Mesmerizingly crafted, “Moby Dick” is an astonishing triumph of sound and fury.
Through its hybrid expressionist storytelling involving aerials, acrobatics, dance, visual artistry and dramatic encounters, the aesthetically innovative staging is extraordinary.
This brilliant vision by director David Catlin, who adapted the 1851 novel by Herman Melville, has been executed fluidly with bold intentions. He has stripped an unwieldy story down to essentials — although it still takes 3 hours with 2 intermissions to tell this three act masterpiece.
Catlin immerses us as green hands on the Pequod whaling ship – you will feel as if you are on the voyage on the treacherous high seas around the world.
Perhaps comparable to a Cirque du Soleil experience, it is unlikely that you have seen anything like it, unless you were privy to its landmark 2015 debut at the Lookingglass Theatre Company in Chicago, where it was developed and mounted.
The Fates, Photo by Liz Lauren
Catlin, a longtime ensemble member, is not the only one involved in The Rep’s stunning and at times, jaw-dropping, production. An outstanding Christopher Donahue, who originated the role of Captain Ahab there, returns as the maritime officer obsessed with revenge against the great white sperm whale who bit his leg off.
A sparse high concept set designed by Courtney O’Neill, aided by assistant designer Catalina Nino, yields to an epic sea adventure that at its core is a battle between fate and free will, as Ahab goes mad in his maniacal quest while his first mate Starbuck believes that our choices fulfill our destiny.
This isn’t your English class study guide, rather a living work of art, composed stylistically with dynamic imagery and movement that creates an unrivaled seafaring adventure.
The now iconic Ishmael is the first sailor we encounter, a philosophical narrator who has worked on a merchant vessel. This time, he signs up for the Pequod, leaving Nantucket. This sea hunt is for whale oil and the byproducts used in the 19th century – the appeal of a comfortable lifestyle was at odds with the messy and grimy business of whale hunting.
Ishmael and Queequeg. Photo by Liz Lauren.
At a crowded inn, he is forced to share a room with a distinctively tattooed Polynesian harpooner, Queequeg, and that comical situation cements a friendship between the men. Muscular Kevin Aoussou is an imposing and regal Queequeg.
Walter Owen Briggs conveys Ishmael’s curious nature and sense of wonder, while looking at developments sensibly. He struggles with Ahab’s recklessness and the looming doom.
The Fates and the sailors. Photo by Liz Lauren
Ahab’s single-mindedness is his tragic flaw, and it will consume him. As the men resist, he pushes harder. He has tough altercations with brave first mate Starbuck, a fierce and agile Felipe Carrasco, that are intense and frightening.
The ensemble offers personal portraits to help identify them as crew members, and their instincts are finely tuned. In supporting roles are original castmates Micah Figueroa as Cabaco and Captain of New Bedford whaleship and Raymond Fox as Stubb as well as Captains Boomer and Gardiner, joining Julian Hester as Bulkington.
They indicate the physical aspects of their struggles with precise movements by acrobatic choreographer Sylvia Hernandez-Distasi, a founder and artistic director of The Actors Gymnasium in Chicago. She impresses with dazzling derring-do.
Three women portray the Fates – Maggie Kettering, Ayana Strutz and Bethany Thomas – and they swirl in and out, like spirits. They also present themselves as images of loved ones left behind, and townspeople in the villages.
The dexterity and physical stamina required of these performers is remarkable, and not unnoticed.
Kevin Aoussou. Photo by Liz Lauren
Costume designer Carolyn “Sully” Ratke and associate designer Stephanie Gluggish have fashioned ethereal garb for the mystical spirits, and an interesting wardrobe to create a human metaphor for Moby Dick and other whales. The other costumes are period-appropriate.
The squalls, the hunt, and the insurmountable typhoon are thrillingly staged as spectacles, diving deep into the life-or-death danger. The technology used is next-level and breathtaking, especially what Rigging Designer Isaac Schoepp has created.
(Kudos to the stagehands who participated in the curtain call, deserving a major standing ovation for their efforts), Bravo!
Lighting designer William C. Kirkham, and assistant designer Madeleine Reid, along with sound designer Rick Sims and associate sound designer Forrest Gregor, have recreated an atmospheric ocean tableau — thunderstorms, eerie nighttime shadows, blazing sun daylight, fire, the mysterious echoes of the high seas and the relentless waves.
They have captured dreamlike sequences as well as nightmares through aural and visual techniques, and Sims’ music compositions add texture.
A sequence of staggering beauty is when lanterns lit with whale oil illuminate the night sky, as they rise and seemingly float away, like fireflies.
Photo by Liz Lauren
Moments of non-traditional storytelling are effective bridging the gap between the classic text and a new way to look at a staged presentation. However, the everlasting human condition commentary is not overshadowed by the production’s technical mastery.
Now, this show can be a challenge to navigate, particularly if you have never read “Moby Dick” or only made it through a few pages – it is not an easily digested drama. But stick with it, let the experience sweep you away, and you will be rewarded handsomely. (And you may want to read some Cliff Notes or Wikipedia information beforehand).
It’s exciting to watch something so significantly singular swing for the fences and achieve a greatness that people will be talking about for years.
The Repertory Theatre of St. Louis presents “Moby Dick,” adapted from the book by Herman Melville and directed by David Catlin of the Lookingglass Theatre Company through Feb. 25. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.
Christopher Donahue as Captain Ahab. Liz Lauren photo.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A career path that includes comedy, live theatrical performances and an upcoming Robert DeNiro film has taught Amadeo Fusca to be open to challenges that come your way. Known for his energy and quick wit, the actor says that getting laughs from an audience is always the cherry on top to making a live connection.
