Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

By Lynn Venhaus
The turbo-charged “Fast X,” aka “Fast Ten,” the latest entry of the 22-year-old “Fast and Furious” saga, continues to defy logic and physics in a dizzying grandiose globe-trotting revenge tale.

A gimmicky gearhead grind, no. 10 features a sprawling star-studded cast racing from one continent to the next between massive explosions, shoot-outs, fisticuffs, and an enormous cavalcade of car crashes all staged to show off high-tech weaponry, fast-paced fight choreography and sensational stunts.

As usual, the muscular hero Dom Toretto has a price to pay for antagonizing his foes, but his list of friends and enemies certainly has grown over the years. We pick up with doting dad Dom teaching his 8-year-old son Brian (Leo Abelo Perry) his own set of rules on the road while his wife Lettie (Michelle Rodriguez) is helping Grandma (Rita Moreno) cook the family dinner, a time-honored ritual.

The gang’s all there – the bickering yet bonded core group of Dom’s team: Roman Pearce (Tyrese Gibson), mechanic Tej Parker (Chris “Ludacris” Bridges), hacker Ramsey (Nathalie Emmanuel), and Han Lue (Sung Kang).

In recent films, their certain set of skills have been in demand by an international government operation called “The Agency.” But even those seemingly fortresses of good can be infiltrated by evildoers, especially this chapter’s megalomaniac villain Dante (Jason Momoa).

He’s the vengeful son of drug kingpin Hernan Reyes, who was killed in “Fast Five,” and now comes calling with heavy artillery, having spent the last 12 years planning his retaliation.

Jason Momoa is Dante in FAST X, directed by Louis Leterrier

The hulking beefcake Momoa, best known as the DC superhero Aquaman, has a blast going over-the-top as a flamboyant, preening sociopath seeking vengeance. Part Cesar Romero’s Joker, part Jim Carrey’s Riddler, and all peacock-strutting and rooster-crowing swagger, Momoa ups the ante as a sadistic dominating presence. (His character is hastily explained as being institutionalized.)

Dom’s sister Mia (Jordana Brewster), widow of Brian O’Conner (Paul Walker, who died in 2013, and was in five of the films), and brother Jakob (John Cena) also figure into the plot threads. And a noteworthy sentimental touch: Paul’s daughter Meadow Walker has a cameo as a flight attendant helping Jakob.

Oscar winners Charlize Theron, as cyberterrorist Cipher, Helen Mirren as Shaw’s (Jason Statham) mom, and Brie Larson as Tess, daughter of Mr. Nobody (Kurt Russell), make brief appearances, and Moreno has one scene.

But even the big-name cast – peppered with stunning cameos (must-see end credits) that the internet has already spoiled – is overshadowed by the mind-numbing number of pileups, combustible engines, bomb detonations, and burning rubber that result in a reckless high body count and ridiculous disregard for the laws of gravity.

That’s not a surprise – it’s always expected in these big, bold and bravura blockbusters. Yet, for those who have been paying attention throughout the soap opera-on-wheels thrill ride sequels, some previous villains are now allies (well, maybe frenemies in a couple cases) and it will be established that former friends betray the good guys. That can get rather head-scratching – but really, thinking is not a requirement here.

Nevertheless, the one constant is that the theme of family remains central to the core. It’s just that the death-defying action becomes a distraction as escaping without harm gets increasingly preposterous.

When this popular franchise began, the personalities carried the minimal plot and maximum action adventures through, but as the scope became bigger, the plots became more convoluted.

I can’t imagine anyone who hasn’t seen the last four or five really knowing – or caring – what has happened and what is going on now, as they’ve swelled from streetfighters to save-the-world in land, sky, and sea scenarios.

Dom in Rome

Case in point: A submarine in the South Pole. Before you ponder this, keep in mind the latest cliffhanger ending is an intriguing tease for “Fast X Part 2,” now scheduled for 2025. Apparently, not the end of the road but “the last chapters” with another or two.

This latest excursion through Brazil, Rome, Portugal, London, Los Angeles, and Antarctica is ultimately fan service. Let’s face it – few view these for interesting intricate stories. Now going into their third decade, people want bullets to spray, cars to fly and more pedals to the metal than in the last chapter.

The stories are such a minimal template that I’ve accused them of being written by chimps, but now, after number 10, I’m convinced they are employing AI.

The latest screenwriters – veteran Justin Lin plus newbie Dan Mazeau — touch on previous scenarios for some sense of a plot thread, but it doesn’t make “Fast X” easy to follow. The characters are based on those created by Gary Scott Thompson in 2001’s “The Fast and the Furious.”

Lin, who directed the third through sixth movies (“The Fast and the Furious: Tokyo Drift” in 2006, “Fast and Furious” in 2009, “Fast Five” in 2011 and “Fast and Furious 6” in 2013, returned for the ninth (“F9, The Fast Saga” in 2021), but abandoned directing this movie, over ‘creative differences,’ and Louis Leterrier, who made the first two “Transporter” movies, took over. Lin, however, stayed on as a producer and has a screenwriting credit.

