Well, we like to think that, but maybe it’s our choices that shape us. David Lindsay-Abaire’s “Good People,” a brilliant examination of class, good fortune, and the struggles of those left behind, is getting a stimulating treatment at Stray Dog Theatre.
Talk about a conversation starter! With a superb cast led by the incomparable Lavonne Byers, the gritty “Good People” bluntly spells out the wide divide between the haves and have-nots, and not just financially, but in word, thoughts, and deeds.
Margie Walsh is a Southie, for she lives in South Boston’s Lower End, a primarily working-class Irish American neighborhood where the playwright grew up. So, he wrote with deep understanding and connection.
Byers conveys Margie’s toughness and anxiety, with an undercurrent of desperation that she tries not to show. Her weapon is sarcasm. Hardened by a hardscrabble life, she has fought, clawed, and scratched in a dog-eat-dog world. Stubborn and proud, sometimes she has made life more difficult for herself because she will not rely on anyone, but she is loyal to a fault.
After high school, she became a caretaker. It’s a lifetime ago, and that’s when her dreams died, if she had any. As the single working mother of a developmentally disabled adult daughter, she plugs away at minimum-wage jobs. After being late too many times waiting for her daughter’s sitter to show up, she is fired from working as a cashier at the dollar store.
Friends and neighbors gather at the church hall for Bingo in hopes of winning the jackpot and to socialize. Stephanie Merritt is amusing as ballsy Jean, mouthy but well-meaning; Liz Mischel is defensive as the indifferent landlady Dottie, who is also Joyce’s unreliable sitter; and Stephen Henley projects a sweetness as the decent, practical Stevie, her compassionate ex-manager.
The Southie accent is a difficult one, so the dialect work is to be commended, because it’s evident that the ensemble worked on getting it right.
Stephen Peirick and Lavonne Byers. Photo by John Lamb.
About to be evicted, Margie is hanging by a thread. She is not “lace curtain Irish.” Jean knows she needs a break and mentions that she ran into Margie’s old high school flame, Mike, now a doctor. Why doesn’t she ask him for a job, or his help in finding one?
“Mikey” is now a fertility specialist, and he lives with his elegant African American wife Kate and their daughter in Chestnut Hill, an affluent village six miles from downtown Boston. He doesn’t have any office openings. Caught off-guard by the visit 30 years after he last saw her, he prefers not to be reminded of his rough-and-tumble upbringing. She forces an invitation to his wife’s party. Maybe someone else can help with employment.
It’s cancelled, their daughter is sick, but Margie thinks he is blowing her off, and shows up anyway at the door, and Kate mistakes her for the caterer.
Stephen Peirick is Mike, now “Michael,” and Laurell Stevenson is Kate, who live comfortably, although see a couples’ therapist. Their nouveau riche lifestyle is worlds apart from his humble formative years in South Boston. Humble, he’s not.
There is more to the story, but it’s best the audience discover the developments on their own. Just know that pleasant social graces disappear when a confrontation gets ugly. Initial warmth gives way to a chilling coldness.
Under Gary F. Bell’s savvy direction, the trio nimbly escalates emotions that lead to a cruel climax. Peirick, not often playing a jerk, indicates “Michael” is increasingly uncomfortable to be confronted with his past with Margie’s presence.
With her customary confidence, Byers shows how Margie, while agitating, has more integrity in her pinkie finger than the arrogant Michael does. Although Kate is civil at first, and a liberal, she lives in a bubble. And who is ‘self-made’ here, anyway?
Bell heightens the tension while emphasizing “the sides,” and the actors maintain the on-edge feeling throughout the second act, especially in their body language.
At first unassuming but then richly textured, “Good People” is an outstanding production that accentuates that character matters. Your opinion may shift about who is ‘good people.’
Margie, with a hard “g,” clings to her dignity, hoping for a fresh new start, but realizing the dead end is likely where she will stay. She is at once hard to figure out but also completely recognizable.
Scenic designer Josh Smith’s economical set takes a back seat to the human drama unfolding, although there are certain props that are meaningful, such as googly-eyed bright pink bunnies that Dottie makes as her side hustle, and a very expensive vase in Dillon’s upscale home.
Justin Been’s sound design and Tyler Duenow’s lighting design are first-rate.
Lindsay-Abaire, who won a Pulitzer Prize for Drama in 2007 for “Rabbit Hole,” draws his characters well, especially women, for Frances McDormand won a Tony for Lead Actress as Margie in “Good People” in 2011 and Cynthia Nixon won as Becca in “Rabbit Hole.”
In the 11 years since the play was produced on Broadway, the gulf seems wider, and the play, which was excellently produced at The Repertory Theatre of St. Louis in January 2013, seems more pertinent than ever about struggles in hard times.
This is a cast that meets the challenge, and Stray Dog meets the moment in a tautly constructed drama of uncomfortable truths.
Lavonne Byers, Laurell Stephenson, Stephen Peirick. Photo by John Lamb
Stray Dog Theatre is presenting “Good People” Feb. 10-26 at 8 p.m. Thursday through Saturday and an additional 2 p.m. matinee on Sunday, Feb. 20, in the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, Mo. 63104. For tickets or more information, visit. www.straydogtheatre.org
Special guidelines are in place for the health and safety of guests, actors and staff: Masks are required of all guests, regardless of vaccination status. They still encourage physical distancing throughout the theater. They recommend, but do not require, that all guests be vaccinated.
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.
If you are seeking a sugar-coated Hallmark Christmas movie, “Who’s Holiday” is not that kind of warm-and-fuzzy. Nevertheless, the amusing one-woman show is an engaging cup o’ cheer – unless your heart is two sizes too small.
If you are familiar with past holiday season productions at Stray Dog Theatre, then you are aware of their penchant for a non-traditional offering, and this suits that M.O.
The R-rated merriment runs Dec. 2 – 18, Thursday through Sunday, with a Sunday matinee Dec. 12, at the Tower Grove Abbey – only all performances are sold out, but one can get on their in-person waiting list before each show. –
An irreverent, bawdy post-childhood spin on Dr. Suess’ “How the Grinch Stole Christmas” is a festive communal experience, which could get you in the mood for the holidays – especially when you sing along to an evergreen sentimental song.
Laced with adult humor, this sweet and salty 2017 work by Matthew Lombardo is a natural vehicle for spirited comic actress Sarah Polizzi, who portrays the grown-up Cindy Lou Who. The character is both naughty and nice, and the effervescent performer revels in that aspect.
Cindy Lou was the adorable 2-year-old Who caught the famous green ogre stealing all the Christmas presents, the Christmas tree and the feast because he did not want anyone to enjoy the holiday. To carry out his nefarious deed, he was dressed as Santa Claus and his dog Max accompanied him. That did not deter the Whos from celebrating, however.
The grouchy Grinch became Dr. Seuss’ legendary storybook villain in 1957, and then immortalized in an animated TV special in 1966, narrated by Boris Karloff. In the years since, it has been adapted several times, including a live-action film starring Jim Carrey that came out in 2000, then a musical followed in 2007, and then a computer-animated feature with Benedict Cumberbatch in 2018 and a live television musical adaptation starring Matthew Morrison last year.
So, it helps to have some sort of working knowledge of the Dr. Seuss book and his first villain.
No longer an innocent, Cindy has returned to living on Mount Crumpit, north of Whoville, and ostracized by her people. Her fall from grace included an illicit romance with the big green beast, teen pregnancy, drug addiction and a prison term. Does not sound very jolly, does it?
So, she engages the audience in cocktails and conversation while sharing her shocking tale of woe.
Despite her hard times, the irrepressible Cindy Lou shows an indomitable spirit – with a beaming smile and a cheery demeanor, although she can get as sour as that grumpy guy – and get a little testy with the neighborhood hooligans. She is ready to put the sordid past behind her and start anew. In a convivial mood, she has invited guests over. But no one shows, much to her dismay. What’s a Party Girl to do? She just wants to have fun.
Polizzi also has the difficult task of speaking in rhyme, the kind that Dr. Seuss was known for in his 60 books, without it sounding sing-song-y, and she accomplishes that.
In a one-person play, the solo character always has a heavy weight to carry an entire show, but it’s only an hour – and she feeds off the audience’s energy with ad libs and being as sparkly as the festive vintage set.
Scenic designer Josh Smith festooned Cindy Lou’s tiny trailer with enough colored lights and kitschy seasonal decorations to make the yuletide bright – and it is delicious eye candy, with lighting designer Tyler Duenow’s effective touches.
Megan Bates’ playful costume design is simple but fetching – retro housewife turned into a livelier vixen.
The twisted tale benefits from Artistic Director Gary F. Bell’s light-hearted direction and it is a very smooth, well-rehearsed production. And Justin Been’s sound design always elevates a show – and his music choices are very smart.
Playwright Lombardo isn’t mean-spirited, just having fun with a parody that’s not unlike a Hollywood child actor’s downfall that makes tabloid fodder – only he exaggerates it to cartoonish proportions.
This isn’t his first production in St. Louis – he wrote the intense heavy drama “High,” which ran as a world premiere-pre-Broadway tryout at the Repertory Theatre of St. Louis in 2010 and starred Kathleen Turner as a nun who was an addiction counselor.
“Who’s Holiday” has both a peppery girls-gone-wild vibe and an affectionate nostalgia for Christmases past. It is certain to leave you feeling merry and bright.
