SATE presents the Seventh Annual Aphra Behn Festival,May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.
When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.
The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.
This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.
2023 Festival Plays
Bold Stroke for a Villainby Summer Baer Directed by Emma Glose Inspired by Hannah Cowley’s Bold Stroke for a Husband Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.
Lieblingstante, by Aurora Behlke Directed by Kayla Ailee Bush Based off The Uncle by Princess Amalie of Saxony Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.
reANIMAby Aly Kantor Directed by Britney N. Daniels A speculative subversion of Amelia Rosselli’s Anima Performed by Keating and Taylor Kelly Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?
PRODUCTION ENSEMBLE Stage Manager: Spencer Lawton Costume Design: Liz Henning Lighting Design: Michael Sullivan Graphic Design: Dottie Quick Photography: Joel Rumpell Set/Props Design: Rachel Tibbetts, Ellie Schwetye Sound Design: Emma Glose, Ellie Schwetye Intimacy Coordinator: Rachel Tibbetts
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 Stages St. Louis’ “In the Heights,” a jubilant celebration of culture, community, and connection, won six awards, including Outstanding Musical Production, Music Director, Choreography, Set Design, Costume Design (tie) and Ensemble in a Musical, at the St. Louis Theater Circle Awards Monday.
Their world premiere of “The Karate Kid – The Musical” won Outstanding Lighting Design for a total of seven, and Jack Lane, retired executive producer, announced the musical is Broadway-bound in 2024.
Seven is what The Black Repertory Theatre of St. Louis amassed for four productions: August Wilson’s “Jitney” (2 – Outstanding Production and Ensemble), “Behind the Sheet,” (2 – tie for Outstanding Production – Drama and Best Director), “The African Company Presents Richard III” (1 – Supporting Performer, Male or Non-Binary, Cameron Jamarr Davis) and “Dontrell, Who Was Kissed by the Sea” (2 – Lighting Design and Sound Design).
Brian McKnight accepted on behalf of The Black Rep and described founder Ron Himes as a man “who has vision.”
The Muny, SATE (Slightly Askew Theatre Ensemble), and West End Players Guild each won four at the 10th Annual Theater Circle Awards, which recognized achievements in comedies, dramas, musicals and operas.
SATE’s original play “Bronte Sister House Party” won 4 (Best New Play, Outstanding Comedy Production, Comedy Ensemble and Supporting Performer Male or Non-Binary Role). “The Color Purple” at The Muny won 3 – Leading Performer, Female or Non-Binary in a Musical, Supporting Performer, Female or Non-Binary, and Costume Designer while Martin McDonagh’s “The Lonesome West” won 3 – Leading Performer, Male or Non-Binary, Supporting Performer, Female or Non-Binary, and Director Robert Ashton for the West End Players Guild.
For more than 10 years, the St. Louis Theater Circle has been presenting annual awards for regional professional theater, and resumed a live ceremony after virtual productions streamed by HEC Media online in 2020 and 2022 because of the coronavirus pandemic, cancelling 2021 (but including a few of those productions last year).
It was the first live ceremony since 2019, and held at the Repertory Theatre of St. Louis’s Loretto-Hilton Center on Webster University’s campus.
Approximately 90 productions were considered for this year’s event. Three productions – “Chicago” at the Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre — were ineligible because the same production was presented within the last three years at the respective venues.
The Circle presented more than 30 categories for outstanding achievements from 2022, with 20 theater companies receiving nominations.
Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin was honored with a special award for lifetime achievement.
Records that evening included Joel Moses winning two acting awards in one night and Jennifer Theby-Quinn won her third acting award, joining Will Bonfiglio and Laurie McConnell as three-time winners.
Luis Salgado, who made “In the Heights” ‘pop’ with his spirited direction and vibrant choreography, accepted awards while praising the theater community in St. Louis. He and actor Ryan Alvarado, a nominee for playing Usnavi, flew in from New York City to attend .
Here are the awards given out April 3:
Cameron Jamarr Davis “The African Company Presents Richard III” at the Black Rep
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role: Hannah Geisz, “The Lonesome West,” West End Players Guild
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role: Joel Moses, “Brontë Sister House Party,” SATE
Outstanding Performer in a Comedy, Female or Non-Binary Role: Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre
Outstanding Performer in a Comedy, Male or Non-Binary Role: Jason Meyers, “The Lonesome West,” West End Players Guild
Outstanding Lighting Design in a Play: Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Sound Design: Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Costume Design in a Play: Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis
Outstanding Set Design in a Play (tie): Bess Moynihan, “Rodney’s Wife,” The Midnight Company and Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Winner Jason Meyers, at right “The Lonesome West”
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role: Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role: Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep
Outstanding Performer in a Drama, Female or Non-Binary Role: Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater
Outstanding Performer in a Drama, Male or Non-Binary Role: Joel Moses, “The Christians,” West End Players Guild
Joel Moses, “The Christians” at West End Players Guild
Outstanding New Play: “Brontë Sister House Party,” by Courtney Bailey, SATE
Outstanding Achievement in Opera: (tie) Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis and Robert Mellon, “Falstaff,” Union Avenue Opera
Outstanding Production of an Opera: “A Little Night Music,” Union Avenue Opera
Outstanding Musical Director: Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis
Outstanding Choreographer: Luis Salgado, “In the Heights,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role: Nicole Michelle Haskins, “The Color Purple,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role: Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre
Outstanding Lighting Design in a Musical: Bradley King, “The Karate Kid – The Musical,” Stages St. Louis
Outstanding Set Design in a Musical: Anna Louizos, “In the Heights,” Stages St. Louis
Outstanding Costume Design in a Musical: (tie) Samantha C. Jones, “The Color Purple,” The Muny and Brad Musgrove, “In the Heights,” Stages St. Louis
Anastacia McCleskey “The Color Purple” at The Muny
Outstanding Performer in a Musical, Female or Non-Binary Role: Anastacia McCleskey, “The Color Purple,” The Muny
Outstanding Performer in a Musical, Male or Non-Binary Role: Ben Davis, “Sweeney Todd,” The Muny
Outstanding Ensemble in a Comedy: “Brontë Sister House Party,” SATE
Outstanding Ensemble in a Drama: “Jitney,” The Black Rep
Outstanding Ensemble in a Musical: “In the Heights,” Stages St. Louis
Outstanding Director of a Comedy: Robert Ashton, “The Lonesome West,” West End Players Guild
Outstanding Director of a Drama: Ron Himes, “Behind the Sheet,” The Black Rep
Outstanding Director of a Musical: Bradley Rohlf, “Assassins,” Fly North Theatricals
“Bronte Sister House Party” won four Circle Awards
Outstanding Production of a Comedy: “Brontë Sister House Party,” SATE
Outstanding Production of a Drama: (tie) “Behind the Sheet,” The Black Rep and “Jitney,” The Black Rep
Outstanding Production of a Musical: “In the Heights,” Stages St. Louis
Special Award: Joan Lipkin, for lifetime achievement
The St. Louis Theater Circle was formed the summer of 2012 and began awarding excellence in regional professional theater in 2013. No touring, community theater or school productions are considered.
Current embers of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Rob Levy, Broadwayworld.com; Michelle Kenyon, snoopstheatrethoughts.com and KDHX; Gerry Kowarsky, Two on the Aisle (HEC-TV); Chuck Lavazzi, KDHX; Judith Newmark, judyacttwo.com; Lynn Venhaus, PopLifeSTL.com and KTRS Radio; Bob Wilcox, Two on the Aisle (HEC-TV); and Calvin Wilson, St. Louis Post-Dispatch. Eleanor Mullin, local actress and arts supporter, is group administrator.
The mood was extraordinary, and, in Joan Lipkin’s words, we could feel the “palpable joy” for each other. The speeches were heartfelt, and I wish we had them on record. It was truly “celebratory revelry.”
The Black Rep was a winner for four separate shows in the same year, an a back to back winner for August Wilson, as last year’s drama production was “Two Trains Running”)
We discovered we had two different Josh Smiths nominated — the one for Shakepeare’s Italian villa who won for “Much Ado About Nothing” was not the same for the carnival in “Ride the Cyclone.”
Happy the ‘tribe’ had so much fun — and the fellowship was really special. Hope the feedback continues to be positive.
GO SEE A PLAY!
“Jitney” Best Drama Production and Best Dramatic Ensemble
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
ST. LOUIS THEATER CIRCLE AWARDS RETURN FOR IN-PERSON GALA APRIL 3, 2023
TO HONOR OUTSTANDING WORK IN LOCAL PROFESSIONAL THEATER IN 2022
The Muny leads with 21 nominations, Stages St Louis has 19, The Black Rep 17 and Stray Dog Theatre 15
First In-Person Gala Since 2019 Due to Coronavirus Pandemic
ST. LOUIS, February 6, 2023 – After a four-year hiatus of not holding an in-person ceremony due to the coronavirus pandemic in 2020 through 2022, the St. Louis Theater Circle Awards will return April 3, 2023 in a ‘live’ ceremony beginning at 7 p.m. at the Loretto-Hilton Center on the campus of Webster University. The previous two events were streamed online by HEC Media.
Tickets at $23 apiece will soon be available at the box office of The Repertory Theatre of St. Louis at www.repstl.org or 314-968-4925, and also at the box office one hour before the ceremony.
Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar years 2022. Approximately 90 productions have been considered for nominations for this year’s event. This compares to roughly 120 productions normally considered in one year alone prior to the pandemic.
Three productions – “Chicago” at The Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre – were ineligible because the same production was presented within the last three years at the respective venues.
Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin will be honored with a special award for lifetime achievement.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site. A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021.
