KPop Demon Hunters Sing-Along
By Lynn Venhaus
One encounter with Robert Crenshaw, and you can tell that he is a bright light chasing his dream. Currently on tour in the smash hit Broadway musical “Ain’t Too Proud: The Life and Times of the Temptations,” he will be coming home to perform May 9-11 at the Fox Theatre in St. Louis.
Robert said he is eager to see his family and friends — and enjoy his mom’s home-cooking. A recent guest on our PopLifeSTL Presents podcast, he shared his joy in being part of this high-energy production as well as his life story.
Crenshaw plays founding member Al Bryant and Motown songwriter Norm Whitfield in the musical. The musical explores their brotherhood, family ties, loyalty and betrayals, and includes the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and many more.
He said he chose to pursue the arts because he’s been performing since elementary school.
“I’ve always had dreams of becoming a superstar and leaving my stamp on the world. I went to performing arts school my entire life and attended arts programs as well. I’ve always had fun being on stage! I love portraying different characters and putting my own spin on it,” he said.
Recognized as a promising young artist when he was in third grade at Ames Elementary School in the Old North neighborhood, Robert began taking classes at COCA (Center of Creative Arts). He studied ballet, hip-hop, tap and jazz.
He graduated from Central Visual and Performing Arts High School, was a Muny Teen, and appeared in shows at COCA, including “Memphis” and “The Wiz,” and The Black Rep.
He was also part of The Dancing Six featuring Channce Williams, David McCall, Daryon Kent, Joshua Hall, Jacob Dorsey and Crenshaw that were part of the St. Louis Teen Talent Competition two years in a row through the Fox Performing Arts Charitable Foundation.
He credits his COCA faculty member Lee Nolting for helping to develop his talents and voice teacher Dr. Philip Woodmore as a big part of his success, as well as Ron Himes, founder of the Black Rep, who has become a mentor to him.
Describing him as a “true triple threat,” Himes commented: “Robert is living his dream now because he worked hard to be ready for the opportunity. He is super talented, humble and dedicated to growing in the craft. He’s a true triple threat with a magnetic smile.”
At the Black Rep, Robert starred in “Don’t Bother Me, I Can’t Cope” in 2019 and in “Eubie!” in 2023. At Stray Dog Theatre, he was in the “Dreamgirls” ensemble in 2019.
He also was the youth choreographer for “A Christmas Carol” in 2022 at The Repertory Theatre of St. Louis and received an Arts For Life Best Performance Award nomination for his choreography in “Little Shop of Horrors” at Kirkwood Theatre Guild.
In my May 15, 2023, review of “Eubie!”, I wrote: “Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography. He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”
He was part of the choreography team that won the 2024 St. Louis Theater Circle Award for Best Choreography for “Eubie!” (produced in 2023) – including Heather Beal and Vivian Watt.
After a year at the Chicago College of Performing Arts, he returned home to St. Louis, then moved to New York in 2023 to follow his dream.
For 10 months, he hadn’t landed a role yet until he was cast in the musical “Forever Motown.” Then, he cast in the national touring company for “Ain’t Too Proud: The Life and Times of the Temptations” musical, based on Otis Williams’ personal journey, and has been traveling across the U.S.
“What makes being on tour so special is that it’s one of my dream jobs. I put on a showcase where I displayed all of my talents to raise money to move to New York from St. Louis. I moved September 13, 2023, and after 10 months of auditioning, receiving callbacks, and working other jobs to survive in New York, I booked ‘Ain’t Too Proud,’” he said.
The musical, which chronicles The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame, first opened at the Imperial Theatre on March 19, 2019, and received 12 Tony nominations, including Best Musical. It won the Tony Award for Best Choreography for Sergio Trujillo’s electrifying work recreating the group’s signature dance moves.
The first national tour began in 2021, and the second one started in 2024, showcasing the group’s unmistakable harmonies. They topped the charts with 14 of their 42 Top Ten hits reaching number one.
The story explores their heritage and influence — how they met, their successes, and how conflicts derailed people in the group.
His advice to young artists is to work hard, stay prepared and open-minded, be humble, and don’t let negativity get to you.
The Fabulous Fox’s presentation of “Ain’t Too Proud: The Life and Times of The Temptations” will take place from May 9 – 11th at The Fox Theatre. For tickets, showtimes or additional information, visit www.fabulousfox.com.
