KPop Demon Hunters Sing-Along
By Lynn Venhaus
A grizzly bear, crocodile, prairie dog, red panda, and tiger dance into a party in Zoorona, and we get a bouncy beat, a perky vibe, and a bright-eyed and bushy-tailed family-friendly adaptation of Shakespeare’s classic love story, revived as “Romeo and Zooliet.”
After all, what’s in a name? “That which we call a rose by any other name would smell as sweet.” What if the animal kingdom put on their own show in the friendly confines of a public zoo?
This inspired first-ever collaboration between St. Louis Shakespeare Festival and the Saint Louis Zoo is staged in a grassy, wooded valley area known as “Historic Hill,” between the sea lions and Cat Country on the zoo’s south side.
It is an enchanted setting on a midsummer night, and even a rain delay and sound glitch on Friday, July 11, couldn’t dampen the enthusiasm and enjoyment, particularly of the young and the young at heart.
Ingeniously camped in a performance space named “The Glowb,” clever large custom-made animal puppets cavort in their make-believe habitats, courtesy of Shakespeare-trained actors nimbly operating their characters while they provide the voices and the movements.
The synergy between playful puppeteers is uplifting, especially when you have a tale aimed at young audiences that is an ode to friendship. (In crossing the biological divide, no animals were harmed in this charming presentation).
The tragic-free conflict, created with wildlife behaviors in mind, is that cuddly bear cub Juliet, an omnivore who leans towards being a vegetarian, becomes best friends with adorable prairie dog Romeo, an herbivore who eats plants.
They don’t mind their differences and want to spend time together without their friends and families interfering. Those colorful characters are not feuding; they’re just from different clans.
Playwright Jennifer Joan Thompson’s imaginative script, based on a 2015 graphic novel, “The Stratford Zoo Midnight Revue Presents Romeo and Juliet,” which was written by Ian Lendler and illustrated by Zack Giallongo, takes flight in this delightful zoo setting.
An exuberant Ricki Franklin, a master interpreter of Shakespearean iambic pentameter, is the sweet Juliet seeking a best buddy. Franklin is a two-time winner of the St. Louis Theater Circle Award for performer in a supporting role for “Twelfth Night” and “As You Like It,” two recent outdoor productions in Shakespeare Glen, and her vibrant stage presence is welcoming.
Agile Jordan Moore plays nice Romeo, smitten with Juliet in a way where it’s the platonic version of “Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night,” and wants to hang out after they dance.
Juliet’s controlling mom, Lady Capulet, has other ideas — to have a play date with Paris, a smarmy crocodile with ulterior motives, for he sees a meal ticket. Nisi Sturgis’s suppleness in moving with an enormous bear apparatus above her head is impressive.
Adroit Ryan Omar Stack cunningly delivers his double entendre lines, trying to cover up his hearty appetite. He also portrays the prince, who is a sage sea lion (and easily distracted by balls!)
Zookeepers have gone home for the evening, and assorted critters come alive for fun and adventure. The remarkable puppets were designed and fabricated by Michael Curry Design. They collaborated with Julie Taymor for incredible “The Lion King” puppets, so no wonder these are striking in detail.
All the characters are animals that can be found in the Saint Louis Zoo – and on your way in and out, you can watch the prairie dogs’ antics as they go about their evening.
Narrators are a penguin, their offspring, and a puffin. Bryce Cleveland is Puff, Genevieve Mazzoni is Penny. Rian Page and Sophie Stogsdill are also listed in the program.
An animated Jacob Schmidt is a gleeful Mercutio, ready to dance, but he clashes with Juliet’s cousin, Tybalt (the always vivacious Rae Davis). He’s more laid back, she’s friskier – but they both are protective of their pals.
Schmidt also makes a comical entrance as an ambling tortoise, Friar John, ready to dispense his wisdom. He’s quite a crowd-pleaser.
The mellifluous Jeff Cummings is Friar Lawrence, a wise owl, while Olivia Scicolone is a marvel of motion as a hippo, who is quite limber as Juliet’s fussy nurse.
Rising stars Charlie Mathis and Daisy Held are the capable swings throughout the run.
Scenic designer extraordinaire Scott C. Neale has fashioned a rustic performance space that’s part clubhouse, treehouse, campground and stage – with interesting nooks and crannies for the animals to pop in and take off from.
Jesse Klug’s lighting design incorporates fairy lights, and their illumination elicited ‘aws’ from the crowd.
Costume designer Rachel Adorno, in tandem with Caitlin McLeod, associate costume designer and additional puppet fabrication, give the animals distinct personalities – including sparkly masks for the party scene, to convey the whimsy. Eric Barnes managed the props.
With his keen eye for detail and his zest for high-spirited, fun-filled action, producing artistic director Tom Ridgely has helmed this show laser-focused on cheerful entertainment for all ages, especially wide-eyed youngsters.
Ridgely, as he always does, has included exceptional creatives on this show’s roster. His team included producer Colin O’Brien, associate producer Ryan Jeffery, stage manager Sarah Luedloff and assistant stage manager Britteny Henry.
The 80-minute show includes catchy pop tunes, with a sensational signature song “Just Like Romeo and Zooliet,” the show’s own interpretation of a song first recorded in 1964 by The Reflections.
It has been re-arranged by music supervisor Jeffrey “JQ” Oaiyum, and sung by JQ and Kiley B. Moore, with background vocals by Sophie Dimitroff and trumpet playing by Marques Carroll.
JQ is part of The Q Brothers, which have been involved in several shows presented here by the St. Louis Shakespeare Festival. A Chicago composer, he also works on the Emmy-winning Hulu series “The Bear.”
The peppy music numbers are choreographed by Sam Gaitsch, and Steve Ptacek did a terrific job with sound design. Zev Steinrock choreographed the fights.
While it’s briskly performed and pleasantly presented, “Romeo and Zooliet” is a massive undertaking, so no small feat for all involved to create such a magical, purposeful experience.
With an entire village of artisans, Ridgely good-naturedly directed this groundbreaking attempt to unite two different worlds, and we’re the better for it.
If you’re like me, you’ll leave grinning ear to ear, hearing little tots giggling being the best sounds of all on a summer’s eve. (And it’s not every day you hear barking sea lions ready to go to bed).
St. Louis Shakespeare Festival presents “Romeo and Zooliet” Tuesdays through Sundays at 7:30 pm from July 8 through Aug. 17. Performances take place at the Historic Hill in the St. Louis Zoo. For more information: stlzoo.org.
Rehearsal photos by Theo R Welling
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
An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.
Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.
From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.
Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.
Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”
His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.
“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.
Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.
That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.
The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.
And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:
“To be, or not to be, that is the question
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream—ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect
That makes calamity of so long life.“
Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.
His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.
Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.
Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.
Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.
You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.
Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”
Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause. He also delivers the often misquoted “Though this be madness, yet there is method in’t.”
No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.
She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.
In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.
The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.
The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.
Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.
Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”
Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.
Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.
This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.
St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus
Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.
Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”
This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.
After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.
He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.
Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.
Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.
He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.
Take Ten Q & A with Joel Moses
1. What is special about your latest project?
“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.
I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”
2. Why did you choose your profession/pursue the arts?
“My mom says that from an early age I was always in character. Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.
When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”
3. How would your friends describe you?
“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.
4. How do you like to spend your spare time?
“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”
5. What is your current obsession?
“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”
6. What would people be surprised to find out about you?
“I get anxious in social settings and can sometimes struggle with words.”
7. Can you share one of your most defining moments in life?
“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”
8. Who do you admire most?
“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”
9. What is at the top of your bucket list?
“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”
10. What is your favorite thing to do in St. Louis?
“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”
I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”
11. What’s next?
“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”
More Information on Joel Moses
Birthplace: near Kansas City, Mo.
Current location: St Louis
Education: BFA: Theatre Performance – University of Central Missouri – 2006.
Moscow Art Theatre – Summer Acting Intensive – 2012.
MFA: Acting – Northern Illinois University – 2013.
Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.
First job: Fry Cook. Dairy Queen.
First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.”
Favorite jobs/roles/plays or work in your medium?
It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.
• Ubu in King Ubu, Organic Theater Company
• Einstein in Picasso at the Lapin Agile, Organic Theater Company
• Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.
• Branwell in Bronte Sister House Party, SATE.
And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.
• Lungs, Albion Theatre.
• George Deever in All My Sons, New Jewish Theatre.
• Heisenberg in Copenhagen, St Louis Actors’ Studio
• Duke Frederick in As You Like It, St. Louis Shakespeare Festival.
Awards/Honors/Achievements:
St. Louis Theater Circle Awards:
• Outstanding Performance in a Drama: The Christians – West End Players
• Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE
Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner
“What is utterly absurd happens in the world.” Gogol
A song that makes you happy: “Scatman” – Scatman John
“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.
The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link: https://repstl.my.salesforce-sites.com/ticket/#/events/a0SVI0000040h4J2AQ
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Amy Loui, “Steel Magnolias,” Stages St. Louis
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre
Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joel Moses, “As You Like It,” St. Louis Shakespeare Festival
Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie, “Red Jasper,” Michael Madden Productions
Jacob Schmidt, “Trayf,” New Jewish Theatre
Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis
Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis
Chuck Harper, “Wolf Kings,” YoungLiars
Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis
Amanda Werre, “All My Sons,” New Jewish Theatre
Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
Colleen Michelson, “The Mousetrap,” Stray Dog Theatre
Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre
Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival
Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep
Kari Ely, “Wedding Band,” The Black Rep
Margery Handy, “The Inheritance,” Tesseract Theatre Company
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep
Gary Glasgow, “Life Is a Dream,” Upstream Theater
Jayson Heil, “All My Sons,” New Jewish Theatre
Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis
Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company
Amy Loui, “All My Sons,” New Jewish Theatre
Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis
Jacqueline Thompson, “Wedding Band,” The Black Rep
Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre
Greg Johnston, “All My Sons,” New Jewish Theatre
Joel Moses, “Lungs,” Albion Theatre
Gabriel Paul, “The Inheritance,” Tesseract Theatre Company
William Roth, “The Whale,” St. Louis Actors’ Studio
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre
“Longing,” by Lize Lewy
“Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio
“Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre
“Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis
Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis
Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis
Elise Quagliata, “Carmen,” Union Avenue Opera
Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera
“Galileo Galilei,” Opera Theatre of Saint Louis
“H.M.S. Pinafore,” Winter Opera St. Louis
“Julius Caesar,” Opera Theatre of Saint Louis
“The Barber of Seville,” Opera Theatre of Saint Louis
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis
Khalid McGee, “Blues in the Night,” The Black Rep
James Moore, “Les Miserables,” The Muny
Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company
Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny
Jared Grimes, “Anything Goes,” The Muny
Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis
Mike Hodges, “Xanadu,” Stray Dog Theatre
Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep
Zachary Grimm, “Longing,” Lize Lewy
Kylee Loera, “Anything Goes,” The Muny
Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre
Mike Tutaj, “Waitress,” The Muny
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company
Sarajane Clark, “Ruthless,” Stray Dog Theatre
Lissa deGuzman, “Waitress,” The Muny
Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Matthew Cox, “Ragtime,” Stages St. Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre
John Lasiter, “Fiddler on the Roof,” The Muny
Jason Lyons, “Les Miserables,” The Muny
Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis
Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis
Ann Beyersdorfer, “Les Miserables,” The Muny
Wilson Chin, “Waitress,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Arnie Sancianco, “In the Heights,” The Muny
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
Robin L. McGee, “Disney’s The Little Mermaid,” The Muny
Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Tiffany Mann, “Dreamgirls,” The Muny
Marissa McGowan, “Ragtime,” Stages St. Louis
Jessica Vosk, “Waitress,” The Muny
Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Adam Heller, “Fiddler on the Roof,” The Muny
John Riddle, “Les Miserables,” The Muny
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Spirits to Enforce,” The Midnight Company
“Steel Magnolias,” Stages St. Louis
“Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Hold On!,” The Black Rep
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company
“Anything Goes,” The Muny
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
Ragtime,” Stages St. Louis
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre
Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival
Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre
David Catlin, “Moby Dick,” Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Stephen Peirick, “The Inheritance,” Tesseract Theatre Company
Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny
Marcia Milgrim Dodge, “Anything Goes,” The Muny
Deidre Goodwin, “Ragtime,” Stages St. Louis
Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company
Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Steel Magnolias,” Stages St. Louis
“Trayf,” New Jewish Theatre
“Woman in Mind (December Bee),” Albion Theatre
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company
“Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Ragtime,” Stages St. Louis
“Waitress,” The Muny
Special Award for Lifetime Achievement
Joe Hanrahan, founder and artistic director, The Midnight Company
Ron Himes, founder and producing director, The Black Rep
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.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, STL Stage Snaps, St. Louis Arts Scene on Substack); Mark Bretz (Ladue News); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
For more information, visit www.stltheatercircle.org, contact stltheatercircle@gmail.com, or ‘like’ the St. Louis Theater Circle on Facebook.
###
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
“Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
An abundance of new voices and fresh faces mixed with familiar stories and reliable veterans to give us another compelling year of theater among regional professional groups.
Sometimes, there were so many offerings, one couldn’t get to them opening weekend, or my schedule prevented me from early viewing. I attended around 80 eligible shows and am grateful for the theater companies accommodating me. This does not include touring, school or community theatre productions.
I am enriched and in awe of the talent in our midst. And sharing what it feels like to be human in the 21st century is a very wonderful experience. That sense of belonging and community abounds. Onward to a magical year ahead.
As a local theater critic and writer about arts and entertainment, here’s my highly personal annual assessments on 2024 output – my “LOTTIES” – Lynn’s Love of Theatre Awards, as I announce every year. They are not set at five, but categories vary. If I wanted to recognize a performer or a show, I did (my rules).
This is separate from the St. Louis Theater Circle, of which I am a founding member. My esteemed colleagues and I will present our annual awards at a gala ceremony, aka theater prom, on Monday, March 24, at the Loretto-Hilton Center on the Webster University campus. Nominations will be revealed soon.
Production of the Year:
“The Inheritance, Parts I and II” by Tesseract Theatre Company
A 7-hour commitment but worth every minute, riveting from start to finish, with everyone giving their all. Epic in scope and intimate in execution, Tesseract Theatre Company’s production was exhilarating.
Playwright Matthew Lopez wrote a vivid and perceptive rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love. Surprising in its wit and depth of feeling, this Tony and Olivier-Award winning play is a magnum opus on what it’s like to be gay in America.
Boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble, they each met their moments. Intertwining a sprawling cast of 13, Lopez examined healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.
Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.
In an uncommon structure, Lopez tackled the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastic way. It is specific to the LGBTQIA+ experience, but allies could relate.
Companies of the Year:
The Repertory Theatre of St. Louis (large) and Tesseract Theatre Company (small)
The Rep gets the honor, turning around the venerable institution in spectacular fashion after it was on the brink of not surviving in 2023. A change in direction and a rallying community – both faithful and skeptical – helped the reset. So did new Artistic Director Kate Bergstrom, a sunny collaborative charmer whose efforts have been nothing short of astounding, along with managing director Danny Williams, who came aboard in 2022.
Two absolute stunners – “Moby Dick” and “August: Osage County” helped restore the luster in early 2024 while The Studio returned with “The Roommate” and a new partnership with Stages St. Louis for the crowd-pleasing “Million Dollar Quartet Christmas” followed a classic “Dial M for Murder” to deliver on its promises. Enthusiasm and goodwill is palpable at every function.
At the Tesseract Theatre Company, Kevin Corpuz and Brittanie Gunn took over operations, and continued bold moves started by founder Taylor Gruenloh in 2010. “The Inheritance, Part 1 and 2” was a landmark achievement, they shifted to musicals for the summer new play festival, and then their ambitious production of “Anastasia: The Musicals” in the fall cemented the statement that they have arrived. Can’t wait to see what is ahead.
