Or, Theater interrupted by life…or something like that. Awards and reflections on the year.

By Lynn Venhaus
Often times, the wise words of others are in a loop playing in my head.

“I want life to imitate art,” Carrie Fisher wrote in “Postcards from the Edge,” and I often share that same sentiment. Particularly in 2019, which will always be labeled an “annus horribilis” for personal reasons.

Although John Lennon is attributed to have said “Life is what happens to you while you’re busy making other plans,” he really just quoted it in one of his songs on “Double Fantasy.” That one I put in regular rotation.

When times were really rough last year, I thought of Courtney Love’s band Hole and their album cover “Live Through This,” which was made after Kurt Cobain died. I kept repeating that phrase over and over.

Now 65, I know all too well the ebbs and flows of life, but last year seemed unusually mired in the deep end. You see, without going into lengthy details, I lost my cherished oldest son in December 2018 and my only surviving brother, who was terminally ill, Labor Day weekend on his 57^th birthday; my two sisters and I lost our other brother years ago. Life is filled with loss, and I made it through all the ‘firsts’ with a lot of help from my friends and family. But pain, anguish and sorrow were/are unfathomable and the tsunami of grief is as unpredictable as anything in life.

As Matt went steadily downhill last summer, I decided I would spend more time with him, and I was already cooking his meals. So that meant missing some theater, and I have no regrets on that decision.

We all must prioritize what’s important in our lives. Theater has always brought me great joy and illuminated life in an exhilarating way, and last year, sometimes it was a lifeline.

I am grateful for the opportunities to see so much worthwhile theater, and I appreciate the theater community for being so understanding and patient last year on my circumstances and my crazy work schedule.

The upside to tragedy is the outpouring of kindness and concern from people – it was a comforting blanket I wrapped myself in, and was able to get up and get going because I knew I wasn’t alone, and that there were so many others to lean on and raise me up.

I can’t thank people enough and I am forever grateful – it means so much. Now, back to work. Words matter – I’m a writer, after all. A few years ago, as I was dropping Tim off at Union Station to visit some out-of-town friends after a break-up blindsided him, I mentioned ye olde chestnut about using what you learn at a later time, and he replied: “Like you say, Mom, everything’s copy.” I learned that from Nora Ephron. And it’s true.

Well maybe some day. Right now, I prefer to immerse myself in other’s words. Seeing how people take fresh pages of a script, how eloquent it can be, how well it can be interpreted – that is the task of the creative souls. And it’s so fun to see what can be crafted on a stage in town, whether it’s a small black box or the immense Muny stage.

Sitting in the dark, sharing a moment – that’s what it’s all about, and we sure shared some  outstanding moments in 2019. The eternal optimist, I am looking forward to another exciting year.

And as we all know, there will be more times we’re knocked down. And being helped up is one of the best things in life. And when you open yourself up — be it in conversation, writing or on stage, you feel human and whole.

How art enriches us is truly inspiring. 2019 was a good year for theater, particularly dramas, which were often inspired. It was important to have somewhere to go and something else to think about, as I continue to marvel at the accomplishments – passionate people behind their visions, strong talent and a desire to do good work, that it is about the work.

I like when people take risks, when they present new ways of doing things, and don’t rely on the same-old casting. My biggest pet peeves are miscasting and lack of character development/prep work/vision. If you are going to invest the time and want people to give up their time and money, then do the work, go above and beyond, and not just slide by. Hire who is right for the part, not just because they are a friend.

OK, off my soapbox.

I have now launched my longtime-coming website, and we should be full speed ahead in 2020, www.PopLifeSTL.com. I haven’t launched its daily and weekly features yet, but reviews and news releases are up. All in due time.

So, my awards this year are based on the 79 regional professional plays I did see, and not the touring shows nor community theater. That would add about 16 more shows. There is no way to see everything.

This is the year I gave up reviewing opera and let another reviewer go in my place. I needed to make some changes, and sadly, that had to be dropped. Maybe another work. I have been in awe of what Opera Theatre of St. Louis, Union Avenue Opera and Winter Opera achieve year after year.