The entire canon includes “2 Fast 2 Furious” in 2003, “Furious 7” in 2015, “The Fate of the Furious” in 2017, and then “Fast and Furious Presents Hobbs and Shaw” in 2019.

What happens next will determine the franchise’s grand finale. But harkening back to the early glory days would be a nice change of pace, for these increasingly ludicrous sequels have spun the original intentions out of control. After all, it’s supposed to be about family.

Vin Diesel as Dom

“Fast X” is a 2023 action thriller directed by Louis Leterrier and starring Vin Diesel, Michelle Rodriguez, Jason Momoa, Charlize Theron, Jason Statham, John Cena, Jordana Brewster, Brie Larson, Helen Mirren, Rita Moreno, Tyrese Gibson, Sung Kang, Nathalie Emmanuel, Ludacris, Scott Eastwood, Alan Ritchson. It is rated PG-13 for intense sequences of violence, action and language, and some suggestive material. and the run time is 2 hours, 21 minutes. It opened in theaters May 19. Lynn’s Grade: C-.

With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

By Lynn Venhaus
Guaranteed to put a spring in your step and a song in your heart, “Eubie!” is a sparkling and joyous tribute to one of the groundbreaking talents of the 20th century.

The Black Rep’s third time presenting a musical revue of American musician and composer Eubie Blake’s greatest hits is musical theater of the finest caliber.

The convivial cast, high-spirited choreography, cheerful musical numbers, elegant costumes, and silky-smooth orchestra combine for an uplifting production.

The musical extolling the talents of James Hubert “Eubie” Blake over his long, lauded career, especially his achievements in the early 1900s that helped spark the fabled Harlem Renaissance in the ‘20s and ‘30s, was the of the toast of the 1978-1979 Broadway season, nominated for three Tony Awards, including Eubie’s score and Gregory Hines’ performance. Blake died in 1983 at 96 years old.

With his 1921 musical, “Shuffle Along,” he and lyricist Noble Sissle helped break down racial barriers because it was the first Broadway musical written, directed by and starring black Americans. It also helped shape American musical theater as we know it today.

In 2006, his album “The Eighty-Six Years of Eubie Blake” from 1969 was included in the Library of Congress’ National Recording Registry by the National Recording Preservation Board. They annually select music that is “culturally, historically, or aesthetically significant.”

Coda Boyce. Photo by Phillip Hamer

This effervescent cast has individual standouts but really comes together as an ensemble to celebrate Eubie’s contributions in ragtime, jazz, and popular music. Director Ron Himes’s thorough knowledge of the piece and the song styles helps expertly extract the very best from the cast, which has five performers making their Black Rep debut (DeAnte Bryant, Serdalyer Darden, Carvas Pickens, Tamara PiLar, and J’Kobe Wallace).

Himes deftly stages the group numbers – ‘Shuffle Along,” “I’m Just Simply Full of Jazz,” “High Steppin’ Days,” and “Roll Jordan” with polished and buoyant dance designed by master choreographers Heather Beal and Vivian Watt. Such verve!

Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography, He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”

In perhaps Blake’s most well-known song, “I’m Just Wild About Harry,” Crenshaw joined Evann De-Bose, Coda Boyce, Samantha Madison and PiLar for a rousing rendition.

Crenshaw opened the show with Boyce and Venezia Manuel, performing the jolly “Charleston Rag” and “Good Night Angeline” in the prologue.

J’Kobe Wallace. Photo by Phillip Hamer

Boyce, so good in “The African Company Presents Richard III” at the Black Rep last year, shows off her vocal chops in “Craving for That Kind of Love” and her playful moves in “Baltimore Buzz” with Manuel and lithe Bryant and Wallace.

The acrobatic moves of Bryant and Wallace are eye-popping and crowd-pleasing, and add pizzazz to the music numbers, Wallace is especially impressive in “Dixie Moon” and “Got to Get the Getting While the Gittin’s Good.”

Newcomer Darden has a good time with “I’m a Great Big Baby” and other solos of note include PiLar in “Daddy,” and De-Bose in “Memories of You.”

PiLar has a terrific duet with powerful-voiced Pickens in “My Handyman Isn’t Handy Anymore.”

They both have a good time with the cast in a fun, very theatrical number “If You Never Been Vamped by a Brownskin, You’ve Never Been Vamped At All,” where they take on roles of The Vamp, wife, husband, judge, bailiff and jury.

Taijah Silas is part of the 11-person ensemble, and they all move with vigor and enthusiasm.

Phillip Hamer Photo

Music Director Joe Dreyer, who also plays piano, is a virtuoso musician, and seamlessly leads a superb orchestra of Chris Tomlin on tuba, Bernard Long on drums, Anthony Wiggins on trumpet and Harvey Lockhart on saxophone. They are behind a scrim, but they breeze through the music catalogue with aplomb.

The musicians are part of this dream team that delighted in delivering a beautiful lesson in music appreciation of an earlier era.

The sound design by Justin Schmitz is splendid, and so is the look of the production, with impressive lighting design by Jasmine Williams and scenic design by Tim Jones setting the atmosphere through the decades.

Costume Designer Marc W. Vital II’s exceptional craftsmanship captured the period’s glamour perfectly.