Photos by John Lamb
“Who’s Holiday” is a solo show that runs slightly more than an hour and is presented Dec. 2, 3, 9, 10, 11, 16, 17, 18 at 8 p.m., with a 2 p.m. matinee on Sunday, Dec. 12. The show is sold out, but you may get on a waitlist at the door each performance and must be there in person. Call 314-865-1995 for more information. Visit the website www.straydogtheatre.org
Those with tickets should be aware that seats will only be held until 10 minutes prior to curtain.
Masks are required to be worn by all guests, regardless of vaccination status, at all times while inside the theater and while in the lobby unless actively drinking. They still maintain social distancing throughout the theater. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated.
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.
Three actors deliver brilliantly nuanced performances in “Blue/Orange,” a multi-layered satirical comedy-drama that focuses on madness, health care and race within a framework of frustrating bureaucracy and power struggles.
William Humphrey, Ben Ritchie, and Jason Meyers turn in some of their best work by grasping every shifting thought, trigger and changing attitude in conversations that blur lines on mental health.
The discourse is hefty and the roles demanding, for the characters are opaque. Allegiances switch as reasoning seems plausible – but one can’t ever be certain in these fiery exchanges.
Stray Dog Theatre is presenting this intellectually stimulating material as its first indoor show inside the Tower Grove Abbey, their longtime home, in 2021. With a contemporary focus that is more tragic than comic, that tone suits the production’s interpretation of this thorny material.
Shrewdly written by British playwright Joe Penhall, known primarily for several “fringe” works, and set in a UK institution, the play, first staged by the National Theatre in 2000, went on to win the Laurence Olivier Award for Best New Play, with Bill Nighy, as Robert, and Chiwetel Ejiofor as Christopher, nominated for several acting awards.
(More fun facts: Andrew Lincoln played Bruce and the three moved on to the London West End in 2001. The next year, the show opened off-Broadway, with Harold Perrineau Jr. as Christopher, and an acclaimed British revival in 2016 starred Daniel Kaluuya as the patient.)
Stray Dog has wisely decided to forego British accents, so that we are not distracted from the dense amount of dialogue that rapidly volleys back and forth.
The day before Christopher (William Humphrey) is supposed to be discharged from a psychiatric ward, his doctor (Jason Meyers) begins to have reservations that he shouldn’t be released. He shares his concerns with a senior colleague (Ben Ritchie).
Practically jumping for joy as the hyper Christopher, Humphrey is gleefully ready to go – and already packed. He still insists his father is former Ugandan dictator Idi Amin Dada Oumee and sees the pulp inside an orange as blue. In his mind, is this real or delusional? Thus begins a bureaucratic battle.
As the now confused patient becomes increasingly agitated, is he having an acute psychotic episode or is he being unduly provoked? What must happen to prevent him from leaving?
Christopher was diagnosed with a borderline personality order, and on day 28 at the London National Health Service mental hospital, he is due for release – unless a diagnosis changes.
As Dr. Bruce Flaherty, Meyers sees red flags and makes a convincing case that Christopher could be a paranoid schizophrenic. His superior, Dr. Robert Smith, doesn’t detect it. Exuding authority and clinical acumen. Ritchie recites reasons why psychiatry can fail black men like Christopher. After all, Dr. Smith is writing a book – interesting! – on the cultural and ethnocentrism factors that come into play in these situations.
Perhaps drum beating and seeing himself as a “white savior,” the imperious Robert thinks Christopher should return to his neighborhood for the cultural support – even though he lives alone and doesn’t know that many people. Sure, his behavior is odd, but is it cause for alarm?
Smith is worried that if Christopher stays longer, he could get worse and thus begin a never-ending cycle — or is that more of a reflection on the lack of beds and prevalent bottom-line thinking?
Christopher would really like to return to Africa, where he says he has a job, but will settle for his diverse London borough neighborhood if it means his freedom. And there is a probable threat of being attacked by racist thugs, so his fear seems real, but is it indicative of instability – and is pompous Robert being patronizing?
England’s cultural population includes Caribbean and African expatriates, and there are statistics that more black people, percentage wise, are in mental and penal institutions.
And what exactly causes seemingly stable Bruce’s third-act meltdown – and earlier blurting out the “N” word, which could fill an entire act with discussion. This really complicates the narrative, not just exposing an ugly prejudice and stereotypical thinking.
However, the roots of the problems are in the eye of the beholder. As the two professionals argue, drawing Christopher, pawn-like, into a tug of war of damaging rhetoric – clearly emotional scars are being inflicted.
Is this in any way beneficial and do the doctors think this will advance their careers?
Penhall’s incendiary words, written more than two decades ago, seems as urgent now as they were relevant then. This is a living, breathing work that changes direction throughout its two acts, and the verbal dexterity required is admirable.
In a bracing portrayal, Humphrey straddles the line of helpless vulnerability and angry advocate for getting his life back on track. Both instinctive, Ritchie and Meyers convincingly earn and lose their characters’ credibility.
Associate Artistic Director Justin Been deftly moves the actors around so that we are caught off-guard as characters reveal their positions, transferring the ‘edge’ around – and the performers never get ahead of the script, not tipping their hand about what’s next.
The cast has smartly constructed their roles. It’s an exemplary showcase of control, and lack of, as perceptions differ and speeches flow.
“Blue/Orange” could have easily turned preachy but keeps its intensity, although the second act gets weighed down somewhat with repetitive opinions. And while it’s not predictable, the ending may not satisfy those who have become invested in Christopher’s well-being.
Besides directing, Been also designed the claustrophobic set and the sound, and both he and Artistic Director Gary F. Bell gathered the props. Lighting designer Tyler Duenow maintained the setting’s institutional glare.
The hell that is the ever-present boondoggle for those suffering from mental illness shows no sign of improvement in today’s uncertain world. As this riveting production demonstrates, it’s a difficult subject to ponder, and “Blue/Orange” daringly takes a stand.
Jason Meyers, William Humphrey and Ben Ritchie in “Blue/Orange.” Photo by John Lamb.
“Blue/Orange” is presented Thursday through Saturday, Oct. 7-9, 14-16 and 21-23 at 8 p.m., with a 2 p.m. matinee on Sunday, Oct. 17, at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104.
Limited tickets are available because of physical distancing throughout the theater. For more information or tickets, visit www.straydogtheatre.org, or call 314-865-1995.
Safety precautions because of the COVID-19 public health crisis are in place for guests, actors, and staff. Masks are required to be worn by all guests, regardless of vaccination status. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated. The up-to-date guidelines can be found on their website.
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 At times, friendship is not always the perfect ‘blendship.’ Case in point: “Art,” a razor-sharp comedy currently being staged outdoors by Stray Dog Theatre through Aug. 21.
A friendship that spans 15 years is strained over a piece of modern art – an expensive, pretentious painting that art snob Serge (Ben Ritchie) has purchased to show off his privilege and to gain status.
The judgmental Marc (Stephen Peirick), who is domineering, snarky and self-righteous, takes one look and is aghast at this presumably “white” canvas.
With his “Are you serious?” reaction, Marc doesn’t hold back his horror, bluntly calling the vanity purchase a “piece of (expletive deleted),” even if Serge paid 200,000 francs for it.
Serge vehemently disagrees. He points out there is texture. It is, after all, by an artist of some note.
Later, they pull their more sensitive friend Yvan (Jeremy Goldmeier) into taking sides, and he, not wanting to rock the boat, offers a “maybe it has merit” viewpoint. Now he is caught in the middle between two alpha dogs.
Yvan’s comments push Marc’s buttons even further, calling into question the conciliatory one’s intellectual acumen – and life choices – because he might see some artistic significance.
Yvan is a poorer, put-upon chap about to be married, whose life seems to always be stuck in second gear. Anxious about the wedding, keeping both families’ happy, getting acclimated to a new job – it all seems too much for him, and then the two pals draw him into their tiff.
Serge is a dermatologist, Marc an aeronautical engineer and Yvan, well, he’s not really one with a ‘career’ – he just started working for his future father-in-law in the stationery business.
Ben Ritchie, Stephen Peirick and Jeremy Goldmeier in “Art” at Stray Dog Theatre. Photo by John Lamb.
The subjective debate turns into ugly confrontations that devolve into personal attacks, questioning the meaning of friendship and the definition of art. Their opinions – perhaps over-sharing but doubling down on how they feel – cause immediate fractures. Can respect and trust be restored or will the fallout be too much to overcome?
The dialogue is intricate and brings out each character’s distinctive personalities. As mud is flung, the play still retains some good zingers after 27 years.
All Stray Dog regulars, Peirick, Ritchie and Goldmeier settle into a rhythm that reflects their ease of working with each other.
This clever and humorous work by Yasmina Reza, a master at delving into contemporary foibles and a sharp observer of human behavior, was written in 1994.
Christopher Hampton translated it into English. He won an Oscar this past April for adapting another French playwright, Florian Zeller, into a screenplay for the British film, “The Father.”
“Art” opened on Broadway in 1998 after successful runs in Paris and London, winning the Tony Award for Best Play. It starred Alan Alda (Marc), Victor Garber (Serge) and Alfred Molina (Yvan, Tony nominee).
Reza also wrote “God of Carnage,” which won a Tony Award for Best Play in 2009. That show was produced by Stray Dog Theatre in 2015 and featured Peirick.
Re-emerging after a 16-month coronavirus public health crisis, Stray Dog Theatre has chosen well to begin producing shows again for a live audience.
In a wise stroke during these pandemic times, Artistic Director Gary F. Bell moved the production outside at their usual venue, the Tower Grove Abbey. On the lawn is limited, socially distanced seating, and masks are required (city mandate).
The bare-bones outdoor stage, with scenic design by Josh Smith, features two couches to represent the flats of Serge and Yvan – and of course, artwork, relying on its trio of accomplished actors to focus the action on their nimble wordplay.
