abhorrent, but I can see how and why it went south – all those insecurities, the desperation driving the falsehoods/fantasy, that awareness of being an outcast. There are so many gray areas of life that can’t be sorted into black and white, and this is one of them.

Director Steven Chbosky, who knows how to genuinely portray adolescents after helming “The Perks of Being a Wallflower” and “Wonder,” taps into those socially awkward misfit feelings many people share but think they’re alone.

Pasek and Paul’s heartfelt and aching songs have won Tonys, an Oscar (for “La La Land”), Grammys and Emmys, and still pack an emotional wallop – even if they are stripped down renditions. “You Will Be Found” is the signature song that never wears out its welcome, offering a beacon of light in uncertain times.

Ben Platt as Evan Hansen in Dear Evan Hansen, directed by Stephen Chbosky.

Much has been written criticizing casting 27-year-old Ben Platt as the geeky isolated teenager. After all, he originated the role on Broadway, winning a Tony Award and much acclaim. This role is in his DNA, and he captures the emotional roller-coaster nature of the part. No one can convey the vulnerability, anxiety and yearning for acceptance better than he can.

Like Robert Preston as Harold Hill and Yul Brynner as the King of Siam, Platt will be defined by Evan Hansen for the rest of his life, no matter how many TV shows, movies and stage productions he does.

And if we’re talking age disparities, then one must mention John Travolta, Olivia Newton-John and Stockard Channing as high school students in “Grease,” and we could make a long list of examples.

I did not find him a weak link, and honestly had been worried about how he would look and fit the part on screen. Except for a bad curly hair choice, the de-aging process does not distract. I thought he was fine, and his touching interpretations of “Waving Through a Window,” “For Forever” and “Words Fail” remain the gold standard.

Colton Ryan, who was an understudy for Connor on Broadway, is strong as the black-clad hostile jerk who lashes out like a caged animal. His suicide leads to the school body creating “The Connor Project” in his honor, a benefit to re-open the Autumn Smile Apple Orchard and rename it for him.

The movie comes out during Suicide Prevention Month, and any awareness of mental health and the prevalence of young people taking their own lives is a good thing. The “if only” and “Woulda, shoulda, coulda” second-guessing is relentless after a tragedy – so the pro-active efforts of this film are appreciated.

The film was adapted by Steven Levenson, who won the Tony Award for the musical’s book, and he has altered the ending to make Evan more accountable for the mess he has created – but also shows him making amends.

Not sure why they switched the original dad character to a stepfather in Larry’s case, but Danny Pino fits as the work-and-success-obsessed guy married to Amy Adams’ Cynthia, who has provided a good life for his family but has become increasingly distant over the years.

Adams, whose experience singing includes the Disney film “Enchanted” and her breakthrough Oscar-nominated performance in “Junebug,” is earnest as a grieving mother who clings to any memento and memory of her fallen son. Evan has provided her with a lifeline, and in turn, he feels accepted.

Julianne Moore, another versatile actress, is a natural as Heidi Hansen, a hard-working single mom who tries her best to support her son’s therapy and his needs.

Kaitlyn Dever is a bright spot as Connor’s sister Zoe, Evan’s crush, who admits to not knowing her brother very well. Her song with Evan, “Only Us,” is handled well as a romance blossoms.

Other noteworthy supporting turns include Nik Dodani as tech whiz and Evan’s confidante Jared and Amandla Stenberg as the cheerful over-achiever and environmental activist Alana who spearheads The Connor Project..

Stenberg collaborated with Pasek and Paul on a new song for the film, “The Anonymous Ones,” which is an outstanding addition.

However, they have removed four songs from the original score, including the two moms’ duet on parenting, “Anybody Have a Map,” and that is a shame. However, listen closely to the marching band during the pep rally and you will hear that and “Good for You.” “Disappear” and “To Break in a Glove” were also cut.

“Dear Evan Hansen” remains a moving experience, a timeless message for today and a hard-fought journey on acceptance and healing.

Ben Platt and Kaitlyn Dever

“Dear Evan Hansen” is a musical drama directed by Steven Chbosky and starring Ben Platt, Amy Adams, Julianne Moore, Kaitlyn Dever, Nik Dodani, Colton Ryan and Amandla Stenberg. It is rated PG-13 for thematic material involving suicide, brief strong language and some suggestive reference. The runtime is 2 hours, 17 minutes. It is out in theaters on Sept. 24. Lynn’s Grade: B+

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

By Lynn Venhaus
A domino chain of events have a devastating effect on a group of blue-collar steel workers in Lynn Nottage’s hard-hitting play, “Sweat,” which won the Pulitzer Prize for Drama in 2017 and retains its timeliness.

