The national tour of the Broadway musical HAMILTON will return to the Fabulous Fox Theatre as part of the 2024-2025 Broadway season, as announced Jan. 11 in celebration of Alexander Hamilton’s birthday by producer Jeffrey Seller and the Fabulous Fox Theatre.
The best way to guarantee tickets to HAMILTON is to purchase a season subscription for the Fabulous Fox Theatre’s 2024-2025 Broadway season. Season ticket holders who renew their subscription for the 2024-2025 season will get priority access to purchase tickets for the return engagement of HAMILTON before tickets become available to the general public. The 2024-2025 Broadway season will be announced at a later date.
HAMILTON will be playing the Fabulous Fox Theatre for two weeks only August 28 – September 8, 2024. Information on how to purchase groups and single tickets will be announced at a later time.
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.
Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.
For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.
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.
Elevated by a magnetic performance from Halle Bailey, director Rob Marshall’s “The Little Mermaid” neither wows nor underwhelms — a film that’s far from essential, but one that provides light, comforting entertainment.
Retelling the story from the 1989 animated version, this live-action iteration follows Ariel (Bailey), a courageous, rebellious mermaid and youngest of several sisters, who’s deeply curious about the surface world and dissatisfied with her life underwater. With her fish pal Flounder (Jacob Tremblay) in tow, Ariel collects human artifacts to store in her grotto among the coral — her collection is a reminder of a world she’s eager to explore and held back from reaching. Ariel’s father, King Triton (Javier Bardem), refuses to let her have any contact with humans. He instructs his right-hand-crab, the wry-yet-soft-hearted Sebastian (Daveed Diggs) to keep her out of trouble (spoiler alert: he soon takes Ariel’s side).
Ariel, with an adventurous spirit and desire for freedom, stumbles upon Prince Eric (Jonah Hauer-King), the new leader of an island nation somewhere in the Caribbean who wishes to expand the kingdom and is discouraged by his mother (Noma Dumezweni). Ariel falls in love with him at first sight. After a violent storm ruins his raucous birthday celebrations, Ariel saves him, dragging him to safety on his island’s beach, singing her siren song to keep him alive.
“Kiss the Girl”
Back underwater, Ariel can’t stop thinking about him (and vice versa), which attracts the attention of “the sea witch” Ursula (Melissa McCarthy), Triton’s sister who was previously exiled from the kingdom. Conniving and fueled by resentment, Ursula makes a deal with Ariel to transform her into a human for three days in exchange for Ariel’s siren voice. If she can share a “true love’s kiss” with Eric within those three days, she can remain a human permanently. If not, she’s under Ursula’s control, and will be used as ransom for Triton’s all-powerful trident. More complications arise, putting the pressure on Sebastian, Scuttle the seagull (Awkwafina), and, to a lesser extent, Flounder, to ensure the kiss comes to fruition, and help Ariel achieve her dreams.
Songs, romance, drama, and more songs ensue. Yes, this is certainly “The Little Mermaid,” so viewers expecting a massive departure from the previous film will be let down. Marshall’s film is another example of studios pandering to nostalgia rather than offering a meaningful reimagining of what’s come before. Taken on its own terms, though, the new “Little Mermaid” is still an amiably enjoyable watch — a story of love, independence, cultural understanding, and growing up that’s kept afloat by confident performances and directorial flashiness.
Bailey absolutely nails the role of Ariel — bringing to life her daring spirit and lovable stubbornness with an enchanting mixture of bravery and deep yearning for new horizons. Ariel is a (slightly) more layered protagonist this time around. She sees Eric as not only a good-looking hunk, but as a kindred spirit in search of freedom from tradition, which Marshall emphasizes through their nerdy, cute interactions with each other — they’re each fascinated with each other’s knowledge of the world beyond their homelands.