Longtime lighting designer Tyler Duenow handled those duties and Justin Been, associate artistic director, provided his usual stellar sound design with acumen for appropriately selected music
The dialogue is challenging, and the actors must shift tones, delivery and their body language while staying true to the characters, no easy feat. The trio hit their stride – despite after such a long absence from the stage – and retain the play’s acid bite.
Goldmeier is splendid at portraying a sad sack trying to avoid confrontation and scrutiny. It’s obviously not his day, week, month or even year. His emotional fragility and near-meltdown are played for laughs, and Goldmeier adroitly handles the mood swings – and his complicated monologues.
Peirick conveys the tightly wound traits of Marc, while Ritchie delivers a nuanced portrait of a sophisticate, holding his ground about his beliefs and acquisitions.
Marc will go on to question everything – including choice of restaurant for dinner — mostly in a sarcastic, irritated tone. It’s clear that Serge thinks he is intellectually superior to his friends, and more cultured, while Yvan has valued their companionship, especially in light of his messier life.
Keenly in tune with the material and his actors’ capabilities, Bell has smoothly directed the show.
“Art” is a provocateur, questioning our thoughts on art, relationships and modern society. It’s a refreshing conversation starter for anyone craving intellectual stimulation and presented in a safe setting for an evening of entertainment.
Stephen Peirick, Ben Ritchie in “Art.” Photo by John Lamb.
“Art” runs about 90 minutes without intermission. The Stray Dog Theatre presentation is Thursdays through Saturdays at 8 p.m., Aug. 5-21, with an additional performance on Sunday, Aug. 15 at 8 p.m., outdoors on the lawn at Tower Grove Abbey, 2336 Tennessee Avenue. The seating pods of 2 and 4, for only 40 guests, will be filled from front to back, in guest arrival order, starting a half hour before curtain. For tickets or more information: straydogtheatre.org or call 314-865-1995.
All staff and crew will be wearing masks. Actors will not be wearing masks but are required to be vaccinated to work at Stray Dog Theatre. All guests, vaccinated or not, are asked to wear masks now that a city mandate is in effect.
FYI – Four of the remaining seven shows are sold out.
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.
Artistic Director Gary F. Bell has announced that Stray Dog Theatre plans to return to live performances in late summer and get back to a full season in 2022.
“It has been so very long since we’ve been able to see you in person at the Tower Grove Abbey. I want to start off by thanking you all for supporting SDT’s Digital Series during this unusual time. Today, I am so happy to announce that Stray Dog Theatre has an exciting and vibrant plan for returning to live theatre! We have missed you all so much, and are beyond thrilled to share with you all of our wonderful upcoming offerings,” he said.
Stray Dog is starting with a 2021 Limited Series, which includes three playsin the last half of the year: ‘ART’ by Yasmina Reza, with adaptation by Christopher Hampton, premiering in August 2021; “Blue/Orange”by Joe Penhall in October 2021; “Who’s Holiday”by Matthew Lombardo in December 2021.
“A whole new season will premiere in 2022 andwill offer a complete season of 6 plays and musicals just like in the past. We’re excited to announce more about this soon,” Bell said.
A new website will go live on July 1. Prior to July, you can purchase tickets for any of the 2021 Limited Series by calling the box office at (314) 865-1995.
“As always, all of us at Stray Dog Theatre are thinking of you and your safety as we plan our 2021 Limited Series and the brand new 2022 Season. We’re ready when you are!” Bell said.
TICKETS & SHOW GUIDELINES FOR THE 2021 LIMITED SERIES
As a return celebration, the 2021 Limited Series tickets will be $25 per person/per show* and are available by calling the box office at (314) 865-1995. Starting July 1, 2021, you may also purchase tickets by visiting www.straydogtheatre.org.
During the 2021 Limited Series, seating may be limited and offered in “pods” of 2 or 4 which will be physically distanced for maximum safety. If you have any questions please contact us at the box office at (314) 865-1995.
For your safety and ours, all actors, tech crew, and Stray Dog Theatre employees have been vaccinated.
We will be following all local and federal safety guidelines during each production.
*Season Subscriptions are not available for the 2021 Limited Series but will return for our 2022 Season. Ticket prices will return to normal for the 2022 Season.
ART
by Yasmina Rezawith adaptation by Christopher Hampton
Marc, Serge, and Yvan have been the best of friends for years. When Serge buys a very expensive piece of art, the intellectual and emotional arguments that ensue become less theoretical and more personal and threaten to destroy their friendships.
‘ART‘ will be presented under the stars on our gorgeousTower Grove Abbey lawn.
8PM Thursdays thru SaturdaysAugust 5, 6, 7, 12, 13, 14, 19, 20, 21.Additional performance Sunday, August 15 at 8PM.
Blue/Orange
Blue/Orange by Joe Penhall The day before Christopher is due to be discharged from a psychiatric ward, his doctor has reservations and raises his concerns with a senior colleague. Blue/Orange is an incendiary tale of race, madness, and a Darwinian power struggle at the heart of a dying National Health Service. BLUE/ORANGE will be presented inside the historic Tower Grove Abbey. 8PM Thursdays thru Saturdays October 7, 8, 9, 14, 15, 16, 21, 22, 23.Additional performance Sunday, October 17 at 2 PM.
Who’s Holiday
by Matthew Lombardo You saw her last when she was just two Celebrate the holidays with Cindy Lou Who Pull up a seat and fill up your cup ‘Cause your favorite little Who is all grown up A wildly funny and heartfelt adults-only comedy that explores the twisted tales after that fateful night when a certain Grinch tried to steal Christmas. For Mature Audiences. WHO’S HOLIDAY will be presented inside the historic Tower Grove Abbey. 8PM Thursdays thru Saturdays December 2, 3, 9, 10, 11, 16, 17, 18.Additional performance Sunday, December 12 at 2 PM.
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.
Article originally appeared in Arts For Life’s Feb. 18 newsletter. Article written by Kim Klick and Lynn Venhaus
After working as a professional actor and singer for more than 30 years in Las Vegas, including performing opera at the Venetian Hotel on the Strip, Kimmie decided to move back to her hometown.
To leave her comfort zone and start over at 45 years old was daunting.
“More than a few people thought I must have been crazy!” she said.
But she knew it was time for a change and she did have support.
She was hired to work at Nordstrom Department Stores and found an apartment in Valley Park.
“I thought I’d be satisfied with all of that, but I wasn’t. Frankly, I was quite miserable. I was lonely, broke and terribly homesick! Most of all, I missed performing.”
However, things slowly fell into place. She not only found her way into the St. Louis theatre scene but reconnected with childhood friends, settled down here and married Gregg Booker. They grew up in the same neighborhood, and found each other on Facebook.
She started researching St. Louis theater companies, sending out letters and headshots, hoping to be acknowledged, but no response.
One day in 2012, she came across an audition for an upcoming production of August Wilson’s “Fences” at Hawthorne Players.
“I hadn’t even heard of August Wilson! Can you believe that? Someone like me, who has done theatre her entire life, had not heard of August Wilson?”
She showed up, prepared but “terrified.”
“A little-known fact about me is that I had never done a ‘straight play’ before! I had always done musical theatre. So, to put myself in a position where I had to just ACT, well, it was unchartered territory for me, to say the least!”
She was offered the part of Rose, the long-suffering wife who is married to the lead character, Troy.
Kimmie Kidd-Booker in “Fences” at the Hawthorne Players. Photo by Larry Marsh
“It’s one of the most important, historical, emotional, heartfelt roles to exist in American Theatre. I thought, ‘What the hell did I get myself into?’” she said. She did not need to fret.
“This was one of the best and most fulfilling theater experiences of my career,” she said.
For the record, August Wilson was not only an African American playwright, but also was an amazingly talented award-winning playwright who died too soon at the age of 60, Kidd-Booker explained.
“Fences” is part of Wilson’s celebrated “Pittsburgh Cycle,” sometimes called “The Century Cycle,” in which he wrote 10 plays, each set in a certain decade of the 20th century.
Set in the 1957, it is the sixth play of the cycle, premiered in 1985, and like the others, explores the evolving African American experience and among other themes, examines race relations.
Troy is a Negro Baseball League player who now works as a garbageman – but can’t be a driver (yet). His bitterness is apparent and affects his family – wife Rose and sons Lyons and Cory, and disabled brother Gabriel.
“Fences” won the 1987 Pulitzer Prize for Drama and the Tony Award for Best Play. “I am honored and privileged to say I performed in an August Wilson play! Being in an August Wilson play was both thrilling and terrifying. The context is historic and genuine and dramatic. His words are thoughtful and compelling and emotional,” she said.
While “Fences” is her only August Wilson play to date, she said she is optimistic that moving forward, there will be more opportunities to educate, perform, explore and share the African American experience with everyone.
“Black History Month is just a drop in the bucket. But it is certainly a start. My hope moving forward is that we can continue to gain an understanding of each other and continue a dialogue and put fears to rest. We have many differences, but we must continue to be reminded that we are more alike than we’d like to think,” Kimmie said.
Before she debuted in “Fences,” after a year here, she was considering returning to Las Vegas.
But once she started rehearsals with the cast and crew, then bonding with everyone, she decided to stay.
“My love for theatre kept me here in St. Louis. As I began to meet other theatre people and make more and more theatre connections, I knew that this is where I belonged. These are my People!” she said.