It’s rare when you get to experience not only the cast having the best time on stage, but the audience thoroughly engaged and enchanted with the vitality of those involved.

“Eubie!” closes the Black Rep’s 46th season on a high note.

Photo by Phillip Hamer

The Black Rep presents the musical revue “Eubie!” from May 3 to May 21 at the Edison Theatre on the Washington University campus. Performances are Wednesday and Thursday at 7 p.m., Saturday at 8 p.m., and Sunday at 3 p.m. For more information, visit www.theblackrep.org

Photo by Phillip Hamer.
Photo by Phillip Hamer

‘Still: A Michael J. Fox Movie’ Is Candid Look At Actor’s Life Challenges

‘Still: A Michael J. Fox Movie’ Is Candid Look At Actor’s Life Challenges

By Lynn Venhaus

A heartbreaking documentary told with warmth and humor, “Still: A Michael J. Fox Movie” pulls no punches. 

This unvarnished look at the life of beloved actor and advocate Michael J. Fox explores his personal and professional triumphs and travails as he confronts the incurable Parkinson’s Disease.

Neither a pity party nor a puff piece, the film is a thoughtful chronicle of the life and career of one-time “Boy Prince” of Hollywood as told through his performances and candid conversations with the film’s director Davis Guggenheim.

Guggenheim, a St. Louis native who became an Oscar-winning documentarian (for “An Inconvenient Truth” in 2007), takes a compelling approach to shaping the narrative.

With quick-cut editing of Fox’s TV and film work, he highlights the actor’s physicality  and crisp comic timing that boosted him from breakout ‘80s sitcom star to mega-popular movie mainstay. They also illustrate scenes from his life using actors that are artfully staged. 

Two striking visual takeaways include how much running he did as a young whirling dervish and how much prescription medicine he must take to help control his symptoms.

Growing up in Canada, he moved to Los Angeles at age 18, and was mired in dire straits pretty much until his fortuitous casting as Alex P. Keaton, the Reagan-era conservative kid raised by hippie activist parents in “Family Ties” (1982-1989).

Marty McFly in “Back to the Future”

He became a sensation as an integral part of NBC’s Thursday night “Must-See TV” lineup, replaced actor Eric Stoltz as Marty McFly in 1985’s mega-hit movie “Back to the Future,” launched a franchise, and was reliable box-office until a string of duds in the ‘90s — “Life with Mikey,” “For Love or Money,” “Greedy,” “Doc Hollywood” among them — became a catalyst for him returning to TV in 1996 with the hit sitcom “Spin City.”

His career achievements include five Emmy Awards for “Family Ties” and “Spin City” as lead actor in a comedy series, one for guest actor in “Rescue Me.” After going public with his young-onset Parkinson’s Disease diagnosis in 1998, he appeared on such shows as “The Good Wife,” :The Good Fight,” “Boston Legal,” and “Curb Your Enthusiasm.” Among his movies were “Teen Wolf,” “The Secret of My Success,” “The American President,” “Homeward Bound” (voice of Chance), “Stuart Little” (voice), “The Casualties of War,” “The Frighteners,” “Light of Day,” “Bright Lights, Big City” and “Mars Attacks!”

Emmy nominated as Lewis Canning in “The Good Fight”

Retired from acting since 2020, Fox has written four books, and the movie uses them as source material.
Fox noticed his pinky finger moved  uncontrollably in 1991, when he was filming “Doc Hollywood,” and later diagnosed as the incurable Parkinson’s Disease. He was 29.

His hid the trembling as best as he could, but psychologically, the effects were taking its toll. He frankly discusses his struggles and challenges, as we see the physical disabilities and what he has had to go through.

His outlook is remarkable, and he displays a toughness we haven’t seen before. His wife of 35 years, Tracy Pollan, is as much a profile in courage as he is. They have four children – son Sam, twin daughters Esme Annabelle and Aquinnah, and youngest daughter Schuyler. 

His family is a guiding force, a source of sustenance and strength, and grounded. They show the laughter, not the tears.
The amount of advocacy and awareness he has done regarding Parkinson’s is immeasurable, raising over two billion dollars through his foundation to date (The Michael J. Fox Foundation for Parkinson’s Research).

Last fall, he was given an honorary Oscar, the Jean Hersholt Humanitarian Award, last year by the Academy of Motion Picture Arts and Sciences. 

While he is matter-of-fact about his limitations, the impact he continues to have is inspiring. Now 61, his legacy is rich, and you will appreciate the man even more for his humanity than his admirable talent upon viewing this 1 hour, 36 minutes ode to living.

“Still: A Michael J. Fox Movie” is a 2023 documentary directed by Davis Guggenheim. It is rated R for language and the run time is 1 hour, 36 minutes. In select theatres and streaming on Apple TV + starting May 12 

Performers Enliven Esoteric, Mystical Reworking of ‘Carmen’ as Dance Film

Performers Enliven Esoteric, Mystical Reworking of ‘Carmen’ as Dance Film

By Lynn Venhaus

A bizarre and strange reimagining of Georges Bizet’s 1875 opera “Carmen,” this experimental film is also oddly compelling.