Recently in town for “Men Are From Mars Women Are From Venus Live” at the Playhouse at West Port Plaza, Fusca explained the part play-part stand-up comedy based on the 1992 best-selling self-help book by John Gray is a revised version of the one-man show now celebrating its 10th anniversary, the Evolution Tour. He was here before, in 2016, and last year at The Pageant. He will be in other major cities this spring with the revamped version.
Gray’s book exploring the differences between the sexes has sold in excess of 50 million copies, been translated into 40 different languages and is one of the most recognizable titles in the world.
He said you can expect the same delightful, light-hearted comedy that is definitely for adults. Eric Coble, the original writer, and director Mindy Cooper are back to inject new life into the script, ensuring its relevance and resonance with today’s audiences. Moving swiftly through a series of vignettes, Fusca covers everything from dating and marriage to the bedroom.
Fusca does his homework, using local references, works in ad-libs and improvises, too — he’s so familiar with the material, and how audiences will respond.
He enjoys engaging an audience, hearing all the laughs and giggles, and seeing couples elbow each other as they see themselves on stage. Fusca said it’s a great night out – combining storytelling, comedy and some sage wisdom from the book.
“Men Are From Mars, Women Are From Venus” at Westport in 2016
Originally from Pittsburgh, Amadeo has now performed “Men are From Mars Women are From Venus Live!” in over 60 cities, across 30+ states and in front of 75,000 people and counting.
In 2013, he won the legendary Friars Club “So You Think You Can Roast?” competition beating out 55 other comedians roasting ‘80s child star Ricky Schroeder and NBA Hall of Famer Dennis Rodman in the process. As the winner, Amadeo was among the dais to roast Jack Black along with comic legends such as “Roastmaster” General Jeff Ross, Sarah Silverman, Amy Schumer, Bob Saget, Jerry Lewis and more!
In addition to his theatrical comedy, Amadeo can also be seen in various television and film productions including: “Princess Cut” on HBO MAX, “NCIS” on CBS, “That Damn Michael Che” on HBO MAX, Marvel’s “Daredevil” on Netflix, “Boardwalk Empire” on HBO, “The Holiday Dating Guide” on Lifetime, “Almost Family” on FOX and “As the World Turns” on CBS.
Sometime this year, you can catch him as Lucky Luciano in the new Robert DeNiro film “Alto Knights” directed by Barry Levinson.
He had been performing his infamous character World Renowned Conductor Salvatore Giovanni across the globe to roaring reactions in the world’s greatest variety show run by Zach Zucker called “Stamptown,” which played at the Edinburgh Fringe Festival.
But now, he has developed Salvatore into a solo show that may just play on this stage one day as well…
1. Why did you choose your profession/pursue the arts? I grew up in a household where we followed the Oscars very closely every year. I would watch all the best dramas and analyze who I thought should win. On top of that, we just watched a lot of great TV shows at my house as well. Including classics like Taxi. I always admired the work and felt good doing it.
2. How would your friends describe you? Nocturnal
3. How do you like to spend your spare time? Seeing shows, gambling on sports and word games.
4. What is your current obsession? Fanduel Faceoff – A betting app with games
5. What would people be surprised to find out about you? I never learned how to ride a bike
6. Can you share one of your most defining moments in life? When I was awarded the winner of the Friars Club “So You Think You Can Roast?” Competition and got to Roast Jack Black.
7. Who do you admire most? My Mom for everything she’s endured in life and keeps on persevering through.
8. What is at the top of on your bucket list? “Go into Outer Space”
9. What is your favorite thing to do in St. Louis? Perform (:
10. What’s next? Heading to London to perform some shows with my World Renowned Conductor Character Salvatore Giovanni and then shows in Davenport, IA, Cincinnati, OH, Burnsville, MN and Sioux Falls, SD.
More About Amadeo
Age: 37 Birthplace: Pittsburgh, PA Current location: Los Angeles, CA Education: BA in Acting from Point Park University Conservatory of Performing Arts Day job: Acting First job: Busboy First role: Albert Peterson in “Bye Bye Birdie” Favorite roles/plays: Jerusalem – Mark Rylance Dream role/play: Something Funny & Serious that hasn’t been made just yet. Awards/Honors/Achievements: Friars Club Roast Competition Winner Favorite quote/words to live by: “All I know is I don’t know” A song that makes you happy: “Good Riddance” by Green Day
The producer of the “Men Are From Mars, Women Are From Venus” Evolution Tour is St. Louis based Emery Entertainment has produced and promoted thousands of events around the globe, including superstar attractions Blue Man Group, David Copperfield and James Taylor. The talented team assembled for this production continues with the award-winning playwright Eric Coble, direction by Broadway veteran Mindy Cooper, and animation & video production by the talented animators at Bazillion Productions.
Westport Playhouse is back, hosting plays, musicals, films, comedy, private events and much more. Enhanced with a new 40-foot video screen backdrop, upgraded lighting and a new sound system, Westport Playhouse is located at 635 Westport Plaza in Maryland Heights. For more information or to see a list of nearby restaurants,
Performance times are February 14-16 at 7:30 p.m.; February 17 at 2 p.m. & 7:30 p.m.; and February 18 at 2 p.m. Tickets may be purchased through MetroTix at www.metrotix.com or by calling 314/534-1111. Additionally, tickets will be available at The Westport Playhouse box office one hour prior to show time. All seats are $67. Use promo code MARS to save half-off.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Seeking his own creative lane in St. Louis, multi-hyphenate Cameron Jamarr Davis is making some noise as founding artistic director of Soul Siren Playhouse, whose inaugural production is Amira Baraka’s “Dutchman.”
The 60-year-old revolutionary play is running from Feb. 1 to Feb. 18 at the new venue, Greenfinch Theater and Dive.