The nominees for the 10th annual St. Louis Theater Circle Awards are:
Bronte Sister House Party, SATE. Photo by Joey Rumpell
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Cassidy Flynn, “Brontë Sister House Party,” SATE Hannah Geisz, “The Lonesome West,” West End Players Guild Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company Bess Moynihan, “Brontë Sister House Party,” SATE Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Ted Drury, “The Lonesome West,” West End Players Guild Joel Moses, “Brontë Sister House Party,” SATE Bradley Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Chauncy Thomas, “Much Ado About Nothing,” St. Louis Shakespeare Festival Eric Dean White, “Hand to God,” St. Louis Actors’ Studio
Molly Burris, Dear Jack Dear Louise
Outstanding Performer in a Comedy, Female or Non-Binary Role
Colleen Backer, “Hand to God,” St. Louis Actors’ Studio Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Claire Karpen, “Much Ado About Nothing,” St. Louis Shakespeare Festival Rachel Tibbetts, “Brontë Sister House Party,” SATE
Jeff Kargus, Jason Meyers, “The Lonesome West” Photo by John Lamb
Outstanding Performer in a Comedy, Male or Non-Binary Role
Mitchell Henry-Eagles, “Hand to God,” St. Louis Actors’ Studio Jeff Kargus, “The Lonesome West,” West End Players Guild Ryan Lawson-Maeske, “Dear Jack, Dear Louise,” New Jewish Theatre Jason Meyers, “The Lonesome West,” West End Players Guild Stanton Nash, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Joe Clapper, Behind the Sheet, Photo by Philip Hamer
Outstanding Lighting Design in a Play
Amina Alexander, “Stick Fly,” Repertory Theatre of St. Louis Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Joe Clapper, “Behind the Sheet,” The Black Rep Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep John Wylie, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Outstanding Sound Design
Lamar Harris, “Behind the Sheet,” The Black Rep Pornchanok (Nok) Kanchanabanca, “House of Joy,” Repertory Theatre of St. Louis Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep Rusty Wandall, Kareem Deanes, “Much Ado About Nothing,” St. Louis Shakespeare Festival Amanda Werre, “Dear Jack, Dear Louise,” New Jewish Theatre
Joel Moses in “Laughter on the 23rd Floor,” New Jewish Theatre, Photo by Jon Gitchoff
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “Much Ado About Nothing,” St. Louis Shakespeare Festival Liz Henning, “Brontë Sister House Party,” SATE Liz Henning, “Rodney’s Wife,” The Midnight Company Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis Michele Friedman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre
Outstanding Set Design in a Play
Dahlia Al-Habieli, “House of Joy,” Repertory Theatre of St. Louis Dunsi Dai, “Dear Jack, Dear Louise,” New Jewish Theatre Bess Moynihan, “Rodney’s Wife,” The Midnight Company Kyu Shin, “Stick Fly,” Repertory Theatre of St. Louis Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Riley Carter Adams, right, The Bee Play, New Jewish Theatre. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Riley Carter Adams, “The Bee Play,” New Jewish Theatre Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre Rachel Hanks, “The Christians,” West End Players Guild Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company Sumi Yu, “House of Joy,” Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep Joseph Garner, “The Christians,” West End Players Guild Michael James Reed, “Proof,” Moonstone Theatre Company Joey Saunders, “The Normal Heart,” Stray Dog Theatre Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre
Summer Baer, Michael James Reed “Proof,” Moonstone Theatre Company.
Outstanding Performer in a Drama, Female or Non-Binary Role
Summer Baer, “Proof,” Moonstone Theatre Company Lavonne Byers, “Good People,” Stray Dog Theatre Kelly Howe, “Rodney’s Wife,” The Midnight Company Chinna Palmer, “Behind the Sheet,” The Black Rep Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater
Outstanding Performer in a Drama, Male or Non-Binary Role
Kevin Brown, “Jitney,” The Black Rep Jeff Cummings, “Behind the Sheet,” The Black Rep Olajuwon Davis, “Jitney,” The Black Rep Joel Moses, “The Christians,” West End Players Guild Stephen Peirick, “The Normal Heart,” Stray Dog Theatre
“Jitney,” The Black Rep, Phillip Hamer photo
Outstanding New Play
“Bandera, Texas,” by Lisa Dellagiarino Feriend, Prism Theatre Company “Brontë Sister House Party,” by Courtney Bailey, SATE “The Good Ship St. Louis,” by Philip Boehm, Upstream Theater “Roll With It!” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre Company “Winds of Change,” by Deanna Jent, St. Louis Shakespeare Festival
Outstanding Achievement in Opera
Daniela Candillari, “Carmen,” Opera Theatre of Saint Louis Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis Karen Kanakis, “La Rondine,” Winter Opera Saint Louis Robert Mellon, “Falstaff,” Union Avenue Opera Sarah Mesko, “Carmen,” Opera Theatre of Saint Louis
Union Avenue Opera’s production of A Little Night Music on August 17, 2022.
Outstanding Production of an Opera
“Awakenings,” Opera Theatre of Saint Louis “Falstaff,” Union Avenue Opera “The Gondoliers,” Winter Opera Saint Louis “Harvey Milk,” Opera Theatre of Saint Louis “A Little Night Music,” Union Avenue Opera
Outstanding Musical Director
Cullen Curth, “Jerry’s Girls,” New Jewish Theatre Jermaine Hill, “The Color Purple,” The Muny Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis James Moore, “Sweeney Todd,” The Muny Andrew Resnick, “The Karate Kid – The Musical,” Stages St. Louis
The Karate Kid – The Musical, Phillip Hamer photo.
Outstanding Choreographer
Dena DiGiacinto, “A Chorus Line,” Stages St. Louis Keone and Mari Madrid, “The Karate Kid – The Musical,” Stages St. Louis Patrick O’Neill, “Mary Poppins,” The Muny Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Luis Salgado, “In the Heights,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Tami Dahbura, “In the Heights,” Stages St. Louis Melissa Felps, “Something Rotten!” New Line Theatre Nicole Michelle Haskins, “The Color Purple,” The Muny Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre
Marshall Jennings, Melissa Felps “Something Rotten!” New Line Theatre
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Luis-Pablo Garcia, “In the Heights,” Stages St. Louis Clayton Humburg, “Something Rotten!” New Line Theatre Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre Marshall Jennings, “Something Rotten!” New Line Theatre Jordan Wolk, “Assassins,” Fly North Theatricals
Outstanding Lighting Design in a Musical
Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre Bradley King, “The Karate Kid – The Musical,” Stages St. Louis John Lasiter, “Sweeney Todd,” The Muny Sean M. Savoie, “A Chorus Line,” Stages St. Louis Sean M. Savoie, “In the Heights,” Stages St. Louis
“In the Heights,” Stages St. Louis, Photo by Phillip Hamer.
Outstanding Set Design in a Musical
Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Anna Louizos, “In the Heights,” Stages St. Louis Derek McLane, “The Karate Kid – The Musical,” Stages St. Louis Michael Schweikardt, “Sweeney Todd,” The Muny Josh Smith, “Ride the Cyclone,” Stray Dog Theatre
Outstanding Costume Design in a Musical
Eileen Engel, “A Little Night Music,” Stray Dog Theatre Eileen Engel, “Assassins,” Fly North Theatricals Samantha C. Jones, “The Color Purple,” The Muny Brad Musgrove, “In the Heights,” Stages St. Louis Alejo Vietti, “Sweeney Todd,” The Muny
Anastacia McCleskey, “The Color Purple,” Phillip Hamer photo.
Outstanding Performer in a Musical, Female or Non-Binary Role
Carmen Cusack, “Sweeney Todd,” The Muny Jeanna De Waal, “Mary Poppins,” The Muny Eileen Engel, “Ride the Cyclone,” Stray Dog Theatre Melissa Felps, “Urinetown,” New Line Theatre Anastacia McCleskey, “The Color Purple,” The Muny
Outstanding Performer in a Musical, Male or Non-Binary Role
Ryan Alvarado, “In the Heights,” Stages St. Louis Corbin Bleu, “Mary Poppins,” The Muny Ben Davis, “Sweeney Todd,” The Muny Stephen Henley, “Assassins,” Fly North Theatricals Jovanni Sy, “The Karate Kid – The Musical,” Stages St. Louis
Stephen Henley, The Balladeer, Fly North Theatricals.
Outstanding Ensemble in a Comedy
“Brontë Sister House Party,” SATE “Heroes,” Albion Theatre “Laughter on the 23rd Floor,” New Jewish Theatre “A Midsummer Night’s Dream,” St. Louis Shakespeare Festival “Much Ado About Nothing,” St. Louis Shakespeare Festival
Outstanding Ensemble in a Drama
“The African Company Presents Richard III,” The Black Rep “Behind the Sheet,” The Black Rep “The Christians,” West End Players Guild “Jitney,” The Black Rep “The Normal Heart,” Stray Dog Theatre
The Christians, West End Players Guild, Photo by John Lamb
Outstanding Ensemble in a Musical
“The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre “A Chorus Line,” Stages St. Louis “The Color Purple,” The Muny “In the Heights,” Stages St. Louis “Sweeney Todd,” The Muny
Outstanding Director of a Comedy
Robert Ashton, “The Lonesome West,” West End Players Guild Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Keating, “Brontë Sister House Party,” SATE Bruce Longworth, “Much Ado About Nothing,” St. Louis Shakespeare Festival
“Rodney’s Wife,” The Midnight Company, Photo by Joey Rumpell
Outstanding Director of a Drama
Gary F. Bell, “The Normal Heart,” Stray Dog Theatre Joe Hanrahan, “Rodney’s Wife,” The Midnight Company Ron Himes, “The African Company Presents Richard III,” The Black Rep Ron Himes, “Behind the Sheet,” The Black Rep Ellie Schwetye, “The Christians,” West End Players Guild
Outstanding Director of a Musical
Lili-Anne Brown, “The Color Purple,” The Muny Scott Miller, “Something Rotten!” New Line Theatre Bradley Rohlf, “Assassins,” Fly North Theatricals Rob Ruggiero, “Sweeney Todd,” The Muny Luis Salgado, “In the Heights,” Stages St. Louis
“Much Ado About Nothing,” St Louis Shakespeare Festival
Outstanding Production of a Comedy
“Brontë Sister House Party,” SATE “Dear Jack, Dear Louise,” New Jewish Theatre “The Lonesome West,” West End Players Guild “Much Ado About Nothing,” St. Louis Shakespeare Festival “The Rose Tattoo,” Tennessee Williams Festival St. Louis
“The African Company Presents Richard III,” The Black Rep, Photo by Phillip Hamer
Outstanding Production of a Drama
“The African Company Presents Richard III,” The Black Rep “Behind the Sheet,” The Black Rep “Good People,” Stray Dog Theatre “Jitney,” The Black Rep “The Normal Heart,” Stray Dog Theatre
Outstanding Production of a Musical
“Assassins,” Fly North Theatricals “The Color Purple,” The Muny “In the Heights,” Stages St. Louis “Ride the Cyclone,” Stray Dog Theatre “Sweeney Todd,” The Muny
“Ride the Cyclone,” Stray Dog Theatre, Photo by John Lamb
Special Award
Joan Lipkin, for lifetime achievement
Joan Lipkin
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Bob Cohn (St. Louis Jewish Light); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on theAisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
SATE looks forward to a return to live, in-person productions in 2022, the Season of Party, with all world-premiere, original plays, including the Sixth Annual Aphra Behn Festival and Brontë Sister House Party by Courtney Bailey.