That’s because of the chemistry of the two leads Melissa Barrera as Carmen and Paul Mescal as Aidan. They are haunting in a modern story long on magic realism and short on backstories, character development and motives. Even the time and place aren’t definitive.

And because the fragmented and unfocused screenplay is the most frustrating aspect of the gritty film, what we glean from the tragic romance co-written by Oscar winner Alexander Dinelaris (“Birdman” in 2015), Loïc Barrère, and Lisa Loomer is that there is little resemblance to the classic opera but a smidgeon of similarity to the 1954 film “Carmen Jones.”

However, there is a tormented soldier and a fierce young woman both drawn to each other because of circumstances.

Carmen and her mother are mysterious women living in the Mexican desert, and the discharged Marine Aidan, now back home, has PTSD.

The daughter is forced to flee after her mother Zilah (Marina Tamayo) is murdered while she dances flamenco-style. Then, during a dangerous border crossing, Carmen is rescued by Aidan, who takes a job working as a border guard. His first night isn’t exactly what he had in mind, and he’s now on the run with a stranger.

Lots o’ baggage is obvious but not revealed. The pair head to Los Angeles where she seeks her mother’s best friend, the mercurial Masilda (Rossy De Palma), who owns a nightclub, La Sombra. The exotic entertainer gives them a safe space to hide but the police are on their trail. (Fun fact: De Palma, a Spanish actress, has been in multiple Almodóvar films.

Melissa Barrera as Carmen

The very fit couple spend a good deal of time physically running while they try to avoid getting caught.

In his feature film directorial debut, French choreographer Benjamin Millepied is fascinated by doorways and other symbolism, crafting a dreamscape using the color red as a visual nod to the iconic opera (and Pedro Almodóvar’s bold use of color in his films, anyone?).

Millepied, who choreographed “Black Swan” (starring his wife, Natalie Portman, in her Oscar-winning role), uses interpretive dance numbers in an attempt to propel the muddled story.

Barrera, a Mexican actress who was in the film adaptation of Lin-Manuel Miranda’s “In the Heights” as Vanessa, is not a trained dancer but her grace and technique are impressive. She has played Sam Carpenter in the fifth installment of “Scream” and its follow-up “Scream VI,” and has a hypnotic quality to her performances.

She pairs well with Mescal, the Irish actor Oscar-nominated this year for “Aftersun,” who competently dances with her in the desert and at the club. They also sing (separately) in the movie.

Composer Nicholas Britell has crafted an intriguing original score, further enhancing his reputation that includes three Oscar-nominated compositions (“Moonlight,” “If Beale Street Could Talk” and “Vice”) and an Emmy Award for Outstanding Original Main Title Theme for “Succession.”

Julieta Venegas and Taura Stinson wrote lyrics to Britell’s music for several songs, and a French choir is used as soundtrack background.

Not sure why more dance and less opera are a means to connect the characters, but the concept is “inspired by,” and not a remake per se. I think it is equally confusing to those who are familiar with the opera and those who’ve never seen it before.

While one can applaud the ambition and certain moments, overall it is not a satisfying experience.

Paul Mescal as Aidan

“Carmen” is a 2022 drama with music and dance directed by Benjamin Millepied and starring Melissa Barrera, Paul Mescal and Rossy De Palma. It is rated R for language, some violence and nudity and the run time is 1 hour, 56 minutes. The movie opens in select local theaters on May 12. Lynn’s Grade: C.

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

By Lynn Venhaus

With its energetic and appealing cast of six, and its earnest mission from a buzzy contemporary playwright, “Welcome to Arroyo’s” is a fine example of Tesseract Theatre Company’s commitment to fresh voices and perspectives.

It was written when the promising storyteller Kristoffer Diaz was in college but produced after his acclaimed 2009 play “The Elaborate Entrance of Chad Diety” was a finalist for the Pulitzer Prize for Drama. Diaz incorporated an American Dream theme in this dramatic comedy about the wrestler Macedonio Guerra, and it also won the Obie Award for Best New American Play in 2011.

Here, Diaz focuses on dreams, stressing community and touching on family, art, grief, loss, and his Latino culture.

Underscored with a lively hip-hop beat, “Welcome to Arroyo’s” is set on New York City’s Lower East Side in 2004. Victor Mendez portrays with conviction the industrious Alejandro Arroyo, whose dream is to convert the space where his late mother ran a bodega/deli for 20 years into a neighborhood bar/lounge that could become a cultural hot spot, but so far, not going so well.

The hard-working Al is at odds with his younger sister Amalia, aka Molly, who is full of anger and rebellion, and spray-paints graffiti outside the 7th precinct police station. Remi Mark conveys her character’s agitation and how mad at the world she is.

She courts trouble, he wants a better life. They are both dealing with the loss of their mother and will meet people who result in changes in direction for them.

Her unexpected love interest? Derek, a rookie police officer who recently moved to the area. He’s nice to her when she is mean to him, and Marshall Jennings is effective playing the concerned guy trying to understand her.

