By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.

Film now available on DVD, Blu-Ray and Digital

By Lynn Venhaus

A charming origin story with a winsome Timothee Chalamet as a joyful chocolatier with grand ambitions, “Wonka” is a super-sized old-fashioned musical. It’s a sweet treat for families, but also anyone who is captivated by pure imagination.

While the British-based film might not soar to exciting uncharted horizons, it has a comfortable, whimsical feel amid its eye-popping magical world.

After traveling the seven seas gathering exotic ingredients, a young and poor Willy Wonka (Timothee Chalamet) dreams of setting up a candy shop in London, but discovers that the industry is run by a cartel of greedy chocolatiers.

As a prequel, there is no foreshadowing of a darker candy emperor, but a hint of the eccentricity and mischief Gene Wilder displayed in 1971’s now beloved “Willy Wonka & The Chocolate Factory,” or Tim Burton’s weirdness in the 2005 Johnny Depp take “Charlie and the Chocolate Factory” — just a sincere motherless son who will need pluck and luck to overcome the many hurdles in his path.

Inventive writer-director Paul King gave us a most enchanting double-shot of “Paddington” and “Paddington 2” that we didn’t know we needed in 2014 and 2017 — but were so grateful to receive (don’t miss the sequel and thank me later).

Inspired with the best of intentions, he approached Roald Dahl’s 1964 novel, “Charlie and the Chocolate Factory” with a big-sized heart.

Leaning into the anticipation of a fanciful adventure, he gives us a storybook tableau that’s part Dickensian London and part funhouse.

He’s also enlisted a splendid supporting cast to boost the entertainment value, with Keegan-Michael Key as the shady police chief who has a chocolate addiction and Rowan Atkinson, aka “Mr. Bean,” as a chocoholic priest.

Featuring exaggerated performances by a cadre of villains, the meanies are just obnoxious, not terrifying, starting with Oscar winner Olivia Colman as a cruel captor, Mrs. Scrubbit, who foils lodgers into signing rigged long term labor contracts. Character actor Tom Davis plays her boyfriend, “Bleacher,” a hulking enforcer.

The main trio of bad guys are a chocolate cartel straight out of old-timey melodramas – Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton). They can’t have competition in the form of a wide-eyed world traveler, eager to elevate candy-making to high art.

They do everything they can to block him. But Chalamet’s Wonka is such a charming dreamer that he quickly forms friendships with the other downtrodden captives, and their newfound family bond will help him through many pickles he gets into while trying to succeed.

Calah Lane plays his orphaned wingman, Noodle, and they are a beguiling duo. Jim Carter, familiar to “Downtown Abbey” fans, is a kind leader in the sweat shop, Abacus Crunch.

Stealing the show, however, is Hugh Grant as an annoyed Oompa Loompa, sporting a green wig – yet dances with glee.

The script was co-written by King’s frequent collaborator Simon Farnaby, who is also an actor known for the British version of “Ghosts.” He plays a goofy zoo security guard here. There are many good-natured dollops of humor, especially sight gags.

Six original songs are featured in the movie, composed by Joby Talbot, who worked on “Sing” and its sequel, and his former Divine Comedy bandmate, lyricist Neil Hannon. “A World of Your Own,” “A Hatful of Dreams,” and “For a Moment” are solid tunes that add flavor to the story.

While no one is going to mistake Chalamet for Josh Groban, he does an adequate job, eliciting a few tears from me with his heartfelt rendition of “Pure Imagination.” Anthony Newley and Leslie Bricusse’s classic is evergreen.

The big number establishing the chocolate rivalry is “You’ve Never Had Chocolate Like This (Hoverchocs)” and it’s a dandy in execution.

This new release is somewhere in the middle between the 1971 and 2005 films but offers an amusing and fresh perspective on a delightful story. And was a pleasant diversion amid more bombastic and edgy fare.

And if you didn’t get any candy at the concession stand beforehand, you’ll be craving a confection soon enough. An Everlasting Gobstopper won’t suffice – must involve a cacao bean,

If you want to view paradise, simply look around and view it, Anything you want to, do it. Want to change the world? There’s nothing to it…

A sentimental, nostalgic and earnest “Wonka” has all the ingredients to be a big crowd-pleaser, especially with its adorable reveal in the finale.