An American nonprofit arts and cultural enrichment organization committed to social outreach, activism, and artistic development through the medium of dramatic and artistic expression, Soul Siren Playhouse aims to challenge and provoke thought, thus change, through artistic exploration and dramatic encounters — while holding space for safe, civil, proactive communication and collaboration on polarizing issues, he said.
The past five years have been a journey for Cameron. “One riddled with lessons, setbacks, successes, and various trials of patience, determination and faith,” he said.
After starting Soul Siren in Los Angeles in 2019, he relocated back to St. Louis and weathered the pandemic. In 2022, he was named a directing fellow at St Louis Shakespeare Festival and played James Hewlett, the first black Shakespearean actor in the U.S., in “The African Company Presents Richard III” at The Black Rep..
In 2023, he won the St. Louis Theater Circle Award for Outstanding Supporting Performer in a Drama, Male or Non-Binary Role, for that role.
Cameron Jamarr Davis as James Hewlett, the first black Shakespearean actor in the U.S. Photo by Phillip Hamer.
He also portrayed Hector MacQueen in “Murder on the Orient Express” at The Rep and was the cop, among other roles, in “Clue” at Stages St. Louis.
“Clue” and “Murder on the Orient Express” are both nominated for Outstanding Ensemble in a Comedy, and “Clue” leads all St. Louis Theater Circle Awards nominations with 11. (Ceremony on March 25).
“Cameron said “Clue” was the highlight of 2023 on stage for him.
“It was one of those productions that actors dream to be a part of because it was the definition of ‘theater magic’ — all the elements came together so perfectly, you could feel the pure, unrelenting joy that the audience was experiencing. That, in turn, reminded me of the joy I experience onstage as an actor, and the gift of light that theater is capable of bringing to people’s lives,” he said.
“To work with such skilled, hilarious actors, I was on stage legit trying not to break every night. And would bow at the end of every performance not only taking pride in what I do, but beaming with sincere joyfulness. That show truly was a gift, and redeemed something for me I didn’t know I needed,” he said.
The cast of “Clue” at Stages St. Louis, with Cameron third from left. Phillip Hamer photo.
Davis is currently an artist-in-residence at the Kranzberg Arts Foundation, and has rebuilt Soul Siren from the ground up, along with a collective of committed artisans. He is a graduate of Clayton High School and earned a BFA in Dramatic Performance at the University of Cincinnati College Conservatory of Music.
For Soul Siren’s first show, Cameron wanted to celebrate the timeless artistry of “Dutchman.” When he read it in college, he identified with its passion, rawness and abstract chaotic nature.
“Unfiltered and unapologetic, Baraka’s writing sirens the soul of the artist as strongly as it does the revolutionary,” he said.
He describes the 65-minute show as an emotionally charged and highly symbolic version of the Adam and Eve story, where an unsuspecting black man is encountered by a mysterious and calculating white seductress alone on an underground train.. It won the Obie Award for Best Play in 1964.
“The show is gritty, raw, and provocative. It is a clear affirmation of a counter-cultural identity that demands to be seen, felt, heard and understood,” he said.
“We aim to assume a timeless approach to this story that is coming upon the 60th Anniversary of its premiere off-Broadway in March 1964. We also have an interactive dramaturgy display, educating audiences on the playwright, the Black Arts Movement of the 70’s, and the genre of beat poetry, which came about at this time that also has influence on the play’s script,” he said.
Cameron Jamarr as Clay and Eileen Engel as Lula in “Dutchman.” Photo by Zak Littrell.
“A provocative drama that rests between allegory and realism, I believe the danger of this play lies in its fearless attempt to explore what lies at the heart of America’s subconscious and collective identity. Its subterranean setting grants two complete strangers the freedom to encounter their hidden natures as well as one another. A clamorous racing train serves as the vessel for its action as well as the thoughts of its passionate playwright,” he said.
“Though Baraka, the individual, does not fully represent the philosophy, truth, and ideals of Soul Siren Playhouse; the fearless and socially conscious instincts represented in ‘Dutchman’ speak directly to the foundation of our goals as a cultural institution,” he explained.
“We want to facilitate community dialogue on the challenging questions the play continues to present, Our intention is to unify, harmonize and most importantly, entertain, with this bold, challenging story,” he said.
The cast features Cameron Jamarr, Eileen Engel, Jeremy Thomas and alternates DeAnte Bryant and Donald Kidd in a brief role. The creative team includes Scenic Design by Bradford Rolen, Lighting Design by Lenny Banks, Sound Design and Hair Design by De’Janna Scales-Hand, and Dramaturgy by Zahria Moore. Bradford Rolen is also the Stage Manager. The show was co-directed by Cameron, Eileen, Rolen and Moore.
So far, the word he hears most from audiences is “unexpected.” You’ll want to join the conversation.
Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson, St. Louis.
Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m.
The cost is free (donations can be made), but RSVPs are necessary. For RSVPs/tickets, visit: https://a.purplepass.com/organizer/67544
For more information: www.playsiren.com.
There will be talkbacks following the shows Thursday 2/8 and 2/15.
Our Take Ten Q&A with Cameron Jamarr Davis
1. What is special about your latest project?
“Our first show ‘Dutchman’ has been five years in the making to get to this point, and we have made personal history by presenting our inaugural production as a black inspired theater company on the first day of Black History Month.”
2. Why did you choose your profession/pursue the arts?
“It very much chose me. I was torn between going to college to study acting professionally or pursuing a degree in English. After inadvertently booking my first professional gig at 17 with St. Louis Shakespeare Festival in “Richard lll,” I took that as a sign to pursue the arts as a professional actor.”