Al’s romantic attraction is to Lelly, a quirky college student tracing the history of a Puerto Rican woman that played a big part in hip-hop music. Could their mother have been one of its founders? Based on her research, Lelly seems to think that 20 years ago, she was the first female hip-hop DJ. Hannah de Oliveira brings out Lelly’s passion for her work.

Two DJs, Nelson and Trip, are Alejandro’s pals who hang out at the bar, and act as narrators sharing this fangirl theory, tying it all together. Kevin Corpuz (Nelson) and Jacob Schmidt (Trip) are the high-spirited rappers devoted to getting the party started, and they succeed in engaging audience members, who are eager to follow their direction. Corpuz’ enthusiasm is always contagious, and their contributions are easily the most relatable aspect of the show.

While heartfelt, Diaz’s play, however, seems incomplete, and the characters aren’t as developed as they could be for us to really care about them and be drawn into the scenario.

Nevertheless, director Brittanie Gunn worked well with an exuberant cast of four men and two women who give their all to pull us into the narrative. There is much goodwill here for what they are trying to accomplish with this show and the people involved.

The main problem with staging at the .Zack is its challenging acoustics, which have been problematic since it opened, some more pronounced than others. On the plus side, Corpuz and Schmidt have individual microphones, and Mark is loud as Molly, but de Oliveira is, at times, hard to hear as Lelly, although she is animated in her performance. Usually, in Tesseract’s previous shows staged there, it wasn’t an issue, but the uneven sound detracts.

Diaz appears destined to be a powerful presence in American theater. Besides writing plays, he is an academic – an associate arts professor at New York University’s Tisch School of the Arts and has worked in television.

Diaz went on to write the book for “Hercules,” the stage adaptation of the 1997 Disney film, with music by Alan Menken and lyrics by David Zippel, which was presented at The Public Theatre in 2019.

For television, Díaz adapted Jonathan Larson’s musical “Rent” into the 2019 live show on Fox and was the editor for Season 1 of “GLOW” on Netflix in 2017.

Tesseract gives this playful production a celebratory feel, and with its dedicated creatives, will likely continue its commitment to diverse talents and plays with something to say. And those are reasons to rejoice.

Tesseract Theatre Company presents “Welcome to Arroyo’s” April 28 – May 7, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at the .ZACK, 3224 Locust St., in Grand Center. For more information, visit the website: www.tesseracttheatre.com

This play contains adult language and themes.

Corpuz, Schmidt, Jennings

Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

By Lynn Venhaus
Inspired by real 19th century artists, “Finale” examines the creative process of renowned Italian composer Gioachino Rossini with a nimble cast of four and jaunty, skillful writing.

West End Players Guild has produced its final play of the 111th season, and this comedy-drama is well-suited for their intimate theater space.

It’s also a feather in their cap, a world premiere written by Vladimir Zelevinsky, who is a playwright at home in the Union Avenue Christian Church basement, for this is his fourth play to be presented there.

For his previous WEPG works, he received a welcome reception and critical praise that garnered St Louis Theater Circle nominations, with “Manifest Destiny” in 2016 and “The Great Seduction” in 2018. His world premiere of “The Cricket on the Hearth” happened in December 2019, all directed by Steve Callahan.

Zelevinsky is also a research scientist based in Massachusetts and was in St. Louis to attend the inaugural performances last weekend.

While the play is fiction, it’s based on historical figures, and he obviously put in a lot of research into the characters: roguish “Jack” Rossini (Tim McWhirter), talented diva Isabella Colbran, his lover and later wife (Paula Stoff Dean), wealthy and anxious impresario Domenico Barbaia (Matt Anderson) and a coquettish muse Angel (Sadie Harvey), a likely composite of lovers vying for the outgoing genius’ attention.

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter. Photo by John Lamb.

If you are not an operagoer, you are still likely to have heard of Rossini, who composed 39 operas, in addition to some chamber music, sacred music and piano pieces. His “The Barber of Seville” was a major success and his overture is legendary in his final piece, “William Tell.”

If you’re familiar with his work and life, you’ll understand the timelines and how impactful his creations were – among his accomplishments, he is credited with establishing the bel canto style of singing, using unusual rhythms, and effectively inserting crescendos. After he gained fame for his comic approach, he turned to more serious, dramatic fare, and those tones are reflected in the two acts.

“Finale” focuses on the popular Jack’s chaotic approach to deadlines, for as brilliant as Rossini was, he was notoriously lazy and insouciant. In the first act, as portrayed superbly – and pliant — by McWhirter, he’s ambitious and full of vigor, but in the second act, he’s disillusioned and dour, which is quite a departure after the jolly fun of Act I. There is a 15-minute intermission.

Act I is set in 1816 Rome, backstage at an opera, when Rossini was nearly 24 years old. Act II takes place 15 years later, in 1823, in a grand opera house in Paris. This time, at 39, it’s not procrastination troubling him, but how to handle the crossroads in his life. While no one knows for certain why, Rossini never composed another opera, and lived well until age 76. He loved to travel and entertain, and Zelevinsky drops names of his famous contemporaries and places he frequented to give us a sense of his place in history.

Photo by John Lamb

The second act’s noticeable shift of tone is a jolt but is based on the knowledge that Rossini ceased composing operas, which is puzzling to comprehend.

