Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023

ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.

“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.

Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.

A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.

The nominees for the 11th annual St. Louis Theater Circle Awards are:

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Diana DeGarmo, “Clue,” Stages St. Louis
Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival
Christina Rios, “Broadway Bound,” The New Jewish Theatre
Zoe Vonder Haar, “Clue,” Stages St. Louis

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 
Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre
Charlie Franklin, “Clue,” Stages St. Louis
Nick Freed, “The Birthday Party,” Albion Theatre
Bryce A. Miller, “The Nerd,” Moonstone Theatre Company
Chuck Winning, “The Birthday Party,” Albion Theatre

Outstanding Performer in a Comedy, Female or Non-Binary Role 
Colleen Backer, “Outside Mullingar,” West End Players Guild
Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Sarah Burke, “Grand Horizons,” Moonstone Theatre Company
Teresa Doggett, “The Birthday Party,” Albion Theatre
Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild

Outstanding Performer in a Comedy, Male or Non-Binary Role 
Jacob Flekier, “Broadway Bound,” The New Jewish Theatre
Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company
Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company
Jason Meyers, “Outside Mullingar,” West End Players Guild
Mark Price, “Clue,” Stages St. Louis

Outstanding Lighting Design in a Play 
Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis
Jayson M. Lawshee, “Skeleton Crew,” The Black Rep
Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Sean M. Savoie, “Clue,” Stages St. Louis
Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis

Outstanding Sound Design 
G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis
Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Beef Gratz, “Clue,” Stages St. Louis
Amanda Werre, “Into the Woods,” The New Jewish Theatre

Outstanding Costume Design in a Play |
Daryl Harris, “Death of a Salesman,” The Black Rep
Liz Henning, “The Lion in Winter,” The Midnight Company
Brad Musgrove, “Clue,” Stages St. Louis
Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre
Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis

Outstanding Set Design in a Play 
Nina Ball, “Confederates,” The Repertory Theatre of St. Louis
An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival
Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Lee Savage, “Clue,” Stages St. Louis

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 
Nicole Angeli, “Mindgame,” Albion Theatre
Velma Austin, “Death of a Salesman,” The Black Rep
Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company
Kelly Howe, “See You in a Minute,” Contraband Theatre
Mindy Shaw, “The Immigrant,” The New Jewish Theatre

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 
Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater
Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio
Chauncy Thomas, “Death of a Salesman,” The Black Rep
David Wassilak, “The Immigrant,” The New Jewish Theatre
John Wolbers, “The Lion in Winter,” The Midnight Company

Outstanding Performer in a Drama, Female or Non-Binary Role 
Lavonne Byers, “The Lion in Winter,” The Midnight Company
Kate Durbin, “Doubt: A Parable,” Prism Theatre Company
Ricki Franklin, “See You in a Minute,” Contraband Theatre
Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions
Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis

Outstanding Performer in a Drama, Male or Non-Binary Role 
John Contini, “Barrymore,” St. Louis Actors’ Studio
Ron Himes, “Death of a Salesman,” The Black Rep
Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre
Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio
John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio

Outstanding New Play 
“Action,” by Colin McLaughlin, Action Art Collaborative
“In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company
“One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio
“The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts
“See You in a Minute,” by Jacob Juntunen, Contraband Theatre 

Outstanding Achievement in Opera 
Janai Brugger, “Susannah,” Opera Theatre of Saint Louis
Teresa Doggett, “Don Pasquale,” Union Avenue Opera
Gemma New, “Susannah,” Opera Theatre of Saint Louis
Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis
Patricia Racette, “Susannah,” Opera Theatre of Saint Louis

Brandie Inez Sutton as Treemonisha and the chorus of “Treemonisha” by Scott Joplin, reimagined by composer Damien Sneed and librettist Karen Chilton. Photo © Eric Woolsey

Outstanding Production of an Opera 
“Don Pasquale,” Union Avenue Opera
“Ragtime,” Union Avenue Opera
“Susannah,” Opera Theatre of Saint Louis
“Treemonisha,” Opera Theatre of Saint Louis
“The Turn of the Screw,” Union Avenue Opera

Outstanding Musical Director 
Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny
Colin Healy, “Caroline, or Change,” Fly North Theatricals
James Moore, “West Side Story,” The Muny
Larry D. Pry, “Into the Woods,” The New Jewish Theatre
David Sonneborn, “Million Dollar Quartet,” Stages St. Louis

Outstanding Choreographer 
Denis Jones, “Sister Act,” The Muny
Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company
Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny
Josh Rhodes, “Chess,” The Muny
Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 
Jackie Burns, “Beautiful: The Carole King Musical,” The Muny
Jerusha Cavazos, “West Side Story,” The Muny
Diana DeGarmo, “Aida,” Stages St. Louis
Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre
Taylor Louderman, “Chess,” The Muny

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 
Jonathan Hey, “Into the Woods,” Stray Dog Theatre
Phil Leveling, “Into the Woods,” The New Jewish Theatre
Ken Page, “West Side Story,” The Muny
Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis
Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny

Outstanding Lighting Design in a Musical 
Herrick Goldman, “Aida,” Stages St. Louis
Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre
Jason Lyons, “Disney’s Beauty and the Beast,” The Muny
Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis

Outstanding Set Design in a Musical 
Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny
Edward E. Haynes, Jr., “Chess,” The Muny
Rob Lippert, “Godspell,” Stray Dog Theatre
Kristen Robinson, “Little Shop of Horrors,” The Muny
C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre

Outstanding Costume Design in a Musical 
Leon Dobkowski, “Little Shop of Horrors,” The Muny
Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre
Robin McGee, “Disney’s Beauty and the Beast,” The Muny
Brad Musgrove, “Aida,” Stages St. Louis
Marc. W. Vital III, “Eubie!,” The Black Rep

Outstanding Performer in a Musical, Female or Non-Binary Role 
De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals
Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company
Bryonha Marie, “Sister Act,” The Muny
Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny
Molly Wennstrom, “Into the Woods,” The New Jewish Theatre

Outstanding Performer in a Musical, Male or Non-Binary Role 
Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company
Ben Crawford, “Disney’s Beauty and the Beast,” The Muny
Robin de Jesus, “Little Shop of Horrors,” The Muny
Kevin O’Brien, “Into the Woods,” The New Jewish Theatre
John Riddle, “Chess,” The Muny

Outstanding Ensemble in a Comedy 
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“The Brechtfast Club,” ERA
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis

Outstanding Ensemble in a Drama 
“Death of a Salesman,” The Black Rep
“The Immigrant,” The New Jewish Theatre
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“The Lion in Winter,” The Midnight Company

Outstanding Ensemble in a Musical 
“Caroline, or Change,” Fly North Theatricals
“Disney’s Beauty and the Beast,” The Muny
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“Q Brothers Christmas Carol,” St. Louis Shakespeare Festival

Outstanding Director of a Comedy 
Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company
Steve Bebout, “Clue,” Stages St. Louis
Alan Knoll, “Broadway Bound,” The New Jewish Theatre
Suki Peters, “The Birthday Party,” Albion Theatre
Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis

Outstanding Director of a Drama 
Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis
Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio
Rebekah Scallet, “The Immigrant,” The New Jewish Theatre
Jacqueline Thompson, “Death of a Salesman,” The Black Rep

Outstanding Director of a Musical 
Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny
Brian McKinley, “Caroline, or Change,” Fly North Theatricals
Robert Quinlan, “Into the Woods,” The New Jewish Theatre
Josh Rhodes, “Chess,” The Muny
John Tartaglia, “Disney’s Beauty and the Beast,” The Muny

Outstanding Production of a Comedy 

“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis
“Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre

Outstanding Production of a Drama 
“Death of a Salesman” The Black Rep
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Immigrant,” The New Jewish Theatre
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“Uncle Vanya,” St. Louis Actors’ Studio

Outstanding Production of a Musical 
“Aida,” Stages St. Louis
“Caroline, or Change,” Fly North Theatricals
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“West Side Story,” The Muny

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com);  Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

By Lynn Venhaus

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…)

  1. Barbenheimer at the movie theaters
  2. The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
  3. 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.
  4. 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)

  1. De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
  2. John Riddle singing “Anthem” in “Chess” at The Muny
  3. Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
  4. 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
  5. Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
  6. The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
  7. Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
  8. Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
  9. Christian Douglas singing “Maria” in “West Side Story” at The Muny
  10. 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

