By Lynn Venhaus

It’s one thing to see a play; it’s another thing just to listen. A whole new world opens in your imagination, and the cultural icon Tennessee Williams is perfectly suited for such an experience.

To make its three remarkable radio presentations accessible, the Tennessee Williams Festival St. Louis has been extended through Nov.21-22, and you will be captivated by these three works anew. They are free to listen to at www.1073.org and www.twstl.org.

Williams has such a distinctive voice, and you hear his words interpreted with devotion and insight. The performances by the all-star cast assembled this year brings the works to a new level.

Through this fresh and innovative way, the festival continues to pay homage to St. Louis’ greatest playwright, who lived here during his formative years and was greatly influenced by this region.

All three works are richly rewarding aural and theatrical experiences:

Bradley James Tejeda

“The Glass Menagerie,” a beautifully rendered two-hour production of Williams’ most personal play and one of his greatest and most famous, now through Nov. 22.

“You Lied to Me About Centralia,” a delightful one-act by playwright John Guare, who imagines what took place after The Gentleman Caller left the Wingfields to meet his fiancé, Betty, now through Nov. 21.

“Glass,” an intriguing new play by Michael Aman that imagines the actress playing Amanda Wingfield in “The Glass Menagerie” clashing with Tennessee when it opens in Chicago before it heads to Broadway, now through Nov. 21.

As always, stay after for a few moments to listen to Williams’ scholar-in-residence Tom Mitchell for his insight into each work. It’s interesting and informative, and really adds to the festival’s mission. They want us to know Williams intimately, and it shows. You can also take an audio tour of Williams’ St. Louis and hear education panels on his work.

The fifth annual Tennessee Williams Festival St. Louis was going to take us to Italy this spring, showcasing “The Rose Tattoo” and other nuggets from Williams, who was happy soaking up European la dolce vita in a good stretch of his chaotic life.

Then the pandemic hit. The coronavirus public health crisis forced our regional theaters to cancel. Instead, Artistic Director Carrie Houk pivoted with two different sets of programming on radio, partnering with Classic 107.3 FM.

First, this summer, a divine series of Williams’ richly textured one-acts that showcased his yearning and his desire to fit in, all in his distinctive word play. The images of his characters with their fanciful stories were vivid, as were the Southern locations. The attention to detail was strong and the acting talent sublime.

All those engaging qualities have returned with “En Evant!” which means “forward.” We’re moving on, and Houk has discussed the fragility accompanying this year strengthening us in different ways. Williams was a fragile soul, but he also had a strength about him, so necessary to survive in his personal world. A previous season was built around “The Magic of Others,” and this year’s fest also has that aspect – the outsider, the guy not like the others.

In the memory play “The Glass Menagerie,” precious Laura, who is based on Tom’s fragile sister Rose, has too many self-doubts and anxieties to fit in, although she tries. Her inner world is soothed by glass figurines.

Glass – who knew 70 some years later this family’s themes of wanting to be normal, wanting to feel something, and not wanting to be mired in the past, in the fanciful world their mother has clung to all these years, would take on more significance throughout the decades

Elizabeth Teeter

The remarkably poised Elizabeth Teeter, showing her emotional range, will break your heart as Rose.

Brenda Curran is a sympathetic Amanda, although truly a pathetic maternal figure in the pantheon of great mother roles.

She contrasts well with Teeter and Bradley James Tejeda as the protective Tom (Tennessee’s alter-ego).

Tejeda, who is also in “Glass” and was in several of the one-acts this summer, is pitch-perfect in his Williams’ roles. He’s the MVP of 2020. It is a perfect match, like Olivier and Shakespeare, and his vocal work is outstanding. I could listen to him read the phone book.

But that just-right comfortable Southern drawl enhances the character’s development as he draws us in to what Tom is going through – or in “Glass,” what Tennessee is. He’s bursting to get out of town to begin the life he imagines for himself.

He smoothly presents these lived-in characters so we can identify right away. And Williams, ultimately a tragic figure in his own life, is so transparent about his thoughts and feelings that we have an instant attachment.

Chaunery Kingsford, who was in the stunning “A Streetcar Named Desire” in 2018, plays the Gentleman Caller with the right mix of concern and confusion.

Directed by Brian Hohlfeld, a St. Louis native who knows how creative passions will take someone away for their journey, understands the Wingfields. His version is a tidy two hours and hits all the feelings, emphasizing what isn’t said is as potent as what is.

