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 plays in 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 and will 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 gorgeous Tower Grove Abbey lawn.

8PM Thursdays thru Saturdays August 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.

By Lynn Venhaus
The complicated history of the Israel-Arab conflicts is explored in this thorough and engrossing documentary.

“The Human Factor” takes a deeper dive into the personalities involved and how that affected the persuasive efforts to change hearts and minds.

After the Cold War ended in 1991, the U.S. stayed the biggest global superpower and turned attention to negotiating peace in the Middle East. Director Dror Moreh takes a behind-the-scenes look at three decades of negotiations between Israel and its Arab neighbors by interviewing six mediators and uses archival footage for the historical details.

By interviewing go-between Dennis Ross – who worked under four presidential administrations, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller, we get different perspectives that add depth to the historical records. All accomplished diplomats, they shed light on the process that helps us to understand where and why things go wrong.

Moreh, an Oscar nominated Israeli film director for “The Gatekeepers” (2012), co-wrote the script with Oron Adar. They start out with Secretary of State James Baker, under President George H. W. Bush, and mainly concentrate on the impact of the Bill Clinton years. After the botched deal at Camp David in 2000, they wrap up the next 20 years in a montage rundown.

The U.S. has been so close, but today, it seems like peace between the countries seems more impossible than ever. And the former diplomats candidly share their frustrations.

What we thought was a breakthrough turned out not be what everyone assumed at the Oslo Accords in 1993.That agreement between Yasser Arafat, chairman of the Palestinian Liberation Organization from 1969 to 2004, and Israel Prime Minister Yitzhak Rabin (’74-’77 and ’92-95), lead to a Nobel Peace Prize in 1994, and then signed in 1995. But it did not result in peace. Rabin was assassinated two months later on Nov. 4, 1995.

Since then, five different men have served as prime minister of Israel: Shimon Peres, Benjamin Netanyahu, Ehud Barak, Ariel Sharon and Ehud Olmert. and attempts to reach peace have failed.

The men in the rooms where it happened point out the missed opportunities, what happened with Syria and the PLO, and the complexities involved because of the region’s intricate history.

They could still be talking now, but the film smartly ends at 1 hour, 48 minutes, and is a story well-told. Moreh has gathered copious amounts of archival footage for the historical details.

A history, geography, political science and psychology class all at once, “The Human Factor” shows why there is no easy solution for sustainable peace in the Middle East.

FILE – President Bill Clinton, center, Israeli Prime Minister Ehud Barak, left, and Palestinian leader Yasser Arafat walk on the grounds of Camp David, Md., at the start of the Mideast summit on July 11, 2000. The documentary “The Human Factor” shows the behind-the-scenes story of the U.S.’s effort to secure peace in the Middle East. (AP Photo/Ron Edmonds, File)

“The Human Factor” is a 2019 documentary directed by Dror Moreh starring Dennis Ross, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller. It is rated PG-13 for some violence/bloody images and has a run time of 1 hour, 48 minutes. In opened in theaters May 7. Lynn’s Grade: B+

By Lynn Venhaus
A dysfunctional family relationship drama starts out this bleak doomsday terror attack that keeps everybody guessing about the bad guys and what’s at stake.

It’s the Midsummer national holiday that celebrates the summer solstice and Sweden wakes up to a state of emergency. They are under attack, but no one knows who is behind it or why. Internet, TV and phone networks are down – and the chaos keeps coming.

A shy, lonely teenager, Alex (Christoffer Nordenrot) has an abusive father that propels him to leave one day, and eventually becomes a heralded professional pianist. He returns home for his mother’s funeral when he runs into his childhood crush Anna (Lisa Henni), whom he has been pining away for, and his conspiracy theorist dad Bjorn (Jesper Barkeslius), who remains unapologetic.

They reunite when they need each other most, so of course that brings up flashbacks amid the central theme of trying to survive. It’s an easy crutch for plot purposes while chemical rain falls from the sky.

The low budget film must have spent most of its Kickstarter money on explosions and fiery crashes. The danger is real, even if we don’t know what is happening, just like the confused citizenry, thus keeping us off-guard.

The movie starts off glum, then proceeds to get grimmer. Time is running out while they sprint across country roads and fields in their village as bullets are sprayed at the innocent.

The thinly drawn characters aren’t specific enough to get invested in their plight. The unapologetic dad is such a miserable man that we don’t care whether he makes it.

 And the platonic reuniting of Alex and Anna is through a contrived circumstance, which is awkward, no matter how much we want to root for them.

By virtue of its basic construction, the plot is too manipulative and the characters lack sincerity because of it.

The lead actor, Christoffer Nordenrot, is also a co-writer, along with director Victor Danell. Their collective, Crazy Pictures, is used to making short films. Perhaps elongating this tale was too big of a task.