“Wonka” is a 2023 musical fantasy adventure film directed by Paul King and starring Timothee Chalamet, Hugh Grant, Olivia Colman, Keegan Michael Key, Rowan Atkinson, Sally Hawkins and.Calah Lane. It is rated PG for some violence, mild language and thematic elements and the runtime is 1 hour, 55 minutes. It was released in theaters Dec. 15 and as of Feb. 27, is now available on DVD, Blu-ray and Digital Code, 4K Ultra HD + Digital Doe, VOD and Digital. Lynn’s Grade: B

Blu-ray extras: “Unwrapping Wonka: Paul King’s Vision”; “The Whimsical Music of Wonka”; “Welcome to Wonka Land”; “Hats Off to Wonka”; “Wonka’s Chocolatier”: Chocolatier Gabriella Cugno provides an in-depth look at the creation of the beautiful chocolates seen in “Wonka.”

By Lynn Venhaus
Think New Yorker meets Highlights for the literary geek chic. As a paean to print, “The French Dispatch” is a glorious reminder of how turning pages, enraptured in an article, can take us away to other worlds.

Set in an outpost of an American newspaper – the Liberty, Kansas Evening Sun — in a fictional 20th century French city. It brings to life a collection of stories published in the final edition of the newspaper empire’s Sunday magazine, following the death of the editor (Bill Murray).

Experiencing a Wes Anderson film is like being transported into an illustrated picture book with stunning artistically complex worlds both familiar and of wonder – feeling new and nostalgic at the same time.

It is always a unique event that I look forward to with great anticipation, having listed “The Royal Tenenbaums,” “Moonrise Kingdom” and “The Grand Budapest Hotel” among my favorite movies of the 21st Century. And his whimsical stop-animation features “The Fantastic Mr. Fox” and “The Isle of Dogs” (his last movie in 2018) are genius.

No matter if they connect or not, all his films of the past 30 years are painstakingly detailed works of art that offer something different – and feature wit, eccentric characters, superb music accompaniment, and striking composed visuals as common threads.

Therefore, it pains me to say that while “The French Dispatch” is a love letter to journalists and has considerable quirky charms, with dizzying fanciful techniques and the director’s distinctive symmetrical style, color palette and designs, it is at once too much and not enough.

‘THE FRENCH DISPATCH.’ (Photo Courtesy of Searchlight Pictures. © 2020 Twentieth Century Fox Film Corporation All Rights Reserved)

Set in the truly inspired metropolis Ennui-sur-Blasé (which translated, means “Boredom-on-Apathy,” with a wink), this sophisticated exercise is an overstuffed toy box that melds too many concepts to be as satisfying as his top three. And despite its splendid cast, there isn’t a single character that emotionally resonates.

This anthology, running 1 hour 48 minutes, is crowded with enough content for 10 movies. Anderson’s offbeat screenplay, with a story conceived with Roman Coppola, Jason Schwartzman, and Hugo Guinness, is divided to fit the magazine’s sections: arts and artists, politics/poetry and tastes and smells, but starts and ends with the life and death of diligent editor Arthur Horowitz Jr. – played by Anderson all-star Bill Murray, just as droll as ever.

In “The Concrete Masterpiece” by J.K.L. Berensen (Tilda Swinton), which goes off the rails two-thirds in, Benicio del Toro plays Moses Rosenthaler, a psychopathic artist who paints critically acclaimed abstracts in prison, uses Simone (Lea Seydoux), a female prison guard as a nude model, and attracts the attention of Cadazio, an imperious, impatient art exhibitor played by Adrien Brody, backed by his two businessmen uncles (brief appearance by Henry Winkler and Bob Balaban).

“Revisions to a Manifesto” has student radicals protest, which leads to “The Chessboard Revolution,” with rebel leader Zeffirelli (Timothee Chalamet), who gets the attention of no-nonsense scribe Lucinda Krementz (Frances McDormand). This meanders and should have ended midway.

The third is “The Private Dining Room of the Police Commissioner,” as recounted by urbane food writer Roebuck Wright (Jeffrey Wright) in a television interview with talk show host (Liev Schreiber). This is a complex crime caper involving multiple characters, many locations, and quite a roster of talent.

At times, these short stories seem indulgent, rambling, and tedious. Sharper pacing would have helped with the storytelling, which does benefit from the gifted performers who find their rhythm and deliver crisp dialogue in the earnest manner one expects in these idiosyncratic tableaus.