This play takes on new meaning every time I dig in, and it’s never the same experience. If you haven’t read it since high school, listen here – it’s transformative.

Chauncy Thomas

Home, that running Williams’ theme, is used by Guare in “You Lied to Me About Centralia,” featuring the tremendous power of Chauncy Thomas as Jim and Julia Crump as Betty. Julia, who played this part when the TWFest produced it for the Grand Center Theatre Crawl several years ago, is well-suited to play Williams’ roles. She’s convincing as driven Betty, who is immediately defensive for taking a trip to Granite City to see an uncle. She has ulterior motives, which she spills during her conversation with Jim. Chauncy, one of the most powerful actors on stage during his years in St. Louis, exercises a new muscle here – only his voice, and it’s no less effective.

Julia Crump

Directed by Rayme Cornell, this play illuminates the themes of “The Glass Menagerie” in a fascinating way. Just think about how a step or two in another direction could change your life.

“Glass” is interesting in its exploration of personalities and artistic temperament. With Kari Ely playing the diva Laurette Taylor taking on the role of Amanda Wingfield, you can picture her condescending looks and withering stares. And then Tejeda gets in the skin of burgeoning artist Tennessee Williams. This duet is directed by Gary Wayne Barker, a solid veteran on the St. Louis scene.

Ely, an accomplished actress in St. Louis, is flamboyant as a near-has been who wants to be famous again. Will playing Amanda produce the results she seeks? Will Williams get what he wants with his first feature-length play? All conjecture, of course, but Ely and Tejeda are convincing playing these desperate people – one on the way up and one on the way down. This one-act is 90 minutes.

Kari Ely

The vocal work here lulls us into a comfortable place. It’s fun to hear these journeys as these performers create pictures in our minds.

One of the most soothing voices is contributed by Ken Page, who is a masterful speaker. He is the festival’s host and introduces each show with his silky vocals.

So, tune in, turn up the volume, and let the magic of theater take you to new (and old) places.

Presenting sponsor is Emerson.

Donations are appreciated.

By Lynn Venhaus
Managing Editor
Plays with substantial women roles were spotlighted at the seventh annual St.
Louis Theater Circle Awards March 25, with The Repertory Theatre of St. Louis’
musical production of “Evita” and a homegrown “A Streetcar Named Desire” from
the third annual Tennessee Williams Festival each receiving seven awards.

Both iconic female-lead shows had received the most
nominations, 11 apiece, when the Circle announced them in January. The awards
recognized outstanding work locally produced by regional professional companies
during the calendar year 2018.

Nominees Kari Ely and Michelle Hand in “Into the Breeches!”The comedy “Into the Breeches!”, the first play in Shakespeare
Festival St. Louis’ new program, “In the Works,” won four awards. The world
premiere was in January 2018, with its first St. Louis performances in
September. The comedy from Chicago playwright George Brant is about a
fictitious theater group in 1942, and with the men away at war, the director’s
wife sets out to produce an all-female version of “Henry V.” It had roles for
six women and two men. In addition to awards for ensemble, director Nancy Bell
and best production, Michelle Hand won best actress.

The Circle, which includes veteran area theater critics, annually recognizes outstanding work in comedies, dramas and musicals, and with two opera categories.

Each of the 33 categories featured five nominees, with 23 local companies cited for 54 shows, and 120 artists receiving nods, including 10 with two apiece.

This year, there were three ties: sound design in a play, costume design in a musical and musical ensemble.

Evita won seven awards from the Circle“Evita,” the vibrant Tony Award-winning Andrew Lloyd Webber-Tim Rice musical, earned awards for musical direction (Charlie Alterman), choreography (Gustavo Zajac and Mariana Parma), set design (Luke Canterella), lighting (John Lasiter), director (Rob Ruggiero, his third), ensemble and production of a musical.

The landmark “A Streetcar Named Desire,” written in 1947 by the great American playwright Tennessee Williams, who spent his formative years in St. Louis, earned honors for Sophia Brown as Outstanding Actress – for her heart-wrenching portrayal of the emotionally needy and mental fragile faded beauty Blanche Dubois, sound design (original music by Henry Palkes and sound by Amanda Werre), lighting design (Sean M. Savoie), set design (James Wolk), direction (Tim Ocel), ensemble and production of a drama.

The 18 other awards went to separate shows, with both The
Black Rep and The Muny winning three apiece, and The Rep adding two more for earning
the most, nine.