The Black Rep’s outstanding production, which kicked off its 45th season on Sept. 9 and continues through Sept. 26, features powerful performances in a lived-in atmosphere.

You know these characters, the ‘little guys’ who’ve worked the factory floor for years and thought their labor unions would protect them when the corporate owners moved operations to another country for a cheaper labor force.

Set in a local tavern where the Olstead mill workers hang out in Reading, Pennsylvania, this could have taken place in Granite City or Centralia, Ill., or near the shuttered car plants in St. Louis.

Director Ron Himes knows this and understands how today’s political and racial tensions are much the same as then, as well as immigration issues. Those are addressed in two story arcs — changing demographics and the territorial birthright felt by the longtime Caucasian residents.

Sadly, this tale is often not one of fiction in real lives — and has become familiar to anyone living anywhere in the Rust Belt, part of those Northeast and Midwestern regions where an industrial decline has been going on for decades, especially where coal and steel were economy mainstays.

The 2015 play starts and ends in 2008, but most of it takes place in flashback eight years earlier – in 2000, a pivotal time in America, after NAFTA is in place and corporations are going to Mexico. Transparency is not a word in these companies’ vocabulary, as they leave communities shattered and people broken.

The North American Free Trade Agreement was signed by Canada, Mexico, and the United States in 1994 and created a trilateral trade bloc.

The action veers from longtime friends celebrating birthdays, laughing, joking and talking about their lives to escalating tension as uncertainty about their jobs increases, along with harsh outlooks on their economic futures.

This ensemble is nimble and natural, conveying the complexities of their relationships with skill and emotional depth. The cast projects how longtime friends act and what their workplace is like with ease.

Nottage’s dialogue is shrewd and perceptive about race, class and identity. She understands the frustrations of these characters, and the lens in which they view the world.

Nottage, who is the only woman to win the Pulitzer Prize twice for Drama, first for “Ruined” in 2009, frequently writes about marginalized people.

For Cynthia and Tracey, is friendship or survival stronger? The actresses Amy Loui and Velma Austin expertly convey their conflicts and mood shifts, show how friendships sour when misunderstandings and envy erupt.

Their friend Jessie drinks too much and once had dreams of traveling the world but got a job at the factory and stayed. Kelly Howe gives what could be a stereotype some nuance – and superbly displays various levels of inebriation.

The cast is anchored by Stan, the bartender who was injured on the job at the mill and reflects on multiple labor issues as he is often the voice of reason – and at least history.

He attempts to put things in perspective and tells the young bucks who are chomping at the bit that they should be outraged by the bosses, not the little guys trying to get ahead like they are.

In his Black Rep debut, Black Anthony Edwards is impressive as the guy who’s good at listening, who speaks common sense, and has made lemonade out of the lemons he was given impairing his leg and being unable to work at what he did for years.

Physically, he looks like the character Stan. Praise to the costume designer Hali Liles for her spot-on outfits depicting the wardrobes of ordinary people living in the Rust Belt.

After they strike, and Cynthia and Tracey’s sons Chris and Jason are laid off, their lives are altered forever after tensions explode in violence. The fight choreography by Paul Steger is fluid and the cast well-rehearsed to make it seem natural.

Chris wanted to make something of himself, and Brian McKinley earnestly portrays his yearning to achieve, especially after watching his dad Brucie (frequent Black Rep performer A.C. Smith) fall on hard times after being shut out at a textile plant.

The boys serve prison sentences, as reflected in the opening scene with parole officer Evan, played with authority by Don McClendon. Franklin Killian is strong as the hothead redneck Jason, now tattoed on his face and a white supremist. He perfectly embodies the once fun-loving guy now a lost soul.

The subject of the boys’ rage is represented by Oscar, a Colombian American who works as the bar’s busboy but seizes an opportunity to make more money by replacing striking workers. The regular clientele are seething about this ‘scab.’

Oscar, well-played by Gregory Almanza, pours out his heart to Stan, telling him about how ignored he is, perceived to be an immigrant when he was born in the U.S. His dad swept floors at the mill, now he wants to achieve more. He is caught in the crossfire of misplaced fury.