My brother’s memorial service was the weekend of Shakespeare in the Streets, so I had to cancel, and he died the weekend I had RSVP’d for “The 39 Steps.” I saw “The Night of the Iguana” but left the next day to spend Mother’s Day with my youngest son in New York City, so missed “A Lovely Sunday Afternoon for Creve Coeur” and the other programming. I was on my way to the final matinee of “Death Tax” when an accident closed three lanes of I-64. Life…

I also traveled quite a bit this year, some for work, some for play. Tim was working on his MFA in screenwriting at DePaul University at the time of his death. He was home on holiday break. His professors named an award for him at their annual film festival, so I went up to Chicago the first weekend in June to see it happen.

However, I was fortunate to spend Mother’s Day watching Jeff Daniels as Atticus Finch in “To Kill a Mockingbird” in the sold-out acclaimed Bartlett Sher-Aaron Sorkin production in the Shubert Theatre. You could have heard a pin drop and the standing ovation was immediate, loud and long. Meeting the star afterwards was an unexpected thrill.

The week I was in NYC I also saw the  fabulous and fun “The Prom,” which was produced by local folks and had a book and lyrics by Centralia’s own Chad Beguelin, who I had the good fortune to meet in 2010 and have been writing about his triumphs ever since.

I did something new, too — I revised my late son’s last script, a comedy short that his DePaul professor raved about, A for the trimester. And we had a team shoot it in late September over a weekend, a real challenge and labor of love. As Eleanor Roosevelt said: “You must do the thing you think that you cannot do.”

Unfortunate, but sadly not considered in voting here: “The Revolutionists” and “Shakespeare in Love” at Insight; “Equivocation,” “Exit, Pursued by a Bear” and “Cricket on a Hearth” at West End Players Guild; “Such Sweet Thunder,” Shakespeare Festival St. Louis; “Nina Simone: Four Women” and “Milk Like Sugar,” The Black Rep; Black Mirror Theatre’s “Translations”; ERA’s “Never Let Go”; “Salt, Root and Roe,” Upstream Theatre; “Karmatic” TLT Productions; “The Merchant of Venice” and “The 39 Steps” at St. Louis Shakespeare; “Leaving Iowa” and “Travels with My Aunt” at Act Inc.; “The Hundred Dresses” at Metro Theatre Company; “Disenchanted” at Stray Dog, the parodies of “Jaws” and ‘Gremlins,” and the second leg of the LaBute New Play Festival at St. Louis Actors’ Studio.

Without further ado, I present my annual “LOTTIES,” which is Lynn’s Love of Theatre Awards, for 2019. These are my opinions alone. As in previous years, I usually name 10 my lists, but this year because of missing what I did, it’s either 8 or 9. Eventually, I will post my other ones, since 2014, in archives. And I intend to archive all the Circle Awards/Nominations for reference.

If you are wondering about the St. Louis Theater Circle Awards nominations, they will be announced on KWMU around noon on Friday, Feb. 7, with the press releases embargoed until 1 p.m. You can see the nominations here on PopLifeSTL.com in the afternoon.

I did not want my awards to coincide with the Circle, but it was not to be this year. However, these are my traditional annual awards, reflect my personal take on the year that was.

I am a Circle founding member; we began in 2012. The awards will be presented on Monday, March 30, at the Loretto Hilton Center on the campus of Webster University, (the Repertory Theatre of St. Louis’ home). More information will be forthcoming.

The 2019 LOTTIES* (LYNN’S LOVE OF THEATER AWARDS)

PRODUCTION OF THE YEAR: “Angels in America, Parts I and 2.”

Talk about ambitious. But oh, so worthwhile. The Repertory Theatre of St. Louis’ first show under new artistic director Hana Sharif was an absolute stunning visceral and artistic work and raised the bar. Not only did it take risks but its heavyweight cast delivered on its promise.

“Part I: Millennium Approaches” and Part 2: Perestroika” required a commitment of time but the investment was worth it. How interesting, too that a 30 year old play could be so relevant today.

COMPANY OF THE YEAR: New Jewish Theatre.