Jeff Cummings and Katy Keating in “Life Sucks.” Photo by ProPhotoSTLIn comedy, Katy Keating won for Supporting Actress as feisty but unrequited lovesick Sonia in New Jewish Theatre’s “Life Sucks,” a ‘sort of’ adaptation of Chekhov’s “Uncle Vanya” by Aaron Posner. She was also part of the award-winning ensemble of “Into the Breeches!”.

Isaiah Di Lorenzo in “Rosencrantz and Guildenstern Are Dead.” Photo by Ron James.Isaiah Di Lorenzo won Supporting Actor as The Player, the leader of the Tragedians, in St. Louis Shakespeare’s production of Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead.” He also was in the award-winning ensemble of “A Streetcar Named Desire.”

Will Bonfiglio as Mary Dale in “Red Scare on Sunset.” Photo by Justin Been. Will Bonfiglio won his second Outstanding Actor Award, as film star Mary Dale in Stray Dog Theatre’s “Red Scare on Sunset.” He was honored in 2017 for the one-man show, “Buyer & Cellar,” also at Stray Dog.

For costume designs, Lou Bird won for The Rep’s “Born Yesterday” vintage wardrobe in the play category and there was a tie in the musical category between Leon Dobkowski, who won for The Muny’s colorful “The Wiz,” and Darryl Harris for the elegant “Crowns: A Gospel Musical” at The Black Rep.

There was another tie in sound design in a play – besides “Streetcar,” Rusty Wandall won for Lucas Hnath’s contemporary “The Humans” at The Rep.

Laurie McConnell, left, as Birdie Hubbard in “The Little Foxes.” Photo by Patrick HuberIn drama, Laurie McConnell won Supporting Actress as forlorn
Birdie Hubbard in St. Louis Actors’ Studio’s production of Lillian Hellman’s “The
Little Foxes.” She won in 2017 for Supporting Actress in a Musical, for her portrayal
of Joanne in “Company” at Insight Theatre Company.

Eric Dean White as Satan and Chris Ware as Judas. Photo by Ann AuerbachEric Dean White, a previous nominee, won Supporting Actor for playing the slick, smooth, haughty and conniving Satan in “The Last Days of Judas Iscariot” at Mustard Seed Theatre.

Ron Himes in “Fences”

Another previous nominee and winner, Ron Himes won Outstanding Actor as bitter garbage collector Troy in August Wilson’s “Fences at The Black Rep last winter. In 2014, The Black Rep won best ensemble and production for “The Whipping Man.”

The Black Rep’s “Torn Asunder” best new playThe Black Rep also won Best New Play for Nikkole Salter’s “Torn
Asunder,” which dramatized true stories of newly emancipated African Americans
trying to overcome the vestiges of slavery so they could reconnect with their
families.

Joy Boland won Outstanding Supporting Actress in a Musical for her portrayal of the imposing villainess sea witch in Variety Theater’s “Disney’s The Little Mermaid.”

Beth Leavel as Mama Rose in “Gypsy.” Photo by Philip Hamer.For their powerhouse musical performances, Corbin Bleu won Outstanding Actor as the fleet-footed matinee idol Don Lockwood in “Singin’ in the Rain” and Beth Leavel was honored as the controlling stage parent Mama Rose in “Gypsy,” both at The Muny.

Corbin Bleu in “Singin’ in the Rain” at The Muny. Photo by Phil Hamer.Leavel had been nominated three times before (“Hello Dolly!” “Oklahoma!” and “Thoroughly Modern Millie,” all at the Muny. She is currently performing on Broadway in a St. Louis-produced original musical, “The Prom.”

Stephanie Merritt and Kent Coffel in “The Light in the Piazza” Kent Coffel won Outstanding Supporting Actor in a Musical for his performance as well-meaning haberdasher Signor Naccarelli, Fabrizio’s father, in “The Light in the Piazza,” presented by R-S Theatrics in its St. Louis regional premiere.

Anything Goes at New Line Theatre. Photo by Jill Ritter LindbergTying with “Evita” for musical ensemble was New Line Theatre’s vivacious “Anything Goes.”

It was a three-peat for Ruggiero, who won for directing “Evita,” and had previously been honored for The Rep’s productions of “Follies” and “Sunday in the Park with George.”