With Zelevinsky’s keen wit and penchant for detail, the spirited cast enlivens the first act much like a vintage screwball comedy. Their verbal dexterity and crisp comic timing make the snappy repartee a delight.  

After all, his comic operas were considered farcical fun, for his sitcom-like plots took lively twists and turns, and Callahan, an opera afficionado, mimics those wacky antics in crafting the physical comedy onstage and keeping the pace of the sprightly banter.

McWhirter’s hilarious nonchalance about writing pages so close to opening is contrasted by Anderson’s palpable exasperation over that unruffled demeanor.

In the second act, the supportive Barbaia has learned how to handle the prima donna, Bella is pragmatic about their marriage after distance separated them, and all the characters convey a more serious approach.

One of the show’s highlights is Dean showcasing her strong vocals, for she is an accomplished singer. Last summer, she played Desiree in Stray Dog Theatre’s “A Little Night Music.”

That’s an appreciated addition, for a show about music should give us a sample, at least.

Adding to the ambiance is scenic designer Ken Clark’s versions of two different houses hosting Rossini’s operas – one less opulent in Rome and the other more lavish in Paris. He has astutely serviced the action with furniture placement. Marjorie Williamson contributed graphic and scenic art.

Proficient costume designer Tracey Newcomb outfits the quartet in authentic-looking period pieces, with the women cavorting in petticoats for a good stretch, and lovely bright-colored gowns indicating stature.

Nathan Schroeder’s lighting design and Chuck Lavazzi’s sound design expertly provide smooth transitions for an effective overall production, with special mention to music advisor Caetlyn Van Buren.

Despite the abrupt change of moods between the first and second acts, the capable ensemble is pitch-perfect in depicting their characters. It’s often difficult to explore the inner workings of writers in a narrative, because the process is so internal, but Zelevinsky provides a reasonable backstory with good humor and interesting dialogue for a fitting “Finale.”

The West End Players Guild presents “Finale” April 28-30 and May 4-7, 8 p.m. Thursday through Saturday and 2 p.m. on Sunday at Union Avenue Christian Church, 733 Union Boulevard, St. Louis. For more information, visit www.westendplayers.org

Photo by John Lamb

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

By Lynn Venhaus

Equal parts salty, sweet, silly, sentimental, scary, and strange, this third chapter spotlighting freaky misfits saving the universe is a very busy mixed bag in “Guardians of the Galaxy Vol. 3.”

Legendary Star-Lord Peter Quill (Chris Pratt) leads his rag-tag team through life-and-death situations, all in superhero service of protecting good galactic folks under siege. This time, the High Evolutionary (Chukwudi Iwuji) wants to rule the universe by controlling all living things. Sure, it’s a lofty goal, but many obstacles are in the way, and inevitably, there will be an epic battle between good and evil. (We’re not allowed to divulge much)

The best part of these grandiose Marvel Cinematic Universe series is the chemistry of the superheroes, and having this motley crew back together one more time has deepened their ties, softened their tough exteriors, and created playful exchanges that enhance what is a dense and convoluted story.

Earth-born Peter Quill leads a rascally turbo-charged group that includes a hulking Drax the Destroyer (Dave Bautista, who is endearing as a gentle giant), intuitive Mantis (Pom Klementieff, lively as a smart and sweet says-it-like-it-is sentinel), intimidating Nebula (Karen Gillan, whose bark is worse than her bite), the versatile tree monster Groot (voice of Vin Diesel, who is able to morph into a number of effective sizes and shapes), and a sarcastic racoon named Rocket (voice of Bradley Cooper as a big-brained, no-nonsense warrior). Zoe Saldana returns as an alternate Gamora, which is better left unexplained (No spoilers from me).

Does anyone remember the plots other than bickering and banter between the Guardians, gnarly ginormous figures wreaking havoc, chaotic flights and fights through space, and clever needle drops that make characters shut up and dance?

This third outing is quite complicated: Rocket’s origin story, Ravagers show up with some key characters, and then a power-hungry maniacal villain called The High Evolutionary messes with species and is focused on wiping out civilization.

Merry band of misfits

The action, while often well-staged with choreographed slow-motion and quicksilver derring-do, has the usual repetitive litany of explosions, flying chunks of concrete, interstellar mayhem, and grotesque creatures to become mind-numbing. The film feels every bit of its 2 hours and 30 minutes run-time.

Director James Gunn, who co-wrote the script with his writing partners on the other two, Dan Abnett and Andy Lanning, has again stamped his devil-may-care attitude on this quirky comic book series, but also built up the found family theme

The elaborately designed spacecrafts and hub of activity known as the Knowhere outpost seem to layer on excessive visual effects.

The first Guardians of the Galaxy in 2014 was a breath of fresh air in the superhero realm, and the second one in 2017 capitalized on the original’s charm, laying on the kitchy pop culture. While Gunn retains his puckish sense of adventure, he has added more emotional beats this time around.

Newcomers include Will Poulter as Adam Warlock and Elizabeth Debicki as his mother Ayesha, characters introduced in the comics but not explained well here, and Maria Bakalova is the voice of the funny Cosmo the space dog. And Chukwudi Iwuji makes an impression as the flamboyant mad scientist who goes increasingly over the top.

