The Repertory Theatre of St. Louis invites audiences to witness the new play development process firsthand on September 10 with a virtual, staged reading of Black Like Me by Monty Cole, based on the memoir of the same name by John Howard Griffin. This entertaining noir docu-drama examines the fine line between allyship and appropriation.

In 1959, a white journalist sought a doctor’s help to temporarily darken his skin so he could “pass” as Black. He traveled the segregated South for three weeks and published his experiences in 1961. Griffin’s journal has been celebrated by many as an indictment of racism, while others have described it as patronizing or offensive.

Chicago-based artist Monty Cole was compelled to express the conflicting feelings he experienced while reading the book, so he created modern-day Black characters to reenact the story, respond in real time to the events of the play and wrestle with their own concepts of equality and social justice. The piece is a captivating juxtaposition of historical and contemporary, analytical and emotional, lighthearted and heartbreaking.

“As I read Griffin’s book, I was simultaneously enticed and repulsed, understanding and critical, pushing back against it and being sucked into the Twilight Zone aspect of it,” said Cole. 

The Chicago-based cast and artistic team include Director/Playwright: Monty Cole, Dramaturg: Regina Victor, Project Manager: Christopher Maxwell and Actors: Adia Alli, Breon Arzell, Brianna Buckley, McKenzie Chinn, Joe Dempsey, Eric Gerard, Daniel Kyri and Netta WalkerThey will workshop the script for four days and record a staged reading, incorporating the changes honed during those rehearsals. Fans of The Rep’s Ignite New Play Festival know the electricity of offering input that helps a new play come to life.

“Of the many doors that theatre opens, civic dialogue is one of my favorites,” said Hana S. Sharif, The Rep’s Augustin Family Artistic Director. “Monty Cole’s brilliant new play is a compassionate and creative entry point. The Rep is thrilled to elevate this artist and this work.”

The one-night-only staged reading of Black Like Me is free and available for online streaming anywhere in the world on September 10, 2020, at 7:30 p.m. CST. There are a limited number of “seats,” so don’t wait to register. Visit this link to reserve your online viewing and experience this theatrical event from the comfort of your home.

For more information, visit repstl.org or call The Rep Box Office at 314-968-4925 Mondays through Fridays between 10:30 a.m. and 5 p.m.

ABOUT PLAYWRIGHT/DIRECTOR MONTY COLE

Monty Cole

Cole is a Chicago-based director, producer and playwright who has workshopped and directed new plays and re-imaginings of classic texts around the country, working with significant companies such as Steppenwolf, Center Theatre Group, The Goodman Theatre, Victory Gardens Theater, Cape Cod Theatre Project, Alley Theatre All New Festival, American Theatre Company, California Institute of the Arts and others. He directed the Jeff Award winning production of The Hairy Ape for Oracle Productions. Cole has a BFA in Theatre Studies from Emerson College and an MFA in Directing from the California Institute of the Arts. www.monty-cole.com

ABOUT THE REPERTORY THEATRE ST. LOUIS

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. www.repstl.org

Cinema St. Louis (CSL) and the Saint Louis Science Center are excited to announce the third edition of their science-fiction and fantasy short film contest – an opportunity for regional filmmakers to let their imaginations shine. This year’s edition has a Mega Monster Movie focus.

The following films have been selected as part of this year’s event. Beginning Monday, Aug. 24, and continuing through Thursday, Sept. 3, the films will be available to stream for free. Viewers will also have the opportunity to vote on their three favorite films, and the winners will be announced as part of the Saint Louis Science Center’s Virtual First Friday event on Friday, Sept. 4.
Follow SLSC’s Event Page for more details.

The Bowl
 (Christina Sittser, 2020, 2 min.) A snack leads to an unusual afternoon when a girl discovers her kitchen bowl has a special power.
CowBot 
(Rahul Menon, 2020, 3 min.) Based on a rumor that might just be true.
Dinosaurs … in Space? 
(Thomas Watson, 2020, 4 min.) 65 million years ago, two outer-space explorers were sent to Earth to capture a specimen and collect the DNA of a dinosaur for scientific study.
EneMe
 (Lacey Turner, 2020, 2 min.) Jason wakes up and is desperate to run away from something.
Exchange
(Goldie Vang, 2020, 3 min.) A shaman travels to the spirit world to save his friend.
Just Boom It 
(Ivon Wuchina, 2020, 3 min.) A young man with a broken heart overcomes his troubles with the magic of music.
Kerosene and Matches
 (Trevan Jay Hiatt & Chris Stempel, 2020, 5 min.) A glimpse into the life of a black-ops agent working deep within the CIA.
MAYA the Sacrifice Trailer
 (Maria Brenda, 2020, 1 min.) A film dedicated to mental health.
Monochrome Heart 
(Angel Stefano, 2020, 3 min.) Breaking their usual routine, two artists invite another friend to collaborate on a much larger project.
N.E.O. 421 
(Wyatt Weed, 2020, 4 min.) Two astronauts intercept an asteroid on a collision course with Earth, but on closer examination, they discover that it may not be an asteroid at all.
Period. 
(Gonzalo Peral Perez, 2020, 2 min.) A fictional story about the evolution of the universe.
Potluck
 (Jared Goudsmit & Olivia Squires, 2020, 5 min.) Five lovely ladies organize a neighborhood get-together.
Shrine
 (Julia Koza, 2020, 5 min.) A young girl performs a spell in order to find love.
Tiffanys
 (Caitlin Chiusano, Sean Esser & Zhara Honore, 2020, 5 min.) A planet-conquering alien mistakes a high-school girl for the ruler of Earth and competes against her for the prom-queen crown.