Owen Wilson, who has been in eight Anderson movies, second only to Murray, is good-natured staff writer Herbsaint Sazerac, who takes us on an amusing tour of the city. Anjelica Huston, aka Mrs. Tenenbaum, capably handles narration duty this time –a lovely addition.

One of the pleasures of this film is to see such a star-studded array of repertory players, and more – among them, Saoirse Ronan, Tony Revolori, Christoph Waltz, Willem Dafoe, Edward Norton, Steve Park, Lois Wilson, Fisher Stevens, and Griffin Dunne.

The pandemic delayed this film’s release by a year, which heightened expectations and allowed a clever literary marketing campaign to enchant with graphics and snippets, modeled after venerable periodicals from days gone by. The film premiered at the Cannes Film Festival in July, where it received a nine-minute standing ovation.

Having spent nearly a half-century working at publications, the editorial office setting was the most intriguing yet the least focus — an aperitif instead of an entrée. With every bon mot that Murray tossed off as the veteran editor corralled correspondents, I wanted more of that colorful staff.

The sight of Murray taking a pencil to hard copy, as ink-stained editors once did in non-cubical newsrooms, should make journalists yearn for a grizzled authority figure to cut their long-winded prose and hand the typed papers back with gruff remarks and certain expectations. Writers may weep at the sight of a proofreader and a layout guy trying to fit linotype into a grid, for it’s part of a cherished past.

As a film, tightening those long-winded vignettes would have made a difference.

Nevertheless, the production elements are exceptional, especially from frequent Anderson cinematographer Robert D. Yeoman, flipping between black-and-white and color, and other collaborators Oscar-winning production designer Adam Stockhausen (for “Grand Budapest Hotel”) and costume designer Milena Canonero, four-time Oscar winner including “Grand Budapest Hotel,” and composer Alexander Desplat’s score.

Still, a Wes Anderson movie is like hanging out with erudite English Literature majors, some of whom are raconteurs and iconoclasts, who motivate you to add books and adventures to your to-do lists.

The French Dispatch” is a 2021 comedy-drama directed by Wes Anderson and starring Bill Murray, Benicio del Toro, Lea Seydoux, Timothee Chalamet, Frances McDormand, Tilda Swinton, Adrien Brody, Jeffrey Wright, Owen Wilson and Elisabeth Moss. It’s run time is 1 hour, 48 minutes and is rated R for graphic nudity, some sexual references and language. In theaters Oct. 29. Lynn’s Grade: B.
Portions of this review were published in the Webster-Kirkwood Times and discussed on KTRS Radio.

By Lynn Venhaus
As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future.

It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding. As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people.

The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”

Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?

We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson

Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.

The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.

“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.

Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but it was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and there was a Sci-Fi Channel miniseries in 2000.

While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem about adapting something so unwieldy – that the character development suffers.

It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.

This one does attempt to over-correct in a tedious way, with a screenplay by director Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still is lacking in explanations.

Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by birthright, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.

Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”

It’s not his fault that Paul is a blank slate. He is being groomed to take over, and while at times reluctant and confused, he ultimately accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.

Far more compelling is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet warmly convey a loyal long standing friendship.

Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.

A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.

The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knock offs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.

While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he expresses the grandeur of the planets’ landscapes as well as the more intimate moments in various degrees of light.

He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.

Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.

Dune (2021).TIMOTHEE CHALAMET.Credit: Chia Bella James/Warner Bros.

Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.

“Dune” is a 2021 science-fiction action adventure directed by Denis Villeneuve. It stars Timothee Chalamet, Rebecca Ferguson
, Zendaya, Oscar Isaac, Josh Brolin, Jason Momoa, Dave Bautista, Stellan Skarsgard, and Javier Bardem. Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, its run time is 2 hours, 35 minutes. It opened in theaters Oct. 22 and is streaming on HBO Max for 31 days. Lynn’s Grade: B.