As Eliza Haycraft in the original musical “Madam”
Kimmie recently became part of the AFL Board of Directors. She has won two Best Performance Awards for Best Featured Actress as Glinda in “The Wiz” at Hawthorne Players in 2014 and as Estonia Dulworth in “Nice Work If You Can Get It” at the Kirkwood Theatre Guild in 2019.
She was nominated as Best Actress in a Featured Role as Sister Mary Hubert in “Nunsense” at Hawthorne Players in 2015 and as The Witch in “Into the Woods” at Curtain’s Up Theater in 2018.
Among her roles in regional professional theater, she played Tom Robinson’s wife in “To Kill a Mockingbird” at The Repertory Theatre of St. Louis, as Lady Bird in Stray Dog Theatre’s “Spellbound: A Musical Fable”and in the ensemble of “Sweeney Todd,” as “Aunt Missy” in The Black Rep’s “Purlie” and as Evangeline Harcourt in “Anything Goes” at New Line Theatre. In January 2020, she starred as brothel owner and philanthropist Eliza Haycraft in the original musical, “Madam.”
About August Wilson
August Wilson
Wilson was born Frederick August Kittel in Pittsburgh, Penn., on April 27, 1945. His mother, Daisy Wilson, was of African American heritage. His father, Frederick Kittel, was a German immigrant.
As a child, Kittel attended St. Richard’s Parochial School. When his parents divorced, he, his mother and his siblings moved from the poor Bedford Avenue area of Pittsburgh to the mostly white neighborhood of Oakland. After facing the relentless bigotry of his classmates at Central Catholic High School, he transferred to Connelly Vocational High School, and later to Gladstone High School.
When he was 15 years old, Wilson pursued an independent education at Carnegie Library of Pittsburgh, where he would earn his high school diploma.
Following his father’s death in 1965, a 20-year-old Wilson adopted the pen name “August Wilson” — reportedly an homage to his mother — and declared himself a poet. In 1968, Wilson and a friend, Rob Penny, co-founded the Black Horizon Theater.
Wilson remained primarily focused on making it as a poet — largely to no avail — until moving to St. Paul, Minnesota, in 1978.
Wilson wrote his first notable play in 1979,” Jitney,” for which he earned a fellowship at the Minneapolis Playwright Center.
The following year, his new play, “Ma Rainey’s Black Bottom,” was accepted at the Eugene O’Neill Playwright’s Conference. The year 1982 was particularly fruitful for Wilson, as it marked his introduction to Lloyd Richards, who went on to direct Wilson’s first six Broadway plays.
“Joe Turner,” the second part of the cycle, opened on Broadway in 1988.He took home another Pulitzer Prize in 1990, this time for The Piano Lesson, following its Broadway premiere.
Wilson died of liver cancer on Oct. 2, 2005, in Seattle. His new play, “Radio Golf,” had opened in Los Angeles just a few months earlier.
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 triumph
in the ‘new normal’ was a sight for weary eyes when Stray Dog Theatre boldly
went where no one else has in regional professional theater to produce an
intimate, absorbing “Lobby Hero” by Kenneth Lonergan.
With
live theater being one of the harshest casualties of the pandemic, watching any
kind of online production has been such a welcome respite from the world’s
troubles. I have enjoyed all the creative attempts to produce art, from clever
Zoom plays to a mash-up of archival footage and musical acts, to radio plays
and staged readings. I admire the efforts that artists are willing to take, to
make art accessible through digital media. As someone who is leery of crowds
during the public health crisis, being able to stay connected to people I admire
for their willingness to take risks and see what happens has been a great joy.
After all, theater fans cannot live on “Hamilton” replays alone on Disney Plus.
So, after
shutting their doors for the remainder of the 2020 season in May, Stray Dog
Theatre came up with an unconventional plan to take the four actors already cast
in the drama, put them into innovative pods for their safety, space them apart
at the Tower Grove Abbey, record it and make a video link available through a
service. It sounded exciting because we could see it after all – and without
crowd restrictions or safety worries.
The play
had been scheduled for June and was one of my most anticipated shows of the
season (big Lonergan fan). For the new venture, free reservations could be made
to see it July 27 – 31 and people were given 72 hours in which to view it, but
the cut-off was 11:59 p.m. on the last night. This audio-visual recording was
made possible through arrangements with Dramatists Play Service and the
playwright, and donations could be accepted. Everything was seamless –
reservation confirmed, link emailed, quick connection, and then, magic
happened.
The
play takes place in the lobby of a Manhattan apartment building. Four people’s
lives intersect through their work – two security guards and two police officers
on the night shift, and then are drawn into a murder investigation. These three
men and one woman have distinct personalities that emerge, ordinary people who
must confront moral dilemmas and ethical behavior through conflicts with each
other. Lonergan is so good at revealing layers and the late-night conversations
have a genuine intimacy.
Lobby Hero at Stray Dog Theatre. Photo by Justin Been
What a
finely tuned quartet the performers were: Jeremy Goldmeier as Jeff, a hapless
regular joe, just trying to find his way in the world but usually unlucky in
life; Abraham Shaw as William, Jeff’s strict supervisor, frustrated by the
failure that surrounds him – his knucklehead employee and his troublemaker
brother (unseen), when all he is trying to do is succeed; Stephen Peirick as
Bill, an obnoxious married police officer who abuses his power and thinks he
deserves respect as a big shot; and Eileen Engel as Dawn, a rookie officer
enamored with Bill but also trying to prove that she fits in to a macho man’s
world.
They
each have various degrees of ambition, and that is transparent. Their feelings
will become apparent as they talk to each other, from initially shooting the
breeze to thornier statements as details of a murder unfold. A nurse with three
young children has been brutally raped and killed by a group of thugs.
William’s brother is a suspect. How far will he go to protect him? Talkative and
lonely, Jeff has taken a shine to Dawn, but she is enamored with Bill, until
evidence of sexual misconduct is revealed. Dawn’s only been on the force for
three months and has a lot to learn.
It was
if I was sitting in a pew, the four well-rehearsed actors seamless in conveying
multi-dimensional characters. The smart, sharp ensemble delivered
dialogue-dense exchanges that went from casual to probing, puzzling to
skeptical, pleasant to peeved. Loyalties swiftly shifted. Director and Artistic
Director Gary F. Bell escalated the growing tensions well and shrewdly moved
the players around. The fade technique worked well as exits.
With
its relevance to today’s social issues, you would not realize it was a generation
removed, written in 2000. And Goldmeier – in what might be his best work –
makes us see every tic of his turmoil. He wants to do the right thing – but is
he capable? He is intimidated by blustery Bill, who likes to throw his weight
around, and wants desperately to please his boss. When William confides in
Jeff, they seem to become friends.
The
actors worked so well together, building the emotional energy Bell was seeking.
Peirick plays well against type, being an entitled jerk, while Engel holds her
own with the guys, talking tough with a torrent of profanity. She’s tiny but
mighty in navigating her way in an obvious man’s world.
And,
like so many key turning points, it comes down to secrets and lies. In 1808,
Sir Walter Scott wrote “oh what a tangled web we weave when first we practice
to deceive,” and it still holds true today. Stories unravel, truths unfold,
betrayals sever relationships and life gets rather messy for each of the four.
They learn the hard way that there are consequences to actions.
Justin Been has proven he is quite a visionary and his remarkable technical skills were on display again. As associate artistic director and production manager, he added imaginative touches, through music and modern graphics. He evoked the location with black-and-white scenes of New York City. He and Bell had come up with the pod idea, executed by set designer Josh Smith.
“Lobby Hero” was produced off-Broadway in 2001, after Lonergan had been Oscar-nominated for the screenplay to “You Can Count on Me.” Lonergan would finally make it to Broadway in 2014 with “This Is Our Youth,” a Steppenwolf revival of his 1996 play starring Michael Cera and Kieran Culkin. I was fortunate to see it at the Cort Theatre then, a memorable experience. Lonergan has a knack for creating vivid roles through conversations, and the gifted actors didn’t miss a beat in crafting familiar, relatable characters. After winning the Oscar for his “Manchester by the Sea” original screenplay in 2016, Lonergan oversaw a remount of “Lobby Hero” in March 2018 at the newly renovated Hayes Theatre on Broadway, starring Michael Cera as awkward Jeff and Brian Tyree Henry as stern William (both Tony Award nominees), Chris Evans (yes, Captain America) as the compromised police officer Bill and Bel Powley as feisty Dawn.
Stray
Dog hopes to be back with their season in February 2021, if all is safe to do
so. They may even return virtually with another innovative project. “Lobby Hero”
was a perfect choice to stage the inventive way they did.
If you
need information, contact them directly by email
at boxoffice@straydogtheatre.org or by phone
at (314) 865-1995.
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.
Stray Dog Theatre (SDT) will stream “on demand” Lobby Hero through most web browsers between 12:01 a.m. on July 27 and 11:59 p.m. on July 31, 2020. Participation is limited to the first 750 reservations, and will be handled on a first-come, first-served basis.
Please note: While you have the freedom to use your reservation at any point during the dates listed above, you will only have 72- hours to finish viewing the production once you begin streaming. Reservations and viewings for Lobby Hero are free, and available beginning at 12 noon on Saturday, July 18, 2020 by visiting, www.straydogtheatre.org. In this time of COVID-19, SDT understands how important having accessible art is for audiences and artists alike.
Jeremy Goldmeier in “Lobby Hero.” Photo by Justin Been
While SDT’s production of Lobby Hero is complimentary, a donation would be gratefully appreciated. Lobby Hero Synopsis: Loyalties are strained to the breaking point when a hapless security guard is drawn into a local murder investigation; a conscience-stricken supervisor is called to bear witness against his troubled brother; and a naive rookie cop must stand up to her formidable male partner. Truth becomes elusive and justice proves costly.