Artist of the Year:
Alan Knoll
Actor-Director Alan Knoll is such a St. Louis fixture that it would be easy to take him for granted, but we never ever do. He’s not one to phone it in, always finds an entry point for us, and continues to stretch his capabilities. Last year, he did some of his finest work yet – as flawed dads in “We All Fall Down” and “August: Osage County,” and as a loyal servant in “Life Is a Dream.”
He also directed the acclaimed drama “Red” for New Jewish Theatre, where he previously helmed “Brighton Beach Memoirs” and “Broadway Bound,” part of Neil Simon’s Eugene trilogy.
In a 40-plus year career, he estimates he has been in more than 150 productions. He has worked at the Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory in St. Louis, and at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and is about 160 miles from St. Louis.
With his name in the ensemble, you can be assured of a first-rate performance, and with him in the director’s seat, you know you are in for a thoughtful, insightful production.
Producers of the Year
Tom Ridgely, Sr. Louis Shakespeare Festival
As the producing artistic director of the St. Louis Shakespeare Festival since 2018, Tom Ridgely has expanded offerings and community partnerships, and taken an innovative, collaborative approach to their mission. In 2024, he oversaw one of the freshest summer productions yet in Forest Park’s Shakespeare Glen – “As You Like It,” and their TourCo’s “The Tempest” broke attendance records in multiple city parks and outdoor venues. Their work in schools and with young artists is an important component as well. Under his leadership, the organization thrives on reinvention and keeps its audiences engaged. The Shakespeare in the Streets events are eagerly anticipated, and they always attempt new ground.
Andrew Kuhlman and Gayle Seay, Stages St. Louis
Andrew Kuhlman is the homegrown element as executive producer, rose through the ranks, while Gayle Seay brings an astute experienced eye as artistic director at Stages St. Louis. With two seasons under their belt, they showed Stages St. Louis’ audiences that they were moving forward while not messing with the recipe for success that co-founders Jack Lane and the late Michael Hamilton focused on when they started the company in 1987. Andrew, who was mentored by both Jack and Michael, continues to build partnerships while Gayle, familiar with the Stages’ family as a longtime casting director, knows the right people to go to in mounting their shows. They’ve demonstrated that theirs is a strong match, and they build on recent successes. Last season’s “Steel Magnolias,” “Newsies” and “Ragtime” continued the legacy.
Touring Production of the Year: (tie) “The Cher Show,” The Broadway Series at Stifel, and “Jagged Little Pill” at The Fox.
THE MVPs
(Must have excelled in two or more shows this year, not a rookie, and whose presence made a difference)
Rachel Bailey
Ann Hier Brown
Matthew Cox
Jerome (J Samuel) Davis
Isaiah DiLorenzo
Jayson Heil
Bryce Miller
Drew Mizell
Joel Moses
Dustin Petrillo
Ben Ritchie
Jacob Schmidt
Molly Wennstrom
Eric Dean White
Sarah Wilkinson
ONES TO WATCH
Ashwini Aurora
Cory Burke
Jade Cash
Tyson Cole
Rafael Da Costa
Dominic Di Ciccio
Andre Eslamian
Aaron Fischer
Nadja Kapetanovich
Gabriel Paul
Allison Sexton
DYNAMIC DUOS /TRIOS
- Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
- John Riddle and Jordan Donica in “Les Miserables” (The Muny)
- Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
- Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
- Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
- Andre Navid Eslamian and Leta DeBardeleben in “Longing”
- Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
- Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
- Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
- Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
- Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
- Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
- Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
- Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
- Matt Anderson, Jeremy Goldmeier, and Donna Parrone as Haunted House actors in “Ripcord” (Stray Dog Theatre)
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
- Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
- Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
- John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
- Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
- Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
- Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
- Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
- Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
- The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
- Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
- Jamaal Fields-Green as Michael Jackson in the “MJ – The Musical” finale in the touring production at The Fox. Whatever that ‘surprise’ move he concocted for the 1992 “Dangerous” World Tour was. One of the most exhilarating things I’ve ever seen in a musical.
BEST YOUTH PERFORMERS
- Will Schulte, “Les Miserables,” The Muny
- Zoe Klevorn, “Ragtime,” Stages St Louis
- Shane Rose, “All My Sons,” New Jewish Theatre
- Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
- Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
- Lucy Miller, “Wedding Band,” The Black Repertory Theatre
- Davin Wade, “Newsies,” Stages St. Louis
- Maliah Strawbridge, “Big Machine,” Fly North Theatricals
- Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke) in “Fiddler on the Roof,” The Muny
BEST NEW PLAYS
- “Longing” by Lize Lewy
- “Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
- “Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
- “Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
- “Romanov Family Yard Sale” by Courtney Bailey, ERA
- “Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
- “Am I Dangerous” by e.k. doolin, Contraband Theatre
- “Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
- “Cash Flow,” Marjorie Williamson, First Run Theatre
- “Sandra’s Son,” Cbabi Bayoc (work in progress)
BEST COMEDY PRODUCTIONS
- “As You Like It,” St. Louis Shakespeare Festival
- “Trayf,” New Jewish Theatre
- “The Roommate,” The Repertory Theatre of St. Louis
- “Woman in Mind (December Bee),” Albion Theatre
- “Steel Magnolias,” Stages St. Louis
- “Spirits to Enforce,” The Midnight Company
- “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
- “The Tempest,” St. Louis Shakespeare Festival, Tour Co.
- “Romanov Family Yard Sale,” ERA
- “Red Jasper,” Michael Madden Productions
BEST DRAMA PRODUCTIONS
- “The Inheritance, Part 1 and 2,” Tesseract Theatre Company
- “Moby Dick,” The Repertory Theatre of St. Louis
- “All My Sons,” New Jewish Theatre
- “August: Osage County,” The Repertory Theatre of St. Louis
- “Red,” New Jewish Theatre
- “The Whale,” St. Louis Actors’ Studio
- “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
- “Life is a Dream,” Upstream Theater
- “Hold On!” The Black Rep
- “Dutchman,” Soul Siren Playhouse
BEST MUSICAL PRODUCTIONS
- “Anything Goes,” The Muny
- “Ragtime,” Stages St. Louis
- “Fiddler on the Roof,” The Muny
- “Anastasia,” Tesseract Theatre Company
- “Newsies,” Stages St. Louis
- “First Date,” New Jewish Theatre
- “In the Heights,” The Muny
- “Blues in the Night, “The Black Rep
- “(Title of Show),” Prism Theatre
- “Waitress,” The Muny
BEST SUPPORTING ACTRESS IN A COMEDY
- Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
- Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
- Kari Ely, “Steel Magnolias,” Stages St Louis
- Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
- Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
- Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
- Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
- Anna Blair, “The Butcher of Baraboo,” West End Players Guild
- Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
- Ami Loui, “Steel Magnolias,” Stages St. Louis
BEST SUPPORTING ACTOR IN A COMEDY
- Spencer Sickmann, “Trayf,” New Jewish Theatre
- Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
- Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
- Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
- Cassidy Flynn, “Romanov Family Yard Sale,” ERA
- Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
BEST ACTRESS IN A COMEDY
- Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
- Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
- Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
- LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
- Nancy Nigh, “Red Jasper,” Michael Madden Productions
- Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
- Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
- Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
- Jan Meyer, “Elephants’ Graveyard,” First Run Theatre
10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre - (tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST ACTOR IN A COMEDY
- Jacob Schmidt, “Trayf,” New Jewish Theatre
- Bryce A. Miller, “Trayf,” New Jewish Theatre
- Ben Ritchie “Red Jasper,” Michael Madden Productions
- Alan Knoll, “We All Fall Down,” New Jewish Theatre
- Joel Wilper, “Bell, Book & Candle,” Stray Dog Theatre
BEST SUPPORTING ACTRESS IN A DRAMA
- Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
- Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
- Alex Jay, “King Hedley II,” The Black Rep
- Evann De-Bose, “Hold On!” The Black Rep
- Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
- Denise Thimes, “King Hedley II,” The Black Rep
- Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
- Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
- Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
- Kari Ely, “Wedding Band,” The Black Rep
BEST ACTRESS IN A DRAMA
- Maggie Wininger, “Molly Sweeney,” Albion Theatre
- Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
- Amy Loui, “All My Sons,” New Jewish Theatre
- Nicole Angeli, “Lungs,” Albion Theatre
- Jacqueline Thompson, “Wedding Band,” The Black Repertory
- Eileen Engel, “Dutchman,” Soul Siren Playhouse
- Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater
BEST SUPPORTING ACTOR IN A DRAMA
- Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
- Jayson Heil, “All My Sons,” New Jewish Theatre
- Dustin Petrillo, “Red,” New Jewish Theatre
- Eric Dean White, “Hold On!” The Black Rep
- Jerome Davis, ‘King Hedley II,” The Black Rep
- Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
- Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
- Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
- Joseph Garner, “Dark Matters,” West End Players Guild
- Jerry Vogel, “Life is a Dream,” Upstream Theater
- Gary Glasgow, “Life is a Dream,” Upstream Theater
BEST ACTOR IN A DRAMA
- Greg Johnston, “All My Sons,” New Jewish Theatre
- Christopher Harris, “Red,” New Jewish Theatre
- William Roth, “The Whale,” St. Louis Actos’ Studio
- Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
- Joel Moses, “Lungs,” Albion Theatre
- Reginald Pierre, “Life is a Dream,” Upstream Theatre
- Andre Eslamian, “Longing”
- Enoch King, “Hold On!” The Black Rep
- Cameron Jamarr Davis, “Dutchman,” Soul Siren Playhouse
BEST SUPPORTING ACTRESS IN A MUSICAL
- Lissa De Guzman, “Waitress,” The Muny
- Nicole Michelle Haskins, “Waitress,” The Muny
- Sarajane Clark, “Ruthless,” Stray Dog Theatre
- Rachel Bailey, “Title of Show,” Prism Theatre Company
- Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
- Shereen Pimentel, “Ragtime,” Stages St. Louis
- Lauren Tenenbaum, “American Idiot,” New Line Theatre
- Emily Bautista, “Les Miserables,” The Muny
- Samantha Massell, “Fiddler on the Roof,” The Muny
- Nancy Ticotin, “In the Heights,” The Muny
- Adrianna Hicks “Anything Goes,” The Muny
BEST SUPPORTING ACTOR IN A MUSICAL
- Matthew Cox, “Ragtime,” Stages St. Louis
- George Abud, “Anything Goes,” The Muny
- Matthew Cox, “Newsies,” Stages St Louis
- Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
- Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
- James D. Gish, “Les Miserables,” The Muny
- Nick Rashad Burroughs, “Dreamgirls,” The Muny
- Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
- Kevin Chamberlin, “Anything Goes,” The Muny
- Will Bonfiglio, “First Date,” New Jewish Theatre
- Jayson Heil, “First Date,” New Jewish Theatre
- Troy Iwata, “Waitress,” The Muny
- Rafael DaCosta, “Dracula,” New Line Theatre
BEST ACTRESS IN A MUSICAL
- Jessica Vosk, “Waitress,” The Muny
- Tiffany Mann, “Dreamgirls,” The Muny
- Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
- Marissa McGowan, “Ragtime,” Stages St. Louis
- Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
- Jill Abramovitz, “Fiddler on the Roof,” The Muny
- Jaelyn Hawkins, “(title of show),” Prism Theatre
- Taylor Quick, “Newsies,” Stages St. Louis
- Katie Orr, “(title of show),” Prism Theatre
- Savy Jackson, “Disney’s The Little Mermaid,” The Muny
BEST ACTOR IN A MUSICAL (Male or Non-binary)
- Adam Heller, “Fiddler on the Roof.” The Muny
- John Riddle, “Les Miserables,” The Muny
- Jordan Donica, “Les Miserables,” The Muny
- Aaron Fischer, “Anastasia,” Tesseract Theatre Company
- Tamar Greene, “Ragtime,” Stages St. Louis
- Benji Santiago, “In the Heights,” The Muny
- Drew Mizell, “Nevermore,” Stray Dog Theatre
- Jay Armstrong Johnson, “Anything Goes,” The Muny
- Al Bastin, “The Big Machine,” Fly North Theatricals
- Clayton Humburg, “American Idiot,” New Line Theatre
BEST ENSEMBLE IN A COMEDY
- “Romanov Family Yard Sale,” ERA
- “Spirits to Enforce,” Midnight Company
- “As You Like It, St. Louis,” Shakespeare Festival
- “Woman in Mind (December Bee),” Albion Theare
- “Red Jasper,” Michael Madden Productions
- “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
- “Ripcord, “Stray Dog Theatre
- “Steel Magnolias,” Stages St. Louis
BEST ENSEMBLE IN A DRAMA
- “The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
- “August: Osage County,” The Repertory Theatre of St. Louis
- “All My Sons,” New Jewish Theatre
- “Hold On!” The Black Rep
- “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
- “The Whale,” St. Louis Actors’ Studio
- “Moby Dick,” The Rep
- Life is a Dream,” Upstream Theatre
- “King Hedley II,” The Black Rep
- “Hamlet,” St Louis Shakespeare
BEST ENSEMBLE IN A MUSICAL
- “Anything Goes,” The Muny
- “Ragtime,” Stages St. Louis
- “Fiddler on the Roof,” The Muny
- “Anastasia,” Tesseract Theatre Company
- “First Date,” New Jewish Theatre
- “In the Heights,” The Muny
- “Newsies,” Stages St. Louis
- “Les Miserables,” The Muny
- ‘(Title of Show),: Prism Theatre Company
BEST LIGHTING DESIGN IN A PLAY
- Jayson M. Lawshee, “Red,” New Jewish Theatre
- Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
- Sean Savoie, “Hold On!” The Black Rep
- William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
- Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
- Denisse Chavez, “All My Sons,” New Jewish Theatre
BEST LIGHTING DESIGN IN A MUSICAL
- John Lasiter, “Fiddler on the Roof,” The Muny
- Rob Denton, “Anything Goes,” The Muny
- Sean Savoie, “Ragtime,” Stages St. Louis
- Jason Lyons, “Disney’s The Little Mermaid,” The Muny
- Tyler Duenow, “Nevermore,” Stray Dog Theatre
- Travis Richardson, “Blues in the Night,” The Black Rep
- Jason Lyons, “Les Miserables,” The Muny
BEST VISUAL PROJECTIONS/DESIGN
1. Zachary Grimm, “Longing”
2. Kylee Loera, “Anything Goes,” The Muny
3. Katherine Freer, “Disney’s The Little Mermaid,” The Muny
4. Zach Cohn, “Hold On!” The Black Rep
5. Joe Taylor, “Romanov Family Yard Sale,” ERA
6. Mike Tutaj, ‘Waitress,” The Muny
BEST SOUND DESIGN IN A PLAY
1. Rick Sims, “Moby Dick,” The Repertory Theatre of St. Louis
2. Zachary Grimm, “Longing”
3. Michael Musgrave-Perkins and Philip Boehm, “Don’t Wait for the Marlboro Man,” Upstream Theater
4. Chuck Harper, “Wolf Kings,” Young Liars
5. Kareem Deanes, “The Roommate,” The Rep
6. Amanda Werre, “All My Sons,” New Jewish Theatre
7. Amanda Were, “Dial M for Murder,” The Rep
BEST COSTUME DESIGN IN A PLAY
- Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
- Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
- Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
- Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
- Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
- Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
- Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