The scenic design by Tim Jones aptly captures this world, with detailed property work by Meg Brinkley, all expertly lit by lighting designer John D. Alexander. The jukebox works well, thanks to the terrific sound design by Kareem Deanes.

Featuring one of the year’s best ensembles, a timely tale and expert production elements, “Sweat” is not to be missed.

Velma Austin as Cynthia. Photo by Phillip Hamer.

“Sweat” will continue through Sept. 26, with Thursday show at 7 p.m., Friday and Saturday at 8 p.m., and Sunday at 3 p.m.

$15 student rush tickets are available for all shows — 30 minutes before the show with a valid student I.D.

For more information: www.theblackrep.org

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.

COVID-19 PROTOCOLS

Our top priority for reopening is the health and safety of our staff, artists and patrons. We have been working diligently to bring live theatre back. The Black Rep is part of the growing coalition of St Louis performing arts venues and producers that have agreed upon Covid-19 Vaccination/Testing and Mask Requirements for audiences, artists and staff through the end of 2021.

Everyone must be fully vaccinated or have received a negative covid test results no more than 72 hours prior to coming on campus. A Covid19 vaccination card or a negative test result must be presented upon entering the building.

Masks are required at all times while indoors on campus. Even if you are seated in pods and distanced, masks must remain in place.

Everyone will need to complete the visitorscreening.wustl.edu within 2 hours of your arrival to campus. You will receive a message indicating that you are cleared to come to campus and you will be asked to present the “cleared” message to ushers at the entrance of the building. For those without smart phones, there is a station in Mallinckrodt where you can complete the screener on an iPad. If you receive a message that you are “not cleared”, we ask that you not come to campus or leave campus if you are completing the screener on campus.

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

The Muny announced today attendance totals for its triumphant 103rd season. After a 714-day intermission, The Muny opened its gates on July 26, 2021, for a five-show season that included Smokey Joe’s Cafe, The Sound of Music, Seven Brides for Seven Brothers, On Your Feet! and Chicago. The highly anticipated lineup for the 2022 season will be announced later this fall and will include Sweeney Todd and Disney and Cameron Mackintosh’s Mary Poppins.

“After an extended intermission, Season 103 offered an incredible homecoming for many,” said Muny President and CEO Denny Reagan. “We are so proud to have gotten the chance to present five productions for our audience, and to have had the opportunity to put our dedicated teams back to work. We cannot thank St. Louis enough for coming out and showing their support — we are forever grateful.”

“This past season will live in our hearts forever,” said Muny Executive Producer and Artistic Director Mike Isaacson. “You could scoop the audiences’ joy at being back at The Muny. It was so powerful. And everyone backstage gave everything they have as people and professionals to create our five extraordinary productions. I am enormously grateful.”

“Our 2021 season will, hopefully, be remembered as the summer this community came together and showed what the heart and willpower of a city can do,” said Muny Managing Director Kwofe Coleman. “Watching thousands of patrons light up as they passed through our gates each night is the reason we exist. While challenging, Season 103 will forever stand out in our history as poignant and unforgettably necessary.”

Total attendance for the five-show summer season: 192,806. This number does not include the Aug. 12 rainout of Seven Brides for Seven Brothers, or the Aug. 31 rainout and final three cancelled performances of Chicago. Through The Muny’s free seat and Community Access programs, over 50,000 guests experienced a Muny production at no cost.

103rd season attendance by show:

SMOKEY JOE’S CAFE: 37,290
The Songs of Leiber and Stoller
July 26 – August 1
Words and Music by Jerry Leiber and Mike Stoller
Sponsored by Ameren

Muny Premiere
Ben E. King, The Coasters, Elvis Presley, Peggy Lee and The Drifters – what do they have in common? Besides being some of the most popular artists of the 50s and 60s, their hits, and over 35 others, were the bread and butter of Smokey Joe’s Cafe. Set in St. Louis’ historic Gaslight Square, Broadway’s longest-running musical revue included Grammy Award-winning favorites such as “Yakety Yak,” “Jailhouse Rock,” “On Broadway” and “Love Potion No. 9.” With this generation-defining Muny premiere, audiences were dancing in the aisles.