By Lynn Venhaus
Managing EditorGREEN DAY: We have been changed for good by the cultural phenomenon “Wicked,” which has broken records in St. Louis and is still “Popular” around the world after opening on Oct. 30, 2003 on Broadway.
To commemorate the musical’s 15th anniversary, NBC will air a tribute concert on Monday, Oct. 29, at 9 p.m. (CST).
“A Very Wicked Halloween” was recorded live Oct. 16 at the Marquis Theatre, hosted by the original Elphaba and Glinda, Idina Menzel and Kristen Chenoweth.
The celebration will feature Pentatonix, Ariana Grande and Ledisi. Adam Lambert will join them, and he is certainly not mourning the wicked. He left the Los Angeles cast after making “American Idol,” and from 2005 to 2008, had been in the ensemble and understudy for Fiyero, and on a national tour.
The current Broadway cast will also make an appearance.

This spellbinding untold story about the Witches of Oz is now the sixth longest-running musical in Broadway history, having surpassed “A Chorus Line” on July 12 with its 6,128th performance.
Since its debut, “Wicked” has broken box office records around the world. St. Louis is one of the cities where “Wicked” currently holds the weekly-gross-takings records, along with Los Angeles, Chicago and London.
It has played the Fox Theatre five times since 2005, selling out and each week broke box office records. The national tours stopped here in 2005, 2007, June 2010, for four weeks Dec. 12, 2012 – Jan. 6, 2013, and for four weeks in Dec. 9, 2015 to Jan. 5, 2016. Another tour is under way but St. Louis isn’t listed – as yet.
St. Louisan Norbert Leo Butz originated Fiyero in “Wicked.”The original Broadway cast featured St. Louisan Norbert Leo Butz as Fiyero. The Bishop DuBourg and Webster U. Conservatory grad played Elphaba’s love interest Fiyero twice, from Oct. 8 to Nov. 23, 2003, and from Jan. 20 to July 18, 2004. He met his second wife, Michelle Federer, during the production – she played Nessarose, and they were married in 2007.
Norbie, the seventh of 11 children born to Elaine and Norbert A. Butz, went on to win two Tony Awards, for “Dirty Rotten Scoundrels” and “Catch Me If You Can.” He is planning to leave his Tony-nominated role as Alfred P. Doolittle in the Lincoln Center revival of “My Fair Lady” on Jan. 6, 2019.
Composer Stephen Schwartz told Playbill why he cast him.
“I’ve wanted to work with Norbert since I saw him in ‘Thou Shalt Not’ and particularly in ‘The Last Five Years.’ He’s a lyricist’s dream. In ‘Wicked,’ I wrote ‘Dancing Through Life’ especially for him to take advantage of both his voice and charisma.”
In July 2017, “Wicked” surpassed “The Phantom of the Opera” as Broadway’s second-highest grossing show, trailing only “The Lion King.”
Based on the best-selling 1995 novel by Gregory Maguire, “Wicked” has won more than 100 international awards, including three Tony Awards and a Grammy.
The TV special isn’t the only way “Wicked” is celebrating its milestone – Ben and Jerry’s locations in Times Square and Rockefeller Center will sell special ice cream sand-Witches beginning Oct. 26. A portion of the proceeds will benefit the National School Climate Center’s BullyBust campaign.
The NBC Studios Store has an Ozmopolitan apparel display. And a special “Wicked” cupcake, baked by Melissa, is available online and at all 14 store locations through the rest of October. A portion of the cupcake proceeds with benefit Broadway Cares/Equity Fights AIDS and A BroaderWay.
***GET REEL: Native sons and daughters can bask in the klieg lights in the ‘Lou during the 27th annual St. Louis International Film Festival, which will screen a record 414 films from 63 countries Nov. 1 through Nov. 11 at nine venues.
John GoodmanJohn Goodman, one of St. Louis’ favorite sons, will be honored with the Lifetime Achievement Award. That program and a screening of “The Big Lebowski” on Nov. 2 are already sold out. Goodman, who grew up in Affton, has enjoyed a long career – in movies, on TV and on stage. He is part of the “Roseanne” reboot called “The Conners,” along with former Edwardsville resident Laurie Metcalf, who plays his sister-in-law Jackie. The TV   sitcom began Oct. 16 on ABC and can be seen at 7 p.m. on Tuesdays.
Yours truly is hosting a special event film. The fest is celebrating the Golden Anniversaries of several influential films that came out in 1968: “Bullitt,” “Medium Cool,” “Once Upon a Time in the West,” “Rosemary’s Baby” and “Pretty Poison.”