Melissa McCarthy as Ursula
Bailey conveys Ariel’s longing and naivete in a fairly grounded fashion: the songs function as an extension of her inner thoughts, allowing for some impressively emotional moments, particularly during her renditions of “Part of Your World” and “For the First Time” (one of the several new tunes scattered throughout). It’s clear from the outset, however, that Bailey has the acting chops for a more dramatically rich take on Ariel’s story than Marshall’s film provides. She breathes exciting new life to the heroine nevertheless.
McCarthy is campily over-the-top as the fiendish squid Ursula, with her undulating tentacles and booming delivery, giving a no-holds-barred performance that’s both funny and menacing. Diggs is amusing as Sebastian (nailing his new-ish take on “Under the Sea”), sassy and witty. Awkwafina is serviceable as a seagull willing to rap if need be (Lin Manuel-Miranda’s writing hand is keenly felt), and Bardem’s talents are underused as King Triton — an oddly subdued performance conveying Triton’s anxiety and fear for Ariel’s well-being, albeit lacking gravitas.
Hauer-King is perfectly fine as Prince Eric, notwithstanding one ho-hum musical number, but “The Little Mermaid” doesn’t give him enough depth or personality to stand out among the others. The film makes an effort to more clearly paint parallels with his goals and aspirations with Ariel’s, yet the gesture comes across as more manufactured than organic — attempting to sand down the less-polished aspects of their bond from the 1989 film, as opposed to a true expansion.
Javier Bardem as King Triton
In terms of visuals, “The Little Mermaid” is hit-or-miss. Dion Beebe’s cinematography shines when gliding through environments in time to the music — bringing all manner of aquatic creatures to the stage during “Under the Sea” in a dazzling display of CGI-heavy showmanship — and during some impressively smooth scene transitions, such as one in which the camera travels through the eye of a moray eel into Ursula’s cavernous lair. What isn’t as successful is the look of the non-human characters themselves. Heads awkwardly sit on bodies and hair undulates distractingly; far easier to represent through animation than live-action. Regarding Flounder, Sebastian, and Scuttle, there’s an awkward tug-of-war between realism and fantasy, to middling effect.
Indeed, this reflects the film’s greatest flaw. “The Little Mermaid” is solid, family-friendly entertainment, but with a talent as strong as Bailey, it deserves to break free from its sanitized formula to become something fresher. Minor alterations aside, this is still the same story, where stakes are neutered and songs fly freely.
Yes, it’s great that Bailey’s casting speaks to a new generation of moviegoers, but they (and her) deserve a story less beholden to the past, as does the live-action medium itself, which pushes against the film’s fantastical elements. What’s left is a better-than-average Disney remake that has little more to say and boatloads of money to rake in.
Scuttle, Dingelhopper, Flounder and Ariel
“The Little Mermaid” is a 2023 live-action, animated musical remake of Disney’s 1989 classic directed by Rob Marshall and starring Halle Bailey, Javier Bardem, Jonah Hauer-King, Awkwafina, Daveed Diggs, Jacob Tremblay and Noma Dumezweni. It is rated PG for action/peril and some scary images and the runtime is 2 hours, 15 minutes. It opens in theaters on May 26. Alex’s Grade: B-.
Jonah Hauer-King as Prince Eric and Halle Bailey as Ariel roam the castle grounds.
A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.
This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.
The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.
From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.
This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.
As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).
Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.
Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”
Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”
However, Salgado isn’t the only original connection involved at Stages.
Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.
This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.
Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.
Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.
The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.
Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.
Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.
His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”
Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.
Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.
Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.
Robles, Alvarado, Garcia. Photo by Phillip Hamer.
While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”
The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.
Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.
Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).
Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.
Leoni and Hipps. Photo by Phillip Hamer.
The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”
Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.
As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).
Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).
Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.
And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.
The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.
Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.
As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.
Hagans and Juvier. Photo by Phillip Hamer.
Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.
Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries.
Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.
This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”
Amanda Robles as Vanessa. Photo by Phillip Hamer.
Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org
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.
STAGES St. Louis is thrilled to announce that five team members of the Pre-Broadway production of THE KARATE KID – The Musical have been nominated for 2022 Tony Awards. Lighting Designer Bradley King, Scenic Designer Derek McLane, and Projection Designer Peter Nigrini each received nods, as did producer Kumiko Yoshii and STAGES St. Louis Executive Producer Jack Lane, when the full slate of this year’s nominees were announced May 9.