“Regina” at OTSL was Outstanding Opera ProductionIn the opera categories, Opera Theatre of St. Louis was honored
for both Outstanding Achievement in Opera, which was given to director Patricia
Racette for “La Traviata,” and the Mark Blitzstein adaptation of “The Little Foxes”
— “Regina,” as Outstanding Production of an Opera.
Three special awards were bestowed:  To the
Muny for a century of performances celebrated during its centennial season of
2018; to Kathleen Sitzer, founder and long-time artistic director of the New
Jewish Theatre, for lifetime achievement; and to Steven Woolf, Augustin
artistic director of The Rep for more than 30 years, also for lifetime
achievement.

Sitzer retired after New Jewish Theatre’s 2017-18 season, while Woolf will retire after The Rep’s 2018-19 season this spring. Organized in 2012, the St. Louis Theater Circle includes founding members Steve Allen of stagedoorstl.com, Mark Bretz of the Ladue News, Robert A. Cohn of the St. Louis Jewish Light, Chris Gibson of Broadway World, Gerry Kowarsky of HEC-TV’s “Two on the Aisle,” Chuck Lavazzi of KDHX, Judith Newmark, now of judyacttwo.com, Ann Pollack of stlouiseats.typepad.com, Lynn Venhaus, now of St. Louis Limelight magazine, Bob Wilcox of HEC-TV’s Two on the Aisle, and Calvin Wilson of the St. Louis Post-Dispatch, Tina Farmer of KDHX and Michelle Kenyon of snoopstheatrethoughts.com. Eleanor Mullin is the administrator.

Those who helped produce the show at the Loretto-Hilton Center on the campus of Webster University included Andrea Torrence and Peggy Holly, who put together the slide show; awards assistance Hannah Daines, stage manager Alycia Martin and assistant stage manager Delaney Dunster, voice-over announcer Colin Nichols and box office assistants Kimberly Sansone and Harry Ginsburg.

Renowned local musician Joe Dreyer was the accompanist and Deborah Sharn performed an opening number.

Special thanks to Volunteer Lawyers and Accountants for the Arts, Price Waterhouse Cooper LLC, who tabulate the Circle ballots, and to the awards certificate calligrapher Susan Zenner.

Contact the Circle by email: [email protected] and like us on Facebook.

Evita at The RepInto the Breeches! at Shakespeare Festival St. Louis

“La Traviata” at Opera Theatre of St. Louis

By Lynn Venhaus Managing Editor A brilliantly staged and acted “District Merchants” raises timely questions on oppression in a modern reworking of Shakespeare’s 420-year-old “Merchant of Venice.”

Playwright Aaron Posner’s 2016 comedy-drama tweaks the characters,
and sets them in the post-Civil War reconstruction era of 1870, in the nation’s
burgeoning capital, Washington D.C. Scenes also take place in Belmont, Mass.

It was a time of transition – out of ruins came renewal. But
it wasn’t fast or smooth. Posner has us confront the fact that old habits die
hard, change isn’t easy, and our tribes continue to define us, so is all the
uneasy historical issues and disastrous conflicts really in our past? The
clashes could be viewed as somewhat contemporary.

In this New Jewish Theatre production, butting heads are a Jewish immigrant moneylender, Shylock, and black businessman Antoine, shrewdly played by Gary Wayne Barker and J. Samuel Davis respectively, in skillfully calibrated performances.

Antoine has borrowed money from Shylock, but because of a
series of events not his doing, must default. Will he be required to hand over
a “pound of flesh,” as demanded by the loaner? A trial will ensue, but there
will be fireworks in and out of the courtroom regarding power, race, position,
family and loyalty.

The incredibly dynamic duo of Barker and Davis, longtime
local mainstays, spars so convincingly and with such verve that you hang on to
every word and nuance. Their timing is so impeccable that the audience broke
into applause after a couple explosive scenes.

Their triumphant pairing is potent – arguably career best
— but the supporting characters, involved in several thorny romantic subplots,
are exceptional as well.

The noteworthy ensemble has created memorable characters
that also mesh as a unit – even with the conflicts. They project a vibrancy,
with much thought into their role’s development.

Courtney Bailey Parker and Rae Davis. Photo by Eric WoolseySteadfast Courtney Bailey Parker is a strong Portia, who
dresses like a man to audit law classes at Harvard and is striving to define
her role as a smart woman in 19th century America.

She pairs well with love interest Benjamin, a black man
passing for white, and their courtship has a larger context. Rob White is solid
as an agent of change.