To kick off the 2022 Season of Party, SATE will present its sixth annual Aphra Behn Festival, April 29-May 1, 2022 at 8:00 PM (CST) at Centene Center for the Arts in midtown St. Louis. Established in 2017, the Aphra Behn Festival’s goal is to give women interested in directing and writing for theatre an opportunity to get more experience, experiment, and hone their craft. The Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright.
In 2022, SATE will produce three original plays written and directed by women artists.
Go Before I Doby Hazel McIntire, directed by LaWanda Jackson A bar in the nightlife district becomes a portal into others life as drinks are poured and memories made. A daughter lives through the loss of both of her parents in the span of a few short years, which is viewed by her faithful bartender. A view of the world seen by the often unseen, Go Before I Do is a story of growth, exploration, and understanding.
Repurposed, by Michelle Zielinski, directed by Elizabeth Van Pelt Will a downcast visitor on a dreary day find meaning in strange modern art? And which is stranger, the art or the other people? Reply Hazy, Try Again …
The Super Fun Time Party Palaceby Lize Lewy, directed by Rae Davis The Super Fun Time Party Palace is a look into the banality of parenthood. Frankie and Jessie are first time parents who will try anything to make their 6 year old son’s birthday a success, and in doing so, chaos ensues.
Audition information can be found on SATE website at www.satestl.org under the Auditions banner.
Festival Stage Manager: Emma Glose
Festival Designers: Bess Moynihan, Liz Henning, Grace Sellers, and students from East Central College.
Festival Graphic Design by Dottie Quick.
SATE’s 2022 Aphra Behn Festival is made possible by funding from the Missouri Arts Council and The Steven Nelson Memorial Playwright’s Fund.
The second show in the 2022 season is Brontë Sister House Party by Courtney Bailey, directed by Keating, designed by Bess Moynihan and Liz Henning, running August 10-27, 2022 at The Chapel. Originally commissioned by St. Louis Shakespeare Festival as part of the Confluence Writers Project 2021 cohort, Brontë Sister House Party will receive its world-premiere production by SATE.
The Brontë sisters of Victorian literary fame (Charlotte, Emily, and Anne) are trapped in a purgatorial time loop where they must throw a fabulous house party every night for eternity. Only when they reach The Point of Celebratory Reverence, the highest point of celebration that a party can achieve, will they be released. An absurd, feminist revisionist tribute to all the women artists who’ve created under pressure and still had it in them to throw a good party.
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 intoxicating mystique of Los Angeles, with its star-making machinery and as the Dream Factory capital in Hollywood, has enticed starry-eyed people to flock there for at least a century.
Inevitably, some become disillusioned and compare the unnatural and phony atmosphere to the shiny synthetic Christmas tree decoration, thus the derogatory L.A. nickname. — “Tinsel Town.”
This is also the title of local playwright Joe Hanrahan’s witty collection of three short one-acts that are an insightful and humorous view of the deals, players, sights and sounds of La-La Land. They say write what you know, and Hanrahan has cleverly captured the rhythms of the industry as a ‘company town’ in the land of swimming pools and movie stars.
The show presents three relatable scenarios that take place in a 24-hour period: “Late Lunch on Melrose,” “Just Off Sunset” and “Shoot in Santa Monica.”
This amusing glimpse is directed by Rachel Tibbetts, and she brightly capitalizes on the obvious chemistry between Hanrahan and the multi-faceted Ellie Schwetye. The duet work in sync, playing off each other seamlessly, which takes trust and displays their comfort with each other on stage.
The trio are true collaborators and have worked together in different capacities over the years. It’s fun to watch people who mutually respect each other have fun telling stories in tandem.
Aided by Michael B. Musgrave-Perkins’ stellar videography capturing the glitz, glamour, and gorgeous weather – and palm trees! — we have a keen sense of time (present) and recognizable places on a small, economical set.
An outdoor café is the setting for a “Late Lunch on Melrose” between a talent agent (Hanrahan) and his most famous client, a narcissistic actress (Schwetye) who is unhappy about the lack of work – and is no longer the flavor of the month. It’s 1:30 p.m., and the drama queen is impatient. The pair adjust their temperaments, between air kisses, depending on who has the edge as they sip martinis.
That’s the start of a tiny plot thread that will smartly unify all three parts, with the second, “Just Off Sunset,” taking place at 12:15 a.m. in an alley behind a nightclub where a once-hot rock singer (Schwetye) is trying to rejuvenate her career but is frustrated. She bonds with a grizzled session musician who’s seen it all, who has some tips for her, and she’s grateful for the feedback and advice.
The first act mimics L.A.’s notorious wheeling and dealing for laughs, no matter how disingenuous, and the characters are exaggerated to suit standard images we have in our minds – and is more caricature than sincere, but that’s the point.
The second one really percolates with the speech patterns of experienced, world-weary musicians, and the two performers seem authentic as they discussed their working lives.
Ellie Schwetye and Joe Hanrahan in “Shoot in Santa Monica.” Photo by Joey Rumpell.
The final act, “Shoot in Santa Monica,” is broader comedy and hits the nail on the head about selling out for commercial blockbusters just so you can do the smaller projects for love of the craft. Sound familiar? A stage actor from England (Hanrahan) is making his first movie and is anxious and overwhelmed. But at the urging of the director (Schwetye), he will muster his courage to deliver a speech about vanquishing their nemesis – space vampires. Not saying the lines exactly as written, it may sound like one of Winston Churchill’s addresses during World War II, but who’s gonna figure it out, right?
The time is 12:40 p.m. the next day. With a simple outfit change, Hanrahan conveys an actor in military garb acting in front of a ‘green screen,’ and his character must inspire the crowd. In a world where evil lurks in the fictional form of ridiculous monsters – and CGI-heavy movies that could be written by chimps – they know it’s sci-fi crap, but hey, that’s entertainment!
Hanrahan has a flair for writing about the behind-the-scenes drama — and comedy — of showbiz, and the two-person exchanges are sharp. He acknowledges a ‘new normal’ because of the pandemic and adds those challenges to the script.
The performers capably navigate these characters in a natural, appealing way, and it’s a pleasant experience escaping a tumultuous winter as an armchair traveler whisk away to Southern California. From Melrose to the Sunset Strip to Santa Monica, we see three facets of a process that’s fertile grounds for comic human exploration.
In these post-vaccinated pandemic times, Hanrahan, a brilliant storyteller, has used his talents to keep active on stage, earlier presenting two interesting one-man shows – his original crowd-pleasing nostalgic account of his childhood in the mid-60s, “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” which he developed from a one-act first presented at the St. Louis Fringe Festival, in July, and then “Here Lies Henry,” with a book by Daniel Brooks and Daniel MacIvor and directed by Schwetye, about an odd personality telling us his life story – which may or may not be true because of his penchant for alternative facts.
He has kept very busy — also performing in the five-person ensemble “It Is Magic,” by one of his favorite playwrights, Mickle Maher, that comically mashes up “Macbeth” and “The Three Little Pigs” by a community theater with some very colorful characters and was directed by Suki Peters in the fall.
For this year’s St. Louis Theatre Showcase (instead of the Grand Center Theatre Crawl), he presented an earlier penned one-act, “Tonight’s Special.”
The Midnight Company will celebrate its 25th anniversary next year – and it’s quite an achievement because he has skillfully used available resources to present humorous and thought-provoking works.
For this latest production, he has brought the two accomplished professional actresses and directors along for the journey. Tibbetts, the current artistic director of the Prison Performing Arts group, and Schwetye, are leaders of SATE (Slightly Askew Theatre Ensemble), a highly regarded creative troupe.
Hanrahan first worked with Tibbetts when he recruited her to direct “Sex, Drugs and Rock ‘n Roll,” and their association has since included his acting in SATE’s “One Flea Spare,” “Of Mice and Men,” “Doctor Faustus,” and last year’s Aphra Behn Festival.
And she has acted in Midnight’s “Judgment at Nuremberg” and “A Model for Matisse,” which Schwetye directed, who also helmed Midnight’s Irish thriller “Little Thing Big Thing,” featuring Tibbetts and Hanrahan. He directed both of them in SATE’s vampire drama, “Cuddles,” during the 2016-2017 season
Schwety also directs for other groups – next up in 2022 is “Every Brilliant Thing” for New Jewish Theatre.
This fruitful collaboration in “Tinsel Town” is an example of a dream team hitting all the beats well.
ffEllie Schwetye and Joe Hanrahan in “Just Off Sunset.” Photo by Joey Rumpell.
The Midnight Company presents “Tinsel Town” Dec. 2-18, with performances Thursdays, Fridays and Saturdays at 8 p.m., including two Sunday matinee performances Dec. 5 and 12 at 2 p.m., at the .ZACK Theatre, 3224 Locust, St. Louis. For tickets, visit MetroTix.com. For more information, visit www.midnightcompany.com.
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 As an ever-busy presence in the St. Louis theater community, Ellie Schwetye has created a diverse body of work — acting, directing, producing and sound design for a myriad of companies. While she has been recognized for her individual achievements with multiple St. Louis Theater Circle Awards, she thrives on collaboration.
But her name associated with a project means that there will be a high bar for quality and a sharp attention to detail, from selecting a soundtrack to a Jane Austen homage, “First Impressions,” for SATE; to guiding Will Bonfiglio to a third Circle Award for Best Actor in a Comedy in “Fully Committed” at the New Jewish Theatre; to bringing haughty Mrs. White to life in SATE’s “Classic Mystery Game” play; and portraying Emily Post, one of the hostesses in ERA’s “Trash MacBeth.”
