By Lynn Venhaus A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.
As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.
In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.
The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.
It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.
Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.
Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).
The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.
Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.
When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.
Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.
As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.
The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.
It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .
Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.
A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.
Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.
This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.
Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.
ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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
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 (LadueNews); 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 theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
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.
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.
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!
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.
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.
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.
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.
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.
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
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.
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)
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
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A social satire is not fulfilling its goal if it doesn’t outrage somebody, and “Sister Mary Ignatius Explains It All for You” is certainly provocative.
Stray Dog Theatre’s production pushes buttons, even though the show is now 43 years old. Wickedly funny, bold and acrimonious, the company wisely played it straight.
But you won’t find protesters outside Tower Grove Abbey. This time at least. Stray Dog Theatre isn’t a group that shies away from controversial subject matter and has presented bold and unconventional fare before. (For instance, this year alone, Charles Busch’s campy satire “Vampire Lesbians of Sodom” was the June show).
Christopher Durang’s watershed 1979 play takes aim at Roman Catholic dogma, and specifically, a rigid teaching nun for her over-reaching and unchecked abuse of power.
For his absurdist comedy, he mocked the nuns as authority figures. Apparently, he had a lot of anger from being raised Catholic. With identity and sexual disorientation being among his frequent themes, of course he channeled it all in this script.
As a graduate of Our Lady of Peace School in Providence, New Jersey, Durang no doubt stored material as he matriculated there, and went on to Harvard and Yale School of Drama. He also won the Obie Award for Best Playwright in 1980, at age 32, for this work. (Much later, he won a Tony for “Vanya and Sonia and Masha and Spike” in 2012).
“Sister Mary Ignatius” brought him to national prominence and raised the ire of St. Louis Catholics. If you think Billy Joel’s song “Only the Good Die Young” caused a ruckus in the St. Louis Archdiocese in 1977, well they went ballistic when the Theatre Project Company announced they would be presenting the black comedy in 1983. Thirty years ago, the archbishop condemned it, and protests ensued.
But these days, after years of clergy being unfavorably in the spotlight, and nuns as characters in both comedies and dramas, “Sister Mary Ignatius” isn’t the lightning rod it once was. And Catholics have other things more pressing to worry about – although being traumatized by a religious order should remain high on the list.
The one-act starts out with a conventional structure but then meltdowns begin. Sister Mary Ignatius, played with utmost conviction by Sarajane Clark, is still teaching children about the perils of sin and hellfire when several alumni – mostly hot messes — come for a visit. When she finds out how far these members of her flock have strayed from the path of righteousness, well let’s just say there are some shocking consequences.
Tables turn, and it isn’t pretty. Director Gary F. Bell stages it as an absurdist horror film.
Rachel Bailey is the emotionally wounded Diane Symonds, who threatens Sister’s life. Eileen Engel is Philomena, an unwed mother, Stephen Henley is Gary, polite and gay, with Sean Seifert as Aloysius, a troubled alcoholic. They’re all genuine on stage, veterans that they are.
Sister’s obedient little Thomas is played with poise by youngster Tommy Pepper, who misses the violence on stage.
Anyone who went to a parochial school will be reminded of catechism teachings and how rigid certain nuns were.
Sister Mary Ignatius is an extreme example, but there are nuggets of truth in this mischievous manifesto. The sharp satire makes for some uncomfortable and awkward moments, so folks are warned in case there would be triggers.
Stray Dog Theatre presents “Sister Mary Ignatius Explains It All for You” for mature audiences Thursday through Saturday at 8 p.m. Nov. 30 – Dec. 16. For tickets or for more information, visit www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.
The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.
To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.
This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)
When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).
The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.
The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.
This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.
Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.
And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.
Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.
The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.
The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.
Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they bring her four ingredients: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” – in three days’ time, she will reverse the infertility curse.
Thus commences a long and winding path through the woods.
It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.
The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.
Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.
Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.
O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.
Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.
Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.
Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.
Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.
Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).
The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.
Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.
NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.
C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.
Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.
New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).
Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Ah, the rose-colored glasses that we view our youth through can differ, depending on what generation, but one thing we have in common: the nostalgia for the music we came of age listening to, whether it was the Boy Bands of the late ‘90s, the MTV New Wave in the ‘80s, the British Invasion of the ‘60s or the short-lived disco-dance craze of the 1970s.
Today’s electronic dance music has roots in those syncopated rhythms that topped the charts some 45 years ago. If you were ever grooving to up-tempo hits at a nightclub, then the stage musical version of the 1977 cultural phenomenon film, “Saturday Night Fever,” is for you.