  1. Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
  2. Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
  3. Michael Hobin “Disney’s Beauty and the Beast,” The Muny
  4. Cameron Hadley, “Caroline or Change,” Fly North Theatricals
  5. Malachi Borum, “Caroline or Change,” Fly North Theatricals
  6. Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
  7. Jada Little “The Piano Lesson,” Encore! Theatre Group
  8. Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
  9. 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

  1. “One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  2. “Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  3. “This Palpable Gross Play,” SATE
  4. “See You in a Minute,” Contraband Theatre
  5. “In Bloom,” New Play Festival, Tesseract Theater Company
  6. “The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
  7. “Feminine Energy,” Mustard Seed Theatre
  8. “From the Garden,” Wee Laddie Theatrics

“Clue” at Stages St Louis

BEST COMEDY PRODUCTIONS

  1. Clue – Stages St. Louis
  2. Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
  3. The Birthday Party – Albion Theatre
  4. Gruesome Playground Injuries – The Repertory Theatre of St. Louis
  5. Broadway Bound – New Jewish Theatre
  6. Merry Wives – St. Louis Shakespeare Festival Touring Company
  7. This Palpable Gross Play – SATE
  8. Outside Mullingar – West End Players Guild
  9. A Midsummer Night’s Dream – St Louis Shakespeare
  10. Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare

BEST DRAMA PRODUCTIONS

  1. It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
  2. The Immigrant – New Jewish Theatre
  3. The Lion in Winter – The Midnight Company
  4. Uncle Vanya – St Louis Actors’ Studio
  5. The Lehman Trilogy – The Repertory Theatre of St. Louis
  6. Skeleton Crew – The Black Repertory Theatre of St Louis
  7. What the Constitution Means to Me – Max and Louie Productions
  8. Mindgame – Albion Theatre
  9. Doubt: A Parable – Prism Theatre Company
  10. Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis

BEST MUSICAL PRODUCTIONS

  1. Caroline, or Change – Fly North Theatricals
  2. West Side Story – The Muny
  3. Into the Woods – New Jewish Theatre
  4. Eubie! – The Black Rep
  5. Million Dollar Quartet – Stages St. Louis
  6. Disney’s The Beauty and the Beast – The Muny
  7. Beautiful: The Carole King Musical– The Muny
  8. Chess – The Muny
  9. Q Brothers A Christmas Carol – St Louis Shakespeare Festival
  10. Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival

BEST SUPPORTING ACTRESS IN A COMEDY

  1. Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
  2. Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  3. Zoe Vonder Haar, Clue, Stages St. Louis
  4. Annalise Webb, Absent Friends, Albion Theatre
  5. Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
  6. Anna Langdon, Absent Friends, Albion Theatre
  7. Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
  8. Diana DeGarmo, “Clue,” Stages St. Louis
  9. Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
  10. Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre

BEST SUPPORTING ACTOR IN A COMEDY

  1. Chuck Winning, The Birthday Party, Albion Theatre
  2. Nick Freed, The Birthday Party, Albion Theatre
  3. Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Bryce A Miller, The Nerd, Moonstone Theatre Company
  5. Chuck Brinkley, Broadway Bound, New Jewish Theatre
  6. Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
  7. Charlie Franklin, Clue, Stages St. Louis
  8. 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

  1. Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  2. Colleen Backer, Outside Mullingar, West End Players Guild
  3. Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
  4. Teresa Doggett, The Birthday Party, Albion Theatre
  5. Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
  6. Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
  7. Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
  8. Nicole Angeli, Absent Friends, Albion Theatre
  9. Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio

BEST ACTOR IN A COMEDY

  1. Mark Price, Clue, Stages St. Louis
  2. Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
  3. Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Brian Slaten, Gruesome Playground Injuries, The Rep
  5. Jacob Flekier, Broadway Bound, New Jewish Theatre
  6. Jason Meyers, Outside Mullingar, West End Players Guild
  7. Armando Duran, Murder on the Orient Express, The Rep
  8. Joneal Joplin, Grand Horizons, Moonstone Theatre Company
  9. Ted Drury, The Birthday Party, Albion Theatre
  10. 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

  1. Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
  2. Rae Davis, Feminine Energy, Mustard Seed Theatre
  3. Mindy Shaw, The Immigrant, New Jewish Theatre
  4. Rhiannon Creighton, Doubt, Prism Theatre Company
  5. Ashley Bauman, The Years, The Midnight Company
  6. Nicole Angeli, Mindgame, Albion Theatre Company
  7. Kelly Howe, See You in a Minute, Contraband Theatre Company

BEST SUPPORTING ACTOR IN A DRAMA

  1. Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
  2. David Wassilak, The Immigrant, New Jewish Theatre
  3. Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
  4. Joey File, The Years, Midnight Company
  5. John Wolbers, The Lion in Winter, The Midnight Company
  6. Joel Moses, The Lion in Winter, The Midnight Company
  7. Joseph Garner, See You in a Minute, Contraband Theatre
  8. 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

  1. Alicia Reve Like, The Light, The Black Rep
  2. Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
  3. Lavonne Byers, The Lion in Winter, The Midnight Company
  4. Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
  5. Kate Durbin, Doubt, Prism Theatre Company
  6. Ricki Franklin, See You in a Minute, Contraband Theatre Company
  7. Velma Austin, Skeleton Crew, The Black Rep
  8. Jenni Ryan, Gloria: A Life, New Jewish Theatre
  9. Tiffany Oglesby, Confederates, The Rep
  10. Erin Rene Roberts, Feminine Energy, Mustard Seed Theatre
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre

BEST ACTOR IN A DRAMA

  1. Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
  2. John Contini, Barrymore, St. Louis Actors’ Studio
  3. John Pierson, Uncle Vanya, St Louis Actors’ Studio
  4. Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
  5. Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
  6. Nick Freed, Mindgame, Albion Theatre
  7. Chuck Winning, Mindgame, Albion Theatre
  8. Kelvin Roston Jr, Twisted Melodies, The Rep
  9. Olajuwon Davis, Skeleton Crew, The Black Rep
  10. Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre

BEST SUPPORTING ACTRESS IN A MUSICAL

  1. Diana DeGarmo, Aida, Stages St. Louis
  2. Taylor Louderman, Chess, The Muny
  3. Kimmie Kidd-Booker, 9, New Line Theatre
  4. Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
  5. Jerusha Cavazos, West Side Story, The Muny
  6. Katie Geraghty, Sister Act, The Muny
  7. Jackie Burns, Beautiful The Carole King Musical, The Muny
  8. Sarah Gene Dowling, Into the Woods, New Jewish Theatre
  9. Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
  10. Jenny Mollet, Aida, Stages St. Louis
  11. Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
  12. Grace Langford, Into the Woods, Stray Dog Theatre

BEST SUPPORTING ACTOR IN A MUSICAL

  1. Jarrod Spector, Beautiful The Carole King Musical, The Muny
  2. Phil Leveling, Into the Woods, New Jewish Theatre
  3. Duane Foster, Caroline or Change, Fly North Theatricals
  4. Ken Page, West Side Story, The Muny
  5. Jon Hey, Into the Woods, Stray Dog Theatre
  6. Ryan Vasquez, Little Shop of Horrors, The Muny
  7. Albert Jennings, Aida, Stages St Louis
  8. Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
  9. Adrian Villegas, Rent, The Muny
  10. Drew Mizell, Into the Woods, Stray Dog Theatre
  11. James T. Lane, Sister Act, The Muny
  12. Claybourne Elder, Disney’s Beauty and the Beast, The Muny

BEST ACTRESS IN A MUSICAL

  1. De-Rance Blaylock, Caroline or Change, Fly North Theatricals
  2. Sara Sheperd, Beautiful The Carole King Musical, The Muny
  3. Molly Wennstrom, Into the Woods, New Jewish Theatre
  4. Bryonha Marie, Sister Act, The Muny
  5. Melissa Felps, The Mad Ones, Tesseract Theatre Company
  6. Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
  7. Guinevere Govea, Spells of the Sea, Metro Theatre Company
  8. 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)

  1. John Riddle, Chess, The Muny
  2. Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
  3. Ben Crawford, Disney’s Beauty and the Beast, The Muny
  4. Robin De Jesus, Little Shop of Horrors, The Muny
  5. Drew Mizell, Saturday Night Fever, Stray Dog Theatre
  6. Kevin O’Brien, Into the Woods, New Jewish Theatre
  7. Christian Douglas, West Side Story, The Muny
  8. Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  9. Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”

BEST ENSEMBLE IN A COMEDY

  1. Clue, Stages St. Louis
  2. The Birthday Party, Albion Theatre
  3. Who’s Afraid of Virginia Woolf? Stray Dog Theatre
  4. Broadway Bound, New Jewish Theatre
  5. The Brechtfast Club, ERA
  6. A Midsummer Night’s Dream, St Louis Shakespeare
  7. This Palpable Gross Play, SATE
  8. Absent Friends, Albion
  9. Murder on the Orient Express, The Rep
  10. Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA

BEST ENSEMBLE IN A DRAMA

  1. It’s A Wonderful Life: Live Radio Play, The Rep
  2. The Immigrant, New Jewish Theatre
  3. Uncle Vanya, St. Louis Actors’ Studio
  4. The Lion in Winter, The Midnight Company
  5. The Lehman Trilogy, The Rep
  6. Skeleton Crew, The Black Rep
  7. Wrens, Prism Theatre Company
  8. Doubt: A Parable, Prism Theatre Company
  9. Feminine Energy, Mustard Seed Theatre

BEST ENSEMBLE IN A MUSICAL

  1. Caroline, or Change, Fly North Theatricals
  2. Eubie! The Black Rep
  3. Disney’s Beauty and the Beast, The Muny
  4. Million Dollar Quartet, Stages St Louis
  5. Q Brothers Christmas Carol, St Louis Shakespeare Festival
  6. West Side Story, The Muny
  7. Into the Woods, New Jewish Theatre
  8. Into the Woods, Stray Dog Theatre
  9. Spells of the Sea, Metro Theatre Company
  10. 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

  1. Sean M. Savoie, Clue, Stages St. Louis
  2. Anshuman Bhatia, Gruesome Playground Injuries, The Rep
  3. Jason Lynch, Murder on the Orient Express, The Rep
  4. John Wylie, Twelfth Night, St Louis Shakespeare Festival
  5. Erik Kuhn, This Palpable Gross Play, SATE

BEST LIGHTING DESIGN IN A DRAMA

  1. Christina Watanabe, It’s a Wonderful Life, The Rep
  2. Xavier Pierce, Twisted Melodies, The Rep
  3. Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
  4. Jayson M. Lawshee, Skeleton Crew, The Black Rep
  5. Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny

BEST LIGHTING DESIGN IN A MUSICAL

  1. Rob Denton, Chess, The Muny
  2. Sean M Savoie, Million Dollar Quartet, Stages St. Louis
  3. Herrick Goldman, Aida, Stages St. Louis
  4. Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
  6. Jasmine Williams, Eubie!, The Black Rep
  7. Heather Gilbert, Rent, The Muny

BEST VISUAL PROJECTIONS

  1. Alex Bosco Koch, Chess, The Muny
  2. Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
  3. Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep


BEST SOUND DESIGN IN A COMEDY

  1. Beef Gratz, Clue, Stages St. Louis
  2. Kareem Deames, Broadway Bound, New Jewish Theatre

BEST SOUND DESIGN IN A DRAMA

  1. Michael Costagliola, It’s a Wonderful Life, The Rep
  2. Kareem Deames, The Immigrant, New Jewish Theatre
  3. G Glausen, Twisted Melodies, The Rep
  4. 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

  1. Brad Musgrove, Clue, Stages St. Louis
  2. Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
  3. Fabio Toblini, Murder on the Orient Express, The Rep
  4. Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
  5. Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre

BEST COSTUME DESIGN IN A DRAMA

  1. Liz Henning, The Lion in Winter, The Midnight Company
  2. Michelle Friedman Siler, The Immigrant, New Jewish Theatre
  3. An-Lin Dauber, It’s a Wonderful Life, The Rep
  4. Sam Hayes, Wrens, Prism Theatre Company
  5. Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company

BEST COSTUME DESIGN IN A MUSICAL

  1. Robin McGee, Disney’s Beauty and the Beast, The Muny
  2. Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
  3. Brad Musgrove, Aida, Stages St Louis
  4. Marc W. Vital III, Eubie!, The Black Rep
  5. Michelle Friedman Siler, Into the Woods, New Jewish Theatre
  6. Zachary Phelps, Kinky Boots, Tesseract Theatre
  7. Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep

BEST SCENIC DESIGN IN A DRAMA

  1. An-Lin Dauber, It’s a Wonderful Life, The Rep
  2. Sara Brown, The Lehman Trilogy, The Rep
  3. Nina Ball, Confederates, The Rep
  4. Margery and Peter Spack, Skeleton Crew, The Black Rep
  5. Matt Stuckel, Doubt, Prism Theatre Company
  6. (tie) James Wolk, Suddenly Last Summer

BEST SCENIC DESIGN IN A COMEDY

  1. Tim Macabee, Murder on the Orient Express, The Rep
  2. Lee Savage, Clue, Stages St Louis
  3. Dunsi Dai, Grand Horizons, Moonstone Theatre Company
  4. Margery and Peter Spack, Broadway Bound, New Jewish Theatre
  5. Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
  6. Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival

BEST SCENIC DESIGN IN A MUSICAL

  1. Edward E Haynes Jr., Chess, The Muny
  2. Rob Lippert, Godspell, Stray Dog Theatre
  3. Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
  4. C. Otis Sweezey, Into the Woods, New Jewish Theatre
  5. Adam Koch, Million Dollar Quartet, Stages St Louis
  6. Kristen Robinson, Little Shop of Horrors, The Muny
  7. Tim Jones, Eubie! The Black Rep
  8. Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
  9. Ryan Douglass, Beautiful The Carole King Musical, The Muny

BEST CHOREOGRAPHY

  1. Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
  2. Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
  3. Mike Hodges, Saturday Night Fever, Stray Dog Theatre
  4. Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Maggie Nold, Kinky Boots, Tesseract Theatre Company
  6. Parker Esse, West Side Story, The Muny (original choreography reproduced)
  7. Denis Jones, Sister Act, The Muny
  8. Luis Salgado, Aida, Stages St. Louis
  9. Patricia Wilcox, Beautiful, The Muny
  10. Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre

BEST MUSICAL DIRECTOR

  1. Colin Healy, Caroline or Change, Fly North Theatricals
  2. James Moore, West Side Story, The Muny
  3. Larry D. Pry, Into the Woods, New Jewish Theatre
  4. Charlie Alterman, Beautiful the Carole King Musical, The Muny
  5. Leah Schultz, Saturday Night Fever, Stray Dog Theatre
  6. David Sonneborn, Million Dollar Quartet, Stages St. Louis
  7. Jason DeBord and Michael Horsley, Chess, The Muny
  8. Leah Schultz, Into the Woods, Stray Dog Theatre

BEST DIRECTOR OF A COMEDY

  1. Steve Bebout, Clue. Stages
  2. Alan Knoll, Broadway Bound, New Jewish
  3. Suki Peters, The Birthday Party, Albion
  4. Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
  5. Lucy Cashion, The Brechtfast Club, ERA
  6. Becks Redman, Gruesome Playground Injuries, The Rep
  7. Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio

BEST DIRECTOR OF A DRAMA

  1. Kate Bergstrom, It’s a Wonderful Life, The Rep
  2. Carey Perloff, The Lehman Trilogy, The Rep
  3. Rebeka Scallet, The Immigrant, New Jewish Theatre
  4. Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
  5. Tom Kopp, The Lion in Winter, The Midnight Company
  6. Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre

BEST DIRECTOR OF A MUSICAL

  1. John Tartaglia, Disney’s Beauty and the Beast. The Muny
  2. Robert Quinlan, Into the Woods, New Jewish Theatre
  3. Josh Rhodes, Chess, The Muny
  4. Brian McKinley, Caroline or Change, Fly North Theatricals
  5. Justin Been, Into the Woods, Stray Dog Theatre
  6. 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

By Lynn Venhaus

Even the most mean-spirited holiday-hater won’t be muttering “Bah! Humbug” after sampling the jolly high-octane hip-hop musical remix of Charles Dickens’ classic because “Q Brothers Christmas Carol” will make them laugh instead.

This unique 80-minute variation makes it easy to be swept up in the merriment, a welcome antidote to the ongoing misery in a turbulent world.

With the recognizable imprimatur of the incredibly talented Q Brothers Collective, those unconventional creatives from the Chicago Shakespeare Theatre, this joyous boogie beat mashes reggae, rap, and epic rock ballads together.

Dickens’ novella was published in 1843 and there have been numerous interpretations in the 180 years since, including Muppets and Disney movies, a rom com with Matthew McConaughey, and musical comedy with Will Ferrell and Ryan Reynolds, not to mention TV shows and specials, and countless stage versions.

This modern madcap romp is a special presentation by the St. Louis Shakespeare Festival in a festively decorated nook of the National Blues Museum downtown. Performances take place from Wednesday through Saturday at 8 p.m. and Saturday at 3 p.m. too, from Nov. 24 to Dec. 23.