By combining a mediocre soap-opera family drama with a murky suspense-thriller, we do not get a satisfying result for either. “The Unthinkable” lacked a spark that could have gone a long way in building up suspense.

If you do sit through all 2 hours and 9 minutes of the film, stay for the credits – they post photos that indicate what might have happened, leading to 800,000 deaths.

“The Unthinkable” is a suspense sci-fi thriller, directed by Victor Danell, and stars Christoffer Nordenrot, Lisa Henni and Jesper Barkselius. It is in Swedish, with English subtitles and is not rated. The run time is 2 hours, 9 minutes, and it is in theaters and video on demand May 7. Lynn’s Grade: C.

By Lynn Venhaus
A crisp throwback to the ‘90s era of martial arts movies, “The Paper Tigers” is a warm-hearted exercise in reconnecting friendships and rekindling your purpose.

Once known as the Kung Fu prodigies “The Three Tigers,” the trio of martial artists are now middle-aged men one kick away from a pulled muscle. Their master teacher, Sifu Cheung (Roger Yuan), is murdered, which springs them into action. The childhood friends reunite to avenge him, as they juggle dead-end jobs, dad duties and old grudges.

First-time director Quoc Bao Tran, who also wrote the screenplay, has assembled a trio of likable actors whose chemistry is palpable for this action comedy: Alain Uy as Danny, a divorced dad who works in insurance; Ron Yuan as Hing, out-of-shape trash talker who used to work in hotel security; and Mykel Shannon Jenkins as Jim, who has been estranged from Danny.

Tran benefits from first-rate work by the fight choreographer Ken Quitugua in this low-budget labor of love.

He is banking on the nostalgic appeal of this story to genre fans and those who grew up in the 1990s watching the Teenage Mutant Ninja Turtles and the Mighty Morphin Power Rangers, along martial arts action movies from Jackie Chan, Jean- Claude Van Damme and Steven Seagal,

The resurgence of “The Karate Kid” variations and the Netflix hit series “Cobra Kai” will no doubt boost the interest too. One of the actors in those series, Yuji Okumoto, has a small role in this 2020 film.

This movie is best at emphasizing those time-honored traditional themes: Discipline, Honor, Focus, Purpose.

Like the three heroes, the movie takes awhile to find its rhythm. Of course, the old guys will gain the respect of the punk kids they face. Naturally, their childhood rival Carter (Matthew Page of “Enter the Dojo”), even though he’s running Sifu’s school, is still a jerk.

The story is a standard whodunit with little suspense, so all the energy is focused on the three pals gaining strength through their 30-year-old bond. The movie effectively uses flashbacks to show how eager they were as pupils to defend the weak, be loyal and righteous.

The men keep taking lickings and their quips keep ticking. The sound mixing is good at capturing the aches, pains and pummeling.

The film, shot in Seattle, has a resourceful team and their desire to tell this story is obvious. The amiable small film aims for the heart and succeeds.

“The Paper Tigers” is a 2020 action-comedy directed by Quoc Bao Tran and starring Alain Uy, Ron Yuan, Mykel Shannon Jenkins and Matt Page. Rated PG-13 for some strong language, offensive slurs, and violence, the movie run time is 1 hour, 48 minutes. It is in theaters and on digital May 7. Lynn’s Grade: B

‘Tiny Beautiful Things’ and an Encore of ‘Songs for Nobodies’ to be Staged

Max & Louie Productions joyfully announces its “Comeback” with the St. Louis premiere of “Tiny Beautiful Things” based on the New York Times bestseller, “Tiny Beautiful Things: Advice on Love and Life from Dear Sugar” by Cheryl Strayed and adapted for the stage by Oscar nominee, Nia Vardalos, playing at The Grandel Theatre July 29-August 8,2021.

“We are so pleased to reopen safely, and welcome back St. Louis audiences with a powerful, dynamic, and empathetic play about words and the power of words to connect with one another. It’s the kind of connection that we have had to be extremely grateful for this past year,” said Stellie Siteman, Producing Artistic Director of Max & Louie Productions.

When life is hard, turn to Sugar.  “Tiny Beautiful Things” follows Sugar, an online advice columnist who uses her personal experiences to help the real-life readers who pour their hearts out to her. Rich with humor, insight, compassion and absolute honesty, “Tiny Beautiful Things” is a play about reaching when you’re stuck, healing when you’re broken, and finding the courage to take on the questions that have no answers.

The cast includes Michelle Hand as “Sugar”, Greg Johnston as Letter Writer #1, Wendy Renee Greenwood as Letter Writer#2, and Abraham Shaw as Letter Writer #3.  Sydnie Grosberg Ronga directs.

Critic’s Pick! “Tiny Beautiful Things” is about the endangered art of listening to-and really hearing and responding to-other people… it works beautifully as a sustained theatrical exercise in empathy.”