THE SOUND OF MUSIC: 55,409
August 3 – 9
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Suggested by “The Trapp Family Singers” by Maria Augusta Trapp
Sponsored by Edward Jones
Considered by many to be the world’s most beloved musical, The Sound of Music reminds us that with high-spirited hope, heartfelt compassion and unwavering determination, life’s mountains can always be climbed. With its Tony, Grammy and Academy Award-winning score, including “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the iconic title track “The Sound of Music,” the hills of Forest Park came alive once more!

Photo by Phillip Hamer

SEVEN BRIDES FOR SEVEN BROTHERS: 39,974
August 12 – 18
Book by Lawrence Kasha and David Landay
Lyrics by Johnny Mercer
Music by Gene de Paul
New Songs by Al Kasha and Joel Hirschhorn
Based on the MGM Film and
“The Sobbin’ Women” by Stephen Vincent Benet
Dance Music Arrangements by Sam Davis
Sponsored by U.S. Bank
Based on the Academy Award-winning 1954 film, Seven Brides for Seven Brothers is Americana at its finest. With an age-old tale of wooing and winning, the battle of the sexes and some barn-raising dancing, this western rollick featured whistle-worthy favorites, including “Bless Your Beautiful Hide” and “Goin’ Courtin’.” With two of the most eminent dance scenes in musical theatre history and seven times the fun, audiences saddled up for an unforgettable joyride through the Oregon frontier.

Note: The attendance total does not include the Aug. 12 rainout performance of Seven Brides for Seven Brothers.

Photo by Phillip Hamer

ON YOUR FEET!: 38,335
The Story of Emilio & Gloria Estefan
August 21 – 27
Featuring Music Produced and Recorded by Emilio & Gloria Estefan & Miami Sound Machine
Book by Alexander Dinelaris
Sponsored by BMO Harris Bank

Muny Premiere
Based on the inspiring true story of the queen of Latin pop, Gloria Estefan and her husband, Emilio, On Your Feet! is a universal sensation that shows what can happen when two people believe in their talent, music and one another. Their moving rags-to-riches story featured some of the most chart-topping songs of the past quarter-century, including “Rhythm is Gonna Get You,” “1-2-3,” “Coming Out of the Dark” and the title hit, “Get On Your Feet.” With this Muny premiere, audiences left ready to “Conga!”

Photo by Phillip Hamer

CHICAGO: 21,798
August 30 – September 5
Book by Fred Ebb and Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Based on the play by Maurine Dallas Watkins
Script Adaptation by David Thompson
Sponsored by Missouri Lottery
Start the car and head to a “whoopee spot” where crime and corruption are hot! Kander and Ebb’s internationally-acclaimed musical about fame, fortune and justice features a headline-worthy story of how two icon-victs become Jazz Age celebrities. Set during the Prohibition era, this six-time Tony Award-winner, the longest-running American musical in Broadway history, included showstopping standards such as “Cell Block Tango,” “Mister Cellophane” and the notorious “All That Jazz.”

Note: The attendance total does not include the Aug. 31 rainout or final three cancelled performances of Chicago.

Emerson is proud to be The Muny’s 2021 Season Sponsor.

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

. Smokey Joe’s Cafe. Photo by Phillip Hamer.

Thriller ‘The Card Counter’ Explores the Dark Side After Iraq War Crimes

Thriller ‘The Card Counter’ Explores the Dark Side After Iraq War Crimes

By Lynn Venhaus
William Tell (a shortened surname) is a broken man, but he hides it well. With his well-groomed appearance, this sharp-dressed man looks every bit a winner when he walks through casinos across the country.

But cracks in his icy façade start showing in “The Card Counter,” once we view his austere existence, his penchant for staying at nondescript motels, his OCD-like tendencies, and the flashbacks to his grisly military service.

This revenge thriller shows how an ex-military interrogator turned gambler is haunted by the ghosts of his past.

Tell served in the Iraq War, and afterwards, spent 8.5 years in military prison for torturing the enemy at the Abu Ghraib prison, near Baghdad. The abhorrent behavior of the interrogators and the squalid living conditions are well-documented and glimpsed here.

Isaac is convincing as a man trying to come to terms with the lives he destroyed emotionally and physically. But the mental turmoil has clearly taken a toll, and he seeks redemption – despite not being able to forgive himself.

Wrestling with demons is a specialty of writer and director Paul Schrader, whose last film in 2017, “First Reformed,” was about a guilt-wracked pastor (Ethan Hawke, in his best work to date).