Written and directed by GQ, JQ, Jax and Pos of the Q Brothers Collective, they proclaim they make art that rhymes, and they are not slackers in that department, following through with impressively snappy lyrics. Not a ninny-muggins among them.

They bring the same level of rat-a-tat-tat quick-change artistry that characterized their two-hander “Dress the Part” here in the Grove in early 2020. That was locally produced by the Shakespeare fest folks and won several St. Louis Theater Circle Awards when we resumed honoring regional theater post-pandemic in 2022.

If you attended that show, then you know you are in for a special treat.

This don’t-miss variation was developed with Rick Boyton and the music composition is by JQ. It’s such a spirited blend of dance, dubstep, and DJ-spun beats that it has become a holiday tradition on Chicago’s Navy Pier.

Photo by Phillip Hamer.

Spreading goodwill with the rhythms and rhymes, the cast includes Victor Musoni as Jacob Marley, Lil Tim and others; Maya Vinice Prentiss as Bob Cratchit, Ghosts of Past and Present, and others; and Mo Shipley as Oliver, Fred, and others.

Garrett Young, memorable in the aforementioned “Dress the Part,” feigns crotchety as a scowling Scrooge (who can remarkably bust a move). The fleet-footed quartet seem to be in constant motion and grooves in sync to Steph Paul’s kinetic choreography. Perhaps you recall her outstanding designed movements in “The Royale” at the Repertory Theatre of St. Louis in 2017. Mel Bady keeps the jingle jangling as DJ Stank.

The performers are all superb entertainers, with crisp comic timing and engaging personalities. As nimble as a skilled improvisational troupe, you’ll marvel at their energy.

The story follows the familiar tropes of Dickens’ story about a horribly selfish, mean jerk who is redeemed after visits from four ghosts enlighten him on the error of his ways. This script leans into the humor and the heart to connect with an eager-for-adventure crowd.

A delightful surprise is that this supple presentation includes many references to contemporary Christmas movies, songs, and pop culture shorthand. They might not pull out a Red Ryder BB gun, but someone’s tongue is going to wind up on a frozen pole.

The sparkly scenic design by William Attaway is evocative of the Dickensian settings, enhanced by lighting designer Jesse Klug’s moody illumination. Costume designer Erika McClellan, a St. Louis native, has fashioned outfits more street savvy than Victorian era. And Stephen Ptacek’s expert sound design keeps the flow percolating.

Stage Manager Kathryn Ballard, who worked on “Dress the Part,” and assistant Patrick Siler are veterans who know how to keep things fluid, and there isn’t a minute wasted, no draggy middle whatsoever. The show runs without an intermission.

The engaging troupe exudes warmth and a playful attitude. However, if you’re seeking an old-fashioned family-friendly cup of cozy Hallmark comfort, this show is not that. Nor will any phrase be needlepointed onto a throw pillow. The material includes mature themes and adult language, so it’s best enjoyed by ages 12 and up.

For more information, tips on parking and what seasonal cocktails are available at the pop-up bar Club Fezzy: https://stlshakes.org/production/carol.

The 10th Anniversary Shakespeare in the Streets: “The Game’s Afoot,” is happening in Downtown St. Louis Sept. 14, 15 and 16 at the corner of 22nd and Olive, and is free to attend.

“Shakespeare in the Streets: The Game’s Afoot”

Written by Benjamin Hochman (award-winning St. Louis Post-Dispatch sports columnist)Based on Shakespeare’s epic Henriad saga and inspired by true stories of soccer in St. Louis SEP 14- 15, at 8:00 p.m. and SAT, SEP 16 at 6:00 p.m.

On Saturday, following the earlier performance at 6 p.m., Fleur De Noise will lead 300 guests (capacity limited. first come, first serve) across the street into CITYPARK and the Moneta Pitch Club. Fans can enjoy snacks, cash bar and a public watch party of the CITY SC vs. HOUSTON DYNAMOS game. The match begins at 7:30 p.m. Guests must show a wristband to enter CITYPARK, which can only be secured at the performance. Space is limited to the first 300 guests in attendance.

Plus an amazing line-up of soccer legends making a special guest appearance on-stage throughout the weekend, including Olympic Gold Medalist, U.S. National Team members, current CITY2 player and broadcasters. (See full list and schedule below). 

  • Lori Chalupny Lawson (Thursday, 9/14)St. Louis native and current Head Coach for Women’s Soccer at Maryville University. Lori played soccer at the highest level, including a 2015 World Cup Champion and 2008 Olympic Gold Medalist. As a youth, she played for Neirnx Hall and J.B. Marine and is a member of the St. Louis Soccer Hall of Fame. 
  • William “Ty” Keough (Friday, 9/15 & Saturday, 9/16) is a former professional soccer player, Washington University head coach and MLS announcer. He appeared on the U.S. national team in 1979-1980 and qualified for the 1980 Olympic team. He is the son of Harry Keough, who played on the notable 1950 World Cup team.  
  • John Klein III (Saturday, 9/16) – Missouri-native and second-generation St. Louis major leaguer. John signed with CITY 2 in 2023 and made his debut for CITY SC in the game against Sporting KC. He attended Saint Louis University, where he won many accolades during his college career. 
  • Bill “Mr. Soccer” McDermott  (Thursday-Satruday, 9-14-16) – A household soccer name in St. Louis and announcer for St. Louis University soccer since 1972. As a player, Bill competed with greats and as an announcer for 50 years, he’s covered MLS, World Cups, and Olympic games.
  • Fleur De Noise (Thursday-Saturday, 9-14-16) One of the six official supporter groups for CITY SC and the heartbeat of all home games. They’ll bring an original soccer chant to the show.

Cast: Keating (Falstaff), Thomas Patrick Riley (Hotspur), Jack Kalan (Hal), Summer Bear (Angela), and many others. Creative Team: Scott Neale( Set Designer) 5-time Shakespeare in the Park designer, Shavaré (COSTUME DESIGN) and Bryant Powell (Lighting design).  More info at stlshakes.org/soccer

This is the 10th production of Shakespeare in the Streets and love letter to the people who live, work and visit our region. So far, we’ve used the well-known works of Shakespeare as a mirror for residents of Cherokee Street, The Grove, Clayton, Old North, Maplewood, Downtown, 24:1, Brussels (IL), The Ville, Bevo Mill, and now our first non-geographic story, soccer.

A past production. Provided.

We regret to announce that the remaining performances of MERRY WIVES have been canceled due to a knee injury in the company.

We so would have loved to share this wonderful show with all of you in Columbia (IL), Fairground, Ferguson, Maplewood, Hermann and Manchester, but we need to support our artist in their immediate treatment and full recovery.

Thanks to the many of you who shared your well wishes, and to the thousands of you who joined us for the first 15 nights of the show, and a special thank you to each of the 24 partner locations and our generous sponsors.

We hope to see many of you in just three weeks for the 10th anniversary Shakespeare in the Streets production, “The Game’s Afoot” – free in Downtown St. Louis at the intersection of 22nd and Olive on September 14, 15 and 16.

By Lynn Venhaus

Your first clue that we’re not in Missouri anymore is the palm trees jutting out from a swanky home’s backyard pool and patio right here in St. Louis’ own Forest Park.

That au-currant set design by Regina Garcia tips us off that we’re being transported to the vibrant cultural confluence that is a Latin-infused coastal town, aka Illyria (nod to Miami), where romance, music and festive fun are priorities.

Funny, flamboyant, and even frivolous at times, “Twelfth Night” is given a fresh spin by St. Louis Shakespeare Festival that is ideally suited for the outdoor month-long production at Shakespeare Glen.

Considered William Shakespeare’s “greatest comedy,” it’s certainly one of his most accessible – and director Lisa Portes has set it in a modern celebrity-filled metropolis, creating vivid characters and a glitzy vibe.

Portes, who heads the MFA directing program at The Theatre School at DePaul University in Chicago, framed it as an exile story. Her father came over to America from Cuba when he was 15, during the Cuban Revolution.

It’s a tale of young Viola (Gabriela Saker) who is rescued after being shipwrecked, and she believes her twin brother Sebastian (Avi Roque) has succumbed to a tragic fate, lost at sea.

Ryan Garbayo as Malvolio who flips for Olivia. Photo by Phillip Hamer.