The jukebox musical, adapted in 1998 for London’s West End, which made it to Broadway the next year, features the legendary hits from the Bee Gees, plus other classic disco tracks – who can forget The Trammps’ “Disco Inferno” — “burn that mother down.” Most of the time the actors sing the chart-toppers.
Providing many funky sounds of the day is live-wire Chris Moore as the Afro-coiffed DJ Monty, rocking gold platform shoes and a shiny silver shirt, with Jade Anaiis Hillery belting out a few tunes like she was Chaka Khan. As Candy, she leads on the aforementioned “Disco Inferno,” plus sings “Night Fever” and “Nights on Broadway.” The pair duet on “More Than a Woman.”
Side note: I heard Yvonne Elliman’s “If I Can’t Have You” at the grocery store the other evening! To emphasize how this music has endured – have you been to a wedding reception recently? The soundtrack spawned four No. 1 singles, won the Grammy Award for Album of the Year, still ranks among the best-selling soundtrack albums worldwide, and to date, has sales figures of over 40 million copies.
This Stray Dog Theatre production is marked by a larger-than-usual band to bring the sounds alive, inspired choreography by Michael Hodges, and a star-making performance by Drew Mizell as Tony Manero. The man can strut.
While the 19-year-old character is forever stamped as the role that earned John Travolta his first of two Oscar nominations and dancing reputation, Mizell has the moves to pull off such an iconic part. His ease on the dance floor is admirable, and his extensive dance training is evident.
Mizell, whose first show at Stray Dog was an impressive performance as both Cinderella’s Prince and Florinda in “Into the Woods,” also nails the Brooklyn accent and the attitude to make the character likable.
Tony, anxious about life after high school and what his future will look like, is not content just to hang out with his goon-like pals, who seem locked in dead ends. He wants more than working at a paint store. At night, at the Odyssey 2001 discotheque, he is king of the dance floor. But at home, yeesh. His mother and father are yellers, and he can’t ever measure up to his older brother, Frank Jr., a priest.
But Frank Jr. has a crisis of faith and returns home. Another standout is Sean Seifert, a natural at portraying the brother as a good man who doesn’t have all the answers. (He also pulls off a dual role as Gus, one of Tony’s inner circle who creates other issues).
When Tony meets Stephanie Mangano, he is taken by her physicality, refinement and her desire to cross that bridge for a better life in Manhattan. With a shot to win $1,000 at a dance contest, Tony and Stephanie team up, their eyes on the prize — and eventually each other.
With sophisticated airs and ambition, Stephanie is more Uptown Girl than the kind Tony hangs out with, including his needy ex Annette, who has fallen hard for him, but it’s unrequited.
Sara Rae Womack brings out the humor in Stephanie’s images of the glamorous world, name-dropping at her entry level job, and has a solo ballad, “What Kind of Fool,” while Lindsey Grojean conveys the desperation of Annette’s lonely and confused young woman in a powerful “If I Can’t Have You,” delivering the show’s best vocals.
Triple-threat Maggie Nold is sympathetic as Pauline, who is caught up in a familiar teen pregnancy scenario. She demonstrates the realities of her situation well – but as the ensemble is handling multiple roles, it’s a tad odd to see her happily dancing and smiling soon after a funeral scene.
Ella Drake as Doreen and Kayla Dressman as Connie get their moment as dancing queens in their spirited competition number,.while Mizell and Womack hit the sweet spot with their “More Than a Woman” big dance number.
Using heavily exaggerated Brooklyn accents, the Manero family, and Tony’s peers, adhere to the stereotypes of that era, staying in those lanes. Oh, those gender caricatures — ‘hoochie mama’s and swinging playboys – were cringy then and certainly now.
Think of it as a period piece – because the best buddies are not that likable, total losers with their off-putting macho bravado, which is why the flimsy broadly-drawn book remains the show’s weakest element. Because their crude talk and bully swagger are mostly foreign in today’s ‘polite’ society, overall, this cast doesn’t seem entirely comfortable playing these roles. Now, dancing is first-rate, clearly polished and well-rehearsed.
The guys playing the deadbeat friends — Justin Bouckaert as the conflicted and struggling Bobby, Jayson Heil as Double-J and Michael Cox as Joey — are caught between a rock and a hard place because they are so immature and misguided, their idea of what manhood is, while not uncommon then, is far from what it should be. But that’s the point – to show how trouble-prone Tony is separating from the pack.