The New York Times

“…a show that aims to open our eyes to the tiny moments when the world surprises us with care.”

New York Magazine 

“Heart-tugging and emotionally rewarding.”

The Huffington Post

“… a theatrical hug in turbulent times”

Variety

“Tiny Beautiful Things” will run at the Grandel Theatre, 3610 Grandel Square, St. Louis, Missouri 63108. The dates of the production are July 29-August 8,2021. Tickets will go on sale Monday, June 14th 2021 at metrotix.com or by phone at (314) 534-1111. Online Socially Distanced Reserved Seating will be restricted to groups of 2 and 4 consecutive seats. Booth seating is available for a group of 4 or 6 persons. Tickets are priced from $35-$55.

**Max & Louie Productions has received its Missouri ArtSafe certification. To ensure that we may create safely, present safely, and attend safely we pledge to Covid-19 safe protocols which patrons are encouraged to view at Max & Louie Productions’ website at www.maxandlouie.com.

The 2021 season concludes with the Max & Louie Productions’ hit revival of “Songs for Nobodies” written by Joanna Murray-Smith and presented at the Grandel Theatre December 2-12th 2021.

This one-woman powerhouse performance, starring Debby Lennon, weaves the music of legendary divas Judy Garland, Patsy Cline, Billie Holiday, Edith Piaf, and Maria Callas throughout a mosaic of stories told by the everyday women who had unexpected life-changing encounters with these musical icons.

Featuring such favorites as “Come Rain or Come Shine,” “Crazy,” “Non, Je Ne Regrette Rien,” “Lady Sings the Blues,” and “Vissi d’ arte,” “Songs for Nobodies” illuminates the power of song to share a story, heal a heartbreak, and inspire a dream.

“It’s a perfectly marvelous show to kick off the holidays”, exclaimed Stellie Siteman, Artistic Director.

Critic’s Pick! “Max & Louie’s ‘Songs for Nobodies’ is an intimate triumph.”

-Calvin Wilson St. Louis Post Dispatch

“Dazzling work from Debby Lennon and lots of bang for the audiences buck in this little jewel from Max & Louie Productions.”

-Ann Pollack St. Louis Eats and Drinks

“… Lennon’s range is astonishing. Her performance as an actor who portrays five, ordinary, utterly individual women is at least as impressive as her singing.”

-Judy Newmark Judy Act Two

Ten women, all played by one extraordinary actress, in “Songs for Nobodies” is directed by Pamela Hunt and runs at the Grandel Theatre, 3610 Grandel Square, St. Louis, Missouri 63108. The dates of the production are December 2-12th,2021. Tickets go on sale at metrotix.com or by phone (314) 534-1111 on October 11th,2021. Tickets are priced from $35-$60 Booth seating is available for a group of 4-6 persons.

By Lynn Venhaus
An offbeat refugee drama with bits of dry British humor, “Limbo” is another look at the “stranger in a strange land” theme.

A young Syrian musician is stuck on a remote Scottish island where he and other refugees wait to find out if they have been approved for asylum.

Set in a desolate landscape with drab sparsely furnished living quarters adding to the dreariness, the four migrants sharing the place must make do. They are single men without financial means and given a bare-minimum allowance, for they can’t work yet.

They are trying to survive the waiting game in harsh weather conditions, learning English by watching “Friends” and picking up cast-off items at a community thrift center to help their lives.

Omar (Amir El-Masry) has sad eyes and a glum expression. He talks to his Mom on an outside pay phone, homesick for Syria but knows he can’t return, or he’ll be killed like so many others in the civil uprising. His brother’s fighting in the Army but his parents are in Istanbul. You can feel his fear, anger and desperation.

His roommate, Farhad, played by Vikash Bhai, is a talkative, cheerful Afghan who shares his dreams and goals. The other two staying there are bickering brothers from Africa – one dreams of playing professional soccer while the other has more modest aspirations. Kwabena Ansah is Abedi and Ola Orebiyir is Wasef, both delivering heartfelt performances.

The wintry winds are cruel and melancholy settles over these young men as they await their fate. Omar plays the oud, a heritage string instrument in the manner of a guitar and carries it everywhere.

The storyline gets very bleak, so this shouldn’t be classified as a comedy. However, there are a few funny bits. The guys attend a group assimilation session where two locals, Boris (Kenneth Collard) and Helga (Sidse Babett Knudsen), teach them the best practices in social situations. These lessons are a hoot.

Farhad, a Freddy Mercury fan, bonds with a barnyard chicken. Frustrated by the system but resigned to his plight, Omar has little patience for lighter moments.

In his feature film debut, writer-director Ben Sharrock brings out genuine observational moments. An eye for the quirky, he is particularly good at staging shots for optimum effectiveness, although he is very deliberate in pacing.