After separation, each has reinvented themselves, trying to find their way in a strange new world. Disguising herself as a male, “Cesario,” so she can work for soccer celeb Orsino, Viola discovers love at first sight with the affluent jock, now her boss – and is thrust into a poolside whirlwind journey.

For the most part, a crackerjack ensemble weaves a merry tale of mistaken identities with aplomb.

Scene-stealers Ricki Franklin, funny as the loud party girl Dame Toby (a gender switch from Sir Toby Belcher), and Cassidy Flynn, reminiscent of comic actor Charlie Day in his chaotic antics as Sir Andrew Aguecheek, are standouts. As the obnoxious ringleaders of revelry, they elicit shrieks of laughter from the engaged crowd.

Unfortunately, the cast was uneven early in the run (on June 2), and there are a few trouble spots (chalk it up to the demands of a large outdoor show?). Orsino is supposed to be a robust figure, yet Felipe Carrasco, who physically looked the part, seemed rather nondescript in the role.

Feste, the fool, is usually wacky on stage, and Esteban Andres Cruz is daffy in demeanor, but the downfall here was that they were flat and offkey singing some of the Latin-infused melodies, including a pitchy duet with Viola. However, they projected a flashy personality in the costumes designed by Danielle Nieves.

Nevertheless, the instrumental rhythms arranged by Music Director David Molina, including traditional Latin songs with contagious beats, was superbly performed by band leader Phil Gomez and Clave Sol (Gomez on piano, Tung on bass, Thor Anderson on Congas and Herman Semidey on timbales and percussion). Molina was the sound designer as well.

Photo by Phillip Hamer

With such a glamorous setting, of course Nieves’ costumes would reflect a hot and hip attitude, and none more so than Jasmine Cheri Rush, who looks and moves like Beyonce.

Her comical outfitting of a lovesick Malvolio (a delightful Ryan Garbayo) is one of the evening’s biggest laughs.

Alisha Espinosa as Maria, Adam Flores as Fabian, and Christina Rios as Captain offer fine support as Olivia’s team (Rios also returns as a priest), while Adam Poss plays Valentine and Femi Aiyesgbusi is Curio, two of Orsino’s attendants. Poss also plays Antonio, who falls in love with Sebastian after rescuing him.

The coupling – Antonio loves Sebastian, Viola loves Orsino, Orsino loves Olivia, Malvolio loves Olivia, and Olivia loves Roderigo (aka Sebastian) – gets very complicated with the mistaken identities and unrequited love (which, if seem familiar, are plot threads copied from Shakespeare for centuries). It might be helpful to read the large graphics board set up on the grounds to explain the players and what happens.

Olivia and Viola aka “Cesario”

As Shakespeare once wrote in another play, all’s well that ends well, and love is love – and indeed will eventually triumph in certain cases.

The sleek designs – John Wylie’s cool lighting really makes the set pop – amplify the culture and community for a most pleasant summer evening.

The expressed joie de vivre makes this one of the liveliest Shakespeare in Forest Park productions in tone and tempo, and its heartfelt message about acceptance and identity a hopeful takeaway.

St. Louis Shakespeare Festival presents the comedy “Twelfth Night” Tuesdays through Sundays at 8 p.m. except on Mondays, from May 31 to June 25, in Shakespeare Glen in Forest Park. (Across from the Art Museum). The grounds open at 6:30 p.m., and the show is 2 hours, 30 minutes, with an intermission. For more information, www.stlshakes.org.


Orsino and bodyguard. Photo by Phillip Hamer.

ST. LOUIS THEATER CIRCLE AWARDS RETURN FOR IN-PERSON GALA APRIL 3, 2023

TO HONOR OUTSTANDING WORK IN LOCAL PROFESSIONAL THEATER IN 2022

The Muny leads with 21 nominations, Stages St Louis has 19, The Black Rep 17 and Stray Dog Theatre 15

First In-Person Gala Since 2019 Due to Coronavirus Pandemic

ST. LOUIS, February 6, 2023 – After a four-year hiatus of not holding an in-person ceremony due to the coronavirus pandemic in 2020 through 2022, the St. Louis Theater Circle Awards will return April 3, 2023  in a ‘live’ ceremony beginning at 7 p.m. at the Loretto-Hilton Center on the campus of Webster University. The previous two events were streamed online by HEC Media.

Tickets at $23 apiece will soon be available at the box office of The Repertory Theatre of St. Louis at www.repstl.org or 314-968-4925, and also at the box office one hour before the ceremony.

Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar years 2022. Approximately 90 productions have been considered for nominations for this year’s event. This compares to roughly 120 productions normally considered in one year alone prior to the pandemic.

Three productions – “Chicago” at The Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre – were ineligible because the same production was presented within the last three years at the respective venues.

Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin will be honored with a special award for lifetime achievement.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.  A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021.

The nominees for the 10th annual St. Louis Theater Circle Awards are:

Bronte Sister House Party, SATE. Photo by Joey Rumpell

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 

Cassidy Flynn, “Brontë Sister House Party,” SATE 
Hannah Geisz, “The Lonesome West,” West End Players Guild 
Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company 
Bess Moynihan, “Brontë Sister House Party,” SATE 
Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 

Ted Drury, “The Lonesome West,” West End Players Guild 
Joel Moses, “Brontë Sister House Party,” SATE 
Bradley Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Chauncy Thomas, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Eric Dean White, “Hand to God,” St. Louis Actors’ Studio 

Molly Burris, Dear Jack Dear Louise

Outstanding Performer in a Comedy, Female or Non-Binary Role 

Colleen Backer, “Hand to God,” St. Louis Actors’ Studio 
Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre 
Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Claire Karpen, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Rachel Tibbetts, “Brontë Sister House Party,” SATE

Jeff Kargus, Jason Meyers, “The Lonesome West” Photo by John Lamb

Outstanding Performer in a Comedy, Male or Non-Binary Role 

Mitchell Henry-Eagles, “Hand to God,” St. Louis Actors’ Studio 
Jeff Kargus, “The Lonesome West,” West End Players Guild 
Ryan Lawson-Maeske, “Dear Jack, Dear Louise,” New Jewish Theatre 
Jason Meyers, “The Lonesome West,” West End Players Guild 
Stanton Nash, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Joe Clapper, Behind the Sheet, Photo by Philip Hamer

Outstanding Lighting Design in a Play 

Amina Alexander, “Stick Fly,” Repertory Theatre of St. Louis 
Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Joe Clapper, “Behind the Sheet,” The Black Rep 
Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep 
John Wylie, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Outstanding Sound Design 

Lamar Harris, “Behind the Sheet,” The Black Rep 
Pornchanok (Nok) Kanchanabanca, “House of Joy,” Repertory Theatre of St. Louis 
Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep 
Rusty Wandall, Kareem Deanes, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Amanda Werre, “Dear Jack, Dear Louise,” New Jewish Theatre

Joel Moses in “Laughter on the 23rd Floor,” New Jewish Theatre, Photo by Jon Gitchoff

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Liz Henning, “Brontë Sister House Party,” SATE 
Liz Henning, “Rodney’s Wife,” The Midnight Company 
Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis 
Michele Friedman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre

Outstanding Set Design in a Play 

Dahlia Al-Habieli, “House of Joy,” Repertory Theatre of St. Louis 
Dunsi Dai, “Dear Jack, Dear Louise,” New Jewish Theatre 
Bess Moynihan, “Rodney’s Wife,” The Midnight Company 
Kyu Shin, “Stick Fly,” Repertory Theatre of St. Louis 
Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival 

Riley Carter Adams, right, The Bee Play, New Jewish Theatre. Photo by Jon Gitchoff.

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 

Riley Carter Adams, “The Bee Play,” New Jewish Theatre 
Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre 
Rachel Hanks, “The Christians,” West End Players Guild 
Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company 
Sumi Yu, “House of Joy,” Repertory Theatre of St. Louis 

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 

Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep 
Joseph Garner, “The Christians,” West End Players Guild 
Michael James Reed, “Proof,” Moonstone Theatre Company 
Joey Saunders, “The Normal Heart,” Stray Dog Theatre 
Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre

Summer Baer, Michael James Reed “Proof,” Moonstone Theatre Company.