BEST COSTUME DESIGN IN A MUSICAL
- Leon Dobkowski, “Dreamgirls,” The Muny
- Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
- Brad Musgrove, “Ragtime,” Stages St. Louis
- Tristan Raines, “Anything Goes,” The Muny
- Brad Musgrove, “Newsies,” Stages St. Louis
- Eileen Engel, “Big Machine,” Fly North Theatricals
- Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
BEST SCENIC DESIGN IN A COMEDY
1. Scott Neale, “As You Like It,” St. Louis Shakespeare Festival
2. Kate Rance, “Steel Magnolias,” Stages St. Louis
3. Andrea Ball, “We All Fall Down,” New Jewish Theatre
4. Gary F. Bell, “Bell, Book & Candle,” Stray Dog Theatre
5. Robert Mark Morgan, “The Roommate,” The Repertory Theatre of St. Louis
BEST SCENIC DESIGN IN A DRAMA
1, Margery Spack and Peter Spack, “Red,” New Jewish Theatre
2. Margery Spack and Peter Spack, “Dial M for Murder,” The Repertory Theatre of St. Louis
3. C. Otis Sweezey, “All My Sons,” New Jewish Theatre
4. Courtney O’Neill, “Moby Dick,” The Repertory Theatre of St. Louis
5. Rob Corbett, “Elephants’ Graveyard,” First Run Theatre
6. Timothy Jones, “King Hedley II,” The Black Rep
BEST SCENIC DESIGN IN A MUSICAL
- Wilson Chin, “Waitress,” The Muny
- Ann Beyersdorfer, “Newsies,” Stages St. Louis
- Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
- Arnel Sancianco, “In the Heights,” The Muny
- Edward E. Haynes Jr., “Anything Goes,” The Muny
- Jamie Bullins, “Blues in the Night,” The Black Rep
- Adam Koch, “Million Dollar Quartet Christmas,” The Rep and Stages St. Louis
BEST CHOREOGRAPHY
- Jared Grimes, “Anything Goes,” The Muny
- Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
- William Carlos Angulo, “In the Heights,” The Muny
- Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
- Mike Hodges, “Xanadu,” Stray Dog Theatre
- Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
- Lesia Kaye, “Dreamgirls,” The Muny
- Chelsie Johnston, “American Idiot,” New Line Theatre
- Parker Esse (original choreography by Jerome Robbins), “Fiddler on the Roof,” The Muny
10. Patrick O’Neill, “Disney’s The Little Mermaid,” The Muny
BEST MUSICAL DIRECTOR
- James Moore, “Les Miserables,” The Muny
- Khalid McGee, “Blues in the Night,” Black Rep
- Roberto Sinha, “In the Heights,” The Muny
- Darryl Archibald, “Fiddler on the Roof,” The Muny
- E. Renee Gamez, “Ragtime,” Stages St. Louis
- Zach Neumann, “Anastasia,” Tesseract Theatre Company
- John Gerdes, “American Idiot,” New Line Theatre
- Mallory Golden, “Title of Show,” Prism Theatre Company
- Larry Pry, “First Date,” New Jewish Theatre
- Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages
BEST DIRECTOR OF A COMEDY
- Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
- Aaron Sparks, “Trayf,” New Jewish Theatre
- Rebekah Scallet, “The Roommate,” The Rep
- Lucy Cashion, “Spirits to Enforce,” The Midnight Company
- Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
- Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST DIRECTOR OF A DRAMA
- Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
- David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
- Alan Knoll, “Red,” New Jewish Theatre
- Gary Wayne Barker, “All My Sons,” New Jewish Theatre
- Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
- Ron Himes, “Hold On!” The Black Rep
- Philip Boehm, “Life is a Dream,” Upstream Theater
- Ellie Schwetye, “Lungs,” Albion Theatre
- Kay Ailee Bush, “Longing,”
BEST DIRECTOR OF A MUSICAL
- Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
- Marcia Milgrom Dodge, “Anything Goes,” The Muny
- Rob Ruggiero, “Fiddler on the Roof,” The Muny
- Sam Hayes, “(Title of Show),” Prism Theatre Company
- William Carlos Angulo, “In the Heights,” The Muny
- Lee Ann Mathews, “First Date,” New Jewish Theatre
- Deidre Goodwin, “Ragtime,” Stages St. Louis
- Lili-Anne Brown, “Waitress,” The Muny
- John Tartaglia, “Disney’s The Little Mermaid,” The Muny
- Justin Been, “Nevermore,” Stray Dog Theatre
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
On an enchanted evening at local parks, you’ll be swept away to a far-off island, where mischief, magic and mayhem will ensue. This is a brave new world, where puppets are part of the storytelling and lovely music enhances the experience.
It’s one of those gratifying adventures that you will remember long after the summer’s heat has faded.
St. Louis Shakespeare Festival’s TourCo annual traveling show is a 90-minute adaptation of the Bard’s dramatic-tinged romantic comedy “The Tempest,” which is free each evening beginning at 6:30 p.m. at 24 parks in Illinois and Missouri from July 30 – Aug. 25.
Featuring a merry band of spry performers who appear to be constantly in motion, the six take on multiple roles. They will introduce themselves and their characters, and draw you into this tale of family squabbles, revenge, betrayal — and sorcery. Maybe it’s not exactly Paradise Island, but it is accessible Shakespeare.
The fine-tuned ensemble includes Joy Christina Turner as Prospero, the Duke of Milan who is a wizard too. He escaped to a remote island with his infant daughter Miranda (Daisy Held) years ago, because his deceitful double-crossing brother Antonio (Reginald Pierre) took over his dukedom with the help of Alonso (Alex Daspit).
Prospero has two very quirky servants – Caliban (Isaiah Di Lorenzo) and Ariel (Aliyah Jacobs) that carry out his schemes. He is determined to get his territory back and conjures up a storm so that his brother’s boat is shipwrecked, leaving Antonio and Alonso stranded.
Alonso’s son Ferdinand (Alex Daspit) is also there, as is Prospero’s trusted minister Gonzalo (Isaiah Di Lorenzo). Ferdinand is heir to the throne and Prospero puts him together with his now 15-year-old daughter, hoping a royal marriage is in their future.
The king’s jester Trinculo is played by Daisy Held and his head servant Stephano is played by Reginald Pierre, and they are a daffy duo. Held is also a spirit and Jacobs is a boatswain.
There are plans to thwart, people who must change their ways, a young couple to keep innocent, and meddling spirits.
Directed by Tom Ridgely with a big splash of whimsy, he favors broad strokes for the performers to play to whatever size crowd has assembled – and deal with whatever kind of conditions that spring up outdoors.
Ridgely is the festival’s producing artistic director, and under his guidance, they have shaped summers quite imaginatively the past few years post-pandemic – with its revered annual month-long offering in Forest Park; Shake in the Streets, where they take a hand-crafted show and bring it to a festive neighborhood setting; and this touring company, which has grown into delightful flights of fancy adapted for various park locations.
With such an esprit de corps, players are reminiscent of an old-timey troupe (think “Rosencrantz and Guildenstern Are Dead” and ‘The Fantasticks”) immersed as these strolling troubadours.
The addition of songs and puppets really enrichthe production values, and the stagecraft is exceptional in elevating the experience. Because the show’s presentation is focused on mobility and makeshift exteriors, the costumes, props and scenery are not hidden backstage, but placed off to the side, for folks to witness the process. Breaking the fourth wall, so to speak.
The clever costume designs by Sam Hayes consider the flexibility needed and differentiate the multiple characters, outfitting the females in airy, ethereal textures and the men in flamboyant brocaded jackets.
This play involves a masque, which was a popular technique in Renaissance England to combine music, dance and drama, so this is where the puppets come in, and they are effective in advancing the plot.
Puppet designer Ryan Marshall and puppet fabricator Taylor Abs created three tall imposing figures that mimic goddesses and smaller marionettes you find in puppet theater. They created dogs ready to attack, too. Abs also managed the props.
Stage Manager Britteny Henry kept everything moving without any glitches on the evening I went, and they have an admirable system in place.
The show was created for audiences of all ages, so pack a picnic, grab some chairs or a blanket, and experience a communal adventure that is a singular sensation.