3. How would your friends describe you? Passionate. Loving. Crazy. Soulful. Intelligent. Wild.
Portraying Richard III and the actor James Hewlett at The Black Rep. Phillip Hamer photo.
4. How do you like to spend your spare time? Baking. Writing. Learning how to DJ. Plotting how to take over the world.
5. What is your current obsession? Creating my own professional, creative lane in this city.
6. What would people be surprised to find out about you? I’ve had the honor of dining with Prime Ministers of the United Nations in Nairobi, Kenya. Good God, the food was incredible!
7. Can you share one of your most defining moments in life? Unexpectedly losing my mom at the age of 24. Until then, I’d taken so much of my life, life in general, for granted. In light of her death, I was forced to choose new Life.
8. Who do you admire most? My friends. Their resilience. Their loyalty. The capacity and magnitude of their hearts.
9. What is at the top of your bucket list? Participation in a traditional ayahuasca ceremony led by an indigenous shaman.
The cast of “Murder on the Orient Express” at The Rep. Davis, fifth from right, played Hector MacQueen, the personal secretary and translator to Samuel Ratchett, who is murdered (spoiler alert). Photo by Phillip Hamer.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through, and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
If it weren’t for the pandemic I probably would not have moved back to St. Louis. Sustaining myself creatively was essential in navigating and enduring the uncertainties of the pandemic. In this time I learned patient persistence and the power of the pivot. I created a spoken word album and decided to relocate to St. Louis to restart Soul Siren Playhouse from the ground up, yet did not want to produce theater that required mask mandates. I watched theater become an unidentifiable shadow of itself; actors and audiences in masks, plus various barriers between Art, the Artist and Community. I watched art become increasingly self-serving as a means of survival.
Moving forward I believe that theater’s primary objective should be to entertain, and to be of service to its local community via artistic expression or creative intent (free tickets, child care at shows, pay with a can performances to support food banks, etc). I believe theater can take a greater responsibility in the role of social elevation and enrichment. How can theater meet the needs of audiences and return value as opposed to the self-serving nature of exploitation I commonly see as a detriment.
11. What is your favorite thing to do in St. Louis? Grocery shop at Soulard Market on Saturday mornings.
12. What’s next? Developing my one-man show, “Death Jam” as an Artist in Residence with the Kranzberg Arts Foundation.
With the cast of “Clue,” at left, as a police officer, at Stages St Louis last summer. Phillip Hamer photo.
More About Cameron Jamarr Davis
Age: 33 Birthplace: St. Louis, Current location: St. Louis Family: Only Child / Fairy God Cousin / Cool “Uncle” with no kids or siblings Education: BFA Dramatic Performance from the University of Cincinnati College-Conservatory of Music (CCM) Day job: Substitute Teacher, Clayton School District First job: Busser/Dishwasher, Outback Steakhouse (age 16) First movie you were involved in or made: “Fenced Off” – Rebel Pilgrim Productions in Cincinnati, Ohio Favorite jobs/roles/plays or work in your medium? Oberon in “A Midsummer Night’s Dream” / Leontes + The Bear in “A Winter’s Tale “/ Kendrick Lamar in Lil Wayne’s “Mona Lisa” Dream job/opportunity: Producing Artistic Director of my own theater company Awards/Honors/Achievements: 2023 STL Theater Circle Winner (Best supporting actor in a drama for “The African Company Presents Richard lll” at the STL Black Rep), 2024 Artist in Residence of the Kranzberg Arts Foundation, 2022 Directing Fellow with St. Louis Shakespeare Festival, 2023 Community Arts Training (CAT) Cohort Favorite quote/words to live by: call it our craziness even, call it anything. it is the life thing in us that will not let us die… it is the light in us it is the light of us it is the light… – Lucille Clifton, “Roots” A song that makes you happy: “Built for Greatness” – Marieme Marieme is a Soul Siren Playhouse board member and this song is featured as a promo for Michelle Obama’s Netflix special. This song is GREAT and will make anyone feel like they can conquer anything.
Eileen Engel, Bradford Lewis Rolen, and Cameron Jamarr Davis. Photo provided.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
As good as Kingsley Ben-Adir is portraying the reggae icon in “Bob Marley: One Love,” the movie’s script fails to hit the right notes, and the result is a disjointed, unsatisfying profile.
Made in partnership with Marley’s widow Rita and two children Ziggy and Cedella, the film celebrates Marley’s life and music as Jamaica’s most famous citizen who never wavered in his message of love and unity, broke boundaries and promoted healing in his country – although the timeline is wonky here.
The trio of screenwriters Zach Baylin, Frank E. Flowers and Terence Winter plus director Reinaldo Marcus Green narrowly focused on the years 1976-1978, when Marley was at the height of his career, and then he learned he had cancer. Now, granted, this isn’t a documentary, it’s “inspired by a true story,” but they have left out some key details of his life.
At the onset, the film explains that warring political factions heightened danger on the island, and an assassination attempt was made on Marley’s life. On Dec. 3, 1976, two days before the free Smile Jamaica Concert he organized, he was wounded, Rita was shot in the head, and manager Don Taylor had serious injuries.
He moved to London to escape, toured Europe, and recorded his acclaimed album “Exodus.” (He also made “Kaya” then, but that’s omitted).
When a toe injury didn’t heal, he was diagnosed with acral lentiginous melanoma, a rare skin cancer, but didn’t stop touring – for a while. (Tragically, he died at age 36 in 1981, after cancer spread to other areas).
Green, who directed “King Richard” about Venus and Serena Williams’ father, presents part of Marley’s journey in flashbacks that focus on imagery without context – his childhood years with a white absentee father, and he leaves with his mother, plus nods to his faith in Rastafari. Those, in repetition, cloud the story instead of illuminate.