The St Louis Black Repertory Company announces three virtual programs for the month of September. Two virtual readings and a virtual discussion with playwright Melda Beaty and Artistic Director of The Ensemble Theatre in Houston, Eileen Morris.

Coconut Cake will be presented in conjunction with The Ensemble Theatre in Houston who originally produced a zoom reading of the play on Father’s Day Weekend. The Black Rep will stream this production September 11-13, 2020 at 7pm.  Coconut Cake features Producing Director Ron Himes who says,

“What I miss most is the chatter in the lobby and the feeling of anticipation as the lights go down and we sit for a moment anticipating another evening in the theatre. We can never replace that experience but we can maintain our connections with our audiences until it’s safe for us to come together again. We are so happy to introduce the work of Melda Beaty to our audiences in September.”

When Eddie Lee’s wife, Iris, joins him in retirement, the truth about his “ladies man” ways resurface. To avoid her, Eddie retreats to the sanctuary of McDonald’s where coffee refills are free and the rest of his retired friends, with marital problems of their own, wait faithfully for him. When a mystery woman moves in down the street, with her Creole wiles, melt in your mouth coconut cake, and medicine cabinet secrets, Eddie is not the only one who pays her a visit; a visit that threatens to change all their lives forever.  Coconut Cake also features, Jason Carmichael, Ted Lange, Alex Morris, and Ed Muth. 

The Black Rep will then have a virtual discussion with Eileen Morris, who directed the production of Coconut Cake, and Melda Beaty, the playwright. This will take place on Friday September 18, 2020.

Melda Beaty

The Black Rep will close the month of September with a virtual production of Front Porch Society by Melda Beaty.  America is on the eve of electing its first Black president. Amidst the town’s excitement over Barack Obama, Carrie Honey grieves her son’s tragic death. After 40 years of failed attempts to seek justice, Carrie has grown bitter and is no longer interested in life’s celebrations, but when a scandal in town rocks this historic day, a past secret is revealed that restores her faded faith.

This production will be live-streamed with direction by Ron Himes. This cast will feature Marjorie Johnson, Marsha Cann, Thomasina Clarke, Perri Gaffney, Keith Bolden, Christian Kitchens, and Wendy Gordon. This production will live stream on September 25, 2020 at 7pm.  The production will then be available until Sunday September 27, 2020 until 7pm.

Additional programming will be announced at a later date.

# # #

About The St. Louis Black Repertory Company

The St Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and third world playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.

By Lynn Venhaus
A playwright and theater director, Leoni staged “The Playground,” which was about unhoused youth. He talked to two homeless girls, who eventually wound up dead. As he learned more about the at-risk youngsters and their risky behavior, he wanted to help, and thought filming a 2-minute public service announcement would raise awareness. What happened instead changed his life.

By getting close to a group of street kids in Hollywood and Venice, Leoni earned their trust and heard their stories, which he filmed and has included in his stark and intense feature documentary, “American Street Kid.”

The numbers are overwhelming: 1.8 million kids are homeless; 5,000 die a year, which is 13 a day.

Leoni used guerrilla-style filmmaking, hand-held cameras, recordings of many phone calls and split screen editing for the 1-hour, 44-minute film. He also became part of the story, impacting lives and creating a transformational program.

There is little surprise as he captured their daily struggle of finding food, trying to get money, seeking a safe place to sleep. They are scared. They are crime victims. They prostitute themselves for survival.

Leoni quickly became involved as a caring friend, trying to help but realizing that he couldn’t fix all these broken lives. His frustration with the system becomes another aspect of the film.

He focuses on a few who have created a family on the streets, and these portraits are haunting and riveting, as we see the psychological damage of lost childhoods and unloved, neglected, troubled young adults who can’t seem to break the cycle. Some are addicts, some dream of better lives but do not have the mental and emotional tools to succeed. They can’t get past their pasts.

The tales of woe are gut-wrenching – beatings, sexual assaults, drug-addicted parents, stepdads who don’t want them around, their own issues with substance abuse – drugs are everywhere on the streets, and a way to numb their pain.

Their multiple problems can’t get the attention from the under-staffed and under-financed social services and non-profit groups. The shelters and the rescue missions are full.