This version has cleaned up some of the more problematic “R-rated” portions of the script, as in gang-rape, violence, and intense sexuality, which is not necessary for this story. The movie’s darker and grittier aspects have been removed, for the most part, just hinted at or briefly alluded to for conflicts.
What director Justin Been does effectively is capture that malaise of the late ‘70s, when economic issues affected blue-collar laborers, and social unrest simmered in “the summer of Sam” (serial killer Son of Sam terrorized the city). The disaffected youth escaped to the discos. (“Feel the city breakin’ and everybody shakin'” — “Stayin’ Alive”).
As the one-note parents Flo and Frank Manero, pros Kay Love and Matt Anderson display their lung power shouting at their family. Nadja Kapetanovich is sincere in the brief role of Linda, the dutiful daughter put in the middle between her cranky parents and defiant brothers.
The home scenes reflect on the misery of marginalized people while the disco and dance studio are where the energy flows. But the story is really secondary to the song-and-dance appeal of the musical.
Scenic Designer Josh Smith crafted a dance floor with colored lights for the stage, with help of lighting designer Tyler Duenow, which may not be visible to all the audience members. He also expanded the Tower Grove Abbey stage with stairs and a bridge doubling for the DJ booth at the club and the Verrazzano-Narrows Bridge, a suspension bridge that connects Brooklyn to Staten Island.
They’ve made room for a large band, led by music director/conductor Leah Schultz on piano, with Marie Brown, Tai Davis, and Beau Lewis on cello for select performances, Mo Carr on trumpet, Steve Frisbee on violin, John Gerdes and Xander Gerdes on bass for select performances, Lea Gerdes and Mary Wiley on reeds for select performances, Adam Levin on trombone, Adam Rugo on guitar and Joe Winters on percussion.
Among their instrumental numbers are the classic Sounds of Philadelphia “A Fifth of Beethoven,” plus “After the Fall,” and “Salsation.”
The costumes collected by Colleen Michelson are a mixed bag – some duplicated the gaudy polyester trends of the ‘70s, while others are ‘kinda, sorta’ representative of the period. The dance floor attire, for working-class kids on weekends, needs to be faux-chic instead of Sunday church dress best. Some of the outfits were more flattering than others, and dresses had nice swirling effects. And the iconic white suit has its moment in the spotlight – always big sentimental crowd reaction.
Those infectious, danceable beats will get you on your feet every time. After all, as the Bee Gees told us – “You should be dancing” — and of course you came for the good beats that you could dance to, and don’t forget your boogie shoes. There is a Disco Mix curtain call. Dance 10, Story 3.
Stray Dog Theatre presents the musical “Saturday Night Fever” Oct. 5-Oct. 28, Thursdays through Saturdays at 8 p.m., with additional performances 2 p.m. Sundays, Oct. 15 and 22, at the Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information or tickets, visit: www.straydogtheatre.org. Seating is general admission.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Join STLPR for the St. Louis Public Radio Theatre Showcase on the Public Media Commons on Friday and Saturday, Aug. 11 and Aug. 12 at 7 p.m. at the Public Media Commons, 3653 Olive St., St. Louis, MO 63108.
Over the course of two nights, they will feature short performances by some talented local theatre companies. Bring your favorite lawn chair and a picnic, cold drinks will be available to purchase from STL Barkeep!
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”
Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.
Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.
The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.
The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)
“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.
That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”
(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.
Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.
The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.
The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.
The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).
The Witch makes a deal – bring her four ingredients “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” in three days’ time – and she’ll reverse it.
And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.
The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).
As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”
The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.
This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.
In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.
The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”
Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.
Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.
Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.
Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.
The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.
The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.
Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.
Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.
Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.
And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.
Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.
The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Stray Dog Theatre goes for the gusto in a blistering, shattering “Who’s Afraid of Virginia Woolf?” that features bravura performances and a fresh perspective on one of the landmark intellectual works of the 20th century.
Edward Albee’s 1962 dramatic comedy is divided into three acts that bristle with tension and increasingly unsettling confrontations are staged during a long night’s journey as two married couples peer into the abyss.
Passive-aggressive George (Stephen Peirick), an associate history professor at a small New England college, appears to be a milquetoast foil for his brassy and sassy wife, Martha (Mara Bollini), the attention-seeking daughter of the college president. After a faculty party, she has invited another couple back to their home on campus for more cocktails and conversation.