She is the co-producer of SATE and has directed and/or worked with Equally Represented Arts (ERA), YoungLiars, West End Players Guild, New Jewish Theatre, Prison Performing Arts, The Tennesee Williams Festival St. Louis, St. Louis Shakespeare Festival, The Black Rep, R-S Theatrics, St. Louis Actors’ Studio, The Midnight Company, Stray Dog Theatre, Mustard Seed Theatre and others.
Joe Hanrahan in “Here Lies Henry”
Like many other artists, Ellie was eager to return to live theater when it was safe to do so — either on stage or behind the scenes. And now, it’s happening — she’s directing the one-man show “Here Lies Henry” starring frequent collaborator Joe Hanrahan, whose Midnight Company is producing.
It runs Thursday through Saturdays at 8 p.m. June 10 – 27, with a Sunday matinee at 2 p.m. June 27, at the Kranzberg Arts Center’s black box theatre.
Most COVID restrictions have now lifted, so with larger capacity audiences allowed, tickets are now available at the door. Midnight was deemed MissouriArtSafe by the Missouri Arts Council, received permission from the City of St. Louis for the production, and followed strict safety protocols.
Written by Daniel MacIvor, Henry is a man on a mission to tell you something you don’t already know. It is an idyllic — sort of — miserable — sort of — storybook — sort of — nightmarish — sort of — remarkable — sort of — regular show.
Ellie said she was immediately drawn to the material.
“Initially, what I liked about “Here Lies Henry” was the opportunity to collaborate with Joe Hanrahan again. I’ve joked that Joe could hand me the phone book and I’d direct it, if it meant working with him,” she said..
“But, of course, the material of the play itself is a draw. The character of Henry is so quirky, he’s such an innocent — but trying desperately not to appear so. It’s a lovely, weird, off-beat meditation on love, life, and death. There’s a Virginia Woolf-like stream-of-consciousness quality to the text, as well as moments that have me thinking about David Lynch and Andrew Wyeth,” she said.
Ellie and Joe have collaborated multiple times.
Rachel Tibbetts and Ellie Schwetye in “Cuddles,” directed by Joe Hanrahan
“Working with Joe is always a treat. ‘Henry’ is, I think, the sixth project on which we have worked together. Joe finds and writes amazing scripts – all of which are real studies in personality,” she said.
” As both an actor-producer and a director Joe is very laid back. He comes into every project with really clear ideas, and a great sense of play and collaboration. We experiment and laugh a lot during rehearsals. Joe has a great affinity for incorporating rock and pop music into his shows, as I do. I appreciate that he lets me sound design the shows I direct, which he knows I love doing.”
Since the pandemic forced live theater to shut down in March 2020, she said she kept her theater itch scratched with some outdoor theater, video projects and “a few, now ubiquitous, Zoom plays.”
How does it feel to be ‘back in the saddle’ again?
“It’s fantastic! This is my first in-person indoor production since March 2020. It’s pretty cool to be doing this play. Directing a one-man show was the best choice to ease back into the process. The first rehearsal was both terrifying and exhilarating,” she said.
Now she is returning to produce and sound design the play “Top Girls” with SATE — Slightly Askew Theatre Ensemble,
“It’s a play we had programmed and cast since before the pandemic. Both my producing partner, Rachel Tibbetts, who is directing the play, and I really love the story, the script, and non-linear storytelling of Caryl Churchill’s text and are thrilled we finally get to bring it back to St. Louis,” she said.
And while filling up her plate after such an absence is tempting, she has reflected upon the next steps after the quarantine break.
“As for easing back into commitments, I think the pandemic taught me that being busy isn’t a virtue. I love the many facets of my work in the theatre, but I don’t need to do eleven projects a year anymore. Having said that, I am quite excited for some projects this fall including “Top Girls” with SATE, directing “The Miracle Worker” at Clayton High School, and another project with Midnight later in December,” she said.
Ellie as Emily Post in ERA’s “Trash MacBeth” with Rachel Tibbetts
Schwetye, 39, was born and raised in St. Louis.
During the down time, she explored activities that she had an interest in, but hadn’t given herself the time to dive in — and the opportunity was much appreciated.
“Unsurprisingly, much of it has been outdoors, since that’s been the safest way to socialize. I’ve been gardening a bit. The brilliant Nicole Angeli has been my hiking guru, and it’s been lovely to explore gorgeous conservation areas in eastern Missouri and central Illinois. Last summer, I supported my sister as her ground crew while she paddled the Missouri river — 340 miles! — from Kansas City to St. Charles. Now that was the ultimate stage management gig. Being on the river for four days and the fact that our team was representing the Missouri Confluence Waterkeeper organization opened my eyes to how precious and critical the Missouri river system is to our region,” she said.
“I’ve also gotten to spend a lot of time at my family’s property in Labadie, Mo., which we affectionately and unoriginally call the Farm. We completed building a house that was inspired by a one-room schoolhouse that once sat on the property. I’ve been working with my dad for the past year on much of the finish carpentry in the house, including framing and hanging doors and cutting and installing window trim and baseboards from hemlock,” she said.
“The Comeback Special” as part of the LaBute New Play Festival at St. Louis Actors’ Studio
Q &A WITH ELLIE SCHWETYE
1. Why did you choose your profession/pursue the arts?
“I’ve always been drawn to storytelling. Theatrical storytelling is a kind of magic. I’m also a bit of a show-off, so performing was a great outlet for that energy. As I developed though, I learned that I love directing and producing so much more. I find the process of bringing artists together in collaboration so much more rewarding than a curtain call.”
2. How would your friends describe you?
“Classic Aries: attention-seeking, passionate, optimistic, ambitious, independent, competitive, a bit selfish, impatient and impulsive.”
3. How do you like to spend your spare time?
“Recently. it’s been out at the Farm with my nieces and nephews, hiking with buddies, and reading my dad’s first edition “Foxfire” books.”
4. What is your current obsession?
“My meadow is my current obsession. It’s one little corner of the Farm. I’m keeping a path cleared through it to better observe the variety of grasses and native plants growing there. I have been trying to learn a lot more about our native species. Since I’m out at the Farm almost every week, it’s been amazing watching the changes from season to season.”
5. What would people be surprised to find out about you?
“I used to be a pretty fast runner. I won a state track meet in the 800m event.”
6. Can you share one of your most defining moments in life?
“My college theatre experience was a defining time. I went to a women’s college, which is certainly where my feminist theatre aesthetic was solidified. Knowing that my mentors were a fashion designer who got her start on London’s Carnaby Street in the 60s, a former Breck girl-turned radical feminist bass player, and an East German dramaturg with the Berliner Ensemble probably makes a lot of sense for the theatre I like to make and watch now.”
“A Lovely Sunday in Creve Coeur” as part of an ensemble at The Tennessee Williams Festival in 2019
7. Who do you admire most?
“This is the hardest question of the ten! So many people. My parents, certainly – especially my mom; my sisters. I’ve been learning more about my grandparents and ancestors, and there are a lot of hard-working, gritty folks in my family tree to admire.”
“Artistically, I admire the folks I have the privilege of collaborating with – and there are so many amazing and inspiring artists in this group! I admire my teachers, like Kelley Weber, who encouraged me to be a theatre artist. And I admire the producers who took a chance on me, like Edie Avioli and Scott Sears, and Ron Himes and Linda Kennedy.”
“And I always admire the real women from history whose stories I often get to tell – like Henriatta Leavit, Annie Jump Cannon, Williamina Fleming, Rosalind Franklin, Sr. Jacque-Marie, or Helen Keller. Theatricalized stories of real women will always be the most fascinating to me.”
8. What is at the top of your bucket list?
I keep a Google doc of plays I’d love to direct or scripts I’d love to develop. Rachel Hanks and I started musing a while back about a play based on the Stevens Sisters (Virginia Woolf and Vanessa Bell). Writing something original is certainly on the bucket-list. And as a some-time performer, I’m ready for the challenge of a one-woman show.
9. What is your favorite thing to do in St. Louis?
“Discovering and exploring unexpected nature and conservation areas in the region.”
10. What’s next?
“I’m looking forward to the YoungLiars Summer Training Festival in July, then “Top Girls” with SATE in September. I’ll be directing “The Miracle Worker” at Clayton High School in the fall, then in December I’ll be performing opposite Joe Hanrahan in his new trio of short plays “Tinsel Town” about artists in LA, directed by Rachel Tibbetts. It completes a trifecta of work the three of us have collaborated on, which has included “Cuddles” and “Little Thing, Big Thing.”
Ellie with John Wolbers in “First Impressions”
More on Ellie:
Family: my parents, sisters, brothers-in-law, 5 nieces and nephews, and cousins (who are like sisters). Education: The St. Louis answer: Clayton High School; the real answer: Mount Holyoke College. Day job: Production Manager with my family’s business serving the Architecture, Engineering, and Construction industry. First job: My first post-college job was as a professional Intern at the Black Rep. First role: Abigail Adams in the 5th grade musical “Dear Abby” (I still remember my big number!) Favorite roles/plays: My Ozark adaptation of “As You Like It”, Rachel’s and my adaptation, “First Impressions” based on “Pride and Prejudice” (and getting to play Elizabeth Bennet in it!), ERA’s “The Residents of Craigslist”. I’m also really proud of co-founding and producing SATE’s Aphra Behn Festival, celebrating women writers and directors. Dream role/play: There are two weirdo comedies I’d love to produce, direct, or perform in: “All Our Happy Days are Stupid” by Shiela Heti and “Freshwater” by Virginia Woolf, which she wrote for her sister Vanessa’s birthday party. Awards/Honors/Achievements: St. Louis Theater Circle Awards for Production, Sound Design, Directing, Script Adaptation, and Performance in an Ensemble; PopLifeSTL’s 2019 Artist of the Year 🙂 Favorite quote/words to live by: “have patience with everything unresolved in your heart and to try to love the questions themselves” A song that makes you happy: “Call Your Girlfriend” by Robyn
“Silent Sky,” which Ellie directed, at West End Players Guild in 2018“Oedipus Apparatus” at West End Players Guild in 2017
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 Midnight Company will present four plays in 2021, including two St. Louis Premieres and one World Premiere. The Company, which presented the only live theatre in town during the pandemic with Eric Bogosian’s SEX, DRUGS, ROCK & ROLL in November 2020, and mindful of the fears and realities of the ongoing virus war, will open the season with two one-man plays in June and July.