Stray Dog Theatre Artistic Director Gary F. Bell directs the cast featuring Eileen Engel, Jeremy Goldmeier, Stephen Peirick, and Abraham Shaw. By partnering with Surfcode and utilizing their platform PlayPlay.tv, audiences will be able to enjoy Lobby Hero, which was recorded live, on the SDT stage, in real-time, with each actor inside an individual custom built acting booth. Rehearsals for this production were held in compliance with both state and local ordinances, including temperature checks, required face coverings and social distancing.
This Audio & Video recording was produced by special arrangement with Dramatists Play Service and Kenneth Lonergan. All rights reserved. This performance is authorized for non-commercial use only. By accepting the Audio & Video recording, you agree not to authorize or permit the Audio & Video recording to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.
WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, Audio & Videotapes or Audio & Videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The COVID-19 pandemic presents a multitude of obstacles to overcome for organizations of all types, and theater groups are no exception. Sharon Hunter, Artistic Director-Producer of Moonstone Theatre Company, aims to help address some of the virus-related challenges that the St. Louis theatre community faces by forming the St. Louis Theatre Community Task Force.
“As I was thinking about how to proceed with my own company in the wake of the pandemic, I started thinking it would be helpful to get a lot of the theaters to sit down via Zoom and discuss concerns, ideas and solutions for moving forward as we navigate the future of theatre in St. Louis,” Hunter explains.
Sharon Hunter
The Task Force will address concerns including conducting safe auditions, rehearsals and performances, finding new ways to seat audiences, maintaining the visibility of the St. Louis theatre community, new ways to offer theatre experiences and recommendations for the use of personal protective equipment.
Hunter said the Task Force, which is the first of its kind in the St. Louis area, welcomes local theatre groups of all sizes. In addition to these organizations, representatives from the St. Louis County Department of Health and the Center For Disease Control have also been invited to the first online meeting to address questions and concerns.
Theatre companies invited to participate include R-S Theatrics, The Q Collective, The Midnight Company, Slightly Askew Theatre Ensemble, Upstream Theater, Repertory Theatre of St. Louis, COCA, Shakespeare Festival STL, Black Rep, Stray Dog Theatre, Stages St. Louis, St. Louis Actors’ Studio, The Muny, Opera Theatre of Saint Louis, New Jewish Theatre, Cherokee Street Theatre, The Cabaret Project of St. Louis, Max & Louie Productions, Black Mirror Theatre, Young Liars, West End Players Guild, Tennessee Williams Festival St Louis, New Line Theatre, ERA Theatre Company, STL Fringe Festival, St Louis Shakespeare, Metro Theatre Company, That Uppity Theatre Company and the Tesseract Theatre Company.
The initial meeting of the Task Force is scheduled for Thursday, April 23, at 7 p.m. Theatre groups interested in interested in participating should contact Hunter at moonstonetheatrestl@gmail.com to get access to the Zoom link. For more info, check their Facebook page for updates: https://www.facebook.com/STLTheatre/.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
As a regional surge in COVID-19 cases grips the area, more local arts and entertainment events have either been cancelled or postponed in the St. Louis metropolitan area. The month-long “Hamilton” national tour stop at the Fox is now postponed, the Opera Theatre of St. Louis has cancelled its festival season and people are now moving dates from spring to either later in the year or 2021.
Based on the Centers for Disease Control and World Health Organization’s recommendations on social distancing and against large group gatherings, St. Louis city and county, St. Charles County and Illinois put a public health emergency plan in place. They have shutdown gatherings of 10 or more, encouraged social distancing and ordered everyone to Stay-at-Home. Announced dates: St. Louis quarantine is through April 22; Illinois is through April April 30; Missouri is through April 24; and the nation is recommended until April 30.
Here is a round-up of the latest on community theater, regional professional theater, national touring shows, certain events and venues. If alternate programming has been put into place, it’s mentioned. As everyone knows by now, things change daily, so check with websites to see the latest. I’ll update as groups provide new information.
PROFESSIONAL VENUES
Kranzberg Arts Foundation
All Kranzberg Arts Foundation venue operations have been temporarily shut down.
This includes theatres, galleries, clubs, restaurants, cafes, and libraries.
These closures will remain in place until at least May 11.
This includes the Kranzberg Arts Center, The Marcelle
Theatre, The .Zack Theatre, The Big Top, The Grandel Theatre, The Dark Room,
Sophie’s Artist Lounge and the High-Low building.
Fox Theatre Performances at the Fabulous Fox have been postponed through April 30 and tours have been cancelled through June 7.
On April 10, the Fox announced that “Hamilton” has been postponed but no date has been set yet. It was scheduled to play at The Fox May 5 – June 7.
“The Fox is in discussion with the HAMILTON producers to reschedule the engagement and hopes to announce that information soon. said spokesman Megan Ketcherside.
Ticket holders should
keep their tickets until new dates are announced. More information will be
available once new dates are secured.
The Fabulous Fox Theatre hopes to bring the show to St. Louis in 2020, but as with all things related to COVID-19 and the social distancing necessary to keep guests and associates safe, theatre management will follow the lead of government and health officials in this matter> Ketcherside said.
The other shows that have been postponed: “Charlie and the Chocolate Factory” originally scheduled for March 17-29; Teen Talent Competition originally scheduled for April 4; “Cats,” originally scheduled for April 7-19; Celtic Woman has been rescheduled for April 20, 2021; and Chaka Khan, originally scheduled for April 24.
“Charlie and the Chocolate Factory” will now be Dec. 22 – 27. “Cats” can’t be rescheduled for 2019-2020 but Fox is working on a future date.
Plans to reschedule other postponed shows are currently underway. Ticket holders should hold on to their tickets – they will be honored on the new dates.
Decisions about other future shows will be made as we
follow the evolving situation with the COVID-19 virus and the City of St.
Louis’ determination of the length of this prohibition, public relations
manager Megan Ketcherside said.
Operational hours are subject to change based on the
COVID-19 situation. For now, the Fox Box Office is temporarily closed. The MetroTix
314-534-1111 phone hours are now from Monday to Friday from 10 a.m. to 5 p.m.,
closed on Saturday and Sunday.
Visit the website, www.fabulousfox.com/coronavirus
Family Arena
As of March 25, the Family Arena and The Family Arena Box
Office is closed to the public until such time as the limit on public
gatherings is lifted in St. Charles County.
Tickets are still available for purchase at
Ticketmaster.com.
Manager Tom O’Keefe said if you purchased tickets at the
box office for an upcoming rescheduled event that you would like a refund for,
please hold on to your tickets until they re-open and they will refund your
tickets at that time.
They have partnered with Ticketmaster to address all fan
questions regarding the cancellation and rescheduling of live events. Visit the
Ticketmaster Help Center for guidance and check back regularly for additional
information and status updates, www.familyarena.com.
Stifel Theatre
The Stifel Theatre and Enterprise Center Box Offices will
not open until further notice. For guests who purchased tickets to an upcoming
show through the box office that has been cancelled, please hold on to your
tickets until we re-open and are able to assist with your questions.
These events at Stifel Theatre have been postponed. Ticket
holders should hold on to their tickets, as all tickets will be honored on the
rescheduled dates.
Here are rescheduled dates:
Gabriel Iglesias, from March 13 to Oct. 15 and from March 15 to Oct. 14; Franco
Escamilla, from March 14 to Nov. 13; Bob Weir and Wolf Brothers from March 18
to Oct. 14; Nathaniel Rateliff from March 19 to Nov. 14; Ron White from March
20 to Sept. 11; Bert Kreischer from April 5 to July 30; Iliza: The Forever Tour
from April 23 to Sept. 24; and Trolls LIVE! From May 15-17 to Oct. 2-4.
The following events have been cancelled and refunds will
be available at original point of purchase:
“Sesame Street Live,” March 27-29; TD Jakes, April 10; The
Color Purple, April 11; Variety Children’s Charity featuring Steely Dan, April
23; The Spongebob Musical, May 2-3; and Mother’s Day Soul Jam, May 8.
Decisions about other future shows will be made as they continue
to monitor this rapidly evolving situation. Visit www.stifeltheatre.com
Chaifetz Arena
The arena is closed until further notice and in an abundance of caution, the
venue will be thoroughly cleaned while closed.
They are currently working to reschedule all impacted
events and will provide updates as quickly as possible. We ask all current
ticket-holders to retain their tickets for these events until such time when a
new date is determined as your current ticket will be valid for the new date. “Please
be patient and hang tight as we work through this unprecedented time,” a
spokesman said.
Additionally, they have partnered with Ticketmaster to
address all fan questions regarding the cancellation and rescheduling of live
events. Visit the Ticketmaster Help Center by clicking here for guidance and
check back regularly for additional information and status updates as they
become available.
Impacted Events: Festival Of Laughs from March 20 to Sept.
26; Sturgill Simpson from March 21 to TBD; Gateway Blues Festival from March 28
to TBD; AEW Dynamite from April 8 to Oct. 7; NF from April 11 to Aug. 15;
Legends of Hip Hop, from April 17 to Nov. 7; The Millennium Tour, from April 24
to Aug. 8; Three 6 Mafia, from May 23 to Oct. 2; and Lauren Daigle, from May 29
to TBD.
The Playhouse at Westport
All March/April events were cancelled, including “Flanagan’s Wake,” which had
been extended to mid-April.
John Denver Tribute May 7-10 and Rockin’ Chair June 5-6 remain
scheduled.