Anthony Perkins, Tuesday Weld in “Pretty Poison”I will introduce “Pretty Poison” and lead the post-show discussion after the free screening on Saturday, Nov. 10, at 11 a.m. at the St. Louis Public Library central headquarters downtown on Olive. The film is sponsored by the St. Louis Film Critics Association.
This underrated film noir-like thriller starred Anthony Perkins and Tuesday Weld, and has gained new appreciation as a cult gem, its influence noted in Terence Malick’s “Badlands” and Billy Bob Thornton’s “Sling Blade.” Think “Gun Crazy” meets “Lolita.” Mix in conspiracy theories, passion, greed and fantasy. With its inspired casting, it’s a strange and wonderful film about a teenage arsonist who is paroled, becomes smitten with a young femme fatale, and dangerous plans are put into play.
For a complete schedule or for more information, www.cinemastlouis.org For the trailer by Sleepy Kitty Arts (you rock Paige Brubeck and Evan Sult), watch this: https://youtu.be/UTm2PZJng_0
I was fortunate to be the moderator of a Q&A session after a sold-out screening of “Beautiful Boy” Sunday at the Hi-Pointe, with writer Nic Sheff, whose story is the film, and star Timothee Chalamet, whose fans started lining up at 8 a.m. for the 11 a.m. screening. St, Louis was one of four stops the Oscar-nominated Chalamet did over the weekend; Nic Sheff is appearing at over 10 locations.
Lynn Venhaus, Timothee Chalamet, Nic Sheff at “Beautiful Boy” Q&A. Photo by Kevin Brackett.***
APPLAUSE FOR: Congratulations to Kathleen Sitzer on her honor from the Alliance for Jewish Theatre, an International organization dedicated to promoting the creation, presentation, and preservation of theatrical endeavors by, for, and about the Jewish experience.
She is seen here with honoree Tovah Feldshuh at the recent Alliance for Jewish Theatre annual conference in Philadelphia. Feldshuh’s one-woman show, “Golda’s Balcony,” is the longest running in Broadway history. She received the Theodore Bikel Award for Excellence in Jewish Theatre.
Kathleen, the recently retired Founding Artistic Director of New Jewish Theatre, was recognized for her years of service and dedication to the concept of Jewish Theatre.
In addition to Sitzer, the conference will honor actress Tovah Feldshuh with the Theodore Bikel Award for Excellence in Jewish Theatre. Her one-woman show “Golda’s Balcony” was the longest running in Broadway history.
The conference provides an opportunity for theatre artists and organizations to network and learn from each other through a variety of workshops, panel discussions and performances. It is hosted annually by a member theatre. This year’s conference in Philadelphia is hosted by Theatre Ariel. New Jewish Theatre hosted the conference two years ago in 2016 and also in 2002.
For more information, visit: www.alljewishtheatre.org.
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AROUND TOWN: Sarajane Alverson, who played Chef Rossi in the autobiographical “The Raging Skillet” at the New Jewish Theatre, was able to meet the real-life inspiration when she came to St. Louis for the play’s premiere.
Sarajane Alverson, Chef RossiHere is a photo of the two from their appearance on a Fox 2 news segment. Photo courtesy of Aemi Tucker. Sarajane made it through three weeks of performances without a knife injury!
Country singer Alexandra Kay of Waterloo, Ill.Let’s hear it for country singer Alexandra Kay, aka Lexi Krekorian from Waterloo, Ill., who is among the nine people on Netflix’s new “Westside” that premieres Nov. 9. (I have an in-depth feature article that will be published in the Belleville News-Democrat soon).
Mark Saunders isn’t trying out his Halloween costume — he began the national tour of “Something Rotten!” last month and revealed his character Brother Jeremiah’s look.
His show will be in Champaign, Ill., on Monday, Oct. 29, for a one-night performance at 7:30 p.m. at the State Farm Center (University of Illinois). It’s a 2-hour, 43-minute drive from St. Louis. For more information, visit www.rottenbroadway.com.
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AMERICAN IDOL: Interesting in auditioning for the next season of “American Idol” on ABC? Online audition videos are being accepted now through Nov. 5. You must be at least 15 years old to submit a video for consideration. You’ll be notified by Nov. 19 if you made the cut.
More information can be found here: https://fmna.etribez.com/ag/fmna/ai2abc/welcome.html
***BOOK SHELF: St. Louis native Ellie Kemper, a John Burroughs graduate, has published a collection of uplifting essays called “My Squirrel Days.” Her Oct. 13 book signing at the St. Louis County Library Headquarters was sold out.
The comic actress, known for “The Office” and “Unbreakable Kimmy Schmidt” has written about her journey from Midwestern naif to Hollywood.