Ryan, whose father thought he was worthless, has just wanted a home and family. His girlfriend Nessa is pregnant, but she was also diagnosed with HIV. He uses meth. Ishmael, an aspiring musician, said he is the son of a pimp and a prostitute who abandoned him. Nick left home at 15. A girl said she didn’t know what rape was but went into the school nurse bleeding. She was immediately taken away to foster care..

The film is rough to watch. Hopelessness pervades the film, even though Leoni tries – he is their confidante, their advisor. He tries to find places for them. He counsels them to go into rehab. He looks for programs that can better their lives. He never gives up on them.

Stacia Fiore, an outreach counselor, warns Leoni about getting too close. But she is impressed with his advocacy and is a sounding board.

There are glimmers of hope and a few success stories, which drives the film.

However, the biggest success came after the movie – for Marquesha Babers, known as “Kiki.” She was 15 when the filmmakers first met her. Her poetry has gone on to inspire women around the world. She has performed “That Girl” in London and for such luminaries as Angelina Jolie, Hillary Clinton and Freida Pinto. The poem is included on a collaboration album, “6 Feat,” a collection of poems turned into songs with social justice as the theme.

The film, several years in the making and completed in 2018, is produced by Kandoo Films, a Los Angeles-based production company run by Howard Barish, who produced “13th” and “Middle of Nowhere.”

Inspired by figuring out it’s the transformation, not just transition, that is needed, Leoni founded the organization Spare Some Change. He created and launched a media campaign/artistic mentoring program that exposes street youth to the arts and motivates them to create change in their lives. www.sparesomechangethemovement.com.

The movie has a lot to carry on its shoulders but its heart is definitely in the right place.

“American Street Kid” is a documentary written and directed by Michael Leoni. It’s not rated, but there is pervasive drug use and language throughout. The runtime is 1 hour, 44 minutes. Lynn’s Grade: B. The movie is available video on demand through digital and cable platforms as of Aug. 21.

By Lynn Venhaus
Sometimes, we see magic happen under the stars in Forest Park. This summer, we saw a different kind of Muny Magic – but enchanted evenings nonetheless.

It took a global pandemic for the Muny to achieve its greatest magic trick ever – they transformed our isolation into a community through a live variety special.

And they did it with such hard work and passion. Using modern technology, incredibly creative professionals and tip-top talent from coast to coast, it was a huge undertaking, which was obvious to anyone who tuned in for even a fraction of an episode.

For the fifth Summer Variety Hour Live! on Monday, Aug. 17, the Muny supersized the presentation and it was a splashy grand finale, tugging on our heartstrings in a big but intimate way. So much genuine emotion in new works, in memories and archival footage that reminded us how special our outdoor theatre is, the largest and oldest one in the country.

Seeing Muny mainstay Beth Leavel perform her showstopper “Rose’s Turn” from “Gypsy” (2018) with the view from the wings! My heart was bursting. Tari Kelly leading the ebullient “Forget About the Boy” in “Thoroughly Modern Millie” (2012) and one of the all-time great musical theater numbers, ‘Sit Down, You’re Rocking the Boat” from last year’s “Guys and Dolls,” with the surprise appearance by Kennedy Holmes to hit those high notes. I was grinning ear to ear. The Mission: Feel-Good was on!

Zoe Vonder Haar, Orville Mendoza and Kennedy Holmes in “Guys and Dolls” – Photo by Phillip Hamer

For five episodes, the Muny reinvigorated its treasure trove of tradition, 102 years strong, to provide virtual entertainment that filled the void of a cancelled season. The collaborative spirit on display was inspiring.

Let’s face it, the summer has been dismal, especially with rising coronavirus cases in our bi-state region. More things shut down and were postponed in a never-ending stream of disappointments in 2020. But as a gift to “the Muny family,” the management and creative teams conceived a way to connect us. We all felt it, whether tuning in on Monday or catching the rerun on Thursday from July 20 to Aug. 17 as the evening twilight faded.

For a brief shining moment, it seemed like old times. The 8:15 p.m. start was a constant to look forward to in an uncertain year during an unprecedented public health crisis. With Executive Producer and Artistic Director Mike Isaacson’s bold and unique concept, and his ability to attract the talent he did, each episode was a captivating mix of tempo and tone, under the direction of multi-talented Michael Baxter.

Colby Dezelick

What an emotional palette we experienced, touching on why we love the Muny, from veteran performer Colby Dezelick’s touching original song, “I Will Be Your Home” — with a behind-the-scenes video love letter dedicated to his Muny family, to sweet Jenny Powers describing her feelings about flying above the audience as Mary Poppins in 2013, and how the staff took such good care of her. Straight to the heart.

And while seeing up-and-coming talent do what they do best is always enjoyable, feeling their sheer joy in performing is blissful. Watching St. Louis native and Broadway performer Richard Riaz Yoder use his exceptional talents to dance “Broadway Melody” using the Muny as his canvas – tap-dancing for a time in sneakers! – was breathtaking.

So was jubilant Jack Sippel’s choreographed dance number, the cheery “You Can’t Stop the Beat!” from “Hairspray,” which was performed by 19 Muny alums and sung by Nasia Thomas, Muny vet and Broadway performer in “Beautiful,” “Ain’t Too Proud to Beg” and soon, the revival of “Caroline, or Change.”