SCHEDULE
July 30 – Spring Church, Grand Center
July 31 – Old Post Office Plaza, St. Louis
Aug. 1 – Metter Park, Columbia, Ill.
Aug. 2 – Schroeder Park, Manchester, Mo.
Aug. 3 – Carondelet Park, St. Louis
Aug. 4 – Frank Holten State Park, East St. Louis
Aug. 6 – Tower Grove Park, St. Louis
Aug. 7 – Lot at St. Ann & Augusta St., Normandy, Mo.
Aug. 8 – O’Day Park Amphitheater, O’Fallon, Mo.
Aug. 9 – Cortex Commons, St. Louis
Aug. 10 – 14th & St. Louis – Old North, St. Louis
Aug. 11 – Shaw Park, Clayton, Mo.
Aug. 13 – Brussels Heritge Park, Brussels, Ill.
Aug. 14 – Chesterfield Amphitheatre, Chesterfield, Mo.
Aug. 15 – Ivory Perry Park, St. Louis
Aug. 16 – City Park, Edwardsville, Ill.
Aug.17 – January-Wabash Park, Ferguson, Mo.
Aug. 18 – Bellevue Park Bandstand, Belleville, Ill.
Aug. 20 – 370 Lakeside Park Pavilion, St. Peters, Mo.
Aug. 21 – Fairground Park, St. Louis
Aug. 22 – Tisch Park at Washington University, St. Louis
Aug. 23– Love Bank Park, St. Louis
For more information, visit www.stlshakes.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus
The adage: “Write what you know” is never far from Mariah Richardson’s creative process.
The local playwright and educator decided for her latest work, she would address caregivers. She has known this world – for 10 years, she took care of her mother, who died in 2012, and then her brother was special needs, and she helped care for him “my whole life,” until his death in 2021.
However, for her play, “The Caregiving Project: Who’s Taking Care of Momma?” she expanded upon her experience by interviewing real St. Louis caregivers – both unpaid family members and paid professionals.
“It’s their stories that I am highlighting because they really connect us all,” she said.
Richardson, who also directs and acts, has written 12 plays, two children’s books, and written, directed and produced four short films. Her children’s animated series, “Drawn In,” ran for a season and was locally produced at Nine PBS in St. Louis. She was the staff writer and lead voice.
The local theater company Bread and Roses Missouri is presenting her latest original play.
“This production is a powerful exploration of the challenges of caregiving, a vital issue impacting countless individuals and families,” said executive director Emily Kohring. “It highlights the lack of support in our society for this essential work.”
Three performances are set for Friday and Saturday, Aug. 2 and 3, at the St. Louis Shakespeare Festival Rehearsal Hall, 3333 Washington Ave. St. Louis, MO 63103. Showtimes are at 7 p.m. on Friday and at 3 p.m. and 7 p.m. on Saturday.
The company is offering free admission, although reservations are strongly encouraged. To reserve tickets, visit: https://www.showtix4u.com/event-details/85280
“It’s more than just a performance; it’s a call to action to recognize and support the caregivers in our community. With the support of the National Endowment for the Arts, the Arts & Education Council’s Arts and Healing Initiative, and the Regional Arts Commission, tickets are free,” Kohring said.
The play tells the story of Lacy, a woman trying to balance the demands of her children, her full-time job, and a mother in the early stages of dementia.
“Lacy is trying to juggle it all. Some days she manages, and other days it all feels like too much. Her kids need her care, her mom needs her care – but who’s taking care of Lacy? When Lacy finds a support group for caregivers, she discovers a community of people with their own unique stories of the challenges and the joys of caring for other people,” Richardson said.
“Through Lacy’s journey and her connection with a support group for caregivers, we explore the challenges and joys of caring for others and pose the crucial question: ‘Who’s taking care of the caregivers?’” Kohring said.
Kohring described the play as “heartfelt and powerful, a deeply moving and insightful look into the lives of caregivers.”
“While nearly every person at some point in their lives will either need to provide care to somebody, or will be the person who needs care, the work of caregiving is often rendered invisible. Workplace and government policy rarely provides caregivers with the support or resources they need. Paid caregivers are most often working for low wages in less-than-ideal conditions,” she said.
“We created this project to amplify the voices and concerns of caregivers through the most powerful medium we know–storytelling,” Kohring added.
“The McKinsey Global Institute estimates that the U.S. economy loses up to $840 billion annually in economic output due to the suppression of women in the labor force caused by the lack of caregiving support,” she noted.
“This is a particularly exciting project for us as we received funding from the National Endowment for the Arts to make this production possible. Caregiving, though incredibly rewarding, is often undervalued and unsupported.
“We hope that this production brings to light the immense personal and economic challenges faced by caregivers and we hope to foster crucial conversations about the support systems they need,” she said.
Because the company believes in the urgency of this work, the play is also being made available this fall to organizations and groups.
“We will come to groups, and the play can be performed in a multi-purpose room, auditorium, church basement or any space where a group of people can gather,” Kohring said.
To contact Kohring to discuss scheduling a performance, she can be reached by emailing: director@breadandrosesmo.org
The play is directed by longtime local theater educator and artist Deanna Jent, who is familiar with this terrain.
Her original play, “Falling,” was produced off-Broadway in 2012, and was presented by Mustard Seed Theatre, which she had founded at Fontbonne University in 2007 and was the artistic director for over 12 years. In St. Louis, it won a Kevin Kline Award in 2012 as Best New Play.
The family drama was based on her experience as a parent of an autistic child, and the struggles the family goes through.
Jent, who taught theater at Fontbonne for 29 years, now works as a chaplain at St. Louis University Hospital.
Jent is the author of three adaptations of novels into plays: “Till We Have Faces” by C.S. Lewis, “Pride and Prejudice” by Jane Austen, and “Imaginary Jesus” by Matt Mikalatos. She adapted “Winds of Change” for Shakespeare in the Streets in 2022, and wrote “Bosnian/American: Dance for Life.”
She has directed for the Illinois Shakespeare Festival, Shakespeare Festival St. Louis Touring Company, New Jewish Theatre and the Orange Girls. She won a St. Louis Theater Circle Award for directing the musical “All Is Calm: The Christmas Truce of 1914.”
She received a BFA from Illinois Wesleyan University and a Ph.D. in theatre from Northwestern University. She and her late husband Steve are the parents of three children.
The play stars three local actresses: Ricki Franklin, Leslie Wobbe, and Michelle Dillard.
Playwright Richardson, who wrote the 2021 Shakespeare in the Streets production “The Ville: Avengence!” is currently a full-time assistant professor at St. Louis Community College – Florissant Valley.
For Metro Theater Company, her original play “Delilah’s Wish” was a touring production in 2011. It was about an 8-year-old girl in old North St. Louis who spends a challenging year depending on people in her neighborhood while her mother is serving in the military in Iraq. Geared towards grades 2 to 12, it dealt with diversity, tolerance and acceptance.
She developed a children’s book series based on that play and has been working on turning it into an animated cartoon series.
“I have eight episodes of a short-form kids show on YouTube, “Delilah Shares Our World.” I want to find partnerships to grow it and eventually show episodes all over the world. It’s a bit of geography and a bit of history and showcases a kid talking about what they love about where they live.”
Metro Theater Company also produced her original play, “Brave, Bold, Curious!” in 2022.
Richardson received a bachelor’s degree in communications from the University of New Mexico and an MFA from Smith College in playwriting.
In St. Louis, she previously taught mass communications from 2005 to 2013, moved to Los Angeles, and then returned to teach in 2015.
The theater company, Bread and Roses Missouri, amplifies and elevates the stories of working people through art, performance, and activism. They believe that cultural and creative expression are a means to effect deep and lasting social change, Kohring said.
The company organizes and produces arts and humanities events, exhibits and workshops for and about workers and their families.
“We strive to empower participants and educate audiences. Through the arts we envision a world that achieves an economic base benefitting the entire community,” Kohring said.