Standing out is Rae Davis as Portia’s servant Nessa, and she has stood out in two other plays she was in last year (“Cold,” “The Last Days of Judas Iscariot”), her first in regional St. Louis theater. She has a delightful way with dialogue, as does the sublime Karl Hawkins, who is dandy as Shylock’s servant Lancelot.

Karl Hawkins as Lancelot in “District Merchants.” Photo by Eric WoolseyHawkins charms in every scene, as does Paul Edwards as
Finn, an Irish produce salesman who takes a shine to Shylock’s sheltered
daughter Jessica. At first, his brogue was wobbly, but he grew better, and his
winning personality was enough to endear.

As delicate Jessica who transforms with determination, Alicen
Moser understands the frustration of being a powerful and overprotective father’s
only child. When she rebels, she does it in a big way that nearly destroys her
father.
The relationships are complicated, but this cast pulsates under Jacqueline
Thompson’s perceptive direction.

Thompson has directed this show with such vigor that each
character has a distinct understanding of the material, and with her innovative
touches, has achieved a masterpiece.
She has astutely woven each character into this tapestry, and moves them around
the stage, the striking multi-level set by David Blake, and into the audience
with such purpose —  a flow that keeps
us riveted.

It does not matter if you have never seen Shakespeare’s
most controversial play. “District Merchants” flips it to assure that we see
the maligned, marginal groups in a different perspective – people of faith, of
color, of origin. We look at mercy in a fresh way.

Posner’s unflinching dialogue about stereotypes is tough
stuff, pitting Jews against gentiles, blacks vs. whites, and Irish vs. other
ethnic groups.

Billed as an “uneasy comedy,” you wouldn’t ever regard such
thought-provoking material that tackles racism, bigotry and xenophobia as a
laugh-riot, but there are surprising comic bits that struck a chord with the
audience, a spoonful of sugar if you will. After all, Shakespeare did consider
“Merchant of Venice” one of his comedies.

But mostly, the humor derives from the spoken thoughts and
feelings of the characters, who want basically what everyone wants and how they
tell their story. Because of the caliber of this cast, we are quickly drawn
into this period, and become emotionally invested as well.

Posner’s work appears to be a winner with New Jewish
Theatre. “Life Sucks!,” his comical adaptation of Chekhov’s “Uncle Vanya,” was
a delightful presentation last spring, and nominated for multiple St. Louis
Theatre Circle Awards (coming up March 25).

This must-see production has raised the bar – and will be a
measuring stick for this year’s offerings, especially with such a harmonious
ensemble.

A work of stunning achievement all the way around – with
beautifully accented lighting by Sean Savoie, richly detailed period costumes
by Felia Davenport and sound design by Zoe Sullivan.

 “District Merchants” is presented by New Jewish Theatre from Jan. 24 – Feb. 10 on Wednesday, Thursday, Saturday and Sunday at the Wool Theatre at the Jewish Community Center, Creve Coeur. For tickets, visit www.newjewishtheatre.org