In the 2017 production of “A Chorus Line,” director-choreographer Denis Jones used young versions of the dancers in certain scenes, to emphasize their dreams and drive. On Monday, they showed the wistful “At the Ballet” number, which was performed by Holly Ann Butler as Sheila, Bronwyn Tarboton as Maggie and Caley Crawford as Bebe, with little ballerinas in view.

As lump-in-the-throat as that song is, nothing can match the show’s curtain call for its spectacular finish, and they recreated it for The Muny Centennial Gala, complete with fireworks. Such a thrilling moment to revisit.

The energy, enthusiasm and talent of the Muny Teens and Kids each episode was another heart-tugger. Because six teens were graduating, they had a special senior sendoff: Michael Harp, Cate Phillips, Michael Lee Jr., Fiona Scott, Jack Deters and Caitlin Chau sang “Our Time” from Stephen Sondheim’s “Merrily We Roll Along.” I have seen these kids grow up. Misty eyes.

“Worlds to change, and worlds to win Our turn, coming through.”

The Muny Kids’ adorable and confident youngsters mashed up “Come Alive” from the film “The Greatest Showman,” with songs by Oscar and Tony winners Benj Pasek and Justin Paul, with “A Little More Homework” from Jason Robert Brown’s “13.”

For comic relief, there was the fun “Munywood Squares” game show, good sports all, and jolly John Tartaglia reprising his Murray the Muny Raccoon schtick, making Isaacson laugh.

Mike Isaacson

Isaacson, who has been the visionary executive producer and artistic director since the 2012 season, named to the post in 2010, cares deeply about the Muny’s place in historic context and local lore, and with his Broadway experience, he’s able to give us quality casts, teams and a really dedicated staff.

Clearly wearing his heart on his sleeve as this summer’s host, he gave us something that we could enjoy on many levels and for many reasons. Isaacson has multiple Tony Awards and 24 Broadway shows and national tours to his credit. He makes things happen in a way that elevates the Muny in stature, boosting our civic pride, but also gains respect in the larger theatrical world. His reverence for the art form is obvious, and he has shown us, time and again, the possibilities of what the Muny can accomplish.

That connection that he spoke of, all the people who came together without hesitation, all the selfless devotion, a renewed sense of purpose – it felt very real and elicited a teary farewell.

I think, like “Field of Dreams,” Forest Park and the Muny are mystical places. After all, musical theatre is a constant in our lives, like baseball. We want to believe that in a time of everything turned upside down, of norms being shattered, that there exists a place we feel safe, happy, loved. That sharing theater and music brings us together like no other art form.

So, the Muny Variety Hour gave us the opportunity to be in the company of performers who love the Muny like it is a family, a home. That theme was repeated over and over. And that’s what we are craving in these anxious times.

And in Colby’s song: “When it’s dark, I’ll be the light.”

Beth Malone

Another almost spiritual song was the centuries-old tune and Muny season-ender tradition “Auld Lang Syne,” sung by Beth Malone, who accompanied herself on acoustic guitar. Beautiful and bittersweet.

The ties that bind us, recalling happy golden days of yore. “Meet Me in St. Louis” appeared again in the line-up – of course. Yes, it’s schmaltzy, but its inclusion of the 1904 World’s Fair, which has impacted our lives and region ever since those seven months, and the work preceding it, make it a nostalgic chestnut.

Married couple and Muny performers Erin Dilly and Stephen R. Buntrock sang a lovely duet, “You and I,” from their home. They appeared as Mr. and Mrs. Smith in the 2018 production, the Centennial season finale.

Maggie Kuntz, a Muny vet and two-time winner of the Best Actress Award from the St. Louis High School Musical Theatre Awards, sang the iconic “The Trolley Song” live from under the Culver Pavilion with polish and panache.

Dan De Luca and Emily Walton in “Meet Me in St. Louis” Photo by Phillip Hamer

And then in the sentimental sweet spot, they played “The Skinker’s Swamp” picnic scene featuring Emily Walton as Esther and Dan DeLuca as John Truitt. The video projection was The Palace of Fine Arts, now the St. Louis Art Museum, under construction in a muddy field.

How many times have we been in the shadow of our treasured landmarks?

The world was watching when the Louisiana Purchase Exposition celebrated the 100th anniversary of the U.S. expansion under Thomas Jefferson. More than 60 countries and 43 states participated from April 30 to Dec. 1 in Forest Park and nearby locations.

So, the Muny and Forest Park remain crown jewels that we cherish.

And the Summer Variety Hour Live! reinforced our past, present and future. I’ll meet you at the Muny next summer. Looking forward to greeting the Muny family once more. “Through the years, we’ll always be together, if the fates allow.”

By Lynn Venhaus
Among the many thousands of people tuning in to the Muny’s Summer Variety Hour Live! on Monday nights, a health care professional told Mike Isaacson, the executive producer and artistic director who conceived this musical mash-up, that the show has saved her sanity and her summer. I second that.