Off the Page is launching a new way to keep making art together, in this time of separation. Please head over to ART APART, TOGETHER to help us make a new work together: https://www.offthepageeducation.org/art-apart-together/
EVERYONE is encourage to participate–kids, adults, teachers, students, artists, people who don’t yet identify as artists! You read or watch the prompt and then respond immediately in the art form of your choice. We work with amazing collaborators to shape your responses in to a new work and have actors record it. We make a video of our brand new, collaborative work!
New prompts each week, so you can keep generating material while we work on new scripts. We want to hear from you.
The Muny
The
Muny administrative offices and box office are closed through late April.
Ticketing services for the 2020 season are available online at any time.Ticketing
related questions can be sent to boxoffice@muny.org
“We are closely monitoring all developments regarding the
COVID-19 outbreak and will continue to follow the guidance of health and
government officials with the goal of keeping our staff and community as safe
and healthy as possible,” the Muny statement reads on their website.
“With the start of our 2020 season still months away, we
remain optimistic that the season will proceed as planned and hope the
restrictions on gatherings are lifted in early May, as scheduled. If that
changes, we will adjust accordingly. Meanwhile, we continue communicating with
health officials on all levels to stay fully informed and responsive to this
unprecedented situation,” the statement reads.
Given the Stay at Home order for St. Louis City and County,
and for the health and safety of our team, The Muny Offices are currently
closed and some ticketing dates have changed. However, we’re still busy getting
ready for the 2020 summer season, and we can’t wait to meet you at The Muny
this summer!
Ticketing Update as of March 26 – These dates are subject
to change.
Muny Season Tickets will be mailed in early May
Season Ticket Exchanges: May 26 – 29
Single Ticket on Sale: June 1
To purchase new season tickets, or pay a current balance on
existing season tickets, please visit:
muny.org/buy-tickets
To purchase season tickets with a gift card you currently
have in-hand, please email The Muny Box Office at boxoffice@muny.org and a Muny
Ticketing agent will contact you to process
your request. If you wish to purchase a gift card, it will not be mailed until
the restrictions on gatherings have been lifted.
Also, if you are looking for a way to stay entertained
during these “quiet days,” we encourage you to enjoy a specially curated set of
video clips from our previous productions on our social media channels. You can
follow us on Facebook, Twitter and Instagram.
The Repertory Theatre of St. Louis
The Cake starring Rigel Harris, Denny Dillon and Dria Brown. Photo by Phillip Hamer.
The Repertory Theatre had to cancel the run of “The Cake,”
which began in the Studio Theatre on March 14, but was forced to be shutdown
March 16, and to postpone our Mainstage world premiere of “Dreaming Zenzile” from
March 21, with the goal of mounting it this summer.
“The Cake”
An online stream of “The Cake” has been made available to all
Studio Theatre patrons who previously purchased tickets at no additional cost.
There are a limited number of streaming tickets available
for purchase for those who are interested in viewing the final performance of the
Steve Woolf Studio Series this season. That is available through April 24.
Additionally, The Rep is collaborating with a national
group of theatres to commission a series of short plays specifically developed
to spark joy and connection among people who are sheltering in place. These
initiatives are designed to keep the art alive and vital, even in a time of
isolating quarantines.
“Keep an eye out for more entertaining content and
educational resources from The Rep and our local and national partners by
following us on social media,” spokesman Jeremy Goldmeier said.
On March 27, The Rep announced that they have honored the entire contracts of
the guest artists who devoted their talents to “Dreaming Zenzile” and “The
Cake,” despite their runs being delayed or cut short.
“In these uncertain times, The Rep felt it was imperative
that these artists, whose livelihoods depend on their contracts, not bear the
additional burden of lost wages in this pandemic,” a statement said.
“As you know, The Rep has an extraordinarily talented and
dedicated staff that works year-round to support the productions, education,
and community initiatives to serve the greater St. Louis region. We have
continued to pay the full salaries of our full-time, year-round administrative
staff, with no furloughs or other lapses in pay. We have moved our
administrative and box office teams to work remotely to serve you during this
period,” a statement said.
Play at Home
The Repertory Theatre of St. Louis has teamed with
Baltimore Center Stage, Long Wharf Theatre, The Public Theater and Woolly
Mammoth Theatre Company to present Play at Home, a series of micro-commissioned
short plays from some of the American theatre’s most exciting and prominent
playwrights.
These new plays – which all run 10 minutes or less – are
available for the public to download, read and perform at home for free at
playathome.org.
In the wake of widespread event cancellations following the
spread of the coronavirus (COVID-19), the participating theatres conceived Play
at Home as a way to support artists, connect people to theatre, and to ignite
imagination and joy in these uncertain times.
Each organization commissioned multiple playwrights – most
of whom had plays canceled due to the coronavirus outbreak – to create new
works that were big, joyful and not bound by the constraints of what might be
“possible” on a traditional stage.
The Rep’s commissioned playwrights feature:
Regina Taylor (playwright of The Rep’s 2020-2021 production
of Oo-Bla-Dee)
Karen Zacarias (playwright of The Rep’s 2020-2021
production of Native Gardens)
Steph Del Rosso (playwright of The Rep’s 2020-2021 world
premiere of The Gradient)
Guadalís Del Carmen (who appeared at The Rep as an actor in
2020’s Mojada: A Medea in Los Angeles)
Tre’von Griffith (a St. Louis performer and playwright,
co-founder of TLT Productions)
These plays are meant to be read at home among family and friends, and we highly encourage readers to share photos or videos of their home performances on social media using the hashtag #playathome.
Max and Louie Productions
Estelle Siteman of Max & Louie Productions said they optimistically look forward to bringing the second play of our 2020 season,”Looking for Normal” by Jane Anderson to the Marcelle. “This beautiful ,moving play full of wit and wisdom opens July 16 through the 26.2020,” she said.
Moonstone Theatre Company Sharon Hunter said Moonstone Theatre Company has postponed their July opening of “The House of Blue Leaves” to July of 2021 at the Wool Studio Theatre at the J. They will announce our season shortly. which will now begin in November 2020 with a Neil Simon comedy.
Joe Hanrahan of The Midnight Company
The Midnight Company Midnight Artistic Director Joe Hanrahan has moved his one-man play from May 28 – June 13 to a June 4 – 20 run. This is the premiere of the full version of “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” which will be at The Chapel, 4238 Alexander Drive, 63105. Performances are Thursdays through Saturdays at 8 p.m., with a matinee on Sunday at 2 p.m.
It was performed in a shortened version at the 2018 St. Louis Fringe Festival, and audiences responded enthusiastically and critics raved. Snoops Theatre Thoughts said “A delightful show that’s part personal memoir, part history lesson, part nostalgia, and all fascinating. A difficult show to describe but what it is is excellent.” Limelight said “Hanrahan jumps from omniscient narrator to 15-year old movie fanatic to baseball and theatre historian, the audience hanging on every word. The Cardinals are the talk of the town again. This show should be the talk of the town, too!” Hanrahan said, “There’s never been a play we’ve done that’s received such enthusiastic, visceral reaction, due, surely, to the St. Louis history of the show. At the Fringe, productions are limited to one-hour playing time, and this new version will allow us to incorporate new material that should make the show ever more entertaining and informative.” “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” concerns a teen-age boy in 1964. JFK’s assassination still casts a pall on the nation. The Beatles’ emergence in February of ’64 starts to lighten the mood of the nation. The Cardinals continue the good times in St. Louis with a mad dash toward the pennant. And when a new movie hero hits the screens that summer, a bunch of boys on a baseball field have their first theatre experience when one of their gang offers a 30-minute one-man show of “From Russia with Love.” Throughout, the playwright draws links between what’s happened and happening – from JFK to James Bond, from segregation in St. Louis to segregation in baseball’s Southern Leagues and Florida stadiums where The Beatles were supposed to play, from WWII to British film production crews and JFK hit squads, from the first cave man who stood up by the fire to the theatre musings of Peter Brook…all of it swirling in front of the eyes of a young boy, and the memory of that time. Shane Signorino will direct the show as he did at The Fringe (Shane just received a Theatre Critics Circle nomination as Best Supporting Actor in a Comedy for Midnight’s POPCORN FALLS), Kevin Bowman will serve as Production Designer, Michael B. Perkins will design video support (as he did for Midnight productions of A MODEL FOR MATISSE, JUDGMENT AT NUREMBERG, and LITTLE THING BIG THING), and Elizabeth Henning will be Stage Manager.
There will also be a concurrent exhibit in The Chapel lobby of memorabilia from 1950’s/60’s baseball and James Bond films, presented by George Venegoni.
Grace Langford and Jaclyn Amber in “Head Over Heels” Photo by Jill Ritter Lindberg
New Line Theatre
New Line managed to get two weekends of performances of “Head Over Heels” before the local government mandates of crowd size forced it to close early in mid-March.
Its June production of “Urinetown” has been cancelled.
Stray Dog Theatre
“Annie,” which was to open April 9, has been postponed,
with dates to be announced.
“We will honor all tickets already purchased to any of the
new performance dates once they are announced. To purchase tickets to any other
future productions, please call our box office directly at (314) 865-1995.
“We are currently planning to hold the remainder of the
2019-2020 season as scheduled. Any changes or additional information will be
shared as soon as possible. If you have any questions, please feel free to
contact us,” said Artistic Director Gary F. Bell.
“We would like to thank everyone for the hard work they’ve
already put into the production and we would like to thank you for your
patience as we work to bring you the quality story telling you, our family,
deserve. Annie is that bit of light we all need right now, ‘the sun will come
out tomorrow’ and we will overcome anything,” Bell said.