Outstanding Performer in a Drama, Female or Non-Binary Role 

Summer Baer, “Proof,” Moonstone Theatre Company 
Lavonne Byers, “Good People,” Stray Dog Theatre 
Kelly Howe, “Rodney’s Wife,” The Midnight Company 
Chinna Palmer, “Behind the Sheet,” The Black Rep 
Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater

Outstanding Performer in a Drama, Male or Non-Binary Role 

Kevin Brown, “Jitney,” The Black Rep 
Jeff Cummings, “Behind the Sheet,” The Black Rep 
Olajuwon Davis, “Jitney,” The Black Rep 
Joel Moses, “The Christians,” West End Players Guild 
Stephen Peirick, “The Normal Heart,” Stray Dog Theatre 

“Jitney,” The Black Rep, Phillip Hamer photo

Outstanding New Play 

“Bandera, Texas,” by Lisa Dellagiarino Feriend, Prism Theatre Company 
“Brontë Sister House Party,” by Courtney Bailey, SATE 
“The Good Ship St. Louis,” by Philip Boehm, Upstream Theater 
“Roll With It!” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre Company 
“Winds of Change,” by Deanna Jent, St. Louis Shakespeare Festival

Outstanding Achievement in Opera 

Daniela Candillari, “Carmen,” Opera Theatre of Saint Louis 
Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis 
Karen Kanakis, “La Rondine,” Winter Opera Saint Louis 
Robert Mellon, “Falstaff,” Union Avenue Opera 
Sarah Mesko, “Carmen,” Opera Theatre of Saint Louis

Union Avenue Opera’s production of A Little Night Music on August 17, 2022.

Outstanding Production of an Opera 

“Awakenings,” Opera Theatre of Saint Louis 
“Falstaff,” Union Avenue Opera 
“The Gondoliers,” Winter Opera Saint Louis 
“Harvey Milk,” Opera Theatre of Saint Louis 
“A Little Night Music,” Union Avenue Opera

Outstanding Musical Director 

Cullen Curth, “Jerry’s Girls,” New Jewish Theatre 
Jermaine Hill, “The Color Purple,” The Muny 
Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis 
James Moore, “Sweeney Todd,” The Muny 
Andrew Resnick, “The Karate Kid – The Musical,” Stages St. Louis 

The Karate Kid – The Musical, Phillip Hamer photo.

Outstanding Choreographer 

Dena DiGiacinto, “A Chorus Line,” Stages St. Louis 
Keone and Mari Madrid, “The Karate Kid – The Musical,” Stages St. Louis 
Patrick O’Neill, “Mary Poppins,” The Muny 
Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 

Tami Dahbura, “In the Heights,” Stages St. Louis 
Melissa Felps, “Something Rotten!” New Line Theatre 
Nicole Michelle Haskins, “The Color Purple,” The Muny 
Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre

Marshall Jennings, Melissa Felps “Something Rotten!” New Line Theatre

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 

Luis-Pablo Garcia, “In the Heights,” Stages St. Louis 
Clayton Humburg, “Something Rotten!” New Line Theatre 
Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre 
Marshall Jennings, “Something Rotten!” New Line Theatre 
Jordan Wolk, “Assassins,” Fly North Theatricals

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre 
Bradley King, “The Karate Kid – The Musical,” Stages St. Louis 
John Lasiter, “Sweeney Todd,” The Muny 
Sean M. Savoie, “A Chorus Line,” Stages St. Louis 
Sean M. Savoie, “In the Heights,” Stages St. Louis

“In the Heights,” Stages St. Louis, Photo by Phillip Hamer.

Outstanding Set Design in a Musical 

Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Anna Louizos, “In the Heights,” Stages St. Louis 
Derek McLane, “The Karate Kid – The Musical,” Stages St. Louis 
Michael Schweikardt, “Sweeney Todd,” The Muny 
Josh Smith, “Ride the Cyclone,” Stray Dog Theatre

Outstanding Costume Design in a Musical 

Eileen Engel, “A Little Night Music,” Stray Dog Theatre 
Eileen Engel, “Assassins,” Fly North Theatricals 
Samantha C. Jones, “The Color Purple,” The Muny 
Brad Musgrove, “In the Heights,” Stages St. Louis 
Alejo Vietti, “Sweeney Todd,” The Muny 

Anastacia McCleskey, “The Color Purple,” Phillip Hamer photo.

Outstanding Performer in a Musical, Female or Non-Binary Role 

Carmen Cusack, “Sweeney Todd,” The Muny 
Jeanna De Waal, “Mary Poppins,” The Muny 
Eileen Engel, “Ride the Cyclone,” Stray Dog Theatre 
Melissa Felps, “Urinetown,” New Line Theatre 
Anastacia McCleskey, “The Color Purple,” The Muny 

Outstanding Performer in a Musical, Male or Non-Binary Role 

Ryan Alvarado, “In the Heights,” Stages St. Louis
Corbin Bleu, “Mary Poppins,” The Muny 
Ben Davis, “Sweeney Todd,” The Muny 
Stephen Henley, “Assassins,” Fly North Theatricals 
Jovanni Sy, “The Karate Kid – The Musical,” Stages St. Louis

Stephen Henley, The Balladeer, Fly North Theatricals.

Outstanding Ensemble in a Comedy 

“Brontë Sister House Party,” SATE 
“Heroes,” Albion Theatre 
“Laughter on the 23rd Floor,” New Jewish Theatre 
“A Midsummer Night’s Dream,” St. Louis Shakespeare Festival 
“Much Ado About Nothing,” St. Louis Shakespeare Festival 

Outstanding Ensemble in a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“The Christians,” West End Players Guild 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

The Christians, West End Players Guild, Photo by John Lamb

Outstanding Ensemble in a Musical 

“The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
“A Chorus Line,” Stages St. Louis 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Sweeney Todd,” The Muny

Outstanding Director of a Comedy 

Robert Ashton, “The Lonesome West,” West End Players Guild 
Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre 
David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Keating, “Brontë Sister House Party,” SATE 
Bruce Longworth, “Much Ado About Nothing,” St. Louis Shakespeare Festival

“Rodney’s Wife,” The Midnight Company, Photo by Joey Rumpell

Outstanding Director of a Drama 

Gary F. Bell, “The Normal Heart,” Stray Dog Theatre 
Joe Hanrahan, “Rodney’s Wife,” The Midnight Company 
Ron Himes, “The African Company Presents Richard III,” The Black Rep 
Ron Himes, “Behind the Sheet,” The Black Rep 
Ellie Schwetye, “The Christians,” West End Players Guild 

Outstanding Director of a Musical 

Lili-Anne Brown, “The Color Purple,” The Muny 
Scott Miller, “Something Rotten!” New Line Theatre 
Bradley Rohlf, “Assassins,” Fly North Theatricals 
Rob Ruggiero, “Sweeney Todd,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

“Much Ado About Nothing,” St Louis Shakespeare Festival

Outstanding Production of a Comedy 

“Brontë Sister House Party,” SATE 
“Dear Jack, Dear Louise,” New Jewish Theatre 
“The Lonesome West,” West End Players Guild                   
“Much Ado About Nothing,” St. Louis Shakespeare Festival 
“The Rose Tattoo,” Tennessee Williams Festival St. Louis

“The African Company Presents Richard III,” The Black Rep, Photo by Phillip Hamer

Outstanding Production of a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“Good People,” Stray Dog Theatre 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

Outstanding Production of a Musical 

“Assassins,” Fly North Theatricals 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Ride the Cyclone,” Stray Dog Theatre 
“Sweeney Todd,” The Muny

“Ride the Cyclone,” Stray Dog Theatre, Photo by John Lamb

Special Award 

Joan Lipkin, for lifetime achievement 

Joan Lipkin

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Bob Cohn (St. Louis Jewish Light); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on the Aisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

By Lynn Venhaus
What’s Poppin’ this Saturday? Here are our Popster Picks for the Bi-State Area (and beyond):

Live Theater: “Winds of Change” in Bevo Mill, presented by St. Louis Shakespeare Festival. Free. LAST NIGHT.