The film mentions Haile Selassie I, the emperor of Ethiopia who was considered a god in the religion, but doesn’t explain much about it. Rastafari originated in poor Afro-Jamaican communities in the 1930s as reaction to British Colonial culture and is rooted in Protestant Christianity and mysticism.
Marley’s relationship with his wife, Rita, well-played by Lashana Lynch, began as teenagers, and she was also in his band, The Wailers, as one of the back-up singers of “I Threes” after Peter Tosh and Bunny Wailer left. They married in 1966. Both came from the Trenchtown neighborhood in Kingston.
It is not clear that the three children they had together are among the 11 recognized as Marley’s, for they both had extramarital affairs. Cedella, David “Ziggy,” and Stephen are theirs, and Bob adopted Sharon, Rita’s daughter from a previous relationship. There is no mention that he had six other children with six different women between 1972 and 1978.
How Marley became a music legend, with his unique blend of reggae, rocksteady, and ska, isn’t given much air either – you’ll have to either be familiar with his rise in the music business or read about it later.
Marley returned to Jamaica in April 1978 to much fanfare, and presented the One Love Peace Concert, his attempt to unite opposing political parties. It is only in the archival footage at the film’s end that the political leaders shake hands – populist prime minister Michael Manley and Edward Seaga, head of the opposing Jamaica Labour Party, but it did not end the island’s violence and political tensions.
In fact, what the movie doesn’t say is that the concert’s two organizers were killed in the years following, and 1,000 more people died in 1979-80.
Now the music is a high point, as expected. Many of the hits, including “Jamming,” “Get Up/Stand Up,” “I Shot the Sheriff,” “One Love/People Get Ready,” and “This Is Love” are included in the soundtrack.
One of the most touching scenes is when Marley plays “The Redemption Song” for his family while sitting around a fire, and his wife asks him: “When did you write that?” and he answers: “All my life.”
Ben-Adir, who was impressive as Malcolm X in “One Night in Miami” and amusing as one of the Kens in “Barbie,” immerses himself in a virtuoso performance. Not only did he nail the accent, speech pattern and movements of the man, but he also sang and played guitar.
Kris Bowers composed the film’s score, using Marley’s music as a foundation. Costume designer Anna B. Sheppard captured the culture and the period well, as did production designer Chris Lowe.
Despite the appealing music and the mega-watt turn by Ben-Adir, “Bob Marley: One Love” is too fragmented. It fails to offer something more scintillating overall, and lands merely as an average Hollywood biography.
“Bob Marley: One Love” is a 2024 biopic directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir, Lashana Lynch, and James Norton. It is rated PG-13 and the runtime is 1 hour, 47 minutes. It opens on Wednesday, Feb. 14. Lynn’s Grade: C.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.
As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.
In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.
The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.
Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb
It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.
Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.
Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).
The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.
Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.
Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb
When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.
Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.
As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.
The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.
It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .
Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.
A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.
Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.
This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.
Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb
Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.
ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus In 1965, the conflict between Dr. Martin Luther King Jr. and President Lyndon Johnson regarding voting rights came to a head because of escalating violence. On the streets of Selma, Alabama, the struggle to end racial discrimination was real. The drive for equality that resulted in the historic march from Selma to Montgomery and the hard-fought triumph that was the Voting Act Rights is depicted in a new historical drama written by British playwright Paul Webb.
The St. Louis Black Repertory Company hosted British playwright Webb for the world premiere of “Hold On!” that began with previews Jan. 10, opening night was Jan. 12, and the show ran Wednesday through Sunday until Jan. 28 in the Edison Theatre on the campus of Washington University in St. Louis. It was the kickoff to their 47th mainstage season and directed by founder and producing director Ron Himes.
“We’re delighted to be producing this exceptional world premiere and we’ve pulled together an extraordinarily talented group of creatives to tell this story, It’s a great way to kick off our 47th Season,” Himes said.
Webb. who wrote the screenplay for the 2014 film “Selma,” was first inspired to write a play focused on the historic events in the Civil Rights Movement that led to the Voting Rights Act of 1965, a year after the landmark Civil Rights Act was passed, and after King won the Nobel Peace Prize.
“What I came to realize was that the Selma voting rights campaign was the pinnacle of the careers for two extraordinary, although extraordinarily different, leaders,” Webb says.
Webb said he has been fascinated with American culture since childhood, and told a group of us at the opening night party about hitchhiking across America for six months. He saw how complicated race relations were in the South. He was intrigued by President Johnson’s efforts during the civil rights area, and his relationship with King. The importance of the demonstrations in Selma was a way to develop the story he wanted to pursue. .
Webb’s other works include “Four Knights in Knaresborough” about the assassination of Thomas Becket, and the BET mini-series “Madiba” about the life of Nelson Mandela.
Paul Webb, standing next to Ron Himes, says a few words about his play’s cast. Lynn Venhaus photo
Conversations with the Webb were included throughout the opening weekend, at the Jan. 11 preview performance at 7 p.m., followed by a post-show discussion, and after opening night Jan. 12, there was a post-show reception and a meet and greet. On Sunday, Jan. 14, there was a pre-show discussion at 2 p.m. before the 3 p.m. matinee performance.,
In 1957, King said: “So long as I do not firmly and irrevocably possess the right to vote, I do not possess myself. I cannot make up my mind; it is made up for me.”
In the 1960s, Americans debated what the “equal protection of the laws” in the 14th Amendment meant. Did the Constitution’s prohibition of denying equal protection always ban the use of racial, ethnic, or gender criteria in an attempt to bring social justice and social benefits?
In June 1963, President John Kennedy asked Congress for a comprehensive civil rights bill. This was after resistance to desegregation and the murder of Medgar Evans, a civil rights activist in Mississippi, who was fatally shot on June 12.