Midnight’s Artistic Director Joe Hanrahan said, “Last November, we worked with the State’s MissouriArtSafe program, the City of St. Louis and the Kranzberg organization to make sure all safety guidelines were in place and being followed. We’ll be doing the same going forward, hoping that vaccine efforts will continue to positively affect quality of life, enabling us to provide quality theatrical experiences for our audiences.”
Hanrahan also said, “If there’s a theme to this season, with theatre coming back it’s appropriate that these shows deal with the theatre and show business. While HERE LIES HENRY focuses on the Art and Science of Lying (particularly relevant to this age of political and societal falsehoods), Marlon Brando did say ‘Acting is lying for a living.’ Our second show, NOW PLAYING THIRD BASE… specifically occurs during a young man’s introduction to live theatre, of a sort. IT IS MAGIC, our third show, actually takes place during auditions in the basement of a theatre, and TINSEL TOWN, the season closer, tells three stories set in the Los Angeles entertainment world.”
The Company opens with HERE LIES HENRY by Daniel MacIvor, June 10-27 at the Kranzberg Black Box. It will be directed by Ellie Schwetye, with Joe Hanrahan as Henry, a man in a room with a mission to tell you something you don’t already know. He’s also a liar. Midnight has presented two plays by MacIvor (a celebrated Canadian writer/performer) including CUL-DE-SAC, and then HOUSE at the 2015 St. Louis Fringe. Hanrahan performed both one-man shows, and critics said “ CUL-DE-SAC takes you places you may not want to go. But Hanrahan makes a spellbinding guide.” (Calvin Wilson, St. Louis Post-Dispatch) and “HOUSE is a perfect combination of virtuoso acting and compelling storytelling.” (Chuck Lavazzi, KDHX.)
Tickets for HERE LIES HENRY, a St. Louis Premiere, will go on sale May 10 at MetroTix.com, and prices, performances, capacity and safety procedures will be announced at that time.
Midnight will then present the rescheduled (from 2020) NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND, written and performed by Joe Hanrahan, directed by Shane Signorino, with video design by Michael B. Perkins. It will run July 8-23 at The Chapel. First presented at the St. Louis Fringe in 2018, the script has been expanded, and Hanrahan said, “The Fringe version of this show had to come in under an hour. This version, with additional material, should be deeper, hopefully richer.” NOW PLAYING… is a memory show, of when a teen was introduced, in an unusual way, to live theatre, while the rest of life, including baseball, James Bond, racism, The Beatles, the assassination of John F. Kennedy and more swirled around him. Michelle Kenyon in Snoop’s Theatre Thoughts called the play “…entertaining, educational, thought-provoking…” and also said it was “…difficult to describe, but what it is is excellent.”
In October, Hanrahan’s short play PATIENT #47 will be presented as part of True Community Theatre’s TRUTH, LIES, and CONFESSIONS October 1-3 at The Chapel. PATIENT #47 was originally presented at the 2019 Theatre Crawl And later in the month, Midnight will begin to add additional performers to their cast lists.
Midnight will present Mickle Maher’s IT IS MAGIC, also rescheduled from 2020, directed by Suki Peters, October 21-November 6 at the Kranzberg Black Box. IT IS MAGIC takes place in the basement of a community theatre. Two sisters, tireless long-term theatre volunteers but ignored in the artistic process, have finally received their chance to write and act for the group. While opening night of the company’s Scottish Play goes on in the MainStage above them, they’re holding auditions for the role of the Big Bad Wolf for their new script, an adult version of THREE LITTLE PIGS. But an inebriated, jaded artistic director and an unexpected, wild Third Sister intrude, delivering dire changes, dangerous chaos and, eventually, magic.
The cast for the production includes Nicole Angeli, Michelle Hand, Joe Hanrahan, Britteny Henry and Carl Overly. Chicago’s Third Coast Review called IT IS MAGIC “…one of those love letters to theatre…delightfully wacky,” and New City Stage in Chicago said “Any show that juggles loving critics with tearing their throats out is good in my book.”
Midnight has previously presented Maher’s THE HUNCHBACK VARIATIONS and AN APOLOGY FOR THE COURSE OF CERTAIN EVENTS AS DELIVERED BY DOCTOR JOHN FAUSTUS ON THIS HIS FINAL EVENING (twice each), and IT IS MAGIC will be a St. Louis Premiere. And rounding out the year (and rounding out a cycle of plays from three St. Louis theatre artists) is the World Premiere of TINSEL TOWN 3 Short Plays – 24 Hours In L.A. by Joe Hanrahan. It will run December 2-18 at Avatar Studios, a television production studio on the edge of Downtown St. Louis, near Market and Jefferson, and will be directed by Rachel Tibbetts. (Midnight has previously presented TITLE AND DEED and LITTLE THING BIG THING at Avatar.)
Joe Hanrahan
In TINSEL TOWN, Ellie Schwetye and Hanrahan each play characters in the three plays set in the Los Angeles entertainment world. In LATE LUNCH ON MELROSE, Hanrahan is a talent agent trying to convince his movie star client, Schwetye, to accept the new normal. In JUST OFF SUNSET, Schwetye is a rock singer/songwriter who’s just finished a frustrating gig at a club, and Hanrahan is a grizzled backup musician who’s seen it all in the industry. And in SHOOT IN SANTA MONICA, Hanrahan is a British actor brought to Hollywood for a role in a science fiction film, and Schwetye is the director trying to get her first film under her belt.
Hanrahan first worked with Tibbetts when he recruited her to direct an earlier Midnight run of SEX DRUGS ROCK & ROLL, after seeing her direction of BACHELORETTE for her home company, SATE. Thus began an association between their two companies, with Hanrahan acting in ONE FLEA SPARE, OF MICE AND MEN, DOCTOR FAUSTUS and 2020’s APHRA BEHN FESTIVAL for SATE; and Schwetye directing JUDGMENT AT NUREMBERG(with Tibbetts in the cast) and A MODEL FOR MATISSE for Midnight.
But it was during the winter of 2016/2017 that these three did two plays together that demanded a third, sometime in the future, to complete a triptych. At that time, Hanrahan directed Schwetye and Tibbetts in the vampire drama, CUDDLES, for SATE, followed by Schwetye directing Tibbetts and Hanrahan in Midnight’s Irish thriller, LITTLE THING BIG THING. So a third show was needed, with (as TINSEL TOWN provides) roles for Schwetye and Hanrahan, and Tibbetts directing. And thus, the cycle will be complete, and TINSEL TOWN will bring Midnight’s 2021 season to a close.
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.
SATE presents Project Verse: Creativity in the Time of Quarantine in collaboration with COCA and Prison Performing Arts, Featuring two new plays — Quatrains in Quarantine by e.k. doolin and Dream On, Black Girl: Reflections in Quarantine by Maxine du Maine Premiering online Aug. 28, 2020 at 7 p.m.(CST) Presented free of charge on SATE’s website (slightlyoff.org), Facebook page (facebook.com/satestl), Instagram @satestl.
Maxine du Maine
SATE presents the culminating week of Project Verse, a three-week collaboration with COCA and Prison Performing Arts (PPA) as education and engagement partners. COCA presented the artist talks on their Facebook page to celebrate the creativity of those who are caregivers and artists.
Artist talks included poetry with jessica Care moore and King Thomas Moore on August 12 and visual arts with Maxine du Maine on August 19. The final week’s offering on August 26 was dance and poetry with Delaney Piggins and Norah Brozio. Quatrains in Quarantine was written by e.k. doolin in response to a call for scripts based in the Zoom platform. The call was issued by COCA (Center of Creative Arts).
The COCAwrites program seeks to produce works that are intended for a multi-generational audience. Cara is a young poet, trying to process the unprecedented time she is living through in the best way she knows how – her verse. Nicole is her mother, trying to survive another day of uncertainty and working/parenting simultaneously from home. Mimi is her friend, seemingly winning at all things. JJ is her brother, absent in more ways than one.
Quatrains in Quarantine is directed by Ellie Schwetye and features Rachel Tibbetts and Clayton High School students Claudia Taylor, Anna Lawrence, and Tommy Karandjeff. Dream On, Black Girl: Reflections in Quarantine, written and directed by Maxine du Maine, focuses on a writing teacher guiding two young ladies through a poetry class on Zoom.
Both students share poems that reflect on the tragedies that continue to plague their community during the quarantine. The poems in the play are inspired by the young black children that were quarantined before COVID-19. They spent their time in a juvenile detention center reflecting on their lives, experiences and emotions through powerful art and writing. Young black youth are tomorrow’s leaders and deserve a platform to represent themselves accurately in the media and have their voice heard.
Dream On, Black Girl: Reflections in Quarantine is their platform. The performing ensemble includes Maxine du Maine, Gabby Eubanks, and Alana Wilson.
Please call (314) 827-5760, email sate.stl@gmail.com, or visit the SATE website at slightlyoff.org for more information. Project Verse is made possible by funding from COCA, Prison Performing Arts, Regional Arts Commission, and SATE.
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.
Beginning May 29 at 8 p.m., the St Louis Shakespeare Festival kicks off the virtual companion to the beloved SHAKE38 program created in 2012. For five years, SHAKE38 brought professional and amateur artists together to reshape Shakespeare’s stories using their own voice and perspective.
Recent national events are stark reminders there is still an exceptional need for stories about the full range of human experience–often joyous and kind but sometimes painful and unjust. The Festival is honored to bring this program back in a new form and hand the reigns of our online platforms off to the talented and diverse group of performers for each of these 20 nights.
With the recent announcement that we are postponing this summer’s production of Much Ado About Nothing, we will be approaching the first June in twenty years without Shakespeare in Forest Park. Instead of going dark – we are resurrecting Shake38 as SHAKE20.
20 nights of virtual Shakespeare plays for each night we would have been in Shakespeare Glen. You are invited to join!