“I am thrilled for all of this year’s nominees, and most especially for my treasured collaborators on THE KARATE KID,” stated Kumiko Yoshii. “Today is a day of celebration for an industrthat has made a remarkable return to form.” King was nominated for Best Lighting Design of a Musical for FLYING OVER SUNSET, McLane and Nigrini were both nominated for Best Scenic Design of a Musical for MJ: THE MUSICAL.
Yoshii also serves as Co-Producer of MJ: THE MUSICAL, which earned 10 Tony Award nominations, including Best Musical, and Lane serves as a Co-Producer for COMPANY, which earned 9, including Best Revival of a Musical “These nominations are a testament to the caliber of talent that is surrounding THE KARATE KID – The Musical, and certainly add to the excitement of STAGES’ first Pre-Broadway World Premiere,” Jack Lane said. “What a great day for the city of St. Louis!”
THE KARATE KID – The Musical will “kick-off” the 36th Season at STAGES St. Louis at The Ross Family Theatre at the Kirkwood Performing Arts Center, running May 25 – June 26. Following the Pre-Broadway World Premiere will be the STAGES Premiere of Lin-Manuel Miranda’s To Award-Winning IN THE HEIGHTS (July 22 – August 21) and the return of the Pulitzer and Tony Award-Winning classic A CHORUS LINE (September 9 – October 9).
Tickets are on sale now online at StagesStLouis.org or by phone at 314.821.2407. For more information, please follow STAGES on Facebook and Instagram or visit StagesStLouis.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
In the loving hands of director Lin-Manuel Miranda, the world will know Jonathan Larson’s name as more than the creator of “Rent,” one of the big-bang bursts in musical theater history, because of this enthralling origin story “tick, tick…Boom!”
Brimming with vitality, this brilliant gem shines spotlighting the creative process and the importance of pursuing your dreams. It is the best musical adapted from the stage since 2012’s “Les Miserables.”
Collaborating with many gifted artists, Miranda, in his feature film directorial debut, broadens this early work to appeal to the dreamer in all of us. We can relate to Larson as a visionary full of doubt, anxiety, and drive, who had a unique voice that was meant to be heard. Filled with passion, he pushed on, despite many obstacles in his way.
The young composer revolutionized theater with “Rent,”, but tragically, did not live to see the first Off-Broadway preview performance, because he died that day, Jan. 25, 1996, suffering an aortic dissection. He was 35. Five years earlier, he was writing a musical called “Superbia,” loosely based on George Orwell’s “1984” and full of angst about turning 30. He turned that experience in a rock monologue, “30/90,” which was later renamed “Boho Days” and finally “tick, tick…Boom.”
In this adaptation of that autobiographical musical, Jon (Andrew Garfield) is waiting tables at a New York City diner in 1990, and feeling pressure from his dancer-girlfriend Susan (Alexandra Shipp), his best friend Michael (Robin de Jesus), who traded in an artistic life for one of financial security, and people helping him put on a showcase of his work.
Meanwhile, a community is being ravaged by the AIDS epidemic. With the clock ticking, Jon is at a crossroads. He wonders what he is meant to do with the time he has.
In his most revelatory screen performance to date, Tony winner and Oscar nominee Garfield displays Larson’s virtuosity and bravado. He embraces the music numbers with abundant zest and connects with Alexandra Shipp as his exasperated girlfriend and Robin de Jesus as his frustrated friend.
The sharp script was written by Steven Levenson, who won a Tony for “Dear Evan Hanson.” The adage “write what you know” is a running theme – and one can see Larson’s style evolving, and his various influences throughout.
“30/90” deals with his feelings about growing older without much to show for his songwriting efforts. Envious of his friend’s luxurious life, he and Robin de Jesus have fun with “No More.”