Sharrock was nominated for two BAFTA awards – Outstanding British Film of the Year and Best Debut by a British Writer, Director or Producer.

Sharrock was inspired by the personal stories of people he met while working for refugee camps in southern Algeria and living in Damascus before the outbreak of the Syrian Civil War in 2009.

This is a thoughtful piece on homelands and borders. The best part is how the humanity ultimately shows through, and there is a glimmer of hope to sustain us.


“Limbo” is a 2020 drama written and directed by Ben Sharrock. It starts Amir El-Masry, Vikash Bhai, Kwabena Ansah, Ola Orebiyir, Kenneth Collard and Sidse Babett Knudsen. Rated R for language, it runs 1 hour, 44 minutes. In theaters. Lynn’s Grade: B

By Lynn Venhaus
Zippy and clever, “The Mitchells vs. The Machines” is a cross between a fun family adventure with the Griswolds and a fast-paced sci-fi thriller in the mold of “Terminator 3: Rise of the Machines.”

With Phil Lord and Christopher Miller the producers, Oscar winners for the innovative “Spider-Man: Into the Spider-Verse” and creators of “The LEGO Movie,” you expect good humor, creative animation and funny people voicing the characters, and they raise the bar once again. Writer-director Mike Rianda delivers a work that is not only entertaining but surprisingly warm-hearted.

An ordinary family finds themselves challenged to save the world from a robot apocalypse. Creative daughter Katie (Abbi Jacobson) has been accepted into the film school of her dreams, so her nature-loving dad (Danny McBride) insists on a family road trip to get her there. Upbeat Mom (Maya Rudolph) and quirky younger brother Aaron (Mike Rianda) are along for the ride when the machine uprising begins – oh, and their squishy pug Monchi too. They connect with two simple-minded robots to save humanity, combating smart phones, roombas, evil Furbys and renegade appliances.

Families can recognize themselves in the characters, which Rianda and co-writer Jeff Rowe have lovingly crafted, while its cautionary tale about unchecked technology, over-reliance on social media and losing connections with those you love the most is a valid one.

The contrast between the Mitchells – throwbacks to ‘60s and ‘70s sitcoms, complete with beat-up station wagon and roly-poly dog – with the high-tech modern world is well-drawn and thought-provoking.

The colorful animation is, of course, next level, in its action sequences and visual effects. Its vibrancy and sight gags are worth a second viewing. An Easter egg for St. Louisans, the Arch is one of the landmark attractions seen across the U.S.

The voice actors ideally suit their characters, with the well-meaning but dorky dad voiced by Danny McBride an excellent foil for exasperated Katie, ready to try her wings at college, played by comic actress-writer Abbi Jacobson of “Broad City” fame and a veteran of Upright Citizens Brigade. SNL’s Beck Bennett, Fred Armisen and Conan O’Brien are funny as tech voices, with the biggest surprise Oscar winner Olivia Colman as the mad mastermind PAL. The actress, best known as Queen Elizabeth in “The Crown,” is a terrific villain.

The charming and delightful “The Mitchells vs. The Machines” is a welcome vehicle to gather the whole family to watch – and all too rare these days for such a broad shared experience.

THE MITCHELLS VS. THE MACHINES – Mike Rianda as “Aaron Mitchell”. Cr: ©2021 SPAI. All Rights Reserved.

“The Mitchells vs. The Machines” is an action comedy animated feature, directed by Mike Rianda. Voice actors are Abbi Jacobson, Danny McBride, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, Conan O’Brien and Charlie Yi.
The film is 1 hour, 53 minutes and is rated PG for action and some language. Streaming on Netflix beginning April 30.

Lynn’s Take: A

By Lynn Venhaus

After the longest awards season ever and the weirdest movie year of all-time, we reach the finish line with the Oscars Sunday night.

People may gripe about the 93rd Academy Awards for several reasons, but you can’t say it is not going to be memorable. It might even be historic – there are a few records certain to be broken.

With 70 women nominated — the most ever – and a record two women in the directing category, we may see only the second woman win Best Director – and the first woman of color nominated. In 93 years! More on this in the category sections.

The show starts at 7 p.m. CST on ABC, coming to us live from the Los Angeles Union Station – and trains will be coming and going – and the Dolby Theatre. The previous award shows this season have involved taped segments and some Zooming, and ratings have tanked.

But producers claim this show will be different.

“The Oscars are not a webinar,” stated producer Steven Soderbergh, a filmmaker and Oscar winner for “Traffic.”

The Oscars, usually in February since 2004, pushed film eligibility to Feb. 28 and the awards for April 25, with some other groups doing the same, pandemic and all. What has shifted is the Big Mo, because movies like “Judas and the Black Messiah” came out later and Daniel Kaluuya went to the top of the list for Best Supporting Actor (even though he is a lead, but this isn’t the first example of category fraud and won’t be the last). I call this the second round, because many critics’ groups announced earlier.