Take Ten Questions with Mariah Richardson
1.What is special about your latest project?
“Having been a caregiver for many years (my mind in her last ten years of life and my special needs brother throughout my life), Emily thought I was a good fit for the project.”
2. Why did you choose your profession/pursue the arts?
“After more than 40 years in this business, the reason is varied depending on the where I am in the timeline. In the beginning, as an actor, I wanted to ‘be somebody.’ I was as a poet, always, and I felt like I had something to say. As a playwright, I want to share messages and inspire. I have always enjoyed being in the arts and felt it was the safest way for me to express the many facets of myself.”
3. How would your friends describe you?
“Funny, kind, hardworking, intelligent, and I will say what others are afraid to say, authentic.”
4. How do you like to spend your spare time?
“I love TV: well written sitcoms and dramas, documentaries, and true crime.”
5. What is your current obsession?
“Getting Kamala elected.”
6. What would people be surprised to find out about you?
“That I love to fly kites.”
7. Can you share one of your most defining moments in life?
“When I was 33 and I understood when it was said that Jesus suffered for the world. ( I have always been on a spiritual path and first, I used the teachings of Christianity for guidance.) I was living in Oakland, California, and I was approached by a woman who asked me for 35 cents. I couldn’t imagine why when 35 cents is nothing. And I understood that people expect so little when they could have so much if they could see themselves as worthy. I have battled with feelings of unworthiness, and that encounter opened my eyes and set me on the path to seeing myself as deserving of good things and knowing that what I believed I was worthy of would become manifest whether good or bad.”
8. Who do you admire most?
“I admire anyone who knows how to truly forgive.”
9. What is at the top of your bucket list?
“A trip down the Nile, Northern Lights in Alaska, be financially free. “
10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“The pandemic was good for me, overall. My day job went online, and I was able to walk in Forest Park daily. It was tough for those producing live theatre, but as a writer I could work from home. I know the importance of self-reflection and being quiet. I naturally have work and downtime in equal measure when I can. This is what got me through the pandemic, and I miss how quiet the world got.”
11. What is your favorite thing to do in St. Louis?
“I am a tourist in my hometown of St. Louis, and I love finding out about it, mostly through food and cultural events around town.”
Cover photo by Lynn Venhaus at St Louis Community College – Forest Park.
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
Need a vacation? Escape to Forest Park’s Shakespeare Glen for an idyllic summer treat, for “As You Like It” is a robust, refreshing tonic that celebrates the restorative powers of art, love, and nature.
An absolutely perfect vehicle for the St. Louis Shakespeare Festival’s annual offering, this 1623 romantic comedy is fun and frisky.
It’s been 20 years since it was last performed on the mainstage, and one of the playwright’s most accessible.
Sprinkling her magic fairy dust, director Nancy Bell demonstrates why she is a master interpreter of the Bard. A creative genius, she stamps every project with esprit and has a firm grasp of iambic pentameter.
In much the same way she has engaged audiences by transforming classics into easy-to-understand mashups in past local Shakespeare in the Streets projects, she maintains a breezy and playful atmosphere.
The festival’s former playwright-in-residence, she wrote the vigorous “Remember Me” performed outdoors in Maplewood, “Blow Winds!” downtown, “Good in Everything” in Clayton, “The New World” in Benton Park West, and the St. Louis Theater Circle Award winners for Best New Play “The World Begun” in Old North St. Louis and “Old Hearts Fresh” in The Grove.
To further illustrate a point about embracing change in “As You Like It,” Bell’s adaptation is a liberating antidote to a stuffy and strait-laced patriarchal Gilded Age.
A scintillating ensemble conveys a more laid-back, accepting merry band of brethren – well, emphasis on a sisterhood – once action shifts to the Forest of Arden.
The contrasts couldn’t be sharper when imperious Duke Frederick – ever-reliable Joel Moses in high-handed wickedness, banishes his sister Duchess Senior, a feisty Michelle Hand, from the royal court. Oh pshaw!
Defiantly, the Duchess flees to the Forest of Arden, where she discovers exile can be rejuvenating. It’s another memorable performance from the inspired Hand.
Also thriving in this pastoral setting is the Duchess’ daughter Rosalind, a clever girl who disguises herself as a man, Ganymede. After all, this is Shakespeare, so of course the plot includes mistaken identities.
Caroline Amos is poetry in motion as Rosalind, sprinting across the stage with boundless energy. She is matched by the delightful Jasmine Cheri Rush as her loyal cousin-best friend Celia, the Duke’s daughter. Rush has returned for a second year, after playing Olivia in last summer’s “Twelfth Night.”
Rosalind falls in love with affable landowner Orlando, also displaced, and Christian Thompson is a charmer as her heroic object of affection, if a bit dim because he doesn’t suspect anything unusual.
In fairness, he’s pre-occupied trying to stay one step ahead of his scheming brother Oliver (Greg Cuellar), who is not very nice – as in trying to get his sibling killed.
Their lives become topsy-turvy, with thankfully Orlando having a change of heart, and the sweet Celia zeroes in on him.
Further wackiness ensues with the introduction of effervescent Ricki Franklin as bawdy Touchstone, a clownish character. Franklin’s a bright addition for the second year in a row, a scene-stealer last summer as Dame Toby Belch in “Twelfth Night,” a gender-bending turn that earned her a St. Louis Theater Circle Award,
Delivering one of Shakespeare’s most famous soliloquys, “All the world’s a stage…,” the mellifluous Wali Jamal earned applause immediately after reciting the passage so eloquently. He plays Jaques, a solitary and gloomy man who leans towards the melodramatic.
The multi-generational cast includes familiar and fresh faces, notably local treasure Joneal Joplin, who was in the festival’s first Forest Park show, “Romeo and Juliet,’ in 2001. He returns for his seventh one as Adam, a devoted servant of Sir Rowland de Boys, who is Oliver and Orlando’s father.
Making her festival ensemble debut is winsome young teen Riley Carter Adams, a seasoned performer on local stages with television credits. She is listed as “young lady.”
Romance is on the mind of several characters. Kathryn A. Bentley is a likable shepherd Corin, a sage advisor to Silvius, who is not listening. CB Brown is endearing as the lad in need of guidance, for he’s in pursuit of Phoebe, who only has eyes for Rosalind (Ganymede).
Molly Wennstrom is spirited as the unpleasant but lovestruck shepherdess, whose course is altered by Touchstone’s interesting moves. Phoebe’s due for a rude awakening.
Two of the goofiest characters are Isaiah Henry as William, a simple, unsophisticated country boy crushing on goatherder Audrey, humorously played by Bianca Sanborn.
In a crowd-pleasing turn, St. Louis professional wrestler Lenny Mephisto, aka Maniacal Mephisto, is pitted against Orlando as Charles, a wrestler in the duke’s court.
The wrestling match is well-staged, thanks to savvy fight and intimacy choreographer Rachel Flesher, and Cuellar, who also is fight captain.
Captivating music is an integral part of this vibrant tableau, with an original score performed live on stage by local musician Beth Bombara in the role of faithful friend Amiens. Joining her are Sam Golden on viola and mandolin and percussionist Jeremy Reidy.
Scenic Designer Scott C. Neale, whose work has always astonished on the outdoor stage in Shakespeare Glen, has created a striking bucolic setting that is reminiscent of an old-timey illustrated picture book. Its reveal earned a hearty round of applause.
Among his six previous designs, you may recall his stunning set for “Antony and Cleopatra” in 2015 and “Henry IV and V” the year before.
As is customary, the technical work is superb, with distinct work by lighting designer Denisse Chavez and costume designer Dottie Marshall Englis. Sam Gaitsch choreographed buoyant moves, and props manager Taylor Laine Abs kept the accessories simple.
The unpredictability of working with live farm animals is evident with a goat and a sheep from D Bar S Ranch, which amused the crowd May 31. Apparently, from new accounts, they are adjusting to life in the spotlight.