In one of the musical’s stand-out pieces, “Sunday,” as conducted by Jon, is both an homage to revered composer Stephen Sondheim and a salute to artistic vision. The legendary Sondheim, who was a tremendous influence on Larson, is deftly underplayed by Bradley Whitford.
Several members of the original cast of “Rent,” as well as performers from Miranda’s masterpiece “Hamilton,” many Broadway legends and Tony winners have a shared moment in a Sunday brunch scene. It’s a “Where’s Waldo?” panoply of talent that you’ll want to stop and rewind over and over.
The film’s ensemble is tight, and several singers have stand-out moments – with Vanessa Hudgens singing her heart out as Karessa in “Come to Your Senses,” the show-stopping song that Larson finally pens after excruciating writer’s block episodes.
Another heart-tugging number is “Why,” when Jon plays an old rehearsal piano at the closed Delacorte Theater in Central Park.
If you are unfamiliar with “Rent,” now being celebrated in a national 25th anniversary farewell tour, this musical about Bohemians struggling with life, love, and AIDS in the East Village, won Larson the Pulitzer Prize and three Tony Awards posthumously. It ran on Broadway until 2008, and is the 11th longest running musical of all-time.
But early versions of “tick, tick…Boom!” came before — and after. Playwright David Auburn revised it after Larson’s death as a piece for three actors (Jon, Susan, and Michael). It premiered off-Broadway in 2001, with Raul Esparza winning an Obie Award in the leading role. It has been performed in London’s West End, with Neil Patrick Harris, and at many other theaters since it was revamped. An Encores! Off-Center production in 2014 featured Miranda, Leslie Odom Jr. and Karen Olivo.
Miranda, who said seeing “Rent” on his 17th birthday changed his life, was born to direct this. He gets it – kids with dreams, brimming with ideas. He was one of those kids — and went on to win Tony Awards for “In the Heights” and the cultural phenomenon “Hamilton.” (You can spot him, too, at the diner. And his Disney animated musical “Encanto” is out in theaters Nov. 24).
As sad as Larson’s untimely death was, this film is full of joy – a tribute tp one of the great talents of the 20th century. Because his death is believed to have been caused by an undiagnosed Marfan syndrome, more attention has been given to this condition. (And the struggles of low-income folks lacking health care).
Today, the Jonathan Larson Performing Arts Foundation, established by family and friends, provides monetary grants to artists, with a particular emphasis on musical theatre composers and writers.
This support for creative work is now administered by the American Theatre Wing because of an endowment funded by his family and the foundation. Who knows how many fellow starving artists Larson inspired to write the next great American musical?
His memory and his impact lives on – and his “Rent” lyrics eerily resonate: “No Day but Today.”
“tick, tick…Boom!” is a bittersweet rumination on art and inspiration, and Miranda has made it both personal and universal.
“tick, tick…Boom!” is a 2021 Musical Biopic directed by Lin-Manuel Miranda and starring Andrew Garfield, Alexandra Shipp, Robin de Jesus, Joshua Henry, Bradley Whitford, and Judith Light. It is rated PG-13 for some strong language, some suggestive material and drug references and runs 1 hour, 55 minutes. It opened in select theaters on Nov. 12 and started streaming on Netflix Nov. 19. Lynn’s Grade: A.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A vibrant mix of bright colors and snappy Latin beats, the animated musical adventure “Vivo” pops with personality.
Set in Havana, Miami and the Everglades, this computer-generated effort from Sony Pictures Animation features multi-level humor and a cadre of lively characters to amuse. Most delightful is how it will tug on your heartstrings, and does so genuinely, not in a manipulative way.
Vivo, a Cuban kinkajou — a tropical rainforest mammal in the same family as a raccoon, known as a ‘honey bear,” spends his days playing music to the Plaza Vieja crowds in Havana with his beloved owner Andres.
The elderly Andres, once part of a musical duo with Marta Sandoval, receives a letter from the now-famous singer inviting him to her farewell concert in Miami. She wants to reconnect, and she is his ‘the one that got away.’ Vivo’s mission is to deliver a love letter to Marta, reluctantly teaming up with Gabi, an energetic tween who bounces to the beat of her own offbeat drum.