“We know we are not the only organization dealing with
these difficult decisions and we stand with them, ready to come back stronger.
Your continued support of all arts organizations is always appreciated but
never more than in times like these. We look forward to seeing you soon,” he
said. “Please stay safe and be kind to one another.”
Kenneth Lonergan’s “Lobby Hero” is set to run June 4
– June 20
“However, due to the extreme strain currently being faced
by many organizations we have made the decision to halt online sales of
upcoming productions. We will resume online sales once matters have settled and
the timeline of events moving forward becomes more defined,” Bell said.
“You may continue to purchase tickets for upcoming shows by calling our Box
Office at (314) 856-1995 or emailing us at boxoffice@straydogtheatre.org. Thank
you for your patience and your continued support as we manage these unfortunate
events.”
Neil LaBute’s Ten X Ten Series 2nd Week free Video is now availalbe! Check our Twitter account for the link (http://twitter.com/STLAS1)LaBute’s Ten X Ten Series is offered as free content weekly via @STLAS1. It is a collection of original monologues initially written for AUDIENCE CHANNEL#LaBute10x10
This is in response to the cancellation of LaBute’s new play, “Comfort,” which STLAS was to stage this spring.
New Jewish Theatre
Judi Mann, Kelly Weber and Joneal Joplin in “We Are the Levinsons”
Initially, New Jewish rescheduled “We Are the Levinsons”
from March 19 to May, but now they have pushed it back, along with their
Sondheim musical revue, “Putting It Together.” They would like to reschedule later this
summer.
All activities at the JCCA have been suspended during the
public health crisis.
For more information, please contact them by email or by
phone, 314-442-3283.
Opera Theatre of St. Louis
Opera Theatre of Saint Louis has canceled its season. On April 7, Andrew Jorgensen, general director of Opera Theatre, announced the cancellation of the 2020 festival season that was to open May 23 and run through June 28 with this repertory: the world premiere of Tobias Picker and Aryeh Lev Stollman’s Awakenings, Bizet’s gripping opera Carmen, Strauss’ effervescent comedy Die Fledermaus, and the long-awaited company premiere of Carlisle Floyd’s Susannah.
Unfortunately, due to the size of seasonal staff required to produce each opera season, it is not possible for us to assemble the same casts, creative teams, and backstage artisans at any other point in the next several months. Even if we could postpone our season by a month, we simply don’t know when it will be safe for groups to gather again.
At this time, there is no active plan in place to move any of the 2020 productions into the 2021 Festival Season. However, they are still evaluating various options and scenarios — stay tuned for more!
For a complete list of all affected programs and public events, including information on whether an event is canceled or postponed, visit the website and scroll down for a complete list:
This page will be updated frequently in the weeks ahead as new information becomes available regarding the status of events, including possible rescheduling or digital streaming.
“As always, our highest priority is the health of the entire OTSL family — patrons, staff, and artists,” the statement reads.
Shakespeare Festival St. Louis
The 2020 Shakespeare in the Park production of “Much Ado
About Nothing” has been moved to Aug. 12 – Sept. 6. Producing Artistic Director
Tom Ridgely said it was in order to provide the best possible chance of safely
gathering artists and audiences for its 20th anniversary season. It
is to be directed by Bruce Longworth.
“For the past 20 years in St. Louis, the opening of
Shakespeare in the Park has helped to mark the unofficial start of summer,” Ridgely
said. “This year it’s clear that the only way to care for our actors, crew,
volunteers and community is to give as much time as possible for social distancing
measures to take effect and hope to be one of the ways we all bring our summer
2020 to a much happier close.”
The previously announced creative team of Matt Pace &
Brien Seyle (Original Music), Josh Smith (Scenic Design), Dorothy Englis
(Costume Design), John Wylie (Lighting Design) and Kathy Ruvuna (Sound Design)
remains the same.
In response to the widespread cancellation of live events,
the Festival has already shifted to generating a full schedule of new and
original content for the online and social media platforms under the umbrella
of “ShakespeareTV.”
These include the previously aired “watch party” of its
canceled regional tour of Cymbeline, a live reading of “Venus and Adonis”
(which Shakespeare wrote during a plague-induced theater closure) and a
five-night reading of Albert Camus’ postwar masterpiece “The Plague.” Together
they’ve already been viewed 10,000 times.
Now through May 29 on ShakespeareTV, which can be accessed
on their Facebook page:
THE ZOOM PLAYS: a weekly series of 20- to 30-minute
original plays written especially to be performed live over the
videoconferencing app Zoom. Created and performed by local playwrights,
directors and actors.
GREEN SHOW MONDAYS: an eclectic variety program featuring
music, comedy and performance from Festival favorites.
SHAKESPEARE AND CHILL: a special selection of
Shakespeare-inspired movies featuring live commentary from artists and
scholars, co-curated by Cinema St. Louis.
Other one-night only events to be announced.
May 29 – June 21 is SHAKE20
A 20th anniversary reboot of the beloved engagement program
SHAKE38 featuring community responses to 20 of Shakespeare’s plays streaming on
Facebook and Instagram Tuesdays through Sundays 8 p.m. during the Festival’s
originally scheduled run, May 29-June 21.
Like the original, SHAKE20 will be a region-wide
collaboration involving artists and organizations including SHAKE38 alumni:
Slightly Askew Theater, Prison Performing Arts: The Alumni Group, RS-Theatrics,
Poor Monsters and Theater Nuevo. More details about the program and how to
apply will be shared soon.
“In the meantime, we
hope that you and yours stay well. We have planned an incredible season of free
Shakespeare, and we cannot wait to share it with you. It’s an interesting time
to be in the business of live theatre and touring productions, but the Festival
is committed to paying our artists and staff throughout this crisis,” Ridgely
said.
So, if you have ever considered becoming a member, know
that we are always grateful for your support—but especially so at this time,” he
said.
“During this crisis, we feel more connected to Shakespeare
and his contemporaries than ever before. Biographer Jonathan Bate wrote, ‘The
Plague was the single most powerful force shaping [Shakespeare’s] life and
those of his contemporaries.’ During times of quarantine, Shakespeare wrote
some of his most important sonnets and plays,” Ridgely said.
“We can’t claim to have his genius, but we will take
inspiration from his dedication and from artists around the world that are
stepping up to create, facilitate, and share stories in new and exciting ways.
Stay tuned for updates on new and existing Festival programs,” he said.
For more information, visit the website sfstl.com and on
social media. Visit https://www.facebook.com/shakesfestSTL
Stages St. Louis
While Stages St. Louis continues to follow guidance from the CDC as well as
mandates from both local and national government, for the time being, they have
made no adjustments to the schedule for our upcoming 2020 Season.
However, here are some changes regarding tickets, activities
and outreach:
Single tickets for the 2020 Season will now go on sale
beginning Monday, April 27.
All in-person activities with the Stages Performing Arts
Academy will be canceled until the start of our Summer Semester on Monday, June
1.
The Stages administrative, production, and academy offices
will remain closed until Thursday, April 23.
In the meantime, the Box Office is still open for questions
or subscription ticket sales online at www.StagesStLouis.org or by phone at
(314) 821-2407.
The Stages Performing Arts Academy will continue to offer
digital and streaming content in order to continue performing arts education
for students at home and can answer any and all questions by phone at (636)
449-5775.
Shows are: “A Chorus Line,” May 29 – June 28; Disney’s Alice in Wonderland,” June 16 – June 28, “La Cage Aux Folles,” July 17 – Aug. 16; and “Always…Patsy Cline,” Sept. 4 – Oct. 4.
Tennessee Williams Festival St. Louis
Executive Artistic Director Carrie Houk said after careful deliberation, they find it necessary to push the 5th Annual Tennessee Williams Festival St. Louis to summer due to the outbreak of COVID-19. Our first commitment is to keeping the company and community safe. The dates were May 10-17.
The Tesseract Theatre Company Plans are underway to present the 2020 Festival of New Plays June 11 – 28 at the .Zack Theatre. The four plays are “Last Night” by Rachel Lynett, “All That Remains” by J.M. Chambers, “Feast” by Megan Gogerty and “The Length of a Pop Song” by Taylor Gruenloh.
For more information, contact: brittaniegunn@gmail.com or visit the website, www.tesseracttheatre.com
That Uppity Theatre Company Joan Lipkin said they we had hoped to do a new devised piece Crossing Borders/Chasing Freedom May 2-3, “but of course that is on hold. We are still planning to do Dance the Vote Sept 26 at the Missouri History Museum,” she said.
Upstream Theater In keeping with the evolving response to the current public health crisis, Upstream Theater is postponing our premiere of IPHIGENIA IN SPLOTT until next season. The play is now scheduled to run from October 9-25.If you have purchased single tickets or a season passport we will be happy to honor your ticket at that time.
West End Players Guild
Steven Dietz’s “Bloomsday” set to open April 17 and run through
April 26 has been cancelled. It was the final production of the group’s 109th
season.
“As our country copes with the growing threat of the
Coronavirus, one of the most important steps we must take to protect ourselves
and each other is the kind of “social distancing” that is impossible at a
theatrical production. Our Board of Directors believes it is highly unlikely
that the need for social distancing will be any less in April than it is today,
and decided that the best course of action for our company and our patrons was
to act now to cancel the show,” a statement reads.
Patrons who have purchased advance tickets through Brown
Paper Tickets will be issued automatic refunds. WEPG will reach out to season
ticket holders in the near future with refund options.
WEPG will begin its 110th season in September.