After all the other awards – I am not counting the Golden Globes because we need to have a serious reckoning with the Hollywood Foreign Press Association – frontrunners have definitely emerged.

What has transpired with the Screen Actors Guild, other guilds (DGA, WGA, PGA), BAFTA (British awards), Independent Spirit Awards and the critics groups – I belong to the Critics Choice Association, Alliance of Women Film Journalists and St. Louis Film Critics Association – is either shoo-ins, like Kaluuya, “Soul” for Original Score and “Sound of Metal” for Best Sound, or tight nail-biters, such as Best Actress and Best Song.

It is easy to get cynical about the year that was, with movie theaters struggling and few blockbusters enticing folks out of their homes during a global pandemic, but I have seen many good movies streamed into my living room. I am OK with independent films and small-scale storytelling. I have seen nearly 170 films since the public health emergency forced a shutdown. I

After months of staying at home, I saw “Tenet” at the IMAX but have not returned to a movie theatre since then. Now that I am vaccinated and a COVID-19 survivor, I intend to go back. I miss that whole experience of “going to the movies.” It will be so satisfying when we can all watch a movie with an audience. I will never take it for granted again, and has been such a big part of my life since my youth.

The eight movies nominated for Best Picture are worthy and would be praised in any year: “The Father,” “Judas and the Black Messiah,” “Mank” (more for technical brilliance), “Minari,” “Nomadland,” “Promising Young Woman,” “Sound of Metal” and “The Trial of the Chicago 7.” “Da 5 Bloods” should be there.

My top 6 of the year were “Nomadland,” “The Trial of the Chicago 7,” “Da 5 Bloods,” “Minari,” “Promising Young Woman” and “Soul.” “Sound of Metal” was no. 11.

Now, every year, when I predict the Oscars, I overthink it. Some years are better guesses than others. And really, until that envelope is opened, one never knows (except for Price Waterhouse Coopers, the accounting firm that tabulates.

Currently, there are 10,000 members of the Academy of Motion Picture Arts and Sciences. The Best Picture ballot is the only one where voting is different – it is a preferential ballot, where voters rank 1 through up to 10 (this year, 8). The winner must receive 50 percent of the vote plus 1. That is why we’ve had several upsets in recent years (“Moonlight” over “La La Land,” “Green Book” in 2019 and “Parasite” in 2020.

Without further ado, here are my predictions in all 23 categories, based on personal preferences and gut feelings, along with or the ‘conventional wisdom” of prognosticators and Oscar-metrics (yes, that is a thing).

BEST PICTURE
Will Win: Nomadland
Should Win: Nomadland
Could Win: Minari

BEST DIRECTOR
Will Win: Chloe Zhao “Nomadland”
Should Win: Chloe Zhao
Could Win: She’s won 40+ awards; it really is hers to lose

BEST ACTOR
Will Win: Chadwick Boseman “Ma Rainey’s Black Bottom”
Should Win: Chadwick Boseman
Could Win: Anthony Hopkins, “The Father”

BEST ACTRESS:
Will Win: Tough call but I am going with Carey Mulligan “Promising Young Woman”
Should Win: Carey Mulligan
Could Win: Frances McDormand “Nomadland” or Andra Day “The United States vs. Billie Holiday”

BEST SUPPORTING ACTRESS:
Will Win: Yun-Jung Youn “Minari”
Should Win: Yun-Jung Youn
Could Win: Maria Bakalova “Borat Subsequent Moviefilm”

BEST SUPPORTING ACTRESS:
Will Win: Daniel Kaluuya “Judas and the Black Messiah”
Should Win: Daniel Kaluuya (but it’s not a lead)
Could win: Paul Raci “Sound of Metal”

BEST ORIGINAL SCREENPLAY
Will Win: Emerald Fennell “Promising Young Woman”
Should Win: Emerald Fennell
Could Win: Aaron Sorkin “The Trial of the Chicago 7”

BEST ADAPTED SCREENPLAY
Will Win: Floran Zeller “The Father”
Should Win: Floran Zeller “The Father”
Could Win: Chloe Zhao “Nomadland”

BEST CINEMATOGRAPHY

Will Win: Joshua James Richardson “Nomadland”
Should Win: Nomadland
Could Win: “Mank”

BEST EDITING
Will Win: The Trial of the Chicago 7”
Should Win: The Trial of the Chicago 7
Could Win: “Sound of Metal” or “The Father”

BEST MUSIC SCORE
Will Win: Jon Batiste, Trent Reznor and Atticus Ross, “Soul”
Should Win: “Soul”
Could Win: “Mank”

BEST SONG
Will Win: “Speak Now” One Night in Miami
Should Win: “Fight for You” Judas and the Black Messiah
Could Win: “Lo Si” The Life Ahead