At its heart is the incomparable Lin-Manuel Miranda, voicing Vivo with customary charm. He wrote the tuneful score, a captivating swirl of salsa beats, peppy percussion, rap lyrics and emotion-filled ballads.
The much-honored Miranda, whose first animated musical was Disney’s “Moana,” brings his trademark energy and unmistakable writing style to this work, with such memorable songs as “Keep the Beat” and “My Own Drum” playing on a loop in your head post-viewing.
Vivo’s look, with a jaunty little hat and scarf, adds to the character’s appeal, and the other characters he meets along his journey are just as vivid. Because of circumstances, the rapping, flute-playing, music-loving creature reluctantly teams up with Gabi, a spirited maverick tween, with purple hair and a quirky wardrobe, who soon wins over all the outsiders of the world.
Newcomer Ynairaly Simo shines as Gabi, and the voice cast is well-suited for their roles. Gloria Estefan is diva Marta Sandoval, dazzling in shimmering aqua; Zoe Saldana is Rosa, Gabi’s exasperated mother; and Latin musician Juan de Marcos González is Vivo’s kind owner Andres.
In Key West, amid the blazing hot pinks and cool aqua tones, we find the goofy spoonbill Dancarino, voiced by Brian Tyree Henry, and in the dark and foreboding Everglades, Michael Rooker is effectively creepy as the villainous python Lutador.
Co-directors Kirk DeMicco, creator of “The Croods,” and Brandon Jeffords, known for his work on “The Mitchells vs. The Machines,” “Hotel Transylvania 2” and “Cloudy with a Chance of Meatballs 2,” put the characters through vigorous paces and propel the action logically through a zippy 99 minutes.
While this might not be as ground-breaking as Sony’s Oscar-winning “Spider-Man: Into the Spider-Verse” or this year’s outstanding “The Mitchells vs. The Machines,” “Vivo” has plenty of pizzazz to entertain.
It’s visually attractive, capturing the tropical feel – and notable is a funny sequence with pink flamingos. Legendary cinematographer Roger Deakins was a visual consultant.
The screenplay, by DeMicco and “In the Heights” co-writer Quiara Alegría Hudes, with story by Peter Barsocchini, of “High School Musical” fame, has smartly created emotional bonds between the characters and injected humor in a natural way.
In animation, next up for golden-boy Miranda is Disney’s “Encanto,” out Nov. 24, featuring his music and lyrics. Indeed, his future is bright.
But as for the present, his winning combination of voicing Vivo and writing the uplifting music and lyrics is one of the summer’s sweetest smiles. “Vivo” is a 2021 animated musical from Sony Pictures Animation co-directed by Kirk DeMicco and Brandon Jeffords. Voice work is by Lin-Manuel Miranda, Ynairaly Simo, Zoe Saldana and Gloria Estefan. It’s rated PG for some thematic elements and mild action and has a run time of 1 hour, 39 minutes. It is streaming on Netflix beginning Aug. 6. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Just 100 miles south of Woodstock, another music fair and similar Aquarian exposition took place in an urban enclave during the summer of 1969. We would not know about the Harlem Cultural Festival had Questlove not shared this historical record with us.
During that fateful summer, the Harlem Cultural Festival was filmed in Mount Morris Park over the course of six weeks. It featured some of the biggest gospel, rhythm & blues, and pop stars of that era. The footage was never seen and largely forgotten – until now.
“Summer of Soul,” with the subtitle, “…Or, When the Revolution Could Not Be Televised,” takes us to church while teaching us about Black history, culture and fashion.
As the director, Ahmir “Questlove” Thompson powerfully captures a time, an epic and electric event that meant so much to the peaceful crowd that came to share the universal language of music – changing the way we viewed the voices of our generation.
For some, it was a spiritual reckoning. For others, an example of the healing power of music, particularly at a time of great unrest.