If this summer were a mix-tape, mine would include all the magical Muny-ized showtunes, “Hamilton” (just because) and the TwinstheNewTrend (just watch). This bittersweet blend has become Operation: Summer Salvation. We didn’t know how desperately we needed this balm, like a cool breeze on an unbearably muggy day (or a Lemon Freeze under a Muny fan).

Kennedy Holmes

Why else would tears be streaming down my face as the sublime Kennedy Holmes beautifully sang “Children Will Listen” live under the Culver Pavilion, with Tali Allen on piano on Aug. 10, the fourth episode? Holmes, who broke out as Little Inez in 2015’s “Hairspray,” went on to become a phenom on “The Voice,” with a fourth-place finish. (She was robbed!). She remains a loyal Muny Teen and, as the soloist Monday, displayed a stunning maturity.

Under Isaacson – who loves Stephen Sondheim as much as I do – we were able to witness an extraordinary “Into the Woods” in 2015, and as I teared up at least five times during the Muny production back then, watching Tony winner Heather Headley sing “Children Will Listen” was the highlight among many. Leave it to a young woman, Kennedy, to remind us:

Children will look to you
For which way to turn
To learn what to be
Careful before you say
“Listen to me”

From a musical stressing the reality behind the make-believe, Monday’s rendition took on a greater poignancy. And being able to see Kennedy’s growth and blossoming as a future major star was another unforgettable “Muny moment.”

In a crazy world of scary happenings and headlines, we have been comforted by the talent of this joyful, faithful and hopeful ‘family’ of entertainers and the time-honored tradition of the Municipal Opera, now 102 years old, for four shows so far. Every superbly mixed show has elicited a rollercoaster of emotions as we take our seat, not in the 11,000 open-air theater, on a warm summer night, but instead before our televisions and computer screens, tissues at the ready.

The anticipation is matched by the exquisite renditions, whether live or on tape, but the added bonus has been seeing the work of such creative spirits – putting together all those filmed clips and using Zoom technology. And then you have the sunny optimism of those Muny Kids and Teens, and well, leaky eyes.

It feels real, even if it is make-believe. Somehow, through cyberspace, we feel connected. And we need it, apparently, for more than 140,000 people tuned in to the first three.

“Through the years, we’ll always be together, if the fates allow” — little did we know how much the lyrics of “Meet Me in St. Louis” would mean during a pandemic, “right here.” So, of course, this cast from the Centennial presentation in 2018 would be this week’s heartwarming sing-a-long reunion.

The sentimentality showed up in waves during the penultimate super-duper deluxe show, despite a heavy thunderstorm in the region that caused uprooted trees, power outages and flash flooding. Yet, here was Mike, underneath the stage, guiding us through another enchanted evening. We weren’t huddled together with our umbrellas, but nonetheless united.

And the urgency of underlying theme “Gotta Dance!” saved the day with some fresh, fantastic choreography.

The unbridled happiness of tap dancers, near and far, took us from stages to home spaces in “Tap Your Troubles Away.” Conceived and choreographed by Muny Resident and Teen Choreographer Katie Johannigman, this was a jolt of jubilation that had me grinning ear to ear, featuring alums from the past decade. And then Jack Sippel’s moving contemporary dance piece, “Speechless” featuring Muny Teens. Breath-taking! A St. Louis native, Broadway performer and Muny alum, Sippel is currently working on the Netflix version of “The Prom,” as he was the dance captain of the Broadway show.

“West Side Story” is my all-time favorite musical, and the Jerome Robbins choreography is swoon-worthy, so to be treated to the goosebumps-inducing “Dance at the Gym” from “Jerome Robbins’ Broadway” in 2018 was a treat. The Muny’s 2013 production of “West Side Story” will always stand as one of the best ever, and the West Side Story suite from the Robbins’ greatest-hits compilation reminded me why the show is timeless 63 years later.

The archival footage included “Jersey Boys,” the sensational national premiere outside Broadway/national tours in 2018, and the splendid re-imagining of “The Unsinkable Molly Brown” with life force Beth Malone from 2017. Plus, one of the best “Annie” shows I’ve ever seen – “NYC”! — in 2018 helmed by the one-of-a-kind John Tartaglia.

John Tartaglia

It would not be a Muny summer without the exceptional Tartaglia, and he delivered the night’s best laugh-out-loud surprise – appearing as Murray the Muny Raccoon,” the pesky scene-stealer who waddled on stage during ‘The Addams Family” and is missing his scraps and his adoring fans. The versatile performer has memorably played The Cat in the Hat in “Seussical,” the Genie in “Aladdin” and won the St. Louis Theater Circle Award for Supporting Actor in a Musical for playing Hysterium in “A Funny Thing Happened on the Way to the Forum,” in 2017, in addition to his directing work. He started as a puppeteer on “Sesame Street,” and went on to “Avenue Q” and playing Pinocchio in “Shrek.”