Nick (Stephen Henley) is an ambitious biology professor who is married to a sweet and naïve Honey (Claire Wenzel). They become ensnared in their dysfunctional hosts’ “Fun and Games” in Act One, as drinks flow into the wee hours of the morning and the booze-influenced patter grows uglier.
As the volatile middle-aged George and Martha viciously taunt each other, cracks in the young couple’s seemingly pleasant life are revealed, and the older couple is ready to pounce for sport. This isn’t their first rodeo. He seethes, she rages.
Everyone’s had a similar uncomfortable feeling around a bickering couple before, uneasy about the lack of a filter and polite behavior. Eager to please, the young folk stay, but as it gets later, it’s to their detriment – Nick is too power-hungry and Honey too vulnerable. Because the next act gets more disturbing, and the regrets start to pile up.
Act Two, titled “Walpurgisnacht,” is a reference to Christian missionary Saint Walpurga, who was known to repel witchcraft and helped convert Germany from heathenism. Known as an annual witches meeting, it typically takes place April 30, and there is a much longer backstory to know. Albee uses it for satirical reference. Of course.
Albee has the men argue more, and the insults begin. Martha will embarrass George’s literary efforts – with Bollini employing a haughty, degrading laugh meant to ridicule her husband. In turn, George becomes more contemptuous of the couple, devising a new game, “Get the Guests.”
Honey, drinking too much brandy, has a finicky stomach and becomes sick a couple times during these alarming encounters. Martha starts acting seductively towards Nick, which brings up more concerns.
Act Three, bluntly titled “The Exorcism,” is a devastating showcase of pain, pride, and purgatory. It takes on an eeriness not unlike a horror thriller, and sound designer Justin Been helps enhance a sense of danger and drama through cinematic score snippets that separate each act.
“Bringing Up Baby” is the next cruel game George demands they play. And they will reveal details about their son, which is complicated. This is by far the most destructive segment of the show, but also a twisted form of catharsis.
Using his wit and clever wordplay, Albee crafted a tragic circumstance around everyone’s illusions – how they see the world and how their inadequacies are part of their daily codependent lives. Their falsehoods are at times unclear, as Albee wanted to point out how society’s norms impede honesty. And their failures affect their mental health.
The fact that a play written 60 years earlier holds up so well is a testament to Director Gary F. Bell’s vision.
He has masterfully dissected this emotionally intense play, having the actors fully realize their characters’ psychological portraits by creating more layers and nuance.
These are demanding and difficult incendiary roles, ultimately about survivors, and the actors are up for the challenges, nimble in delivering Albee’s bitter and brittle dialogue. Not a one makes a false move – everyone defines their intentions clearly.
These are four characters with dashed dreams and multiple frustrations, and they take turns being defiant and trying to cling to their dignity.
Establishing a tempestuous dynamic, Peirick and Bollini dig deep for their revelatory gut-wrenching performances, and both are at their career best. Henley provides yet another interesting characterization as confident Nick who finds himself eviscerated. Newcomer Wenzel is impressive in her local debut as the impressionable young wife trying to meet the expectations of an American nuclear family.
The scale of each character’s dreams are vastly different, and it’s stunning to see how quickly things get out of control. The truths are harsh, the partying hard, and the humiliations fester.
As scenic designer, Bell also capably created the modest worn living room where he fluidly moved the characters so nobody is static – and the bar gets a workout. As costume designer, he aptly outfitted the characters in appropriate career and party attire from that era. Lighting designer Tyler Duenow focuses on lighting several lamps in the interior.
The 1963 winner of the Tony Award for Best Play has enjoyed multiple revivals on Broadway, and this particular version produced by Stray Dog is the published 2005 revised script that starred Kathleen Turner as Martha, Bill Irwin as George, Mireille Enos as Honey and David Harbour as Nick.
This emotional roller-coaster of a production, certain to leave a lasting impression, is riveting throughout – even with its more than three-hour runtime. Adult themes are explored, and profanity is used. There are two 10-minute intermissions.
Stray Dog Theatre presents Edward Albee’s “Who’s Afraid of Virginia Woolf?” from Feb. 9 to Feb. 25, Thursday to Saturday at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104. There will be a Sunday matinee at 2 p.m. on Feb. 19. For more information, visit www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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:
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
Special Award
Joan Lipkin, for lifetime achievement
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 (LadueNews); 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 theAisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.