For this final time, Pom Klementieff as Mantis and Dave Bautista as Drax are the standouts, creating a delightful comical dynamic.

But one of the bigger missteps is that this film is rated PG-13, for there are many elements that will frighten youngsters, especially about animals in cages.

The movie starts rather raggedy but ends with genuine emotional beats, and staying through the credits is a must. Also, it helps to be familiar with the other two.

When this overstuffed finale is hitting the right notes, it’s an earnest tug on the heartstrings, but because the story so often shifts tones and is stretched so thin – too many people! – overall, it’s frustrating.

“Guardians of the Galaxy Vol. 3” is a 2023: Sci-Fi, Fantasy, Action, Adventure film directed by James Gun and starring Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Chukwudi Iwuji, Will Poulter, Sean Gunn and Maria Bakalova
Rated PG-13 for intense sequences of violence and action, strong language, suggestive/drug references, and thematic elements and run time is 2 hours, 30 minutes. Opens in theaters May 5. Lynn’s Grade: C+

Will Poulter as Adam Warlock

‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

By Lynn Venhaus

Another disappointment among Disney’s increasingly lackluster live action reboots of their classic animated films, “Peter Pan and Wendy” lacks imagination in its re-imagining.

Based on J.M. Barrie’s 1904 play/novels and Disney’s 1953 animated movie, this latest version is about Wendy Darling (Ever Anderson) meeting Peter Pan (Alexander Molony), a mischievous boy who refuses to grow up. Along with her brothers John and Michael (Joshua Pickering, Jacobi Jupe), she travels to Neverland with Peter and a tiny fairy, Tinker Bell (Yara Shahidi). There, she encounters an evil pirate, Captain Hook (Jude Law) and other dangers.

Those looking for a nostalgic experience, recalling favorite versions, may wonder what’s the point of a grittier straight-to-streaming film after watching the live theatrical versions on TV, on stage, on ice, in cartoons, and countless movies from a silent era one to a 2003 Australian remake, with “Hook” sequel (1991), “Pan” (2015), “Wendy” (2020), and even the comedic spin in “Chip ‘n Dale: Rescue Rangers” (with Will Arnett as “Sweet Pete”) in the canon.

With so many different takes on “Peter Pan” already, did we need another revision? I am not sure who this film is really for, who is the targeted demographic?

Still set in Edwardian England, director David Lowery, who co-wrote the screenplay with Toby Halbrooks, has refreshed the cast with diverse characters, including girls added to the “Lost Boys” and an empowered Wendy, a welcome contemporary upgrade. They have omitted troubling language and those awful Native American stereotypes from the Disney animated film.

Jude Law as Captain Hook

However, the story is a puzzling mix of plot origins, new unnecessary backstories and deleting character traits and motivations. For instance, Tink is no longer jealous of Wendy, Captain Hook has something to do with Peter’s past, and Mr. Darling is not the same actor playing the captain either.

Disney regular Alan Tudyk is the stuffy dad while Jude Law is the unpleasant ill-tempered Captain, devoid of swagger, less campy rogue. He comes across as a sociopath who preys on children, not as a buffoon. It’s a curious portrait.

Lowery, known for his distinct character studies on human frailties (including “A Ghost Story,” “The Green Knight” and Robert Redford’s last film “The Old Man and the Gun”), remade “Pete’s Dragon” into a live action version in 2016, but otherwise would not be a first choice to insert whimsy into a fantasy adventure.

Despite the spectacular visual effect of turning Captain Hook’s pirate ship around in mid-air, using Tinkerbell’s pixie dust, the movie is woefully short on magic. The massive crocodile’s CGI terror reign is dialed to 11 and may scare young viewers.

The use of the Faroe Islands as Neverland is interesting, and there’s plenty of craggy rocks to explore, with Tiger Lily galloping on her horse for more natural interactions.

Yari Shahidi as Tinkerbell

It starts promisingly, for Wendy doesn’t want to go to boarding school and is having fun with swordplay with her two younger brothers, and they are swept away far from the comforts of home.

But the movie fumbles in trying to keep that momentum going, bogged down in realistic, anxiety-producing predicaments. Even comedian Jim Gaffigan as Smee can’t liven the proceedings.

Surprisingly, Peter Pan himself is a far less appealing character than usual, with not so much energetic bravado, but sulkier. (And really, is arrested development all that attractive?) Alexander Molony is the leader of the Lost Boys, his inexperience as an actor evident.

Wendy is far spunkier. As played by Ever Anderson, the mini-me daughter of actress Milla Jovovich, she is assertive and plucky, and not going to let the boys have all the fun.

The females fare better than the guys, for Yara Shahidi is a sparkling fairy as make-things-happen Tinkerbell, and Alyssa Wapanatâhk is a feisty Tiger Lily.

Inevitably anchored to the origin story, “Peter Pan and Wendy” doesn’t break from the mold in a satisfying way, and fails to maintain interest through its 1 hour, 46 minutes run time.