Watching this with an audience, you will get your groove on – it’s hard not to feel the energy of Stevie Wonder, Sly & The Family Stone, Gladys Knight & the Pips, Mahalia Jackson, B.B. King, The Fifth Dimension and the passion of Nina Simone, Hugh Masekela, Mavis Staples, and David Ruffin.
Between June 29 and Aug. 24, 1969, about 300,000 people attended the festival – young, old, families, couples, friends and neighbors.
This film won both the Audience Award and the Grand Jury Prize in the Documentary competition at the 2021 Sundance Film Festival. It is Questlove’s debut as a director, and he displays a keen sense of storytelling and appreciation for the history — you can’t have a movie set 52 years ago without giving some context. You may know Questlove as the bandleader of The Roots, Jimmy Fallon’s house band on “The Tonight Show” or from his work with “A Tribe Called Quest.”
The Vietnam War was raging, civil rights were being fought for, America was changing in its landscape and values. It was a time of great flux, but Questlove focuses on the strong sense of pride and unity among African Americans, now referring to themselves as Black.
The Fifth Dimension
He captures those feelings in the personal reflections of people who were there – in the audience and the musicians on stage who are still living.
St. Louisans Marilyn McCoo, 77, and Billy Davis Jr., 83, talk about their struggles trying to fit in as The 5th Dimension. Their backstory about the band’s no. 1 hit in ’69 – “Aquarius/Let the Sunshine In” is one of the most interesting.
Questlove has gathered an eclectic group to serve as the ‘talking heads.’ There are modern entertainers – Chris Rock, Lin-Manuel Miranda and his activist father, Luis Miranda, plus actor-producer Musa Jackson and former New York Times reporter Charlayne Hunter-Gault, who beautifully frame the event by looking back – and what it means moving forward.
Above all, the film is a glorious celebration of music, as ebullient as the beaming faces in the crowd and those moved to dance, exuding such palpable joy.
“Summer of Soul” stands tall among a crowded field of recent outstanding music documentaries. You won’t soon forget what you learn and how you feel during the nearly two-hour run time.
“Summer of Soul” is a 2021 documentary directed by Ahmir “Questlove” Thompson. It is rated PG-13 for some disturbing images, smoking and brief drug material and runs 1 hour, 57 minutes. It is in theaters and streaming on Hulu beginning July 2. Lynn’s Grade: A
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus EGOT winner Rita Moreno, who will turn 90 on Dec. 11, traveled from Puerto Rico to America with her mother when she was 5 years old. She would go on to a legendary career as an actress, singer and dancer that has spanned 70 years.
A candid documentary, “Rita Moreno: Just a Girl Who Decided to Go for It,” is a loving and illuminating look at her life and struggles.
Just when you think this will be a fawning showbiz portrait, Moreno matter-of-factly points out the bumps in the road in a difficult journey to stardom. She shares intimate details about the racism and sexism she endured on Broadway and in Hollywood, reveals jaw-dropping abuse and a toxic relationship with Marlon Brando.
Her resilience, and talent, would help her triumph over adversity – but what a remarkable, strong woman. Fiesty and fearless now, the former Rosita Dolores Alverio is still going strong. She is an executive producer on Steven Spielberg’s remake of “West Side Story,” to be released this December, and was on the rebooted sitcom “One Day at a Time” from 2017 to 2020.
Often cast as a stereotypical ethnic minority early in her career, she discusses her efforts to break barriers, fight for representation and forge a path for other artists.
Winning the Oscar in 1962
The talking heads include George Chakiris, fellow Oscar winner for “West Side Story” (1961) as Bernardo to her Anita; Morgan Freeman, who appeared with her on PBS’ “The Electric Company,” for which she won a Grammy; and Latino performers who consider her a role model: Gloria Estefan, Eva Longoria, Justina Machado. Karen Olivo and Lin-Manuel Miranda, who is one of the executive producers on the documentary.
The spry Moreno, a widow and mother of one daughter, is a marvel of movement. An activist ready to take to the streets, she chronicles her early involvement in civil rights and how she continues to fight injustice.