BEST PRODUCTION DESIGN
Will Win: Mank
Should Win: Mank
Could Win: The Father

BEST VISUAL EFFECTS
Will Win: Tenet
Should Win: Tenet
Could Win: Mulan

BEST ANIMATED FEATURE
Will Win: Soul
Should Win: Soul
Could Win: Wolfwalkers

BEST DOCUMENTARY FEATURE
Will Win: My Octopus Teacher
Should Win: Crip Camp
Could Win: Time

BEST INTERNATIONAL FEATURE
Will Win: Another Round
Should Win: Quo Vadis, Aida
Could Win: Collective

BEST MAKEUP AND HAIRSTYLING
Will Win: Ma Rainey’s Black Bottom
Should Win: Mank
Could Win: Pinocchio

BEST COSTUME DESIGN
Will Win: Ma Rainey’s Black Bottom
Should Win: Emma
Could Win: Mank

BEST SOUND
Will Win: Sound of Metal
Should Win: Sound of Metal
Could Win: Mank

DOCUMENTARY SHORT SUBJECT
Will Win: A Concerto is a Conversation
Should Win: Love Song for Latasha
Could Win: Colette

LIVE ACTION SHORT SUBJECT
Will Win: Two Distant Strangers
Should Win: Two Distant Strangers
Could Win: The Letter Room

ANIMATED SHORT SUBJECT
Will Win: If Anything Happens I Love You
Should Win: If Anything Happens I Love You
Could Win: Opera

The St. Louis Shakespeare Festival is pleased to welcome back audiences for a new season of free Shakespeare productions in 2021, beginning with the return to Shakespeare Glen in Forest Park with King Lear. 

The Festival is committed to preserving the health of our staff, actors, and audience and will share complete safety precautions closer to performance dates in compliance with the guidelines of health officials.

The 21st season of outdoor performances starting with KING LEAR starring André De Shields in Shakespeare Glen, a new 24-stop touring production of OTHELLO and the return of Shakespeare in the Streets in the historic North St. Louis neighborhood of THE VILLE.

On May 3, the company of 18 talented (and fully vaccinated) actors will come together in St. Louis for the first rehearsal of King Lear under Director Carl Cofield. Get to know their names and faces. 

This is the 2021 Shakespeare in the Park cast: 

André De Shields (King Lear), Rayme Cornell (Goneril), J. Samuel Davis (Kent), Leland Fowler (Edmund) Allen Gilmore (Fool), Nicole King (Cordelia), Jason Little (Albany), Daniel Molina  (Edgar), Carl Overly, Jr. (Cornwall), Michael Tran (Oswald/France), Jacqueline Thompson (Regan) and Brian Anthony Wilson (Gloucester). With support from Atum Jones and the St. Louis Black Rep Intern Company: Kentrell Jamison, Theorri London, Brian McKinley, Tyler White and Christina Yancy.   

Reservations for King Lear will open on May 2!  Stay tuned for more information on how to attend. The opening show of the 21st season will run June 2 – June 27.

KING LEAR

Shakespeare Glen, Forest Park June 2-27
Tony, Emmy and Grammy Award-winner André De Shields (Broadway: HadestownThe Wiz) stars in Shakespeare’s greatest — and most modern — masterpiece.

Carl Cofield (Associate Artistic Director, Classical Theatre of Harlem) directs an all-BIPOC cast from New York, Chicago and St. Louis.


OTHELLO Aug. 3 -29

TourCo presents 24 performances in Missouri & Illinois
Our new outdoor touring troupe visits public parks across the bi-state region. A Living Study Guide before each performance explores the themes and modern impact of Othello — Shakespeare’s gripping tragedy of jealousy, race and resentment.


SHAKESPEARE IN THE STREETS: THE VILLE Sept. 9-11

Annie Malone Children’s Home, 63133

After an extended storytelling residency, Shakespeare in the Streets returns with a new play based on Shakespeare and inspired by the Ville neighborhood, one of the most historically significant Black communities in America. 

Coleman discusses upcoming 103rd season and the challenges ahead

By Lynn Venhaus
Kwofe Coleman, who started at The Muny as a seasonal employee when he was 16, will become the theatre’s next president and CEO, succeeding Denny Reagan, who is retiring after 52 years.

Coleman begins the new position on Jan. 1, 2022. He is currently The Muny’s managing director, overseeing the organization, financial and business affairs. He will assume the role with more than a decade of extensive theatre management experience.

“I am honored and humbled by the opportunity to lead The Muny and serve a community that I love,” Coleman said. “The unparalleled history, remarkable resources and aspirational spirit that have yielded a century of success for The Muny are our foundation as we begin our second century.”

The Muny Board of Directors announced the decision Friday.