Performances will take place every night but Monday, May 29 – June 20, 2020.
Go the Festival’s Facebook page (every night but Monday) at 8 p.m. and watch live. If you miss a night, each performance will be archived here and available for viewing at any time.
Parameter: Create a 20-30 minute adaptation of one of Shakespeare’s 38 plays crafted for a live streaming experience.
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.
Or, Theater interrupted by life…or something like that. Awards and reflections on the year.
By Lynn Venhaus Often times, the wise words of others are in a loop playing in my head.
“I want life to imitate art,” Carrie Fisher wrote in
“Postcards from the Edge,” and I often share that same sentiment. Particularly
in 2019, which will always be labeled an “annus horribilis” for personal
reasons.
Although John Lennon is attributed to have said “Life is what happens to you while you’re busy making other plans,” he really just quoted it in one of his songs on “Double Fantasy.” That one I put in regular rotation.
When times were really rough last year, I thought of
Courtney Love’s band Hole and their album cover “Live Through This,” which was
made after Kurt Cobain died. I kept repeating that phrase over and over.
Now 65, I know all too well the ebbs and flows of life, but last year seemed unusually mired in the deep end. You see, without going into lengthy details, I lost my cherished oldest son in December 2018 and my only surviving brother, who was terminally ill, Labor Day weekend on his 57th birthday; my two sisters and I lost our other brother years ago. Life is filled with loss, and I made it through all the ‘firsts’ with a lot of help from my friends and family. But pain, anguish and sorrow were/are unfathomable and the tsunami of grief is as unpredictable as anything in life.
My brother honored as a Legacy Coach at his alma mater, Belleville West, in January, eight months before his death. You can’t see his walker. He was a coach and junior high science teacher for 35 years.
As Matt went steadily downhill last summer, I decided I
would spend more time with him, and I was already cooking his meals. So that
meant missing some theater, and I have no regrets on that decision.
We all must prioritize what’s important in our lives. Theater
has always brought me great joy and illuminated life in an exhilarating way,
and last year, sometimes it was a lifeline.
I am grateful for the opportunities to see so much
worthwhile theater, and I appreciate the theater community for being so understanding
and patient last year on my circumstances and my crazy work schedule.
The upside to tragedy is the outpouring of kindness and
concern from people – it was a comforting blanket I wrapped myself in, and was
able to get up and get going because I knew I wasn’t alone, and that there were
so many others to lean on and raise me up.
I can’t thank people enough and I am forever grateful – it means so much. Now, back to work. Words matter – I’m a writer, after all. A few years ago, as I was dropping Tim off at Union Station to visit some out-of-town friends after a break-up blindsided him, I mentioned ye olde chestnut about using what you learn at a later time, and he replied: “Like you say, Mom, everything’s copy.” I learned that from Nora Ephron. And it’s true.
Tim
Well maybe some day. Right now, I prefer to immerse myself in other’s words. Seeing how people take fresh pages of a script, how eloquent it can be, how well it can be interpreted – that is the task of the creative souls. And it’s so fun to see what can be crafted on a stage in town, whether it’s a small black box or the immense Muny stage.
Sitting in the dark, sharing a moment – that’s what it’s all about, and we sure shared some outstanding moments in 2019. The eternal optimist, I am looking forward to another exciting year.
And as we all know, there will be more times we’re knocked down. And being helped up is one of the best things in life. And when you open yourself up — be it in conversation, writing or on stage, you feel human and whole.
How art enriches us is truly inspiring. 2019 was a good year for theater, particularly dramas, which were often inspired. It was important to have somewhere to go and something else to think about, as I continue to marvel at the accomplishments – passionate people behind their visions, strong talent and a desire to do good work, that it is about the work.
I like when people take risks, when they present new ways of doing things, and don’t rely on the same-old casting. My biggest pet peeves are miscasting and lack of character development/prep work/vision. If you are going to invest the time and want people to give up their time and money, then do the work, go above and beyond, and not just slide by. Hire who is right for the part, not just because they are a friend.
OK, off my soapbox.
I have now launched my longtime-coming website, and we
should be full speed ahead in 2020, www.PopLifeSTL.com. I haven’t launched its
daily and weekly features yet, but reviews and news releases are up. All in due
time.
So, my awards this year are based on the 79 regional
professional plays I did see, and not the touring shows nor community theater. That
would add about 16 more shows. There is no way to see everything.
This is the year I gave up reviewing opera and let another
reviewer go in my place. I needed to make some changes, and sadly, that had to
be dropped. Maybe another work. I have been in awe of what Opera Theatre of St.
Louis, Union Avenue Opera and Winter Opera achieve year after year.
My brother’s memorial service was the weekend of Shakespeare in the Streets, so I had to cancel, and he died the weekend I had RSVP’d for “The 39 Steps.” I saw “The Night of the Iguana” but left the next day to spend Mother’s Day with my youngest son in New York City, so missed “A Lovely Sunday Afternoon for Creve Coeur” and the other programming. I was on my way to the final matinee of “Death Tax” when an accident closed three lanes of I-64. Life…
I also traveled quite a bit this year, some for work, some for play. Tim was working on his MFA in screenwriting at DePaul University at the time of his death. He was home on holiday break. His professors named an award for him at their annual film festival, so I went up to Chicago the first weekend in June to see it happen.
However, I was fortunate to spend Mother’s Day watching
Jeff Daniels as Atticus Finch in “To Kill a Mockingbird” in the sold-out
acclaimed Bartlett Sher-Aaron Sorkin production in the Shubert Theatre. You
could have heard a pin drop and the standing ovation was immediate, loud and
long. Meeting the star afterwards was an unexpected thrill.
“To Kill a Mockingbird” brilliant production at the Shubert. Photo Credit: Julieta Cervantes
The week I was in NYC I also saw the fabulous and fun “The Prom,” which was produced by local folks and had a book and lyrics by Centralia’s own Chad Beguelin, who I had the good fortune to meet in 2010 and have been writing about his triumphs ever since.
I did something new, too — I revised my late son’s last script, a comedy short that his DePaul professor raved about, A for the trimester. And we had a team shoot it in late September over a weekend, a real challenge and labor of love. As Eleanor Roosevelt said: “You must do the thing you think that you cannot do.”
Unfortunate, but sadly not considered in voting here: “The Revolutionists” and “Shakespeare in Love” at Insight; “Equivocation,” “Exit, Pursued by a Bear” and “Cricket on a Hearth” at West End Players Guild; “Such Sweet Thunder,” Shakespeare Festival St. Louis; “Nina Simone: Four Women” and “Milk Like Sugar,” The Black Rep; Black Mirror Theatre’s “Translations”; ERA’s “Never Let Go”; “Salt, Root and Roe,” Upstream Theatre; “Karmatic” TLT Productions; “The Merchant of Venice” and “The 39 Steps” at St. Louis Shakespeare; “Leaving Iowa” and “Travels with My Aunt” at Act Inc.; “The Hundred Dresses” at Metro Theatre Company; “Disenchanted” at Stray Dog, the parodies of “Jaws” and ‘Gremlins,” and the second leg of the LaBute New Play Festival at St. Louis Actors’ Studio.
Without further ado, I present my annual “LOTTIES,” which is Lynn’s Love of Theatre Awards, for 2019. These are my opinions alone. As in previous years, I usually name 10 my lists, but this year because of missing what I did, it’s either 8 or 9. Eventually, I will post my other ones, since 2014, in archives. And I intend to archive all the Circle Awards/Nominations for reference.
If you are wondering about the St. Louis Theater Circle
Awards nominations, they will be announced on KWMU around noon on Friday, Feb.
7, with the press releases embargoed until 1 p.m. You can see the nominations
here on PopLifeSTL.com in the afternoon.
I did not want my awards to coincide with the Circle, but
it was not to be this year. However, these are my traditional annual awards, reflect
my personal take on the year that was.
I am a Circle founding member; we began in 2012. The awards
will be presented on Monday, March 30, at the Loretto Hilton Center on the
campus of Webster University, (the Repertory Theatre of St. Louis’ home). More
information will be forthcoming.
The 2019 LOTTIES* (LYNN’S LOVE OF THEATER AWARDS)
Barrett Foa and Meredith Baxter in “Angels in America, Part 2: Perestroika”
PRODUCTION OF THE YEAR: “Angels in America, Parts I and 2.”
Talk about ambitious. But oh, so worthwhile. The Repertory
Theatre of St. Louis’ first show under new artistic director Hana Sharif was an
absolute stunning visceral and artistic work and raised the bar. Not only did
it take risks but its heavyweight cast delivered on its promise.
“Part I: Millennium Approaches” and Part 2: Perestroika”
required a commitment of time but the investment was worth it. How interesting,
too that a 30 year old play could be so relevant today.
“Brighton Beach Memoirs” became New Jewish Theatre’s biggest hit of all-time
COMPANY OF THE YEAR: New Jewish Theatre.
From start to finish, 2019 was a banner year for NJT under
new artistic director Edward Coffield. “District Merchants,” “Time Stands
Still,” “I Now Pronounce,” “Brighton Beach Memoirs” and “Fully Committed” were
extremely well done with outstanding casts and production values.
Ellie in “Antigone: Requiem for Patriarchus”
ARTIST OF THE YEAR: Ellie Schwetye.
Ellie in “A Lovely Sunday for Creve Coeur”
One of the most versatile and accomplished women in town, she’s been honored and nominated by the St. Louis Theater Circle year in and year out. But this year might be her finest – and perhaps busiest – on record. She directed “Photograph 51” at West End Players Guild, “A Model for Matisse” for the Midnight Company and “Fully Committed” at New Jewish Theatre. She acted in “Classic Mystery Game” and “Antigone: Requiem for Patriarchus” at SATE. She did sound for “The Night of the Iguana” at the Tennessee Williams Festival and “The Women of Lockerbie” at SATE. She was involved in SIUE’s Summer Play Festival, with “As You Like It.” Her choices of music for any show are impeccable. I’m likely missing a few things too. She’s always excelled at being a collaborator but she deserves an award all it’s own.
The national tour of “Dear Evan Hansen” came to the Fox.