Alfresco Productions Auditions
for “Hairspray Jr.” will be by video for the Granite City community theater
production. The show is to run July 24-26 and deadline for video submissions is
April 19. The age limit is from 6th grade to 18 years old. For more
information, visit: https://www.alfrescoproductions.org/auditions
Alton Little Theatre
All productions and concert events through May 1 have been
cancelled. Ticket holders for “Holy Laughter” and Todd Oliver and
“Broadway Salutes America” may be refunded or transferred. Call
618-462-3205 for options.
“Brigadoon” has been moved from May to June, with plans for
a June 5 opening, with eight performances through June 14. Season ticket
holders can follow the same schedule but can call the office at 618-462-3205 anytime
in May.
“Shrek” auditions have been rescheduled for Saturday, May
10, at 10 a.m. and Sunday, May 3, at 2 p.m. Director Kevin Frakes will be casting
at least 30 characters. The show will run July 31-Aug. 9 for eight
performances.
Clayton Community Theatre “The
Philadelphia Story” was to run March 12-22 but was cancelled after opening
weekend.
They hope to premiere “Broadway Bound” July 9 -14
Curtain’s Up Theater Company
The group based in Edwardsville has postponed its production of “1776” for a
future date in 2020, to be determined, and cancelled March 28 auditions. The musical
was to be performed June 26-28 at The Wildey Theatre in Edwardsville. To keep
informed of updates, visit www.curtainsuptheater.com
Kirkwood Theatre Guild
Kirkwood Theatre Guild cancelled its remaining two shows: “On Golden Pond” and “Shrek:
The Musical,” which were set to run in April and May.
Hawthorne Players
The run of “Picnic,” set for March 27, 28 and April 3-5, was cancelled.
Auditions for “A Chorus Line,” which were scheduled March 29 have been put on
hold. More information will be forthcoming. Please follow or check out website
www.HawthornePlayers.com for any further announcements.
Looking Glass Playhouse
LGP began the March 12-22 run of “It’s Only a Play” but was forced to cancel it
after state and local mandates due to the COVID-19 pandemic.
They have cancelled the rest of the season, including “Rock
of Ages” in May and have moved it to the opening slot in the fall.
“We are reaching out to the publishers to reschedule and are hopeful that we
will be able to still perform the show in September,” he said.
They hope to announce the full season soon and for patrons
who renew their season tickets for next year, they will receive a 10 percent
discount.
“Currently, we are still planning our summer youth
production “Alice in Wonderland Jr.” and summer fundraiser “The Rocky Horror
Show.”
Monroe Actors Stage Company
The current production of “Watch Over the Rhine,” which was to run April 17-19
and 24-26, has been postponed.
Due to the current health crisis in our area, all MASC rehearsals and
activities at the Capitol Theater have been postponed effective Monday, March
16.
“The MASC Board will be discussing the plan of action
moving forward regarding Watch on the Rhine, the current show in production,
and the remainder of the 2019-2020 season, as we monitor the progression of
this crisis. Specific information regarding these two shows will be sent out
accordingly. The health and safety of our membership and patrons is our highest
priority,” a statement read.
O’Fallon Theatre Works
The group cancelled “Man from Earth” in March.
“The Curious Incident of the Dog in the Nighttime” is planned for July, and auditions
were recently handled by video.
Over Due Theatre Company
The group in Olivette has postponed “My Fair Lady.” It was
to run April 24-26 and May 1-3.
For the time being, they are still planning on holding auditions for “Bye Bye
Birdie” May 9 and 10. The show is set for July 24-26 and July 31, Aug. 1 and 2.
The Theatre Guild of Webster Groves
They have postponed our May production of “Rehearsal for Murder.”
“We are hopeful and fully intend to mount this production
at a later date,” a statement read.
AWARDS EVENTS
St. Louis Theater Circle
Often referred to as “Theater Prom,” the eighth annual St. Louis Theater Circle
Awards were to take place on March 30 at the Loretto-Hilton Center on the
campus of Webster University, but the event has been cancelled. Local theater
critics will still honor outstanding regional professional theater, however.
Instead, HEC will provide a streamcast of the awards on
Tuesday, April 7, at 7 p.m. on their Facebook page. So, instead of fancy
outfits and schmoozing, the event will be downscaled reading of the nominations
and awards.
The theater critic members of the St. Louis Theater Circle
have recorded the nominations, and their voice-overs will run over photos of
the nominees. Then HEC announcer Rod will announce the winner. There are 34
categories to give awards in, which cover dramas, comedies and musicals. A
special award is being given to Ken and Nancy Kranzberg for their tremendous
support and commitment to the arts.
Visit the Theater Circle’s Facebook page for more
information.
If you would like to see who was nominated, here is the
PopLifeSTL article:
https://www.poplifestl.com/brighton-beach-memoirs-kinky-boots-and-man-of-la-mancha-lead-8th-annual-st-louis-theater-circle-awards/
Arts For Life
In community theater, the Arts For Life board of directors
presents two awards events each year, the Best Performance Awards honor musical
theater and youth productions, and the Theatre Mask Awards honor straight
plays.
The fifth annual Theatre Mask Awards, which honors both
dramas and comedies, was to take place at a brunch on Saturday, April 4, at The
Atrium Center at Christian Hospital. However, it has been rescheduled for July
18.
The 21st annual Best Performance Awards is scheduled for
Sunday, June 14, at 2 p.m. at the Skip Viragh Center for the Performing Arts at
Chaminade. However, the AFL board of directors will decide shortly on whether
the event will be moved. Stay tuned.
For more information and to see lists of nominations, visit
www.artsforlife.org.
You can get tickets to both events for the special price of
$40. Visit www.artsforlife.org for more information and to see a complete list
of nominees.
Emcees are Donna Northcott, a theater professor at
Lindenwood University – St. Charles, for the TMAs, and local singer-actress
Karen Fulks for the BPAs.
AFL President Mary McCreight has suspended all public
activities of the AFL organization, effective until at least May 1. This
includes all judging activities of the Theatre Recognition Guild.
“As our world, our nation and our region face a major
health threat, it falls upon us as a community to adopt measures that will both
foster the protection of those who work and ‘play’ in Metro St. Louis community
theatre and ultimately allow AFL to continue our charitable mission of service
and recognition once the threat passes,” she said.
(Full disclosure: I am a founding member of the St. Louis Theater Circle and I am on the Board of Directors of Arts For Life).
ST LOUIS HIGH SCHOOL MUSICAL THEATRE AWARDS
In partnership with The Fabulous Fox, The Muny and The Fox Performing Arts Charitable Foundation, the St. Louis High School Musical Theatre Awards announced today the shift from in-person celebrations to virtual for their 2019-2020 season.
The new date for this year’s medallion ceremony, also known as the nomination ceremony, will be April 28, 2020 with the awards ceremony slated for May 24, 2020. Both streamed live online at no charge, these virtual celebrations will honor each of the 42 participating schools in the 2019-2020 season, including the schools who were unable to produce their productions due to the unprecedented circumstances associated with COVID-19. Exact times and streaming information will be released at a later date.
ARTS CENTERS AND CONCERT HALLS
The Hettenhausen Center for the Arts
All events and performances scheduled through June 1 have
been cancelled at “The Hett,” which is located on the campus of McKendree
University.
“TAO Drum” has been
rescheduled from March 24 for 7:30 p.m. Monday, Sept. 14; and “Ishmael Beah”
has been rescheduled from April 15 for 7:30 p.m. Thursday, March 4, 2021.
The ReMINDers has been cancelled for April 6.
They are offering patrons the possibility of applying their
tickets to a future event at the Hett, donating the ticket value to the
University or contacting them for a full refund, less any original mailing
fees. Please contact the box office during operating hours to discuss ticket
disposition at 618-537-6863. The box office is open from noon to 4 p.m.
Monday-Friday.
Hettenhausen Center for the Arts is located at 701 College Road in Lebanon. For
more information, please contact thehett@mckendree.edu.
St. Louis Symphony Orchestra
All performances through April 12 are postponed or
canceled. For information regarding tickets and schedules, visit slso.org.
The Sheldon Concert Hall & Art Galleries
All Sheldon-presented concerts and other events through May
10 have been postponed or canceled. Plans to reschedule are underway, and
ticket buyer should retain their current tickets – they will be honored for the
new dates. Additional information will be provided to ticket buyers as events
are rescheduled. Affected concerts include: Ian Walsh and Kevin Buckley,
“Keepin’ It Reel,” March 17-18; Honoring Our Own, Miz Renee Smith, March 17;
David Halen, violin, April 1; Brothers Lazaroff, April 4. Scheduling changes
for events presented by non-Sheldon promoters will be handled on a case by case
basis. All updates can be found at TheSheldon.org or at MetroTix.com.
The Sheldon is located at 3648 Washington Blvd., St. Louis.
Fair Saint Louis
Fair Saint Louis and America’s
Birthday Parade events have been canceled this year due to concerns about the
COVID-19 pandemic.
Fair Saint Louis was set to run July 2-4 at the Gateway Arch
with concerts, air show, and fireworks each night.
“While we are saddened to cancel two of our region’s most
popular and free Fourth of July celebrations, the safety of our community is of
utmost importance to us,” said David Estes, Chairman, Fair Saint Louis. “Fair
Saint Louis and America’s Birthday Parade embody the prideful spirit of our
city, and over the past few weeks, we’ve seen that spirit shine so brightly
within our community as we face this unthinkable challenge together.”
This year would have marked the 40th Fair Saint Louis and 138th
America’s Birthday Parade.
“We look forward to returning to downtown St. Louis and celebrating
with our community in the future when the time is right,” said David Plufka,
Chairman, America’s Birthday Parade.
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.