One of the premier musical theaters in the U.S., the 103-year-old St. Louis venue traditionally welcomes more than 350,000 patrons over its nine-week season in the nation’s largest and oldest outdoor theatre in Forest Park.

The opportunity to mold The Muny’s future is not one Coleman, 38, takes lightly.

“With great excitement, I look toward the future of a cultural institution that will take intentional steps to broaden and evolve our identity and relationships through both our art and our investment in this community,” he said.

He has been preparing for this opportunity for many years.

“It’s been a 22-year job interview,” he said. “The opportunities I have had to work in different departments and gain the necessary experience in a community I care about has motivated me to want to figure out our next chapter. ‘What else can I do?’ We have an opportunity to define what a cultural institution is. It’s an amazing opportunity.”

Coleman said he is eager to get to work.

“I have a lot of respect for what the people do here. I’m honored for this moment, and I’m so excited to do the work,” he said.

Coleman’s promotion has been met with local and national praise, with both the board chairman and retiring president describing it as a “perfect” choice.

“Thanks to Denny’s leadership, and the diligent stewarding of the selection process by the executive committee and full board, the perfect candidate has been chosen,” Muny Board Chairman James S. Turley said.

Reagan, who has been with The Muny since 1968, has served as president and CEO since 1991. He announced plans to retire in December.

He and Coleman have worked extensively alongside each other. In recent years, they have stood together near stage left, greeting patrons before each of the seven shows on summer evenings.

And like Reagan, Coleman started working at the Muny as a summer job when he was in high school. He was an usher, handing out programs and helping with patrons’ needs.

“Kwofe is a remarkably gifted leader who understands the institution at its core, and more importantly, its commitment to the St. Louis community,” Reagan said. “He will ensure The Muny’s future remains bright while offering a new perspective on how to lead our beloved theatre into its next century. Without question, he is the perfect choice.”

“Undoubtedly, Kwofe will ensure The Muny continues its commitment to accessibility, regardless of physical or socioeconomic limitations, while expanding the vital role we fill in our community,” said Turley, who is also the Second Century Campaign chairman.

Dave Steward, founder and chairman of World Wide Technology, the nation’s largest black-owned company, said Coleman was a national and local leader of rare passion and commitment for serving young people.

“His record reflects an accomplished innovator who is making education and training increasingly accessible for historically underserved communities through schools and the arts,” Steward said.

“From the Gospel of Mark we learn, ‘Whoever wants to be great among you must be your servant,’ and I am confident that Kwofe will lead with faith and humility. The Steward family, along with World Wide Technology, salute The Muny on choosing Kwofe as their next leader,” said Steward, a Muny board member.

World Wide Technology and the Steward Family Foundation became the first overall season sponsor in the history of The Muny in 2014. They were to be the 2020 Season Presenting Sponsor but instead continued as the online season presenting sponsor with a leadership gift.

Coleman is recognized both locally and nationally as a strong force in theatre operations and currently serves as the president-elect of the National Alliance for Musical Theatre.

 Betsy King, NAMT executive director, noticed the symmetry of Reagan, a former president, passing the torch to Coleman.

“I can say with both excitement and confidence that Kwofe will be a charismatic, insightful leader for The Muny. He will respect the past while also moving the organization into a strong, vibrant future. The Muny is in excellent hands!” she said.

Coleman was a 2018 Fellowship advisor for the DeVos Institute of Arts Management at the University of Maryland.

“The Muny has enjoyed a remarkably stable and strong leadership that has allowed the organization to move from strength to strength. Appointing Kwofe Coleman as the new president and CEO ensures leadership continuity. Kwofe brings his own insights and talents to the position and will lead The Muny to even greater heights in the years to come,” said Michael Kaiser, DeVos Institute of Arts Management chairman and Kennedy Center president emeritus.

Photo in St. Louis American. Kwofe Coleman and Dennis Reagan backstage at The Muny

103rd Season

Because of the public health crisis due to the coronavirus pandemic, the 102nd season was cancelled, and the line-up was transferred to the 2021 season. Even though season ticket sales were announced in March, the current health landscape, best practices and all available information must indicate that a season is possible.

A final decision will be made next month, Coleman said.

“We’re eager to come back, to gather and have the shows, but we have to be safe and be cleared to do so by the health department and the labor unions,” he said. “We’re looking at every angle. We might have to have a slightly reduced season, a socially distanced scenario. We’ll do something. How we will do it has to be figured out.”

Coleman said meetings continue to take place, consulting with the city and medical experts on the COVID-19 regional numbers and mitigation efforts. He said they have watched what the St. Louis Cardinals, St. Louis Blues and other local institutions have done in their altered re-openings.

“We’ve had a lot of great conversations. We’re only going to be together again by working together,” he said.