From start to finish, 2019 was a banner year for NJT under new artistic director Edward Coffield. “District Merchants,” “Time Stands Still,” “I Now Pronounce,” “Brighton Beach Memoirs” and “Fully Committed” were extremely well done with outstanding casts and production values.

ARTIST OF THE YEAR: Ellie Schwetye.

One of the most versatile and accomplished women in town, she’s been honored and nominated by the St. Louis Theater Circle year in and year out. But this year might be her finest – and perhaps busiest – on record. She directed “Photograph 51” at West End Players Guild, “A Model for Matisse” for the Midnight Company and “Fully Committed” at New Jewish Theatre. She acted in “Classic Mystery Game” and “Antigone: Requiem for Patriarchus” at SATE. She did sound for “The Night of the Iguana” at the Tennessee Williams Festival and “The Women of Lockerbie” at SATE. She was involved in SIUE’s Summer Play Festival, with “As You Like It.” Her choices of music for any show are impeccable.
I’m likely missing a few things too.
She’s always excelled at being a collaborator but she deserves an award all it’s own.

BEST TOURING SHOWS: “Come from Away” and “Dear Evan Hansen,” both at the Fox.

BEST NEW PLAYS:
1. “Nonsense and Beauty,” Scott C. Sickles, The Repertory Theatre of St. Louis
2. “Canfield Drive,” Kristen Adele Calhoun and Michael Thomas Walker, The Black Rep
3. “It’s a Wonderful Life,” John Wolbers, Metro Theatre Company
4. “Feeding Beatrice,” Kristen Greenidge, The Repertory Theatre of St. Louis
5. (tie) “Kim Jong Rosemary,” Carter Lewis, LaBute New Play Festival, St. Louis Actors’ Studio
5. (tie) “A Model for Matisse,” Barbara F. Freed and Joe Hanrahan, The Midnight Company

FIVE TO WATCH:
Summer Baer
Tristan Davis
Caleb Miofsky
Tateonna Thompson
Jordan Wolk

12 ACTING MVPS
(For their noteworthy range of work in 2019, and not only St. Louis professional in some cases)
Nicole Angeli
Will Bonfiglio
Kevin Corpuz
Eileen Engel
Wendy Greenwood
Stephen Henley
Keating
Ryan Lawson-Maeske
Stephanie Merritt
Alicen Moser
Spencer Sickmann
Jennifer Theby-Quinn

DYNAMIC DUOS

1. Gary Wayne Barker and J. Samuel Davis, “District Merchants,” New Jewish Theatre
2. Jacob Flekier and Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
3. Will Bonfiglio and John Wolbers, “Photograph 51”
4. Eli Mayer and Khailah Johnson, “Footloose,” The Muny
5. Kevin O’Brien and Sara Rae Womack, “Guys and Dolls,” Stray Dog Theatre
6.  Ryan Lawson-Maeske and William Roth, “A Life in the Theatre”
7. Joe Hanrahan and Shane Signorino, “Popcorn Falls,” Midnight Company
8. Erin Kelley and J. Samuel Davis, “The Agitators,” Upstream Theatre
9. Jeffrey Heyenga and Robbie Simpson, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
10. Joe Hanrahan and Rachel Hanks, “A Model for Matisse,” Midnight Company

JUVENILE PERFORMANCE AWARDS

1. Millie Edelman, Abby Goldstein and Lydia Mae Foss as the flower girls, “I Now Pronounce,” New Jewish Theatre
2. Leo Taghert as 10 year old Tommy in “The Who’s Tommy,” Stray Dog Theatre

 SPECIAL TECHNICAL ACHIEVEMENT: Michael B. Perkins for his exquisite video projection design in “Love, Linda” and “A Model for Matisse.”