BEST TOURING SHOWS: “Come from Away” and “Dear Evan Hansen,” both at the Fox.
BEST NEW PLAYS: 1. “Nonsense and Beauty,” Scott C. Sickles, The Repertory Theatre of St. Louis 2. “Canfield Drive,” Kristen Adele Calhoun and Michael Thomas Walker, The Black Rep 3. “It’s a Wonderful Life,” John Wolbers, Metro Theatre Company 4. “Feeding Beatrice,” Kristen Greenidge, The Repertory Theatre of St. Louis 5. (tie) “Kim Jong Rosemary,” Carter Lewis, LaBute New Play Festival, St. Louis Actors’ Studio 5. (tie) “A Model for Matisse,” Barbara F. Freed and Joe Hanrahan, The Midnight Company
Caleb Miofsky in “Cry-Baby” at New Line
FIVE TO WATCH: Summer Baer Tristan Davis Caleb Miofsky Tateonna Thompson Jordan Wolk
Alicen Moser in “District Merchants”
Alicen Moser in “Antigone”
12 ACTING MVPS (For their noteworthy range of work in 2019, and not only St. Louis professional in some cases) Nicole Angeli Will Bonfiglio Kevin Corpuz Eileen Engel Wendy Greenwood Stephen Henley Keating Ryan Lawson-Maeske Stephanie Merritt Alicen Moser Spencer Sickmann Jennifer Theby-Quinn
DYNAMIC DUOS
J. Samuel Davis and Gary Wayne Barker in “District Merchants”
Will Bonfiglio and John Wolbers
Gary Wayne Barker and J. Samuel Davis, “District Merchants,” New Jewish Theatre
Jacob Flekier and Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
Will Bonfiglio and John Wolbers, “Photograph 51”
Eli Mayer and Khailah Johnson, “Footloose,” The Muny
Kevin O’Brien and Sara Rae Womack, “Guys and Dolls,” Stray Dog Theatre
Ryan Lawson-Maeske and William Roth, “A Life in the Theatre”
Joe Hanrahan and Shane Signorino, “Popcorn Falls,” Midnight Company
Erin Kelley and J. Samuel Davis, “The Agitators,” Upstream Theatre
Jeffrey Heyenga and Robbie Simpson, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Joe Hanrahan and Rachel Hanks, “A Model for Matisse,” Midnight Company
JUVENILE PERFORMANCE AWARDS
Flower girls in “I Now Pronounce” at New Jewish Theatre
Millie Edelman, Abby Goldstein and Lydia Mae
Foss as the flower girls, “I Now Pronounce,” New Jewish Theatre
Leo Taghert as 10 year old Tommy in “The Who’s
Tommy,” Stray Dog Theatre
SPECIAL TECHNICAL ACHIEVEMENT: Michael B. Perkins for his exquisite video projection design in “Love, Linda” and “A Model for Matisse.”
Jane Paradise in “Brighton Beach Memoirs”
COMEDY AWARDS Best Actress in a Comedy
Jane Paradise, “Brighton Beach Memoirs,” New
Jewish Theatre
Laura Sohn, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Kea Trevett, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Susie Lawrence, “Sylvia,” Stray Dog Theatre
Keating, “Well,” Mustard Seed Theatre
Sofia Lidia, “The MotherF**cker with the Hat,”
R-S Theatrics
Perri Gaffney, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Colleen Backer, “Color Timer,” LaBute New Play
Festival, St. Louis Actors’ Studio
Frankie Ferrari and Delaney Piggins in ‘I Now Pronounce”
Best Supporting Actress in a Comedy
Laurie McConnell, “Brighton Beach Memoirs.” New Jewish Theatre
Melissa Harlow, “Sylvia,” Stray Dog
Frankie Ferrari, “I Now Pronounce,” New Jewish Theatre
Delaney Piggins, “I Now Pronounce,” New Jewish Theatre
Lori Adams, “Well,” Mustard Seed Theatre
Ka-Ling Cheung, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
Michelle Hand, “Pride and Prejudice,” The Repertory Theatre of St. Louis
Taleesha Caturah, “The MotherF**with the Hat,” R-S Theatrics
Caitlin Mickey, “Wittenberg,” Upstream Theatre
Will Bonfiglio in “Fully COmmitted” at New Jewish
Best Actor in a Comedy
Will Bonfiglio, “Fully Committed,” New Jewish
Theatre
Isaiah DiLorenzo, “True West,” St. Louis
Actors’ Studio
Jacob Flekier, “Brighton Beach Memoirs,” New
Jewish Theatre
Steve Isom, “Wittenberg,” Upstream Theatre
Michael Cassidy Flynn, “Classic Mystery Game,”
SATE
Adam Flores, “The MotherF**ker with the Hat,”
R-S Theatrics
Griffin Osborne, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Alan Knoll, “Wittenberg,” Upstream Theatre
Joe Hanrahan, “Charlie Johnson Reads All of
Proust,” Midnight Company
Spencer Kruse and Jacob Flekier in “Brighton Beach Memoirs”
Best Supporting Actor in a Comedy
1. Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre 2. Patrick Blindauer, “Love’s Labors Lost,” Shakespeare Festival St. Louis 3. Shane Signorino, “Popcorn Falls,” Midnight Company 4. Aaron Dodd, “The Motherf**ker with the Hat,” R-S Theatrics 5. Jesse Munoz, The Motherf**ker with the Hat, R-S Theatrics 6. Michael McGloin, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis 7. Chuck Brinkley, “Brighton Beach Memoirs,’ New Jewish Theatre 8. Michael James Reed, “Pride and Prejudice,” The Repertory Theatre of St. Louis
“The Play That Goes Wrong” at The Repertory Theatre of St. Louis
Best Director of a Comedy
Alan Knoll, “Brighton Beach Memoirs,” New
Jewish Theatre
Tom Ridgely, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Melissa Rain Anderson, “The Play That Goes
Wrong,” The Repertory Theatre of St. Louis
Ellie Schwetye, “Fully Committed,” New Jewish
Theatre
William Whitaker, “True West,” St. Louis Actors
Studio
Meredith McDonough, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Philip Boehm, “Wittenberg,” Upstream Theatre
“It’s a Wonderful Life” at Metro Theatre Company
Best Ensemble in a Comedy
The Play That Goes Wrong, The Repertory Theatre
of St. Louis
Brighton Beach Memoirs, New Jewish Theatre
Love’s Labors Lost, Shakespeare Festival St.
Louis
It’s a Wonderful Life, Metro Theatre Company
(tie) The MotherF**ker with the Hat, R-S
Theatrics
(tie) Well, Mustard Seed Theatre BEST COMEDY PRODUCTION
“True West” at St. Louis Actors’ Studio
Brighton Beach Memoirs, New Jewish Theatre
Love’s Labors Lost, Shakespeare Festival St.
Louis
The Play That Goes Wrong, The Repertory Theatre
of St. Louis
True West, St. Louis Actors’ Studio
Wittenberg,
Upstream Theatre
6. Fully Committed, New Jewish Theatre
DRAMA AWARDS
Ben Ritchie and Nicole Angeli in “Photograph 51”
Best Actress in a Drama
Nicole Angeli, “Photograph 51,” West End
Players Guild
Wendy Greenwood, “Time Stands Still,” New
Jewish Theatre
Jeanne Paulsen, “Alabama Story,” The Repertory
Theatre of St. Louis
Kristen Adele Calhoun, “Canfield Drive,” The
Black Rep
Zoe Farmingdale, “Indecent,” Max and Louie
Productions
Julie Layton, “Fifty Words,” St. Louis Actors’
Studio
Nisi Sturgis in “The Night of the Iguana”
Best Supporting Actress in a Drama
1. Nisi Sturgis, “The Night of the Iguana,” Tennessee Williams Festival St. Louis 2. Eileen Engel, “Time Stands Still,” New Jewish Theatre 3. Rae Davis, “District Merchants,” New Jewish Theatre 4. Donna Weinsting, “Nonsense and Beauty,” The Repertory Theatre of St. Louis 5. Rachel Hanks, “A Model for Matisse,” Midnight Company 6. Sophia Brown, “Fefu and Her Friends,” Theatre Nuevo 7. Miranda Jagels-Felix, “Antigone: Requiem for Patriarchus,” SATE
Jim Butz in “The Night of the Iguana”
Best Actor in a Drama 1. James Andrew Butz, “The Night of the Iguana,” Tennessee Williams Festival St. Louis 2. Barrett Foa, “Angels in America,” The Repertory Theatre of St. Louis 3. Gary Wayne Barker, “District Merchants,” New Jewish Theatre 4. Graham Emmons, “The Crucible,” Stray Dog Theatre. 5. Spencer Sickmann, “Farragut North,” St. Louis Actors’ Studio 6. Jim Poulos, “Oslo,” The Repertory Theatre of St. Louis
David Ryan Smith and Peter Fre
Best Supporting Actor in a Drama
J. Samuel Davis, “District Merchants,” New Jewish Theatre
Carl Howell, “Alabama Story,” The Repertory Theatre of St. Louis
David Wassilak, “Farragut North,” St. Louis Actors’ Studio
Karl Hawkins, “District Merchants,” New Jewish Theatre
David Ryan Smith, “Angels in America,” The Repertory Theatre of St. Louis
Ryan Lawson-Maeske, “Photograph 51,” West End Players Guild
John Feltch, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Gerry Love, “The Crucible,” Stray Dog Theatre
Ben Ritchie, “The Crucible,” Stray Dog Theatre
Ben Cherry, “Angels in America,” The Repertory Theatre of St. Louis (tie) Peter Freschette, “Angels in America,” The Repertory Theatre of St. Louis (tie) Taylor Gruenloh, “Two Degrees,” Tesseract Theatre
Angels in America
Best Director of a Drama
1. Joanne Gordon, “Indecent,” Max and Louie Productions 2. Anthony Speciale, “Angels in America,” The Repertory Theatre of St. Louis 3. Jacqueline Thompson, “District Merchants,” New Jewish Theatre 4. Gary F. Bell, “The Crucible,” Stray Dog Theatre 5. Ellie Schwetye, “Photograph 51,” West End Players Guild 6. Lucy Cashion, “Antigone: Requiem for Patriarchus,” ERA/SATE 7. Steve Woolf, “Oslo,” The Repertory Theatre of St. Louis 8. Seth Gordon, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Best Ensemble in a Drama Production
“Antigone: Reqiuem for Patriarchus” at SATE
Angels in America, Parts 1 and 2, The Repertory
Theatre of St. Louis
District Merchants, New Jewish Theatre
Photograph 51, West End Players Guild
Indecent, Max and Louie Productions
Antigone: Requiem for Patriarchus, ERA and SATE
The Crucible, Stray Dog Theatre
The Women of Lockerbie, SATE
Nonsense and Beauty, The Rep
Time Stands Still, New Jewish
Oslo,
The Rep
Best Dramatic Production
The Crucible at Stray Dog Theatre
Angels in America, The Rep
District Merchants, New Jewish
The Crucible, Stray Dog
Photograph 51, West End Players Guild
Indecent, Max and Louie Productions
Nonsense and Beauty, The Rep
The Night of the Iguana, Tennessee Williams
Festival St. Louis
Oslo, The Rep
Time Stands Still, New Jewish
Farragut
North, St. Louis Actors’ Studio
MUSICAL AWARDS
Casr of Cry-Baby at New Line
Best Musical Director 1. Ryan Fielding Garrett, “Kinky Boots,” The Muny 2. Jennifer Buchheit, “The Who’s Tommy,” Stray Dog Theatre 3. Nicolas Valdez, “Cry-Baby,” New Line Theatre 4. Charles Creath, “Don’t Both Me I Can’t Cope,” The Black Rep 5. Nicolas Valdez, “Be More Chill,” New Line Theatre 6. Scott Schoonover, “Daddy Long Legs,” Insight Theatre 7. Holly Barber, “Hedwig and the Angry Inch,” The Q Collective
Don’t Bother Me I Can’t Cope at The Black Rep
Best Choreographer (and not just in musicals)
1. Kirven Douthit-Boyd, “Don’t Bother Me I Can’t Cope,” The Black Rep 2. Mike Hodges, “Guys and Dolls,” Stray Dog Theatre 3. Rusty Mowery, “Kinky Boots,” The Muny 4. Ellen Isom, “Indecent,” Max and Louie Productions 5. Tony Gonzalez, “Grease,” Stages St. Louis 6. Heather Beal, “Feeding Beatrice,” The Repertory Theatre of St. Louis
Best Supporting Actress in a Musical
Taylor Louderman in “Kinky Boots”
Taylor Louderman, “Kinky Boots,” The Muny
Michelle Ragusa, “The Boy from Oz,” Stages St.