With its exuberant and energetic cast having a swell time on stage, that translates into one of the most enjoyable Shakespeare Festival’s mainstage efforts to date.
Due to their high standards, the festival has grown into the largest free outdoor Shakespeare play between the coasts. It’s a well-deserved achievement, and this supremely entertaining effort is not to be missed.
The festival is one of the best things about living in the St. Louis metropolitan region, and we are so very fortunate to be able to smile on a summer night under the stars in Forest Park.
St. Louis Shakespeare Festival presents “As You Like It” from May 29 to June 23, Tuesday through Sunday, at 8 p.m., free in Forest Park (Shakespeare Glen). https://stlshakes.org/production/as-you-like-it/
Shakespeare in the Park is free to attend, no reservations or tickets required for any of the performances. But every night a small number of reserved chairs and blanket spots are available for purchase – directly supporting the Festival’s mission and year round programming. Find your favorite spot: in the blanket-only section, box seats for up to six guests or general single-chair reservations.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023
ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 11th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Diana DeGarmo, “Clue,” Stages St. Louis
Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival
Christina Rios, “Broadway Bound,” The New Jewish Theatre
Zoe Vonder Haar, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre
Charlie Franklin, “Clue,” Stages St. Louis
Nick Freed, “The Birthday Party,” Albion Theatre
Bryce A. Miller, “The Nerd,” Moonstone Theatre Company
Chuck Winning, “The Birthday Party,” Albion Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Colleen Backer, “Outside Mullingar,” West End Players Guild
Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Sarah Burke, “Grand Horizons,” Moonstone Theatre Company
Teresa Doggett, “The Birthday Party,” Albion Theatre
Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild
Outstanding Performer in a Comedy, Male or Non-Binary Role
Jacob Flekier, “Broadway Bound,” The New Jewish Theatre
Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company
Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company
Jason Meyers, “Outside Mullingar,” West End Players Guild
Mark Price, “Clue,” Stages St. Louis
Outstanding Lighting Design in a Play
Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis
Jayson M. Lawshee, “Skeleton Crew,” The Black Rep
Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Sean M. Savoie, “Clue,” Stages St. Louis
Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Outstanding Sound Design
G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis
Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Beef Gratz, “Clue,” Stages St. Louis
Amanda Werre, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Play |
Daryl Harris, “Death of a Salesman,” The Black Rep
Liz Henning, “The Lion in Winter,” The Midnight Company
Brad Musgrove, “Clue,” Stages St. Louis
Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre
Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Set Design in a Play
Nina Ball, “Confederates,” The Repertory Theatre of St. Louis
An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival
Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Lee Savage, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Mindgame,” Albion Theatre
Velma Austin, “Death of a Salesman,” The Black Rep
Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company
Kelly Howe, “See You in a Minute,” Contraband Theatre
Mindy Shaw, “The Immigrant,” The New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater
Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio
Chauncy Thomas, “Death of a Salesman,” The Black Rep
David Wassilak, “The Immigrant,” The New Jewish Theatre
John Wolbers, “The Lion in Winter,” The Midnight Company
Outstanding Performer in a Drama, Female or Non-Binary Role
Lavonne Byers, “The Lion in Winter,” The Midnight Company
Kate Durbin, “Doubt: A Parable,” Prism Theatre Company
Ricki Franklin, “See You in a Minute,” Contraband Theatre
Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions
Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Male or Non-Binary Role
John Contini, “Barrymore,” St. Louis Actors’ Studio
Ron Himes, “Death of a Salesman,” The Black Rep
Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre
Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio
John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding New Play
“Action,” by Colin McLaughlin, Action Art Collaborative
“In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company
“One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio
“The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts
“See You in a Minute,” by Jacob Juntunen, Contraband Theatre
Outstanding Achievement in Opera
Janai Brugger, “Susannah,” Opera Theatre of Saint Louis
Teresa Doggett, “Don Pasquale,” Union Avenue Opera
Gemma New, “Susannah,” Opera Theatre of Saint Louis
Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis
Patricia Racette, “Susannah,” Opera Theatre of Saint Louis
Outstanding Production of an Opera
“Don Pasquale,” Union Avenue Opera
“Ragtime,” Union Avenue Opera
“Susannah,” Opera Theatre of Saint Louis
“Treemonisha,” Opera Theatre of Saint Louis
“The Turn of the Screw,” Union Avenue Opera
Outstanding Musical Director
Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny
Colin Healy, “Caroline, or Change,” Fly North Theatricals
James Moore, “West Side Story,” The Muny
Larry D. Pry, “Into the Woods,” The New Jewish Theatre
David Sonneborn, “Million Dollar Quartet,” Stages St. Louis
Outstanding Choreographer
Denis Jones, “Sister Act,” The Muny
Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company
Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny
Josh Rhodes, “Chess,” The Muny
Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Jackie Burns, “Beautiful: The Carole King Musical,” The Muny
Jerusha Cavazos, “West Side Story,” The Muny
Diana DeGarmo, “Aida,” Stages St. Louis
Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre
Taylor Louderman, “Chess,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Jonathan Hey, “Into the Woods,” Stray Dog Theatre
Phil Leveling, “Into the Woods,” The New Jewish Theatre
Ken Page, “West Side Story,” The Muny
Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis
Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny
Outstanding Lighting Design in a Musical
Herrick Goldman, “Aida,” Stages St. Louis
Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre
Jason Lyons, “Disney’s Beauty and the Beast,” The Muny
Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny
Edward E. Haynes, Jr., “Chess,” The Muny
Rob Lippert, “Godspell,” Stray Dog Theatre
Kristen Robinson, “Little Shop of Horrors,” The Muny
C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Musical
Leon Dobkowski, “Little Shop of Horrors,” The Muny
Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre
Robin McGee, “Disney’s Beauty and the Beast,” The Muny
Brad Musgrove, “Aida,” Stages St. Louis
Marc. W. Vital III, “Eubie!,” The Black Rep
Outstanding Performer in a Musical, Female or Non-Binary Role
De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals
Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company
Bryonha Marie, “Sister Act,” The Muny
Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny
Molly Wennstrom, “Into the Woods,” The New Jewish Theatre
Outstanding Performer in a Musical, Male or Non-Binary Role
Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company
Ben Crawford, “Disney’s Beauty and the Beast,” The Muny
Robin de Jesus, “Little Shop of Horrors,” The Muny
Kevin O’Brien, “Into the Woods,” The New Jewish Theatre
John Riddle, “Chess,” The Muny
Outstanding Ensemble in a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“The Brechtfast Club,” ERA
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis
Outstanding Ensemble in a Drama
“Death of a Salesman,” The Black Rep
“The Immigrant,” The New Jewish Theatre
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“The Lion in Winter,” The Midnight Company
Outstanding Ensemble in a Musical
“Caroline, or Change,” Fly North Theatricals
“Disney’s Beauty and the Beast,” The Muny
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Outstanding Director of a Comedy
Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company
Steve Bebout, “Clue,” Stages St. Louis
Alan Knoll, “Broadway Bound,” The New Jewish Theatre
Suki Peters, “The Birthday Party,” Albion Theatre
Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Director of a Drama
Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis
Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio
Rebekah Scallet, “The Immigrant,” The New Jewish Theatre
Jacqueline Thompson, “Death of a Salesman,” The Black Rep
Outstanding Director of a Musical
Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny
Brian McKinley, “Caroline, or Change,” Fly North Theatricals
Robert Quinlan, “Into the Woods,” The New Jewish Theatre
Josh Rhodes, “Chess,” The Muny
John Tartaglia, “Disney’s Beauty and the Beast,” The Muny
Outstanding Production of a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis
“Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Outstanding Production of a Drama
“Death of a Salesman” The Black Rep
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Immigrant,” The New Jewish Theatre
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“Uncle Vanya,” St. Louis Actors’ Studio
Outstanding Production of a Musical
“Aida,” Stages St. Louis
“Caroline, or Change,” Fly North Theatricals
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“West Side Story,” The Muny
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com); Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.
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.