“Peter Pan and Wendy” is a 2023 fantasy-adventure directed by David Lowery and starring: Jude Law, Alexander Molony, Ever Anderson, Yara Shahidi and Jim Gaffigan. It is rated PG for violence, peril, and thematic elements and the runtime is 1 hour, 46 minutes. It began streaming on Disney Plus on April 28. Lynn’s Grade: C-

Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

By Lynn Venhaus
Strong performances mark Prism Theatre Company’s stirring interpretation of the fascinating and complex “Doubt: A Parable,” which pits a progressive well-liked young priest against a conservative rigid nun who is the feared school principal, plunging us into a nebulous gray area.

The year is 1964, a time when America was reeling from the assassination of President John F. Kennedy, the Civil Rights movement was emerging, and Catholics would be adapting to the monumental Vatican II (1962-65).

At a Catholic school in the Bronx, Sister Aloysius Beauvier suspects Father Brendan Flynn, also the physical ed teacher, of molesting an altar boy, scrutinizing every word and action of the parish priest. Without any evidence, she shares her accusation with Sister James, an eager and inexperienced young teacher.

Sister James, sweet-natured, is drawn into her superior’s distrust with her own suspicions, and Rhiannon Creighton superbly reflects the naivete and people-pleasing character of Sister James.

Kate Durbin, Rhiannon Creighton. Photo by Kim Howland

In a fiery performance, Kate Durbin commands every scene she’s in as the embodiment of the typical strict take-charge disciplinarian we recall from our parochial school days. She is laser-focused in portraying the nun’s unbending resolve, and you feel her bristle at every example of what she finds offensive about the priest, who has opposing views to her black-and-white view of human nature. She’s as inflexible confronting modern ways as the priest is open to making the church more accessible.

Jeffrey David Thomas expertly conveys the assertive Father Flynn, making it clear his view of outreach is very different from Sister Aloysius. He projects the vibe of the ‘cool priest’ who thinks sister’s harsh opinions are a detriment to moving the church forward.

After all, the second Vatican council stressed renewal and unity, opening up participation with the laity and focused on what the pastoral needs of parishioners were. Flynn is convincingly committed to reach his ‘flock,’ and from the pulpit, communicates through sermons that are parables, not so much actual truths.

John Patrick Shanley’s masterful 2004 play, which won the 2005 Pulitzer Prize for Drama and the Tony Award for Best Play, always has made people uncomfortable, as they examine questions of faith, belief, traditions, and human behavior.

Shanley, Oscar winner in 1988 for his original screenplay of “Moonstruck,” has inserted some spot-on humor, particularly when the priest and the two sisters discuss plans for the school Christmas pageant. He wants to add a secular popular song. He also takes – gasp – three lumps of sugar in his tea.

Kate Durbin, Laurell Stevenson. Photo by Kim Howland

Shanley cannily set this explosive story when the U.S. was undergoing political and social changes, which provides another intriguing angle to the layered narrative. In the Catholic Church, Pope John XXIII and Pope Paul VI addressed the needs of modern congregations.

In trying to make the parish more of a welcome guidepost, is Flynn hiding inappropriate behavior? Or is the principal twisting his views as a personal vendetta?

The pupil that is the target of his extra attention is the only black student in the school, Donald Muller, and Laurell Stevenson is riveting as his mother, who attends a meeting arranged by the principal. She knows her son’s challenges, pointing out that she values opportunities over innuendo. Without raising her voice, in her sole scene, she lays down real-world gravitas, and emotionally delivers a raw and honest analysis about her son thriving or failing at school and in life.

This battle of wills between two authority figures is deftly staged by director Trish Brown, who doesn’t waste a precious second in allowing feelings of uncertainty to seep into our collective conscience.

Because of the nuanced performances, tension effectively mounts, and – squirming may occur. It’s not-so-subtly unsettling, and the 85-minute play is presented without intermission. Does sister’s unwavering sense of duty triumph? We are meant to be the jury and the judge, and the debate isn’t always certain, depending on how powerful the production is.

(And it goes without saying, in light of the revelations of sexual abuse cases on a global scale in the Catholic Church in recent decades, we’re looking at this narrative through that rear-view mirror). That’s why the performances are so crucial to match the sharp dialogue.)

The dynamic exchanges between the cast take place in either the sister’s office or an outdoor garden on the grounds and scenic designer Matt Stuckel has admirably transformed the intimate confines of the Kranzberg black box theatre.

Jacob Baxley’s sound design, Tony Anselmo’s lighting design, Sam Hayes’ costume design and Caleb Long’s technical work strengthened the presentation.

This is a polished production that is convincing in its clarity, with memorable performances that will persuade you to continue the conversation.

Father Flynn. Photo by Kim Howland

Prism Theatre Company presents “Doubt: A Parable” April 21-23 and 28-30 at the Kranzberg Black Box Theatre, with Thursday through Saturday at 7 p.m. and Sunday at 2 p.m. It contains adult themes, suggestions of sexual abuse and some racist language that may be offensive to some viewers.

The box office opens 30 minutes before each performance or purchase tickets online at MetroTix by phone (314)534-1111 or at the Fabulous Fox box office.