For the weekly Couple Duo, we had not one but two. Real-life couple Jason Gotay (Jack! Prince Eric! Prince Charming (well, Topher) in Cinderella!) and Muny regular Michael Hartung charmingly performed “Song on the Sand” from “La Cage aux Folles.”

Then the adorable power couple Jenny Powers and Matt Cavenaugh – who wowed us at the Sheldon a few years ago – brought baby daughter Rose with them to reprise “New Words,” a song by composer Maury Yeston. It’s not from a show, but he has composed “Titanic,” “Nine,” “Grand Hotel” among others. Waterworks.

This multi-tissue moment brought the house down, so to speak. All across the nation, we collectively burst into tears while they sang about “the moon, stars and love.”

Wait there was more! “Do-Re-Mi,” a special song-and-dance performance by those effusive Muny Kids and Teens. And those indomitable teens sang a bouncy rendition from “It Roars” from “Mean Girls.”

The Munywood Squares was another fun segment, and behind the scenes is always illuminating. We heard about the Clydesdales Ace and Deuce, and seeing the excitement of that experience from the creative anecdotes was a nice perk.

One more chance to see this show Thursday at 8:15 p.m. on Muny TV. For more information: muny.org/varietyhour/

And then Monday will be the swan song. Supersized (and with the traditional “Auld Lang Syne” too). Aug. 17, 8:15 p.m.

I’m so glad we’ve had this time together, just to have a laugh or sing a song…

Excuse me while I go grab another tissue.

The Fabulous Fox Theatre has announced the postponement of three fall shows that were to open the 2020-2021 U.S. Bank Broadway Season Ticket package and one season special. “In light of the current status of the COVID-19 virus, the Fox and our producing partners have agreed that tour dates for fall of 2020 must be re-scheduled for the safety and well-being of our guests, staff, casts and crew” said John O-Brien, director of programming for the Fabulous Fox.   The seven-show season ticket package will now open with Disney’s FROZEN February 10-21. 

The postponed musicals are:  MEAN GIRLS scheduled for September; MY FAIR LADY scheduled for October; JESUS CHRIST SUPERSTAR scheduled for November and CHARLIE AND THE CHOCOLATE FACTORY scheduled for December.

“As a presenter of national tours, we are in ongoing conversations with producers and agents each and every week.  The COVID-19 pandemic has wreaked havoc on the touring industry as theatres and booking agents across America reinvent calendars that were two to three years in the making” said O’Brien.  “In addition to the four shows mentioned above, we are also finding new dates for CATS and HAMILTON which were postponed in the spring.”

Ain’t Too Proud The Temptations musical

THE CURRENT SEVEN-SHOW SEASON TICKET PACKAGE IS:

FROZEN * February 5-21, 2021

AIN’T TOO PROUD * March 2-14, 2021

THE PROM * April 6-18, 2021

PRETTY WOMAN * April 27-May 9, 2021

Plus 3 additional musicals to be announced later.

Tony nominees Beth Leavel and Brooks Ashmanskas in “The Prom”

THE SCHEDULE OF SPECIALS IS:

A CHRISTMAS CAROL * December 3-6, 2020

RUDOLPH THE RED-NOSED REINDEER * December 18-19, 2020

BLUE MAN GROUP * March 19-21, 2021

HAIRSPRAY * June 4-6, 2021

Additional information about the Season Ticket package and specials will be released when the pandemic eases and shows confirm their re-routing plans.

Phil Stanton (from left) Chris Wink and Matt Goldman are the founders of Blue Man Group.

By Lynn Venhaus
A juicy neo-noir thriller, “The Burnt Orange Heresy” has a lush backdrop, a steamy love affair and a fascinating setting in the international art world.

James Figueras (Claes Bang), a charming and ambitious art critic, spends his days in Milan lecturing tourists about art history. It’s an easy way to make a buck and he is quite good at it. He is invited to the estate of wealthy art dealer Joseph Cassidy (Mick Jagger) and brings along new love interest Berenice Hollis (Elizabeth Debicki), an American on holiday. Also living on the property near Lake Como is reclusive artist Jerome Debney (Donald Sutherland). 

As James has fallen from grace, a shot at redemption is appealing – and provides a financial opportunity. But is this scheme worth it? Turns out, everyone has secrets! As a web of intrigue gets more tangled, we learn more about the four people who are integral to this story.

Based on Charles Willeford’s 1971 novel, the film has much to recommend. The script is adapted by Scott B. Smith, whose book-turned-into-film “A Simple Plan” followed a similar pattern of a too-good-to-be-true scheme that goes horribly awry. 

We’re in Milan as the story begins with witty banter between smart and attractive people — and sparks soon fly between Claes Bang and Elizabeth Debecki. 

Once we arrive at the luxurious northern Italian villa owned by the rich and roguish Joseph Cassidy, there is a palpable air of mystery. What fate awaits?

Man of the house Mick Jagger, who is only in two scenes, makes the most of his mischievous international wheeler-dealer. With a twinkle in his eye and hints at danger, he’s fun to watch. 