The quintessential outsider, Schrader finally received his first Oscar nomination for the “First Reformed” screenplay but has been part of such highly praised films as “Taxi Driver,” “Raging Bull” and “American Gigolo” for five decades.

He’s not afraid to explore the dark side, and neither is Isaac, who is most well-known as the heroic pilot Poe Dameron in the new “Star Wars” chapters. But he has impressed with edgy portraits in “A Most Violent Year,” “Ex Machina” and “Inside Llewyn Davis.”

This film is dark and disturbing, but also haunting and hypnotic. That is largely due to the cast’s interpretation of this material as well as first-rate production elements.

The fine young actor Tye Sheridan (“Mud,” “Joe”) plays Cirk, who is hell-bent on revenge. He hooks up with Tell at a law enforcement convention, where their mutual enemy, a retired major turned security consultant, Gordo (customary good work from Willem Dafoe), is the keynote speaker. Cirk blames Gordo for his father’s suicide, and he was Tell’s superior officer.

Tell decides to take Cirk under his wing on the casino trail, where he has met the intriguing La Linda, a keen observer who runs a gambling stable for corporations. She has her eye on Tell. He’s wary of this mysterious financier – Tiffany Haddish, playing against type – but he’s in. The trio’s goal is the World Series of Poker.

Like Rev. Toller in “First Reformed,” Tell writes his innermost thoughts in a diary. He has determined that Cirk is too undisciplined to control, and things will go from bad to worse – let’s leave it at that.

While the garish confines of casinos speak volumes about the people who flock there for refuge, entertainment and competition, it is a fitting backdrop for this drama. Alexander Dynan’s cinematography and Ashley Fenton’s production design add to the bleak atmosphere.

The throbbing music score composed by Robert Levon Been adds to a feeling of urgency and is a superb component to the escalating tension.

This is a tough watch. There is an inescapable sadness to it all, but if you are familiar with Schrader’s work, you would know what you are getting. His themes, as always, are his view of the country we live in, and the vulnerable way we all feel under duress.

“The Card Counter” is a revenge thriller directed by Paul Schrader and starring Oscar Isaac, Tiffany Haddish, Tye Sheridan and Willem Dafoe. It is rated R for some disturbing violence, graphic nudity, language and brief sexuality and the run time is 1 hour, 51 minutes. It opened in theaters on Sept. 10. Lynn’s Grade: B


‘Come From Away’ Filmed Musical Offers Kindness in Aftermath of 9-11

‘Come From Away’ Filmed Musical Offers Kindness in Aftermath of 9-11

By Lynn Venhaus

A tragic day that we will never forget in America inspired our Far North neighbors, the Canadian town of Gander in Newfoundland, to provide overwhelming needs over the course of five days for 7,000 world travelers, the “come from aways,” stranded on 38 international planes diverted to the airport there.

That raw reminder of our shared humanity has been turned into an unforgettable work of art, the award-winning, big-hearted, crowd-pleasing musical “Come From Away.”

If ever we needed to be uplifted and reminded of people’s capacity for empathy, it is now.

What an enduring and fitting tribute to 9-11 that a recording of the staged musical will be released on the eve of the 20th anniversary.

In the aftermath, the FAA had closed the airspace in the U.S. and those passengers had nowhere to go.

This Canadian musical with book, music and lyrics by Irene Sankoff and David Hein tells what transpired in the week that followed when the Gander residents sprung into action and provided clothing, food and housing for 7,000, which doubled the town’s population — and there were 19 animals in cargo too. This is the true story of some of the real people who were caregivers and passengers then.

It premiered on Broadway in March 2017 and this remarkable example of the kindness and generosity of strangers in the face of great adversity struck a chord. The musical is a celebration of how resourceful and resilient we can be when we all come together. A community stepped up when they were called upon to do so.

Even in the darkest of times, people experienced beacons of light. Some of them even formed lifelong friendships and would return 10 years later to Gander for a reunion.

Looking back, the mayor said: “Tonight we honour what was lost, but we also commemorate what we found.”

It was filmed, with multiple cameras, before a live audience – some were 9-11 survivors and frontline workers — in May at the Gerald Schoenfeld Theatre in New York City, where it had become the longest-running Canadian musical in Broadway history.

Originally planned as a feature film adaptation on location in Newfoundland, the coronavirus pandemic impact shifted it to a live recording in the theatre.