After Kennedy’s assassination in November, President Johnson took up pushing for it, and the Civil Rights Act of 1964, which prohibits discrimination on the basis of race, color, religion, sex or national origin, passed. That forbade using race and sex as reasons in hiring, promoting and firing, and strengthened the enforcement of voting rights and desegregation of schools.
Then, Johnson introduced the Voting Rights Act to Congress in March 1965, the same month that voter registration protests began in Selma.. The violence there added pressure on Congress to act, and the bill passed in four months.
To further learn about King’s journey, here are some resources:
Fifty-nine years ago, Selma became the battleground for Black suffrage, and. the Edmund Pettus Bridge, the site of the brutal Bloody Sunday beatings of civil rights marchers, is now a national historic landmark. Because the attacks were televised, public support for the activists grew, and marches continued for voting rights.
For more information about the landmarks in the historic civil rights efforts, visit the Civil Rights Trail: https://civilrightstrail.com/
The protections that King and his supporters fought for are under actual threat today, with attempts at voter suppression making the Voting Rights Act vulnerable. The Freedom to Vote Act addresses voter registration and voting access, election integrity and security, redistricting, and campaign finance. (Sources: https://www.congress.gov/bill/117th-congress/senate-bill/2747 and https://www.brennancenter.org/freedom-vote-act
Specifically, the bill expands voter registration (e.g., automatic and same-day registration) and voting access (e.g., vote-by-mail and early voting). It also limits removing voters from voter rolls.
Next, the bill establishes Election Day as a federal holiday.
The bill declares that the right of a U.S. citizen to vote in any election for federal office shall not be denied or abridged because that individual has been convicted of a criminal offense unless, at the time of the election, such individual is serving a felony sentence.
The bill establishes certain federal criminal offenses related to voting. In particular, the bill establishes a new criminal offense for conduct (or attempted conduct) to corruptly hinder, interfere with, or prevent another person from registering to vote or helping someone register to vote.
Additionally, the bill sets forth provisions related to election security, including by requiring states to conduct post-election audits for federal elections.
The bill outlines criteria for congressional redistricting and generally prohibits mid-decade redistricting.
The bill addresses campaign finance, including by expanding the prohibition on campaign spending by foreign nationals, requiring additional disclosure of campaign-related fundraising and spending, requiring additional disclaimers regarding certain political advertising, and establishing an alternative campaign funding system for certain federal offices.
‘Hold On!’ at The Black Rep
The Black Rep’s 47th season will continue with “Fly” (Feb. 14 to March 10) in WashU’s A.E. Hotchner Studio Theatre, followed by “Wedding Band” (March 13-31) at COCA, 6880 Washington Ave., and “Timbuktu!” (May 15 to June 9) in Edison. The season will conclude with “King Hedley II” (June 19-July 14), also in Edison.
Single tickets are now available through the Box Office, in person, or at (314) 534.3807. Reduced pricing is available for seniors, educators, students, and groups of 12 or more. Season 47 subscriptions remain on sale at TheBlackRep.org.
Support for The Black Rep’s 47th Main Stage Season comes from The Berges Family Foundation, The Black Seed Initiative, Caleres, Missouri Arts Council, the Regional Arts Commission, Rogers-Townsend, The Shubert Foundation, and the Steward Family Foundation.
Opening Night Meet and Greet: Lynn Venhaus, Playwright Paul Webb, Chas Adams
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A film as necessary for this time and throughout the ages, “The Zone of Interest” is a chilling look back at how Germans normalized their extermination of Jews during the Holocaust.
SS Officer Rudolph Hoess, who served the longest as the head commandant of the Auschwitz-Birkenau concentration camp in Poland (1940-43 and 1944-45), lived in a villa next door with his wife and children.
In the shadow of atrocities, his family enjoyed their dream home, and director Jonathan Glazer depicts their daily life in the most mundane ways possible. Cinematographer Lukasz Zal chiefly observes to underline the horrors taking place a few feet away, using distance instead of close-ups to speak volumes.
This makes the scenario even more unsettling as the Third Reich masterminds meet to discuss carrying out Hitler’s orders for the “Final Solution.”
Several acclaimed films have shown us the brutality of the Holocaust, in various degrees of harrowing, including Oscar winner for Best Picture “Schindler’s List” (1993) and “Son of Saul” (2015), which won the Academy Award for Best International Feature. While “The Zone of Interest” is just as haunting, the horror lies in the obvious apathy of the bystanders.
Hoess was instrumental in implementing pesticide into gas chambers that killed more than a million European Jews. (Later, at his trial, he claimed responsibility for 2.5 million deaths, the rest caused by “starvation and disease.”)
Christian Freidel plays Hoess as a dutiful Nazi, a company man who is pleased with his advancement – the undetected monster in our midst. Sandra Huller, who is having a moment with her other acclaimed performance in “Anatomy of a Fall,” Cannes Palme d’Or winner, portrays his complacent wife, Hedwig. She takes care of the children and runs the household with a desire for order.
In conversations with other wives, she is matter of fact. Her mother, Linna Hensel, played by Imogen Kogge, comes to live with them, and is impressed with their spacious digs and comfortable lifestyle, with servants at the ready and absconded goods delivered to them.
Their insensitivity and lack of empathy is revealed when interacting with others. The women guests covet what’s been pilfered from those rounded up and imprisoned or killed.
Glazer loosely adapted Martin Amis’ 2014 novel but he used real, not fictional, characters as his framework. He has constructed this historical drama to disturb because of what you don’t see and can only imagine based on details we know now.
The idyllic yard, featuring a pool and a garden, is separated by a large concrete fence, but you can hear occasional screams, gunshots, and the incinerator’s fire from a distance, and see ash floating from the crematorium.