COMEDY AWARDS
Best Actress in a Comedy

1. Jane Paradise, “Brighton Beach Memoirs,” New Jewish Theatre
2. Laura Sohn, “Love’s Labors Lost,” Shakespeare Festival St. Louis
3. Kea Trevett, “Love’s Labors Lost,” Shakespeare Festival St. Louis
4. Susie Lawrence, “Sylvia,” Stray Dog Theatre
5. Keating, “Well,” Mustard Seed Theatre
6. Sofia Lidia, “The MotherF**cker with the Hat,” R-S Theatrics
7. Perri Gaffney, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
8. Colleen Backer, “Color Timer,” LaBute New Play Festival, St. Louis Actors’ Studio

Best Supporting Actress in a Comedy

1. Laurie McConnell, “Brighton Beach Memoirs.” New Jewish Theatre
2. Melissa Harlow, “Sylvia,” Stray Dog
3. Frankie Ferrari, “I Now Pronounce,” New Jewish Theatre
4. Delaney Piggins, “I Now Pronounce,” New Jewish Theatre
5. Lori Adams, “Well,” Mustard Seed Theatre
6. Ka-Ling Cheung, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
7. Michelle Hand, “Pride and Prejudice,” The Repertory Theatre of St. Louis
8. Taleesha Caturah, “The MotherF**with the Hat,” R-S Theatrics
9. Caitlin Mickey, “Wittenberg,” Upstream Theatre

Best Actor in a Comedy

1. Will Bonfiglio, “Fully Committed,” New Jewish Theatre
2. Isaiah DiLorenzo, “True West,” St. Louis Actors’ Studio
3. Jacob Flekier, “Brighton Beach Memoirs,” New Jewish Theatre
4. Steve Isom, “Wittenberg,” Upstream Theatre
5. Michael Cassidy Flynn, “Classic Mystery Game,” SATE
6. Adam Flores, “The MotherF**ker with the Hat,” R-S Theatrics
7. Griffin Osborne, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
8. Alan Knoll, “Wittenberg,” Upstream Theatre
9. Joe Hanrahan, “Charlie Johnson Reads All of Proust,” Midnight Company

Best Supporting Actor in a Comedy

1. Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
2. Patrick Blindauer, “Love’s Labors Lost,” Shakespeare Festival St. Louis
3. Shane Signorino, “Popcorn Falls,” Midnight Company
4. Aaron Dodd, “The Motherf**ker with the Hat,” R-S Theatrics
5. Jesse Munoz, The Motherf**ker with the Hat, R-S Theatrics
6. Michael McGloin, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
7. Chuck Brinkley, “Brighton Beach Memoirs,’ New Jewish Theatre
8. Michael James Reed, “Pride and Prejudice,” The Repertory Theatre of St. Louis

Best Director of a Comedy

1. Alan Knoll, “Brighton Beach Memoirs,” New Jewish Theatre
2. Tom Ridgely, “Love’s Labors Lost,” Shakespeare Festival St. Louis
3. Melissa Rain Anderson, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
4. Ellie Schwetye, “Fully Committed,” New Jewish Theatre
5. William Whitaker, “True West,” St. Louis Actors Studio
6. Meredith McDonough, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
7. Philip Boehm, “Wittenberg,” Upstream Theatre

Best Ensemble in a Comedy

1. The Play That Goes Wrong, The Repertory Theatre of St. Louis
2. Brighton Beach Memoirs, New Jewish Theatre
3. Love’s Labors Lost, Shakespeare Festival St. Louis
4. It’s a Wonderful Life, Metro Theatre Company
5. (tie) The MotherF**ker with the Hat, R-S Theatrics

(tie) Well, Mustard Seed Theatre

BEST COMEDY PRODUCTION

1. Brighton Beach Memoirs, New Jewish Theatre
2. Love’s Labors Lost, Shakespeare Festival St. Louis
3. The Play That Goes Wrong, The Repertory Theatre of St. Louis
4. True West, St. Louis Actors’ Studio
5. Wittenberg,  Upstream Theatre
   6. Fully Committed, New Jewish Theatre

DRAMA AWARDS

Best Actress in a Drama

1. Nicole Angeli, “Photograph 51,” West End Players Guild
2. Wendy Greenwood, “Time Stands Still,” New Jewish Theatre
3. Jeanne Paulsen, “Alabama Story,” The Repertory Theatre of St. Louis
4. Kristen Adele Calhoun, “Canfield Drive,” The Black Rep
5. Zoe Farmingdale, “Indecent,” Max and Louie Productions
6. Julie Layton, “Fifty Words,” St. Louis Actors’ Studio