Full of memorable characters, a script brimming with humor, and a tuneful score using folk, country and pop to bring on lumps in the throat, the filmed recording retains the vitality of this one-act musical that had been playing to sold-out audiences until the pandemic forced its shutdown in March 2020.

The musical returns to Broadway on Sept. 21, and will resume its national tour in October, which began in the fall of 2018.

When it played at the Fox Theatre in St. Louis in May 2019, I was prepared for its emotional wallop, but I didn’t realize how much these characters would touch my soul.

The film reminded me of all the good the play had spotlighted. It truly is one of the best musicals of the past five years, destined to be a classic, and grabs one immediately with the rousing “Welcome to the Rock” opening number. I still get goosebumps every time I hear their big voices, and their passion and pride about their community.

The cast also brought out the bridging of various cultures, and the memories of how we all felt that day was put back into focus. The ensemble is a mix of the original and current Broadway casts.

The original cast starring in this work include Petrina Bromley as Bonnie Harris, Jenn Colella as pilot Beverley Bass, Joel Hatch as the mayor Claude Elliott, Caesar Samayoa as Kevin Jung and Ali, W. Smith as Hannah O’Rourke, Astrid Van Wieren as Beulah Davis and Sharon Wheatley as Diane Gray.

New are De’Lon Grant as Bob, Tony LePage as Garth and Kevin T., Emily Walton as Janice Mosher, Jim Walton as Nick Marson and Doug, and Paul Whitty as Oz Fudge. Everyone plays multiple roles. Dressed like ordinary people and displaying various personality types, the cast is relatable and familiar.

The execution of all the elements to make it a vibrant live theater experience is another reason it stands out. Besides a committed cast who honors every real person or composite character that they are asked to play, we have innovative, fluid staging by director Christopher Ashley and vivacious choreography by Kelly Devine.

The singers showcase exceptional harmonies in these emotionally wrought songs by Sankoff and Hein that provide context and advance the action.

A Celtic-influenced band stays on stage and entertains the crowd after the show has ended with an instrumental “Screech Out.” Their enthusiasm is contagious.

Ashley, who oversaw the filming, won the Tony Award for directing in 2017, when the seven-times nominated show had lost mostly to the juggernaut that is “Dear Evan Hansen.” including Best Musical. His staging is clever and conveys intimacy and connection – from the plane’s close quarters to the cozy town settings.

As we were transfixed to television sets watching the horror unfold that beautiful fall day in 2001, we did not think about the passengers that were stranded by the shutdown of flights, and the challenges they faced trying to get home. What a compelling story!

The composers met the people affected in Gander in 2011, at the 10-year reunion, and they shared their stories. We, in turn, get to know Claude the mayor, Oz the police constable, Beulah the teacher and Bonnie the SPCA worker.

The passengers were kept on the planes for hours – 14 becomes 28 – and in the dark about what happened in New York City, Washington D.C. and Shanksville, Penn. Once permitted to leave the planes, they watched the news – as stunned as we were. Frightened, they try to reach their families, including the mother of a New York firefighter who is unable to locate her son.

The fear and tensions ease somewhat as the townsfolk make them welcome and comfortable, and in the company of these quirky islanders, they bond. Some let their hair down at a local bar, and even participate in an initiation rite involving kissing a codfish.

The gravity of the situation is never far from people’s minds – and they eventually are allowed to leave, but the world is different, and so are they. One couple develops a romance while another breaks up under the stress. A Muslim chef faces growing prejudice and is forced to endure a humiliating search before boarding for home.

Jenn Colella, Tony-nominated for Best Featured Actress in a Musical, is impressive as the first woman pilot for American Airlines. She beautifully sings “Me and the Sky” about how her love of aviation drove her career aspirations, but now her workspace has been weaponized.

Ten years later, the crew and passengers reunited to celebrate these friendships forged during the worst of times, a forever band of brothers. We experience these people at their best. Their makeshift hospitality at an unspeakably grim, fearful and anxious time will make you cry, laugh and marvel at how kindness can be a tonic.

Cast from “Come from Away”

Like the documentary on Mister Rogers, “Won’t You Be My Neighbor?”, this heartwarming tale makes you want to become a better person.

“Come From Away” is a musical recorded as a live theatrical production on a Broadway stage, directed by Christopher Ashley. The cast includes original and current cast members. It is rated TV-MA and runs 1 hour, 46 minutes. It is streaming on Apple TV + beginning Sept. 10. Lynn’s Grade: A.