The technical audio-visual elements, particularly the sharp editing by Paul Watts, effective sound design by Johnnie Burn and ominous music score by Mica Levi are disquieting in a slow-burn way, building on the dichotomy of the situation.
Glazer, known for “Sexy Beast” starring Ben Kingsley and “Under the Skin” starring Scarlett Johansson, has put a distinctive stamp on this cautionary tale. The end scene is one of the most powerful images in a 2023 film.
Although the film doesn’t add the real details of what happened to Hoess after Germany lost the war, it indicates that he knew their lives were doomed. Convicted of his war crimes against humanity, he was hanged at age 45 in 1947 – at Auschwitz.
“The Zone of Interest,” in subtitles, is an unforgettable work that speaks volumes by what it doesn’t say in its 1 hour, 45-minutes runtime. It is the United Kingdom’s official entry into the Academy Awards’ international feature category and was recently nominated for five Oscars. It won the Grand Prix at the Cannes Film Festival.
This one will linger because it unnerves, reminding us of how quickly freedoms can be taken away and how evil flourishes when people are systematically dehumanized.
“The Zone of Interest” is a 2023 historical drama written and directed by Jonathan Glazer. It stars Christian Friedel, Sandra Huller, Imogen Kogge and Max Beck. An international feature, it is in German and has English subtitles. Rated PG-13 for thematic material, some suggestive material and smoking, the film runs 1 hour, 45 minutes. It opens in St. Louis area theaters on Jan. 26. Lynn’s Grade: A.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The movement is a rhythm to us Freedom is like religion to us Justice is juxtapositionin’ us Justice for all just ain’t specific enough
–“Glory” by Common and John Legend 2015 Oscar winner for Best Song, from the movie “Selma”
A remarkable history lesson more so than a lecture, “Hold On!” features a powerhouse ensemble recreating a pivotal period in 1965 that was a clarion call then and eerily an alarm bell now.
The Black Rep honors Dr. Martin Luther King Jr.’s legacy with the timing of opening weekend to coincide with the federal holiday marking his Jan. 15 birthday, which has taken place on the third Monday of January every year since 1983.
King, the most prominent advocate for nonviolent activism to protest racial discrimination, helped get the Voting Rights Act signed by President Lyndon B. Johnson on Aug. 6, 1965, after convincing the president a year earlier to sign the landmark Civil Rights Act (July 2, 1964), the same year he was awarded the Nobel Peace Prize (Dec. 2, 1964).
Their fascinating relationship was at times contentious but also collaborative, and those power battles royale are embodied by Enoch King as resolute MLK and Brian Dykstra as salty LBJ.
Dykstra easily slips into playing the master politician Johnson, for he has appeared twice before in the role – but in the drama “All the Way” that was produced at the Repertory Theatre of St. Louis in fall 2015, which focuses on the civil rights endeavors in ’64, and as Brian Cox’s understudy in “The Great Society,” playwright Robert Schenkkan’s sequel, on Broadway in 2019
King is tenacious as the motivational visionary, remaining idealistic about moving people to action in divisive times. Both King and Johnson knew they couldn’t advance anything alone but needed supporters to be fervent about progress. The good reverend is a shrewd strategist in getting what he wants with the President, whose legendary battles with the “Dixiecrats” are well-documented.
While both were certainly flawed individuals, they were able to come together and change the course of America, pushing to outlaw discrimination based on race, color, religion, sex, and national origin.
On March 15, 1965, LBJ delivered a speech before Congress on voting rights — stating that the civil rights problems challenged the entire country, not one region. He asked for legislation that dictated clear, uniform guidelines for voting regardless of race or ethnicity, which would allow all citizens to register to vote free from harassment.
Through a turbulent lens, this sobering play looks back when blacks were being murdered in the South, just for daring to register to vote, use their voice to speak up and stand up, and the killers were not punished. These incidents still pack a gut-punch, and this drama, thriller-like, illuminates gathering storms, and as history prompts us, we must be vigilant.
In 1965, Selma represented the epicenter, and in Alabama, the struggle for justice and equality escalated. This well-researched historical work by Paul Webb depicts the drive for voting rights that resulted in the March 7 “Bloody Sunday” where protesters were beaten at the Edmund Pettus Bridge trying to march to Montgomery, the state capital.
Two weeks later, King, James Forman and John Lewis led marchers on that landmark trail after a U.S. District judge upheld the rights of demonstrators.
Webb, a British playwright and screenwriter who is credited with the screenplay for the 2014 film “Selma,” first began the project as a play, then moved forward instead with the film, but in the years since, has revised and finished his play. The Black Rep is the first company to produce it.
The Civil Rights Movement was a long and winding road, starting in 1954 and ending in 1968. Webb, fascinated by the motives of both Johnson and King during the 1964-65 period, has formatted the play as a series of vignettes, with 21 scenes, carried out by a cast of 14.
Ambitious, yes, and director Ron Himes deftly moves along characters and action, focusing on the urgency.
This true story has a lot of moving parts to convey onstage, establishing characters who figure prominently in the tumultuous days highlighted. Scenes are mostly divided between Selma, Atlanta (King’s residence), Brown Chapel and Washington D.C., where Dunsi Dai’s evocative scenic design includes the Oval Office as a focal point, and Meg Brinkley’s prop design conveys.
Because of the nature of a stage play, the action offstage is chronicled through news clippings and video reports, which projections designer Zach Cohn has astutely put together.
The play is dense at first, takes a while to gain momentum, but when it does, it’s riveting and empowering.
Those unfamiliar with this period may need a primer to know who the key players are. People alive then or who remember it from the history books may recall who Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark are, both masterfully played as hot-headed intolerant bigots by Eric Dean White.