One of my favorite things to do every September, Shake in the Streets this year is in my old stomping grounds. This year’s show is a delightful mix of music and comedy, performed with humor and heart.
It starts at 8 p.m. and will end about 9:20 p.m., without an intermission. There is local food and drink around the area, and it’s recommended that you come early. This is the last night, for it was performed Sept. 22 and 23 too.
The play, written by Deanna Jent, uses The Bard’s “The Comedy of Errors” as a foundation for a story on Bosnian immigrants’ contributions to St. Louis, is part of the “Shakespeare in the Streets” annual program. Come to the intersection of Gravois and Morganford, bring a lawn chair, and enjoy the spirited neighbors who love the transformed south city enclave. Lots of laughs and whoops from appreciative crowd (300 on opening night Thursday!)
Directed by Adam Flores, it features Ashwini Arora, Milly Burris, Hannah Geisz, Noah Later, Hady Matta, Youssef Matta, Colin McLaughlin, Brenda Morrison, Christina Rios, Rosario Rios-Kelley, Carly Uding and local denizens Father Mitch (Doyen, pastor of St. John the Baptist and Mark and Joani Akers of Oasis International. Edo Maajka plays the accordion and Nadja Kapetanovich performs a lullaby, “Nini Sine, Spavaj Sine.”
KTK Productions humorously explains the history of the Bevo Mill — Bill Bush, Aileen Kidwell, Chris Kidwell, Matthew Lewis, Jake Singer and Mike Singer III.
It took an army of folks to make the outdoor presentation happen. Kudos to producing artistic director Tom Ridgely, music direction and composition by Colin McLaughlin, music composition by Noah Laster, stage manager Kathryn Ballard, KTK Productions chair Joe McKenna, assistant director Miranda Jagels Felix, producer Colin O’Brien, set designer Dunsi Dai, costume designer Michele Friedman Siler, and lighting designer M. Bryant Powell.

Natalie Wood and James Dean in “Rebel Without a Cause”

TV: “Rebel Without a Cause” on PBS Ch. 9, 9 p.m.
James Dean, Sal Mineo and Natalie Wood gained stature for their roles as conflicted suburban middle-class teenagers in this 1955 American coming-of-age drama directed by Nicholas Ray, shot in the recently introduced CinemaScope format. It opened on Oct. 27, almost a month after top-billed Dean’s tragic death in a car accident on Sept. 30. It’s his most celebrated role, and followed his Oscar nominated performance in “East of Eden.”

Offering social commentary, it was considered groundbreaking for depiction of moral decay, delinquents, parenting and generational gaps. After all, it was adapted from Robert M. Lindner’s 1944 book, “Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath.”

Mineo, Wood and Ray all received Oscar nominations. In 1998, it was ranked #59 on AFI’s Hundred Years…Hundred Movies.

Fun Fact: The most famous line: “You’re tearing me apart” was lifted by writer-director-actor Tommy Wiseau for his 2003 cult film “The Room” (the worst movie I have ever seen, and also one of the most unintentionally funny movies).

Movie: “Sidney” streaming on Apple TV Plus.
The 2022 documentary “Sidney” on the great Sidney Poitier, directed by East St. Louis native Reginald Hudlin and produced by Oprah Winfrey. You’ll hear from Sidney, his family, friends, filmmakers and fans for an indelible portrait of the artist — as a movie star, mentor and activist.
I reviewed the film on KTRS (“Mueller Furniture Presents Lynn Venhaus Goes to the Movies”) Thursday with St. Louis In the Know host Ray Hartmann. Here’s the audio: https://soundcloud.com/550ktrs/itk-lynn-venhaus-gttm-9-22-22?in=550ktrs/sets/rayhartmann

Stay tuned for an interview with Reginald Hudlin, coming soon in Belleville News-Democrat. I talked to the filmmaker Friday via Zoom.

Fun Fact: “In the Heat of the Night” was partially filmed in Sparta, Ill., which subbed for Sparta, Miss., and both Sidney Poitier and Rod Steiger stayed in Belleville during the film of the 1967 film, which went on to win the Oscar for Best Picture (and Best Actor Steiger) in 1968.

Happening: Taste of St. Louis, Sept. 23-25, Ballpark Village, Free and open to the public.
Want to try Boardwalk Ice Cream and Waffles, Chicken Out, Hi-Pointe Drive-In, Kimchi Guys, Mission Taco Joint, Salt + Smoke, Steve’s Hot Dogs and Under the Sun SnoCones? Locally based brick and mortar food establishments can participate in Sauce Magazine’s Restaurant Row. There’s live music and other vendors that are part of the festivities. More info: https://tastestl.com

Fun Fact: On this day in 1952, Kentucky Fried Chicken opened its first franchise in Salt Lake City, Utah.

The Machine, El Hombre, Uncle Albert.

ICYMI Cardinals Nation: No. 5

Can’t get enough of Albert Pujols‘ magical night Sept. 23? Check out coverage on the St. Louis Cardinals MLB site: https://www.mlb.com/cardinals (and a wrap-up article on this website).

Fun Fact: On this day in 1922, St Louis Cardinals future Baseball Hall of Fame infielder Rogers Hornsby set the National League Home Run mark at 42. That season, he also had 52 RBI’s, a .401 average and 450 total bases.

Millie Bobby Brown

Latest Trailer to Watch: “Enola Holmes 2”
Millie Bobby Brown is back in another adventure as Sherlock Holmes’ teenager sister in the sequel dropping on Netflix Nov. 4. Enola takes on her first case as a detective, but to unravel the mystery of a missing girl, she’ll need some help from friends — and her brother.

Also starring Henry Cavill, Helena Bonham Carter, Louis Partridge, Adeel Akhtar, David Thewlis, Susan Wokoma and Sharon Duncan-Brewster.


https://youtu.be/KKXNmYoPkx0

Playlist: Nirvana, “Smells Like Teen Spirit.”
Listen on Apple Music: https://music.apple.com/us/album/smells-like-teen-spirit/1440783617?i=1440783625
On this day in 1991, Nirvana released its second album, “Nevermind.”
A critical and commercial success, by January 1992, it had reached no. 1 on the US Billboard 200 chart and this lead single has been inducted into the Grammy Hall of Fame. The album garnered three Grammy Awards nominations and has sold more than 30 million copies, considered one of the best albums of all-time.
Frontman Kurt Cobain was dubbed “voice of his generation,” and the album brought grunge and alternative rock to the mainstream.


By Lynn Venhaus

What treasures St. Louis Shakespeare Festival and our bi-state area public parks are! We are so fortunate to have such forward thinkers in our midst.

And because of these creative souls, ta-da! – we have a late summer treat in the form of a delightfully entertaining, high-energy Afrocentric interpretation of “A Midsummer Night’s Dream” with original music.

During August, the TourCo has been crossing rivers and county lines, going into both rural and urban areas, and providing access to the arts that these neighborhoods may not have otherwise. It’s a beautiful thing to be a part of –and the show is unlike anything you have seen before.

Six perspicacious performers present one of Shakespeare’s most beloved comedies by taking on multiple roles as young lovers, close-minded royal parents, mischievous fairies, and a goofy troupe of traveling actors on their way to perform at the Duke of Athens’ wedding.

The multi-talented Tre’von Griffith has directed with a clear vision, making the confusion and disorder lucid, showing us how love and joy win out in the end. Assistant director was Cameron Jamarr Davis.

The fleet-footed six dance and sing with a great deal of zest. Their spirited delivery spreads the fun by involving the audience, and it’s wonderful to see that connection. Stage Manager Britteny Henry makes sure everything moves swiftly.

That famous line: “The course of true love never did run smooth” is in this play, and that’s the crux. In Athens, Hermia is promised to Demetrius but loves Lysander. Meanwhile, Helena, Hermia’s best friend, loves Demetrius. It gets complicated when spells are cast in a magical forest, for fairies get mixed up in the romances when love potions are used on the wrong people.

A life force, Tiélere Cheatem plays Helena, Hippolyta (queen of the Amazons) and Peter Quince, and it is a graceful site, such lovely physicality to watch. Rae Davis excels as Hermia, Tom Snout and Titania (queen of the fairies), and the amusing Ricki Franklin easily switches from Demetrius to the goofball Nick Bottom – a cartwheel! — while Asha Futterman nimbly does double duty as Theseus (Duke of Athens) and Oberon (king of the fairies). Mel McCray is an agile Lysander and Francis Flute, and Christina Yancy is spry alternating as Egeus (Hermia’s father), Snug, Robin, and Puck.

Everyone should leave with a smile on their face and a song in their hearts.

Griffith, known as Tre-G, is a gifted artist and composer from St. Louis who graduated from the prestigious Berklee School of Music in Boston with a bachelor’s degree in music business and management. His original music enlivens the pared-down play – and the beat is contagious in getting the crowd into the show.

The imaginative costumes by local designer Brandin Vaughn are whimsical and cleverly separate the characters – and Cheatem rocks whatever he is wearing with great style.

Laura Skroska crafted a production design that is interesting, portable, and quick to assemble in all kinds of outdoor spaces.

So, what are you waiting for? You must make time to spend 90-minutes in its final free evening programs.

Originally scheduled for 24 shows, four remain (Aug. 24 – Jones Water Park in East St. Louis, Aug. 25 – Shaw Park in Clayton, Aug. 26 – Chroma Plaza in the Grove, Aug. 27 – Hermann, Mo., and final night is Tuesday, Aug. 30, the rescheduled Tower Grove Park performance, which had been rained out.