The career achievements are vast – including two Emmys, for ‘The Rockford Files” and “The Muppet Show,” and a Tony for “The Ritz” in 1975. The director has inserted copious amounts of archival footage, and Moreno’s body of work is impressive.
For 89 minutes, this fascinating and inspiring documentary shows how the gutsy Moreno survived – and thrived – in a cutthroat business. I’m eager to see the next chapter.
“Rita Moreno: Just a Girl Who Decided to Go for It” is a 2021 documentary directed by Mariem Perez Riera. It is rated PG-13 for mature thematic content, some strong language including a sexual reference, and suggestive material, and has a run-time of 1 hour, 30 minutes. Lynn’s Grade: A
Available in local theatres June 18and at the Tribeca Film Festival June 9-20, with virtual screenings at Tribeca at Home through June 23.
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.
In celebration of the reopening of live theatre in St. Louis and their 35th Anniversary Season, STAGES St. Louis has announced their 2022 Season will feature the regional premiere of the Tony-Award Winning IN THE HEIGHTS, music and lyrics by Lin-Manuel Miranda and book by Quiara Alegría Hudes.
IN THE HEIGHTS is a vital and thrilling musical about the American Dream set in the vibrant NYC neighborhood of Washington Heights. Exploring the hopes and dreams of family, community, and more, the production is a perfect fit for the STAGES mission and audience.
Before there was HAMILTON, Lin-Manuel Miranda’s IN THE HEIGHTS took Broadway by storm, winning the Tony Award for Best Musical, as well as the Grammy Award for Best Musical Show Album. An acclaimed film adaptation, directed by Jon M. Chu and starring Anthony Ramos, was released this past weekend.
“We are beyond excited about presenting IN THE HEIGHTS at STAGES in 2022. I can’t think of a better show to be a part of our first full season at the Kirkwood Performing Arts Center. Everything about this beautiful and melodic musical speaks to the stories that STAGES so loves to tell,” said Mosbacher Family Executive Producer Jack Lane.
On its Broadway opening in 2008, The New York Times raved, “When this musical erupts in one of its expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year or two.” That energy will no doubt be alive and thriving on The Ross Family Theatre stage at the Kirkwood Performing Arts Center in 2022.
STAGES St. Louis will announce the remainder of their 2022 Season later this summer. In the meantime, tickets for STAGES 35th Anniversary Season, featuring the fan-favorite production of ALWAYS… PATSY CLINE (August 6 – September 5) and the STAGES premiere of JERSEY BOYS (September 24 – October 24) are on sale now. You can purchase two-show subscriptions or single tickets by visiting their website at StagesStLouis.org or by calling the Box Office at 314.821.2407.
For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new home, the $25 Million Kirkwood Performing Arts Center.
STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company.
For more information on the Academy or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.Two-show subscription and single tickets for the 2021 Season are on sale now. For more information, please call 314.821.2407 or visit www.StagesStLouis.or
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus “In the Heights” is indescribably delicious — and one of the best movie musicals of the 21st century, splendidly transferred from stage to screen.
Bursting with exuberance and featuring a bustling street tableau, this long-awaited adaptation of Lin-Manuel Miranda’s 2008 Tony-winning musical is teeming with colorful sights and sounds.
Besides a richly textured, pulsating score with primarily hip-hop lyrics and a salsa beat, what made the musical special is how it captures a universal story of people chasing their dreams with a specific sense of place.
Usnavi de la Vega (Anthony Ramos) is the owner of a small bodega in New York City’s Washington Heights. As the neighborhood braces for changes and people follow their dreams, family stories are revealed.
Usnavi has a crush on Vanessa (Melissa Barrera), who dreams of being a designer and wants to live in the West Village. His childhood friend, Nina (Leslie Grace), the “one who made it out” by landing a scholarship to Stanford University, thinks she is disappointing her dad, Kevin Rosario (Jimmy Smits), who owns a local car service company. Nina’s love interest, Benny (Corey Hawkins), works for her dad. Meanwhile, Abuelo Claudia (Olga Merediz) dispenses love and advice as the neighborhood’s matriarch. Merediz played the role on Broadway.