Best Supporting Actress in a Drama

1. Nisi Sturgis, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
2. Eileen Engel, “Time Stands Still,” New Jewish Theatre
3. Rae Davis, “District Merchants,” New Jewish Theatre
4. Donna Weinsting, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
5. Rachel Hanks, “A Model for Matisse,” Midnight Company
6. Sophia Brown, “Fefu and Her Friends,” Theatre Nuevo
7. Miranda Jagels-Felix, “Antigone: Requiem for Patriarchus,” SATE

Best Actor in a Drama
1. James Andrew Butz, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
2. Barrett Foa, “Angels in America,” The Repertory Theatre of St. Louis
3. Gary Wayne Barker, “District Merchants,” New Jewish Theatre
4. Graham Emmons, “The Crucible,” Stray Dog Theatre.
5. Spencer Sickmann, “Farragut North,” St. Louis Actors’ Studio
6. Jim Poulos, “Oslo,” The Repertory Theatre of St. Louis

Best Supporting Actor in a Drama

1. J. Samuel Davis, “District Merchants,” New Jewish Theatre
2. Carl Howell, “Alabama Story,” The Repertory Theatre of St. Louis
3. David Wassilak, “Farragut North,” St. Louis Actors’ Studio
4. Karl Hawkins, “District Merchants,” New Jewish Theatre
5. David Ryan Smith, “Angels in America,” The Repertory Theatre of St. Louis
6. Ryan Lawson-Maeske, “Photograph 51,” West End Players Guild
7. John Feltch, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
8. Gerry Love, “The Crucible,” Stray Dog Theatre
9. Ben Ritchie, “The Crucible,” Stray Dog Theatre
10. Ben Cherry, “Angels in America,” The Repertory Theatre of St. Louis
    (tie) Peter Freschette, “Angels in America,” The Repertory Theatre of St. Louis
    (tie) Taylor Gruenloh, “Two Degrees,” Tesseract Theatre

Best Director of a Drama

1. Joanne Gordon, “Indecent,” Max and Louie Productions
2. Anthony Speciale, “Angels in America,” The Repertory Theatre of St. Louis
3. Jacqueline Thompson, “District Merchants,” New Jewish Theatre
4. Gary F. Bell, “The Crucible,” Stray Dog Theatre
5. Ellie Schwetye, “Photograph 51,” West End Players Guild
6. Lucy Cashion, “Antigone: Requiem for Patriarchus,” ERA/SATE
7. Steve Woolf, “Oslo,” The Repertory Theatre of St. Louis
8. Seth Gordon, “Nonsense and Beauty,” The Repertory Theatre of St. Louis

Best Ensemble in a Drama Production

1. Angels in America, Parts 1 and 2, The Repertory Theatre of St. Louis
2. District Merchants, New Jewish Theatre
3. Photograph 51, West End Players Guild
4. Indecent, Max and Louie Productions
5. Antigone: Requiem for Patriarchus, ERA and SATE
6. The Crucible, Stray Dog Theatre
7. The Women of Lockerbie, SATE
8. Nonsense and Beauty, The Rep
9. Time Stands Still, New Jewish
10. Oslo, The Rep

Best Dramatic Production

1. Angels in America, The Rep
2. District Merchants, New Jewish
3. The Crucible, Stray Dog
4. Photograph 51, West End Players Guild
5. Indecent, Max and Louie Productions
6. Nonsense and Beauty, The Rep
7. The Night of the Iguana, Tennessee Williams Festival St. Louis
8. Oslo, The Rep
9. Time Stands Still, New Jewish
10. Farragut North, St. Louis Actors’ Studio

MUSICAL AWARDS

Best Musical Director
1. Ryan Fielding Garrett, “Kinky Boots,” The Muny
2. Jennifer Buchheit, “The Who’s Tommy,” Stray Dog Theatre
3. Nicolas Valdez, “Cry-Baby,” New Line Theatre
4. Charles Creath, “Don’t Both Me I Can’t Cope,” The Black Rep
5. Nicolas Valdez, “Be More Chill,” New Line Theatre
6. Scott Schoonover, “Daddy Long Legs,” Insight Theatre
7. Holly Barber, “Hedwig and the Angry Inch,” The Q Collective