The upcoming season, announced in December, is to start later in July and then run through September, a shift from the usual June to August schedule, “should conditions allow.”

The seven shows are: Seven Brides for Seven Brothers (July 5 – 11), Disney and Cameron Mackintosh’s Mary Poppins (July 14 – 22), Smokey Joe’s Cafe (July 25 – 31), The Sound of Music (August 3 – 9), Sweeney Todd (August 12 – 18), On Your Feet! (August 21 – 27) and Chicago (August 30 – September 5). Three – Sweeney Todd, Smokey Joe’s Café and On Your Feet – are Muny premieres.

In the meantime, the activities at #1 Muny Drive continue. The stage is being installed, construction is on track and preparations to return are underway.

The Muny is currently undergoing a multi-year major renovation project that was announced in October 2018.  Phase 3 started in September, focused on backstage support spaces. The Muny’s aging 11.5-acre campus needs upkeep and maintenance.

The new Emerson Artists’ Building will house dressing rooms, the wig shop, hair and makeup departments and wardrobe. Renovations are planned for the costume shop, production and general offices, rehearsal space, craft and scenic room, painter and carpenter areas, and the sewer and plumbing infrastructure. The capital campaign has raised $85 million so far.

The first two phases focused on rebuilding the state-of-the-art James S. McDonnell stage

Summer of 2020

The Muny announced in May that a modified season of 5, not 7, shows would take place beginning in July only if local health experts and officials deemed it safe, but on June 8, the decision was made not to move forward.

After that sad news, the Muny pivoted to an online season, a first in its 102-year history. They aired the live Muny Magic concerts at The Sheldon, never before made available to the public, and created a new series, “The Muny 2020 Summer Variety Hour Live!” This one-of-a-kind, free online endeavor was packed with performances by Muny artists across the country and dancers performing outside on the grounds.

Because of the online season, The Muny was able to employ several members of its typical summer staff, including trades people, performers, artists and musicians.

With viewers from 22 countries, the total estimated attendance for the free 10-show summer season was 189,582. This number represented a record-breaking first in The Muny’s live-streaming history, and is an aggregated estimate based on YouTube analytics.

“While this season was anything but ordinary, the support from our viewers has been nothing short of extraordinary,” Reagan said.

“My heart was transported back to so many magical summer nights past,” said Mike Isaacson, artistic director and executive producer of The Muny.

“I am so grateful to everyone in the Muny family who worked on and created these 10 streams,” Isaacson said. “It was a remarkable collaboration in so many ways, and in this really challenging time, these shows allowed us to create, to celebrate and to be together. We’re all very grateful.”

The Muny 2018. Photo by Lynn Venhaus

Coleman’s biography

Coleman joined The Muny full time in 2008 as a staff accountant, helping to manage the finances, accounting and payroll for its multimillion-dollar annual budget.

In the decade preceding it, he performed a variety of roles, including house manager.

In 2011, Coleman formed The Muny’s first digital communications department, reconstructing its internet presence and social media identity while also dramatically increasing the theatre’s internet sales stream, national presence and forming connections with nextgeneration audiences.

He was promoted to director of marketing and communications in 2014, where he managed branding and marketing efforts through its 2018 centennial season. During this time, Coleman was also key in the creation of both The Muny’s Second Century Strategic Plan and the $100 million Second Century Capital Campaign.

Following the 2018 season, Coleman was named The Muny’s managing director, responsible for managing the business functions while working with Isaacson, to embrace and articulate the artistic and institutional vision.

In St. Louis, he is an active contributor, serving on the St. Louis University High School Board of Trustees, Cor Jesu Academy Advisory Council, Common Circles Advisory Council and as a proud founding board member of Atlas School.

Coleman is an alumnus of St. Louis University High School, Class of 2001, and earned a bachelor’s degree in English from Emory University in Atlanta.

He is a first-generation American. His parents migrated here from the Republic of Ghana in the mid-1970s and settled in Bellefontaine Neighbors. He has two sisters, both doctors, who attended Harvard and Duke universities, and locally, Cor Jesu Academy. He said his parents prized education and his father worked side jobs to send his children to private schools.

Coleman said his parents appreciated the arts and culture, and that was handed down to their three children, to make sure they were well-rounded.

“Art was natural to me and I appreciated it,” Coleman said.

He also serves on the board of directors for the Saint Louis Club, as well as other various social service organizations. During the 2020 holiday season, Coleman served as executive producer for “A New Holiday,” a short film musical set in St. Louis created by LIFE Creative Group.

He is a 2015 recipient of the St. Louis American’s Salute to Young Leaders Award and was named to the 2020 St. Louis Business Journal 40 under 40.

For more information about The Muny, visit www.muny.org.

Season tickets can be purchased online at muny.org or by phone by calling (314) 361-1900. Currently, the box office in Forest Park is closed to the public.