So is Donald Sutherland as a reclusive aging artist. Debney’s reputation rises and falls, a sign of art’s hard-to-interpret and sometimes fickle nature. Director Giuseppe Capotondi shows both the sophistication and the pretensions of the art world.

This is Capotondi’s first English-language feature after the intriguing “The Double Hour” in 2009, and he is good at setting up symbols and clever with details. With cinematographer David Ungaro and production designer Totoi Santoro, they give us breathtaking panoramas and an opulent estate. Composer Craig Armstrong’s score enhances the ‘something’s afoot’ tone.

Bang, who made the art satire “The Square” a few years ago, and Debecki, good in “Widows,” have terrific chemistry from the start. Her small-town teacher character is more enigmatic than he is, and the men are all captivated by her. 

That is why the third act, which some find problematic, worked for me. It may stretch logic a tad, but all film noir has delicious zigs and zags. 

As a luscious summer escape, sink into a gorgeous place with pretty people and signs of temptation everywhere – where will it lead? Follow the twists and turns, and you will be rewarded.


“The Burnt Orange Heresy” is a thriller directed by Giuseppe Capotondi, starring Claes Bang, Elizabeth Debecki, Mick Jagger and Donald Sutherland. It is Rated R for some sexual content/nudity, language, drug use and violence. Run-time is: 99 min.
Lynn’s Grade: A-

Video on Demand and Select Theatres This film closed the Venice Film Festival last fall and is now available on demand and is playing in select theaters, including the Hi-Pointe Theatre, as of Aug. 7.

By Lynn Venhaus

With its gorgeous setting, “Made in Italy” delivers on the breathtaking vistas. And there is an extra poignancy of the Neesons’ real tragedy played out in the mens’ emotional scenes.

The film, written and directed by actor James D’Arcy with loss in mind, is about an estranged father and son (real-life father and son Liam Neeson and Micheal Richardson) who travel from London to Italy to sell a Tuscan villa. Bohemian artist Robert Foster (Neeson) inherited this house from his late wife, and it has fallen into disrepair the last 15 years.

We have rooted for the father and son duo of Liam Neeson and Micheal Richardson in real life ever since the tragic death of wife and mother Natasha Richardson in 2009 during a skiing trip – Micheal was 13 and his younger brother Daniel 12. The men are playing guys who don’t get along, who have deep resentments, painful memories and are stuck in heartache.

We can identify with the turmoil. And as likeable as they are as people, the story is a routine family drama that is as predictable as a pasta dish at the local restaurant. Therefore, the pleasure is seeing Micheal — he took his late mother’s maiden name as his stage name — working alongside his father.

Not that the characters don’t have their charms. Neeson plays a still-grieving man who is stuck in regret and can’t start again, after a tragic accident took his wife. His life has no direction.

Jack is troubled but driven. He wants to keep the art gallery he managed for his soon-to-be-ex-wife’s family, but they want to sell it. Hence, the quick rehab job in Tuscany. However, being back at the place of both happy and sad childhood memories affects him.

The renovation do not go well. They are not equipped to handle the work but they persevere and take steps to mend their relationship. Along the way, there are bumps in the road, and they meet some colorful characters along the way. Lindsay Duncan plays a no-nonsense realtor named Kate, who becomes their ally, after initial trepidation.

While they are fixing up the place, Jack meets a local chef, Natalia (Valeria Bilello), who makes a killer risotto, and they are attracted to each other.

Composer Alex Belcher balances both the natural beauty with the family drama, and cinematographer Mike Eley captures the lush green hills in an appealing way.

The themes of family and home are stressed in D’Arcy’s debut. It’s just missing freshness and sincerity.

“Made in Italy” is a drama directed by James D’Arcy and stars Liam Neeson, Micheal Richardson, Valeria Bilello and Lindsay Duncan. It is rated R for language and run-time is 1 hr. 34 minutes. Lynn’s Grade: B.
A version of this review ran in the Webster-Kirkwood Times.

By Lynn Venhaus

One of Tennessee Williams’ most humorous one-act plays, “A Perfect Analysis Given By a Parrot,” will be the next radio play presented by the Tennessee Williams Festival St, Louis on “Something Spoken: Tennessee Williams On the Air.”

It will first air on Saturday, Aug. 8, at 5 p.m. on 107.3 FM. You can listen live or you can listen later through several platforms. It is archived at the station’s website and there is an encore Aug. 13 at 10 p.m. They are available for nearly two weeks before the next one. This third show is sponsored by the Jane and Bruce Robert Foundation.

This one is a charmer. I enjoyed the production when it was first presented during the inaugural TWSTL in May 2016. It was staged at the Curtain Call Lounge, with this same cast, under the direction of Brian Hohlfeld.