Louis
Sarah Gene Dowling, “Hedwig and the Angry
Inch,” The Q Collective
Kendra Lynn Lucas, “Grease,” Stages St. Louis
Khalia Johnson, “Footloose,” The Muny
Eleanor Humphrey, “Dreamgirls,” Stray Dog
Theatre
Laura Michelle Kelley, “Matilda,” The Muny
Grace Langford, “Avenue Q,” The Playhouse at
Westport
Jenny Powers, “1776,” The Muny
10. Tateonna Thompson, “Dreamgirls,” Stray Dog
10. Denise Thimes, “Don’t Bother Me, I Can’t Cope,” The Black Rep
Best Actress in a Musical
Ebony Easter as Effie in “Dreamgirls” (center)
Ebony Easter, “Dreamgirls,” Stray Dog Theatre
Jennifer Theby-Quinn, “Daddy Long Legs,”
Insight Theatre
Mattea Conforti, “Matilda,” The Muny
Kendra Kassebaum, “Guys and Dolls,” The Muny
Mamie Parris, “Paint Your Wagon,” The Muny
Sarah Rae Womack, “Guys and Dolls,” Stray Dog
Theatre
Brittany Bradford, “Guys and Dolls,” The Muny
Zak Farmer in “La Cage Aux Folles” at New line
Best Actor in a Musical 1. Zachary Allen Farmer, “La Cage Aux Folles,” New Line Theatre 2. J. Harrison Ghee, “Kinky Boots,” The Muny 3. David Elder, “The Boy from Oz,” Stages St. Louis 4. Luke Steingruby, “Hedwig and the Angry Inch,” The Q Collective 5. Caleb Miofsky, “Cry-Baby,” New Line Theatre 6. James Patterson, “Man of La Mancha,” Stages St. Louis 7. Mark Kelley, “A Man of No Importance,” R-S Theatrics
Best Supporting Actor in a Musical
Kevin Corpuz, right in “Be More Chill” at New Line
Omega Jones, “Dreamgirls,” Stray Dog Theatre
Kevin Corpuz, “Be More Chill,” New Line Theatre
Omar Lopez-Cepero, “Paint Your Wagon,” The Muny
Tristan Davis, “The Who’s Tommy,” Stray Dog
Theatre
Eli Mayer, “Footloose,” The Muny
Ryan Cooper, “Man of La Mancha,” Stages St.
Louis
Ken Page, “Guys and Dolls,” Stages St. Louis
Mike Wells, “Guys and Dolls,” Stray Dog Theatre
Patrick John Moran, “Man of La Mancha,” Stages
St. Louis
Zach
Stefaniak, “Guys and Dolls,” Stray Dog Theatre
(tie) Ben Davis, “1776,” The Muny
Avenue Q at the Playhouse at Westport
Best Director of a Musical
1. Mike Dowdy-Windsor and Scott Miller, “Be More Chill,” New Line Theatre 2. DB Bonds, “Kinky Boots,” The Muny 3. Justin Been, “Dreamgirls,” Stray Dog Theatre 4. Lee Anne Mathews, “Avenue Q,” The Playhouse at Westport 5. Jordan Woods, “Hedwig and the Angry Inch,” The Q Collective 6. Ron Himes, “Don’t Bother Me, I Can’t Cope,” The Black Rep
A Man of No Importance
Best Ensemble in a Musical 1. “Kinky Boots,” The Muny 2. “Dreamgirls.” Stray Dog Theatre 3. “Avenue Q,” The Playhouse at Westport 4. “Be More Chill,” New Line Theatre 5. “A Man of No Importance,” R-S Theatrics 6. . Don’t Bother Me I Can’t Cope,” The Black Rep 7. “Man of La Mancha,” Stages St. Louis 8. “Cry-Baby,” New Line Theatre
“Kinky Boots” at the Muny
Best Musical Production
1.“Kinky Boots,” The Muny 2. “Dreamgirls.” Stray Dog Theatre 3. “Be More Chill,” New Line Theatre 4. “Avenue Q,” The Playhouse at Westport 5. “Don’t Bother Me I Can’t Cope,” The Black Rep
?Dreamgirls”
Best Costume Design of a Musical
1. Sarah Porter, “La Cage Aux Folles,” New Line Theatre 2. Julian King, “Dreamgirls,” Stray Dog Theatre” 3. Mary Engelbreit and Leon Dobkowski, “Matilda,” The Muny 4. Brad Musgrove, “101 Dalmatians,” Stages St. Louis 5. Brad Musgrove, “Grease,” Stages St. Louis 6. Eileen Engel, “The Who’s Tommy,” Stray Dog Theatre 7. Gregg Barnes and Lindsay McWilliams, “Kinky Boots,’ The Muny
“The Who’s Tommy”
Best Lighting Design in a Musical
1. Tyler Duenow, “The Who’s Tommy,” Stray Dog 2. Joe Clapper, “Don’t Bother Me I Can’t Cope,” The Black Rep 3. Rob Lippert, “Be More Chill,” New Line Theatre 4. John Lasiter, “Paint Your Wagon,” The Muny 5. Tyler Duenow, “Dreamgirls,” Stray Dog Theatre 6. Sean M. Savoie, “The Boy from Oz,” Stages St. Louis
“Matilda” at the Muny
Best Set Design in a Musical
1. Mary Engelbreit and Paige Hathaway, “Matilda,”
The Muny
2. James Wolk, “Man of La Mancha,” Stages St. Louis
3. Josh Smith, “The Who’s Tommy,” Stages St. Louis
4. Michael Schweikardt, “Paint Your Wagon,” The Muny
5. Peter and Margery Spack, “Don’t Bother Me I Can’t Cope,” The Black Rep
Feeding Beatrice
Best Sound Design of a Play
Broken Chord, Angels in America, The Rep
Ellie Schwetye, The Night of the Iguana,
Tennessee Williams Festival
David Samba, Feeding Beatrice, The Rep
Kareem Deanes, Fully Committed, New Jewish
Theatre
Philip Evans, Indecent, Max and Louie
Productions
6. Justin Been, The Crucible, Stray Dog Productions
“Love’s Labors Lost”
Best Costume Design in a Play
Michele Friedman Siler, Brighton Beach Memoirs,
New Jewish
Melissa Trn, Love’s Labors Lost, Shakespeare
Festival St. Louis
Felia Davenport, District Merchants, New Jewish
Andrea Robb, A Life in the Theater, St. Louis
Actors’ Studio
Laura Hanson, Wittenberg, Upstream Theatre
Best Set Design in a Play
The Night of the Iguana
Peter and Margery Spack, The Play That Goes Wrong, The Rep
Dunsi Dai, The Night of the Iguana, Tennessee Williams Festival St. Louis
Peter and Margery Spack, Brighton Beach Memoirs, New Jewish
Kristin Cassidy, “Photograph 51,” West End Players Guild
William Bloodgood, ‘Alabama Story,’ The Rep
David Blake, “District Merchants,” New Jewish
Lawrence E. Moten III, +Feeding Beatrice,” The Rep 8. Patrick Huber, “True West,” St. Louis Actors’ Studio
Best Lighting Design in a Play
“Indecent”
Jon Ontiveros, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
Xavier Pierce, “Angels in America,” The Repertory Theatre of St. Louis
Patrick Huber, “Indecent,” Max and Louie Productions
Jason Lynch, “Feeding Beatrice,” The Repertory Theatre of St. Louis
Sean Savoie, “District Merchants,” New Jewish Theatre
Photo Credits: Phillip Hamer, Jon Gitchoff, JPatrick Huber, Joey Rumpell, Peter Wochniak and Jerry Naunheim Jr.
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.