Ben Nordstrom and Kari Ely will play opposite one another in “Into the Breeches!,” the headlining production of Shakespeare Festival St. Louis’ new program titled, In the Works, set for Oct. 28 through Nov. 24, at the Grandel Theatre. Written by George Brant and directed by Nancy Bell, the month-long, ticketed production is the culmination of the Festival’s 2018 season.
Kari ElyIn addition to “Into the Breeches!,” In the Works will include a Saturday matinee family show, “A Most Outrageous Fit of Madness,” inspired by the mistaken identity hijinks of “The Comedy of Errors” and written by Bell. Also included are two staged readings of “The Thousand Natural Shocks” by playwright Michael Sáenz. Deep-dive talkbacks and art-making workshops for kids will round out the events.
For a detailed In the Works schedule and to order tickets, please visit www.sfstl.com/in-the-works, or call Metrotix at 314-534-1111. Student tickets to all performances are free with an ID but it is recommended they be reserved in advance. A limited number of “Pay What You Can Nights” are scheduled for the “Breeches!” performances on Nov. 7 and 14 and should also be reserved in advance. Military discounts are available as well.
Ben Nordstrom“One of the things that excited me most about joining the Festival was knowing that it already had plans to make this foray into producing new work alongside the classics of Shakespeare,” said Tom Ridgely, executive producer of the Festival. “These plays each capture something beautifully distinct about our current American moment. Like Shakespeare, they show us ourselves, in a way we’ve never seen before, and I couldn’t be more thrilled to share them with St. Louis.”
“Into the Breeches!” is a comedy about a fictitious theater group. It’s 1942, and with the men away at war, the director’s wife sets out to produce an all-female version of “Henry V.” She assembles an unexpected cast that showcases how art and comedy can come together in even the darkest times. The play had its critically-acclaimed world premiere in January 2018 at the Tony-winning Trinity Repertory Company. This will be its first production in St. Louis. There will be 16 performances of “Breeches!” throughout the month-long run. Brant, the play’s author, also wrote “Grounded,” which starred Anne Hathaway during its New York run.
Nordstrom, whose work includes numerous appearances at the Repertory Theatre, the Muny, New Jewish, Stages, among others, also appeared in two plays written by Bell on behalf of the Festival, and in collaboration with the St. Louis Symphony in 2016. Ely, who previously appeared in the Festival’s main stage productions of “Henry IV,” “Henry V,” and “Antony and Cleopatra,” has worked for virtually every professional theater company in St. Louis. In addition to Nordstrom and Ely, the “Breeches!” cast will include Gary Wayne Barker, Michelle Hand, Katy Keating, Mary McNulty, Laura Resinger and Jacqueline Thompson.
Gary Wayne Baker will direct the family play,  “A Most Outrageous Fit of Madness,” Bell’s story of resilience, identity and family. Cast members include Erika Flowers, Karl Hawkins, Michael James Reed and Jen Sinnen. “Outrageous” matinee performances are scheduled at 4 p.m. on Saturdays (Nov. 10, 17, 24).
“The Thousand Natural Shocks” tells the story of a high school student who explores his identity through experiences at a private military academy. The title character is encouraged and challenged by his role in the school’s production of “Hamlet.” Sáenz was commissioned by the Festival to adapt the story from his book of the same title. The story draws inspiration from the It Gets Better Project, which leads a global movement to empower LGBTQ youth worldwide. Webster Conservatory alumnus Kern McFadden will direct.  Two staged readings are scheduled at 10 a.m. on Wednesday and Thursday, Nov. 7-8.
Set designers Margery and Peter Spack and costume designer Michele Siler will serve as creative team members for both “Into the Breeches!” and “A Most Outrageous Fit of Madness.”
Generous support for In the Works is provided by Mont and Karen Levy. Student tickets for 18 and under are free thanks to support from PNC Arts Alive.
About Playwright George Brant:
George BrantGeorge Brant was born in Park Ridge, Illinois and studied acting at Northwestern before turning to writing for his own zeppo theater company in Chicago during the ‘90s. He now lives in Cleveland with his wife, Laura Kepley, the Artistic Director of Cleveland Play House.

His 2012 play, Grounded, about a female fighter pilot reassigned to the Air Force’s drone unit, played New York’s Public Theater in a production starring Oscar winner Anne Hathaway and directed by Oscar, Tony and Emmy winner Julie Taymor. That production won three Lortel Awards for excellence Off-Broadway and has gone on to over 125 productions in 18 countries and a dozen different languages.
Still when Into the Breeches! premiered earlier this year at the Tony-winning Trinity Rep in Rhode Island, the Providence Journal called it, out of Brant’s 20-plus plays, “his best work by far” and “a gem of a play, one of the sweetest nights of theater you’re likely to see”.
The Shakespeare Festival is proud to present the Midwest premiere of this charming, big-hearted and provocative new play by one of America’s most acclaimed and original new voices.

About Shakespeare Festival St. Louis
Since its inception in 2001, Shakespeare Festival St. Louis has surpassed the one million mark in attendance through its work In the Schools, In the Streets and In the Park with more than 800,00 people attending the free main stage productions at Shakespeare Glen in Forest Park. The organization has reached an additional 300,000 students In the Schools through its educational programming. In 2010, the Festival launched SHAKE 38, a marathon participatory presentation of Shakespeare’s entire 38-play canon community wide. In 2012, the Festival shut down its first street, Cherokee, to present a community-based play In the Streets. Leadership support for Shakespeare Festival St. Louis’ 2018 season is provided by the Whitaker Foundation. The Festival is also funded in part by the National Endowment for the Arts, the Missouri Arts Council, the Regional Arts Commission, and the Arts & Education Council of Greater St. Louis. For more information, please visit www.sfstl.com, or call 314-531-9800.