Best Choreographer (and not just in musicals)

1. Kirven Douthit-Boyd, “Don’t Bother Me I Can’t Cope,” The Black Rep
2. Mike Hodges, “Guys and Dolls,” Stray Dog Theatre
3. Rusty Mowery, “Kinky Boots,” The Muny
4. Ellen Isom, “Indecent,” Max and Louie Productions
5. Tony Gonzalez, “Grease,” Stages St. Louis
6. Heather Beal, “Feeding Beatrice,” The Repertory Theatre of St. Louis

Best Supporting Actress in a Musical

1. Taylor Louderman, “Kinky Boots,” The Muny
2. Michelle Ragusa, “The Boy from Oz,” Stages St. Louis
3. Sarah Gene Dowling, “Hedwig and the Angry Inch,” The Q Collective
4. Kendra Lynn Lucas, “Grease,” Stages St. Louis
5. Khalia Johnson, “Footloose,” The Muny
6. Eleanor Humphrey, “Dreamgirls,” Stray Dog Theatre
7. Laura Michelle Kelley, “Matilda,” The Muny
8. Grace Langford, “Avenue Q,” The Playhouse at Westport
9. Jenny Powers, “1776,” The Muny
   10. Tateonna Thompson, “Dreamgirls,” Stray Dog
   10. Denise Thimes, “Don’t Bother Me, I Can’t Cope,” The Black Rep

Best Actress in a Musical

1. Ebony Easter, “Dreamgirls,” Stray Dog Theatre
2. Jennifer Theby-Quinn, “Daddy Long Legs,” Insight Theatre
3. Mattea Conforti, “Matilda,” The Muny
4. Kendra Kassebaum, “Guys and Dolls,” The Muny
5. Mamie Parris, “Paint Your Wagon,” The Muny
6. Sarah Rae Womack, “Guys and Dolls,” Stray Dog Theatre
7. Brittany Bradford, “Guys and Dolls,” The Muny

Best Actor in a Musical
1. Zachary Allen Farmer, “La Cage Aux Folles,” New Line Theatre
2. J. Harrison Ghee, “Kinky Boots,” The Muny
3. David Elder, “The Boy from Oz,” Stages St. Louis
4. Luke Steingruby, “Hedwig and the Angry Inch,” The Q Collective
5. Caleb Miofsky, “Cry-Baby,” New Line Theatre
6. James Patterson, “Man of La Mancha,” Stages St. Louis
7. Mark Kelley, “A Man of No Importance,” R-S Theatrics

Best Supporting Actor in a Musical

1. Omega Jones, “Dreamgirls,” Stray Dog Theatre
2. Kevin Corpuz, “Be More Chill,” New Line Theatre
3. Omar Lopez-Cepero, “Paint Your Wagon,” The Muny
4. Tristan Davis, “The Who’s Tommy,” Stray Dog Theatre
5. Eli Mayer, “Footloose,” The Muny
6. Ryan Cooper, “Man of La Mancha,” Stages St. Louis
7. Ken Page, “Guys and Dolls,” Stages St. Louis
8. Mike Wells, “Guys and Dolls,” Stray Dog Theatre
9. Patrick John Moran, “Man of La Mancha,” Stages St. Louis
10. Zach Stefaniak, “Guys and Dolls,” Stray Dog Theatre
    (tie) Ben Davis, “1776,” The Muny

Best Director of a Musical

1. Mike Dowdy-Windsor and Scott Miller, “Be More Chill,” New Line Theatre
2. DB Bonds, “Kinky Boots,” The Muny
3. Justin Been, “Dreamgirls,” Stray Dog Theatre
4. Lee Anne Mathews, “Avenue Q,” The Playhouse at Westport
5. Jordan Woods, “Hedwig and the Angry Inch,” The Q Collective
6. Ron Himes, “Don’t Bother Me, I Can’t Cope,” The Black Rep