Kelley Weber

Intrigued by the title? Set at a dive bar in St. Louis, “A Perfect Analysis Given By A Parrot” follows Flora and Bessie, two proud members of the Women’s Auxiliary of the Sons of Mars, who have traveled from Memphis for the annual convention. All Flora and Bessie want is a good time, but they have been ditched by the conventioneers they have followed. Unfamiliar with the territory, they wonder into a place intent on whooping it up. While drinking fishbowls of beer and listening to sentimental tunes, the pair begin a light-hearted conversation, then loosen up as old memories are stirred. The women, whose relationship could be considered “frenemies,” assess each other’s lives, revealing loneliness and longing.

As I recall, Rachel Tibbetts and Kelley Weber were very good as the two aging Southern Belles, and Bob Harvey, always fun to watch, was the waiter. Always a twinkle in his eye.

This should be a delightful radio play, to hear Williams’ distinctive wordplay, with an amusing display of merriment. Everyone so far has been an excellent listen and so different. This summer series celebrating Williams’ one-act plays is produced by Carrie Houk, artistic director, and programmed every other Saturday. Each episode is introduced by Ken Page, in his signature silky style. Don’t forget to stay afterwards to listen to University of Illinois professor Tom Mitchell provide insights about Williams’ work.

Nisi Sturges as Mrs. Hardwicke-Moore

“The Lady of Larkspur Lotion” was the first, on July 11, sponsored by Mary Strauss, which was terrific in establishing the time, place and characters. Set in a seedy New Orleans boarding house, a delusional long time tenant Mrs. Hardwicke-Moore is convinced that she owns a Brazilian rubber plantation. Shades of Blanche DuBois! (a prototype for sure). The landlady, Mrs. Wire, has always humored her, but when Mrs. Hardwicke-Moore can’t make her rent, the two women start to argue. As if the walls could talk, a young writer steps in, and his dreams are part of the fantasies of those living in this cockroach-infested place.

Williams’ yearning, his desire to fit in, his characters with their fanciful stories — all there. You create these Southern places in your head. The images are vivid, and the production values strong. Nisi Sturges, sublime in last year’s “The Night of the Iguana,” played Mrs. Hardwicke-Moore with impeccable Southern airs, while Rayme Cornell was various degrees of stern as the landlord and Bradley Tejeda intriguing as the mysterious writer (He could have had his own one-act. Maybe he did?).

“This Property is Condemned” was the second one, on July 25. Rising star Elizabeth Teeter, a fine young performer who has appeared in three Broadway shows and starred as Dorothy in the Variety Club’s enchanting “The Wizard of Oz,” played Willie with the right amount of bravado and wistfulness. Tony Merritt II, a Webster Conservatory student, was strong as Tom. It was directed by Tim Ocel, who has beautifully helmed some of the mainstage shows and is guiding five of this summer offering.

Elizabeth Teeter


You might recall “This Property is Condemned” as a 1966 movie starring Natalie Wood and Robert Redford. They play town flirt Alva and out-of-town railroad employee Owen respectively, who meet in Ogden, Miss., during the Depression. Alva dreams of getting out of the two-bit town.

The play, however, is told by Alva’s sister, Willie, who meets a guy, Tom, on the abandoned railroad tracks, and tells the story in flashback — about Alva, her mom, Owen and other characters. Williams’ frequent themes — grass is always greener, exaggerated grandiosity— are there, as are his finely drawn female characters.

Tony Merritt

What makes these radio plays – only about 20 minutes each – so special is that Williams’ voice is so recognizable in each of these one-act plays. He wrote many of them during his formative years here in St. Louis, and it’s interesting to see the progression of his work. What a bright, brilliant mind early on whose life influenced all his writings, from start to finish.

Don’t miss these little gems, featuring some of the best and brightest talents using another ‘muscle’ — their voice. For Aug. 8, if you are unfamiliar with Rachel Tibbetts, she is one of the best and most versatile actresses in town, and veteran actress/teacher Kelly Weber won a St. Louis Theater Circle Award last year for another Tennessee Williams one-act, “A Lovely Sunday in Creve Coeur.”

And it’s just fun to catch the names of the local landmarks.

Rachel Tibbetts

Next up: “Hello from Bertha” Aug. 22 5 p.m., streaming until Sept. 4, one of the “Rooming House Plays” that I adore.
Starring: Anita Jackson, Donna Weinsting and Maggie Wininger, directed by David Kaplan, sponsored by John Russell

“Summer at the Lake,” Sept. 5, streaming until Sept. 18
Starring: Donathan Walters, Rayme Cornell, Kelley Weber; directed by Tim Ocel, sponsored by Mary Strauss

“Mr. Paradise,” Sept. 19, streaming until Oct. 2
Starring: Elizabeth Teeter, J. Samuel Davis, directed by Tim Ocel, sponsored by Terry Schnuck

Anita Jackson. Photo by Ride Hamilton

Listen online through:

Live: https://classic1073.org/listen/

Classic 107.3 Apple app: https://apps.apple.com/us/app/classic-107-3/id635075917

On Radio.com: Android or Apple app https://www.radio.com/classic1073/listen

On demand with SoundCloud: https://soundcloud.com/raf-stl

For more information: www.twstl.org/something-spoken