And Usnavi discovers his store has sold a winning lottery ticket for $96,000 – money that could make a lot of dreams possible.
Anthony Ramos and Melissa Barrera
As a celebration of Latino heritage, from Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, this film arrives at the perfect time – it’s a valuable immigrant representation and a major achievement in 2021.
Set during a blistering summer heat wave in the barrio over the course of three days, you feel “all the feels” — You will fall in love with these characters and their devotion to family, culture and finding their place in the world.
Showcasing an abundance of charisma, three stars are born: Anthony Ramos as Usnavi, Melissa Barrera as Vanessa and Leslie Grace as Nina. Ramos, most known as John Laurens and Alexander’s son Philip in “Hamilton,” sings and dances up a storm, but also has the emotional heft for good-hearted, hard-working Usnavi. Barrera and Grace dazzle in every musical number – and their personal stories tug at the heartstrings.
The entire cast is terrific — Corey Hawkins as Benny, Daphe Rubin-Vega as Daniella, Olga Merediz as Abuela Claudia, Jimmy Smits as Kevin Rosario and Gregory Diaz IV as Sonny, among them.
Jon M. Chu, who directed “Crazy Rich Asians,” has a flair for keeping things moving at a brisk pace in massive musical numbers but also creating an intimacy with the duets and personal struggles. For a movie with a running time of 2 hours and 23 minutes, that is no small feat.
Quiara Alegría Hudes, who wrote the musical’s original book plus the screen adaptation) brings it into today, with references to Dreamers (DACA), activism and current class struggles. The women characters are all strong role models, too.
Best of all are the energetic dance scenes. Vibrant choreographer Christopher Scott will have you moving and up from your seat! He brings so much joy to these lively street scenes, and their precise moves – on asphalt, park, water or sand – are striking. He is a Busby Berkeley for the modern age, keen on making the action ‘pop.’
And for Miranda’s devotees and “Hamilton” fans, there are a few tasty in-jokes. Check out the phone muzak while Jimmy Smits is on hold – recognize a signature tune? — and there is a rivalry between his “The Piragua Guy” and a Mr. Softee truck (with a certain actor once known as Mr. President – and who played Benny in the original cast). Christopher Jackson and Miranda go way back to 2002.
Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009. While that is remarkable in itself, what he has managed in his career to date is awe-inspiring — and means a lot is expected from him. Next up, his directorial debut with “Tick, Tick…Boom,” basically the Jonathan Larson story, which will premiere on Netflix this fall. He credits the “Rent” composer with being one of his influences.
His “Hamilton” Dream Team of Tommy Kail, Alex Lacamoire and Andy Blankenbuehler worked together on all the stage versions of “In the Heights,” so while not specifically involved in the movie, their influence can be felt.
Miranda wrote a new song, “Home All Summer,” which plays over the credits and features Marc Anthony, who has a minor role as Sonny’s father, in addition to Ramos and Grace.
Sonny’s father wasn’t in the original musical, and there are a few alterations here, including a new framing device and ending, but it only adds to the material, not detracts. A few songs were cut from the 25, and the soundtrack now includes 17, including the new one.
Movie musicals can be a dicey proposition these days, for every “Chicago” (Oscar winner) and “Les Miserables” (Best Picture nominee), there is an epic failure like “The Phantom of the Opera” and the unwatchable “Cats.”
This is a fun, global experience that will be a certain summer sizzler. After a pandemic delay, “In the Heights” is a welcome refresher in the magic of music and movies.
“In the Heights” is a musical directed by John M. Chu and starring Anthony Ramos, Melissa Barrera, Leslie Grace, Daphne Rubin-Vega, Corey Hawkins, Marc Anthony and Jimmy Smits. It is rated PG-13 for some language and suggestive references, and runs 2 hours, 23 minutes. Lynn’s Grade: The movie is in theaters starting June 10 and on HBO Max June 10 – July 11.
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.