Best Ensemble in a Musical
1. “Kinky Boots,” The Muny
2. “Dreamgirls.” Stray Dog Theatre
3. “Avenue Q,” The Playhouse at Westport
4. “Be More Chill,” New Line Theatre
5. “A Man of No Importance,” R-S Theatrics
6. . Don’t Bother Me I Can’t Cope,” The Black Rep
7. “Man of La Mancha,” Stages St. Louis
8. “Cry-Baby,” New Line Theatre

Best Musical Production

1.“Kinky Boots,” The Muny
2. “Dreamgirls.” Stray Dog Theatre
3. “Be More Chill,” New Line Theatre
4. “Avenue Q,” The Playhouse at Westport
5. “Don’t Bother Me I Can’t Cope,” The Black Rep

Best Costume Design of a Musical

1. Sarah Porter, “La Cage Aux Folles,” New Line Theatre
2. Julian King, “Dreamgirls,” Stray Dog Theatre”
3. Mary Engelbreit and Leon Dobkowski, “Matilda,” The Muny
4. Brad Musgrove, “101 Dalmatians,” Stages St. Louis
5. Brad Musgrove, “Grease,” Stages St. Louis
6. Eileen Engel, “The Who’s Tommy,” Stray Dog Theatre
7. Gregg Barnes and Lindsay McWilliams, “Kinky Boots,’ The Muny

Best Lighting Design in a Musical

1. Tyler Duenow, “The Who’s Tommy,” Stray Dog
2. Joe Clapper, “Don’t Bother Me I Can’t Cope,” The Black Rep
3. Rob Lippert, “Be More Chill,” New Line Theatre
4. John Lasiter, “Paint Your Wagon,” The Muny
5. Tyler Duenow, “Dreamgirls,” Stray Dog Theatre
6. Sean M. Savoie, “The Boy from Oz,” Stages St. Louis

Best Set Design in a Musical

1. Mary Engelbreit and Paige Hathaway, “Matilda,” The Muny
2. James Wolk, “Man of La Mancha,” Stages St. Louis
3. Josh Smith, “The Who’s Tommy,” Stages St. Louis
4. Michael Schweikardt, “Paint Your Wagon,” The Muny
5. Peter and Margery Spack, “Don’t Bother Me I Can’t Cope,” The Black Rep

Best Sound Design of a Play

1. Broken Chord, Angels in America, The Rep
2. Ellie Schwetye, The Night of the Iguana, Tennessee Williams Festival
3. David Samba, Feeding Beatrice, The Rep
4. Kareem Deanes, Fully Committed, New Jewish Theatre
5. Philip Evans, Indecent, Max and Louie Productions
   6. Justin Been, The Crucible, Stray Dog Productions

Best Costume Design in a Play

1. Michele Friedman Siler, Brighton Beach Memoirs, New Jewish
2. Melissa Trn, Love’s Labors Lost, Shakespeare Festival St. Louis
3. Felia Davenport, District Merchants, New Jewish
4. Andrea Robb, A Life in the Theater, St. Louis Actors’ Studio
5. Laura Hanson, Wittenberg, Upstream Theatre

Best Set Design in a Play

1. Peter and Margery Spack, The Play That Goes Wrong, The Rep
2. Dunsi Dai, The Night of the Iguana, Tennessee Williams Festival St. Louis
3. Peter and Margery Spack, Brighton Beach Memoirs, New Jewish
4. Kristin Cassidy, “Photograph 51,” West End Players Guild
5. William Bloodgood, ‘Alabama Story,’ The Rep
6. David Blake, “District Merchants,” New Jewish
7. Lawrence E. Moten III, +Feeding Beatrice,” The Rep
   8. Patrick Huber, “True West,” St. Louis Actors’ Studio

Best Lighting Design in a Play

1. Jon Ontiveros, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
2. Xavier Pierce, “Angels in America,” The Repertory Theatre of St. Louis
3. Patrick Huber, “Indecent,” Max and Louie Productions
4. Jason Lynch, “Feeding Beatrice,” The Repertory Theatre of St. Louis
5. Sean Savoie, “District Merchants,” New Jewish Theatre

Photo Credits: Phillip Hamer, Jon Gitchoff, JPatrick Huber, Joey Rumpell, Peter Wochniak and Jerry Naunheim Jr.