The show starts at 6:30 p.m. and ends at 8 p.m. Bring your own chair or blanket. Guests can bring their own food and drink, and some sites sell items, too.

Go!

Live theater has enriched my life immeasurably, and one of the best experiences is to witness a production outside with an audience of all ages and walks of life. Connecting with others through the arts is one of life’s greatest pleasures.

One summer night growing up in Belleville, Ill., the neighborhood public school put on a version of “Tom Sawyer” on their grounds. I recall benches were placed in an alcove, but I don’t remember what age the cast members were — all I know was I was entranced. This was in the mid-1960s, and as the oldest of five kids raised by a single mom, we had very little money for extra things. The arts opened a whole new world.

Free theater! I never forgot that opportunity, and throughout my previous life staging shows outside, I marveled at the melding of art and the outdoors – it seemed so natural.

(And later, I’d realize how much work they were – moving everything outside! But I digress…And fun fact, a local professional actor who often is part of the big summer show in Shakespeare Glen was in that grade school play I saw. Small world, full circle, six degrees…and so forth).

I have been fortunate to review the festival since 2013, and one of my favorites was “A Midsummer Night’s Dream” the summer of 2016. It was so inspired and playful. This one, too, is doused in fairy dust. While it helps to know the basics, really the way they prepare the show makes it easy to follow for all of us.

Because my June schedule prevented me from coming earlier, I headed to the picturesque village of Brussels, Ill., population 112, on Sunday, Aug. 21, a place I hadn’t been to in 25 years! In the fall of 1997, I had taken my two sons hiking in Pere Marquette State Park and we took the Brussels Ferry across the Illinois River. This time, now living in St. Louis, I drove to St. Charles and crossed the Mississippi River on the Golden Eagle Ferry.

Winding through the narrow roads of Calhoun County, I found the town center on Main Street – and saw folks in lawn chairs at Heritage Park, enjoying the pleasant sunny day and festive spirit. The music and the likable performers were engaging everyone, and Community Engagement Manager Adam Flores warmly welcomed those gathered.

It was such a joyous communal experience – and to see people coming up to the performers afterwards to say how much they enjoyed it, well, what’s better? (And we had time to get to the ferry as twilight fell!).

The St. Louis Shakespeare Festival started fostering community and continuing the Shakespearean tradition of art for all in 2001, when they first presented a free show for two weeks in Forest Park – “Romeo and Juliet.” Now a month long in Shakespeare Glen that attracts thousands, the free event is the start to summer for many St. Louisans.

St Louis Shakes doesn’t end with the big show – which was the fun and funny “Much Ado About Nothing” this June – because the TourCo works their summer magic throughout the region, and come September, we have the annual free Shakespeare in the Streets to look forward to – and this year, it’s in my old neighborhood of Bevo Mill, at the intersection of Morgan Ford Road and Gravois Avenue Sept. 22-24.

The focus will be on our thriving immigrant population in the city’s southside. Deanna Jent, who did so much work with the Bosnian Project through Fontbonne University, has written this Shakespeare adaptation with them in mind.

This December, the one and only Q Brothers Collective will present their version of “A Christmas Carol.” Winner of multiple St. Louis Theater Circle Awards for their hilarious “Dress the Part” two-hander in the ‘before times’ of early 2020, I’ve heard their audio version – courtesy of the walking tour in the Central West End in the pandemic wintertime of 2020 — and I’m ready to see their fresh take at the National Blues Museum Nov. 25-Dec. 23.

You won’t want to miss any of it.

For more information, visit www.stlshakes.org.

Guests are encouraged to call ahead to the Box Office (314-287-3348) with any park accessibility questions for the tour date they plan to attend.

It is always their hope to perform, so the decision to hold or cancel the show is rarely made before showtime (6:30 pm). In the event of bad weather, the performance may be delayed. Check social @stlshakesfest across platforms for updates or call 314•287•3348.

The Festival’s 20-year-old touring program returns for the second time as the free and outdoor public park tour, TOURCO, throughout Missouri and Illinois with A Midsummer Night’s Dream. The production will be directed by Tre’von Griffith, St. Louis/NYC-based theater artist, composer and founder of WerQfest also known as Tre-G, and featuring costumes by acclaimed local fashion designer Brandin Vaughn. This 90-minute highly musical afro-futurist adaptation will play in 24 different locations August 2-27 starting on opening night at Kiener Plaza in the heart of downtown St. Louis.

“It’s family-friendly. It’s fun. It’s completely free to attend. And it’s coming to a park near you.” – Director Tre-G.

Cast includes:
Tiélere Cheatem … Helena/Hippolyta/Peter Quince
Rae Davis … Hermia/Tom Snout/Titania
Ricki Franklin … Demetrius/Nick Bottom
Asha Futterman … Theseus/Oberon
Mel McCray … Lysander/Francis Flute
Christina Yancy … Egeus/Snug/Robin/Puck

The Cast

Frequently Asked Questions:

WHAT TIME IS THE PERFORMANCE?

  • 6:30 PM – 8:00 P.M. Central Time

HOW CAN I ATTEND?

  • TourCo is free and open to everyone, no reservations are required. Seating is first come first serve. Bring your own chairs or blankets. All ages welcome. 
  • Find the location closest to you: https://bit.ly/3yn393j

WHAT NIGHT ARE THE PERFORMANCES?

  • There are performances nightly Tuesday-Sunday. There is no show on Monday. 

ACCESSIBILITY

  • Audio Descriptions will be provided by Mind’s Eye Radio on August 3 at Tower Grove Park
  • ASL Interpretation will occur on August 26 at Chroma Plaza

Guests are encouraged to call ahead to the Box Office (314-287-3348) with any Park accessibility questions for the tour date they plan to attend. 

ARE PETS ALLOWED?

Yes! Well-behaved and leashed pets are allowed at all performances. 

FOOD & DRINK OPTIONS

Guests can bring their own food and drink. Select sites will have vendors as noted. 

RAIN POLICY

It is always our hope to perform, so the decision to hold or cancel the show is rarely made before showtime (6:30 pm). In the event of bad weather, the performance may be delayed. Check social @stlshakesfest across platforms for updates or call 314•287•3348.

Schedule:

TUE AUG 2Kiener Plaza500 Chestnut St,. St. Louis, MO
WED AUG 3Tower Grove Park [AD]4257 Northeast Drive, St. Louis, MO
THU AUG 49 Mile Garden9355 Gravois Ave, Affton, MO 63123
FRI AUG 5Etzel Heights SubdivisionSparta Ct and Robert Powell Pl, St. Louis, MO
SAT AUG 6Bellevue Park401 Bellevue Park Dr, Belleville, IL
SUN AUG 7Fairground Park3715 Natural Bridge Ave, St Louis, MO
TUE AUG 9Crown Square (Old North)1400 St. Louis Ave, St. Louis, MO
WED AUG 10O’Day Amphitheater1000 O’Day Park Dr, O’Fallon, MO
THU AUG 11Schroeder Park359 Old Meramec Station Rd, Manchester, MO
FRI AUG 12Love Bank Park2851 Cherokee St, St Louis, MO
SAT AUG 13Harney Mansion Grounds332 S Mansion St, Sullivan, MO
SUN AUG 14Pomme Creek Park1 Golfview Dr, Arnold, MO
TUE AUG 16Schlalfy Bottleworks7260 Southwest Ave, Maplewood, MO
WED AUG 17Carondelet ParkLoughborough Dr and Field, St. Louis, MO
THU AUG 18Chesterfield Amphitheater631 Veterans Pl Dr, Chesterfield, MO
FRI AUG 19City Park101 S Buchanan, Edwardsville, IL
SAT AUG 20January-Wabash Park501 N Florissant Rd, Ferguson, MO
SUN AUG 21Heritage Park131 Illinois River Rd, Brussels, IL
TUE AUG 23Fountain ParkFountain Ave & N. Euclid Ave. St. Louis, MO
WED AUG 24Jones Water Park2600 Caseyville Ave, East St. Louis, IL
THU AUG 25Shaw Park27 S Brentwood Blvd, Clayton, MO
FRI AUG 26Chroma Plaza [ASL]4041 Chouteau Ave, St. Louis, MO
SAT AUG 27Hermann Farm526 E 1st St Hermann, MO
Schedule

For more information, contact Allie at allie@stlshakes.org or call 314-287-3348.