The segregationists were firmly entrenched in the power grid during the Jim Crow era, and the selective timeline deepens the storytelling,
Making an impression as racist Al Lingo of the Alabama Highway Patrol and heroic activists Jimmie Lee Jackson and Annie Lee Cooper are Jeff Cummings, Jason Little and Tamara Thomas, who also play another role each.
Little and Thomas are strong in their characterizations of ordinary citizens who represent how despicably treated minorities were – and you’ll remember those names.
Isaiah Di Lorenzo smoothly plays a cruel county courthouse registrar and a redneck state trooper in addition to presidential speech writer Richard N. Goodwin. Thomas Patrick Riley tackles three unflattering roles – the ignorant courthouse worker Leverne, and an unenlightened deputy and state trooper. Tammie Holland is posh as King’s fling Della.
Other dedicated performers resemble the real people of King’s inner circle so we don’t forget their contributions: Greg Carr Sr. as Ralph Abernathy, Olajuwon Davis as James Foreman, Greg Carr II as (future Congressman) John Lewis, Joel Antony as Hosiah Williams and Little doubling as Andrew Young (future Congressman, US Ambassador to the United Nations and Atlanta mayor).
These characters earned a place in history but perhaps are unknown to subsequent generations. (And if history is being rewritten in certain school districts…I digress).
Evann DeBose
For the play version, Webb laudably expanded the role of Coretta Scott King, and Evann DeBose is radiant –and assertive — as a woman working alongside her famous husband on the same goals, a strong force who won’t be diminished or treated callously.
Musically inclined, Coretta is shown singing and playing the piano (kudos to pianist Antonio Foster). DeBose’s soulful and heartfelt renditions of songs associated with the movement — Sam Cooke’s “A Change Is Gonna Come” from 1964 and “Keep Your Eyes on the Prize,” a folk song referencing Biblical passages, also known as “Hold On,” popularized in 1963, remain indelible. The rallying anthem “We Shall Overcome” had to be prominently featured and it is.
One of the highlights of this production is sound designer Lamar Harris’ original music score. His compositions vividly capture the moods and punctuate the action in a notable way.
Some of the horrifying attacks are choreographed movements to represent the explosive violence and shrouded in blue lighting by expert designer Sean M. Savoie. Annie Lee Cooper’s front-page-news punch to the sheriff is well-staged for optimum effect.
Costume designer Marc W. Vital II has put together appropriate vintage looks for the women and standard business attire for the men. Special recognition goes to stage manager Tracy D. Holliway Wiggins and assistant Alan Phillips for maintaining the flow of all the comings and goings, no easy feat.
It’s important to keep this story at the forefront today because of its relevancy to equal rights.
The shock of brutal attacks with prejudice and without accountability reminds us that we are again living in tense times and protections are not absolute. As far as we have come in 59 years, scary to even think suppression is happening again.
It’s difficult to wrap one’s head around that more than 60 years ago, people died for the right to vote, and as I write this, voting rights are being threatened. However, a movement is underway supporting the Freedom to Vote Act of 2021 and the John Lewis Voting Rights Advancement Act of 2023, which would modernize and revitalize the 1965 Voting Rights Act, strengthening legal protections against discriminatory voting policies and practices. Maybe “Hold On!” will be a timely nudge in the right direction.
“Hold On!” is a fine example of people keeping their eye on the prize, illustrating how many marched away from the darkness and into the light because of King’s special skills, and those he passed the torch to during his lifetime and beyond. It’s a refresher course on Selma not being a bridge too far.
Facin’ the league of justice, his power was the people Enemy is lethal, a king became regal Saw the face of Jim Crow under a bald eagle The biggest weapon is to stay peaceful We sing, our music is the cuts that we bleed through Somewhere in the dream we had an epiphany Now we right the wrongs in history No one can win the war individually It takes the wisdom of the elders and young people’s energy One day when the glory comes
–“Glory”
The Black Rep presents the world premiere of “Hold On!” Jan. 10-Jan. 28 with performances Wednesday-Thursday at 7 p.m., Friday-Saturday at 8 p.m. and Sundays at 3 p.m. Performances take place Jan. 10-28. Tickets are $50, or $45 for seniors and $20 for students (17+), with student rush tickets $15. No one aged 5 and under is admitted. Season 47 subscriptions are available. Tickets can be purchased at the Edison Theatre box office; the Black Rep’s box office, 813 N. Skinker Blvd.; or by calling 314-534-3810. For more information, visit: www.theblackrep.org
Cinema St. Louis is pleased to partner with the St. Louis Black Repertory Company for a special screening of the film, “Selma,” on Saturday, Jan. 20, at the Hi-Pointe Theatre at 1 pm. General Admission Tickets are $10, and a discounted ticket of $8 is available for current students and senior citizens aged 55+.” Visit site for tickets: https://www.cinemastlouis.org/selma-screening-black-rep
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The national tour of the Broadway musical HAMILTON will return to the Fabulous Fox Theatre as part of the 2024-2025 Broadway season, as announced Jan. 11 in celebration of Alexander Hamilton’s birthday by producer Jeffrey Seller and the Fabulous Fox Theatre.
The best way to guarantee tickets to HAMILTON is to purchase a season subscription for the Fabulous Fox Theatre’s 2024-2025 Broadway season. Season ticket holders who renew their subscription for the 2024-2025 season will get priority access to purchase tickets for the return engagement of HAMILTON before tickets become available to the general public. The 2024-2025 Broadway season will be announced at a later date.
HAMILTON will be playing the Fabulous Fox Theatre for two weeks only August 28 – September 8, 2024. Information on how to purchase groups and single tickets will be announced at a later time.
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.
Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.
For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