Can’t get enough of Tony winner “Dear Evan Hansen”? The smash-hit has been turned into a young adult novel by Val Emmich and published on Oct. 9 by Little Brown. T
o promote the book, show composers Benj Pasek and Justin Paul went on a 10-city bus tour with musical book writer Steven Levenson and author Emmich. Fellow Michigan alumnus Darren Criss joined them in Ann Arbor, and Tony winner and late-night host James Corden sang “Waving through the Window” at an L.A. bookstore.
A new deluxe album, including cut songs along with the original Broadway cast recording, is now available through Atlantic Records.
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LIFE IS ART – SAVE THE DATE: Who will be nominated for their work in 2018 St. Louis metropolitan area community theater – in musicals (Best Performance Awards) and plays (Theatre Mask Awards)?
Winners will be revealed at the annual Arts For Life Trivia Night, now set for Saturday, Feb. 1 at St. Joseph’s parish hall in Manchester. Ryan Cooper returns as the emcee.
Our theme this year is “That ‘70s Trivia” – you can decorate your table and dress accordingly (costumes optional) – but questions are a variety related to the category titles (announcing the show nominees).
AFL awards excellence in large and small ensemble musicals, dramas and comedies, and youth musical productions. The TMAs will take place on Saturday, April 6, at and the BPAs on Sunday, June 9, at the Skip Viragh Center for the Performing Arts at Chaminade.
Boogie the night away with AFL! Enjoy 10 rounds featuring a variety of trivia, silent auction, raffles, table decoration contest, “STL Theatre Sampler” ticket raffle, attendance prizes, and more.
New this year – VIP Tables – $200/8 people. VIP Tables include snacks, soda/water, prime seating, and a dedicated runner.  Reserve your table today! $160/8 people
For more information, visit AFL’s Facebook page or website, www.artsforlife.org.
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THEATRE RECOGNITION GUILD: Interested in scoring community theater and youth production musicals during the calendar year 2019? From now through Nov. 15, you can apply to be an AFL judge in what’s called the Theatre Recognition Guild. It’s the branch of AFL that judges musical theater for the Best Performance Awards given in 33 categories every June.
This is the only time during the year that you can apply. The online application is available here: https://www.surveymonkey.com/r/2019trgapplication
You will be notified in December if you have been selected. Between 50 and 60 volunteers are judges, and 10-12 judges are assigned to score each eligible show for about 25 groups in the metropolitan St. Louis area.
Judges are required to attend shows throughout the bi-state region. There is no monetary compensation – it is all volunteer. If you judge 8 shows, you receive a free ticket to the BPAs. In 2018, TRG will have judged a total 48 shows (21 large ensemble, 7 small ensemble and 20 youth).
If you have any questions, please contact me, the TRG Chairman on the AFL Board of Directors since 2010, at lynnvenhaus@gmail.com
***GO SEE A PLAY POLL: Artistic Director Kelly Hummert whipped us into a frenzy for months trying to figure out clues as to what Shakespeare play would be the next Immersive Theatre Project by her Rebel and Misfits Productions.
She recently revealed it’s “Macbeth: Come Like Shadows” which opened Oct. 24 and runs through Nov. 10, Wednesday through Saturday.
Sean Michael Higgins, Kelly Hummert in “Macbeth: Come Like Shadows”You can be there, too. Rebel and Misfits is offering 2 tickets to a performance for our current giveaway. All you do is answer our poll below – we’re asking about your favorite mystery play because Kelly was so mysterious about her show.
Send your pick, along with your name and phone number, to lynnvenhaus@gmail.com by noon on Tuesday, Oct. 30. A winner will be selected from the entries, we’ll announce the name, and get the lucky pair set up for this yet-to-b-revealed enticing fall premiere.
FAVORITE MYSTERY PLAY (make selection to enter the drawing):
Deathtrap
Dial M for Murder
The Mousetrap
Night Must Fall
Sleuth
Wait Until Dark
Send your choice by noon Tuesday, Oct. 30, to enter the drawing to: lynnvenhaus@gmail.com.

WORD: “Movies will make you famous, television will make you rich, but theatre will make you good.” – Terrence Mann
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