To listen to the April 23 PopLifeSTL podcast: https://soundcloud.com/lynn-zipfel-venhaus/april-23rd-2025-ft-steve-ewing-robert-crenshaw
Take Ten with Robert Crenshaw:
1. How would your friends describe you?
“My friends would say that I am hardworking, talented, humble and full of love. They would also say that I am an inspiration for so many.”
2. How do you like to spend your spare time?
“I really enjoy reading, taking classes (anything arts related), working out, and doing some kind of activity that makes me feel like I’m touching grass.”
3. What is your current obsession?
“My current obsession is Duolingo! I’ve been wanting to learn Spanish so that I could connect with other people. Another thing I’m obsessed with right now is practicing self-awareness, self-improvement, and self-love. Lastly, different foods! I want to expand my palate and try things outside of my comfort zone.”
4. What would people be surprised to find out about you?
“People are always so stunned when they find out that I am allergic to shellfish.”
5. Can you share one of your most defining moments in life?
“My most defining moment is when I put on a showcase to raise money for Central Visual & Performing Arts High School after the school shooting that took place in 2022. I graduated from CVPA, and my brother was shot in the tragedy. I collaborated with community arts organizations, the SLPS foundation, CVPA alumni and current students to raise money in support. The showcase was a little over a month after the tragedy and took place at The Center of Creative Arts (COCA). There were performances and donations from so many organizations. I called it ‘The CVPA Relief Showcase’.”
6. Who do you admire most?
“My mom and Jesus along with some mentors, teachers and peers from my village in St. Louis.”
7. What is at the top of your bucket list?
“Sit amongst other celebrities and feel/know that I belong in those circles. I would like to travel to Africa, Tokyo, and Jamaica. Create a family of my own. Be wealthy in knowledge, finances, and health. Perform a one-man show in a sold out a building.”
8. What is your favorite thing to do in St. Louis?
“My favorite things to do in St. Louis is to spend time with family and friends, take classes, and eat home cooked meals!”
9. What’s next for you?
“Let me start by saying I am open to whatever God has in store for me. My plan is to make it back to New York City and audition as much as I can. I have to get my face back in those rooms. If I spend time in St. Louis after touring it will be teaching master classes and taking a few dance classes and voice lessons before going back to NYC. I’m also searching for representation so that I have someone else advocating for me in the business.”
More Info on Robert Crenshaw:
Age: 28
Birthplace: St. Louis
Education: Central VPA, Center of Creative Arts, Chicago College of Performing Arts
Day job: Broadway National Tour: Ain’t Too Proud (AL Bryant & Norman Whitfield)
First job: Journey’s
First play or movie you were involved in or made: “The Music Man”
Favorite jobs/roles/plays or work in your medium? Seaweed in “Hairspray,” Tin Man in “The Wiz,” and Gregory Hines in “Eubie: The Musical”
Dream job/opportunity: Aaron Burr in “Hamilton,” Lead in a Broadway Musical, Movie with Denzel Washington, Kevin Hart, or star in my own.
Awards/Honors/Achievements: St. Louis Theatre Circle Award for Best Choreography: Eubie
Favorite quote/words to live by: “Don’t ever say you can’t, and if you fail, try again.”
A song that makes you happy: Anything by Michael Jackson, Chris Brown, or Kendrick Lamar.
Cover photo courtesy of Robert Crenshaw’s Instagram
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
Mix the Marx Brothers, Monty Python and Mel Brooks in a blender, and you have the fizzy potion that is fueling a crackerjack ensemble in the rollicking “Sherwood: The Adventures of Robin Hood” on the Repertory Theatre of St. Louis’s mainstage.
Through merry mischief and dazzling derring-do, this jaunty, physically fit ensemble works very hard to entertain and summon their mighty skills to keep their pace zippy and their swashbuckling crowd-pleasing.
Staged with zesty agility by director Kate Bergstrom, some of the feats are astounding. How do they manage arrows hitting their targets without flying over the heads of the audience? It’s an incredible illusion involving sleight-of-hand, I imagine. (And they’re not divulging this magic trick).
The fight choreographers Rachel Lee Flesher and Zachariah Payne did extraordinary work to make it authentic – and whoever worked on archery, too.
With a nifty Sherwood Forest set framed as a folk tale, we’re immersed back to 1194 Nottingham, England. Scenic designers Lindsay Mummert and Courtney O’Neill have created a majestic oak tree as the focal point, and it serves the action well.
Part history, part myth, the legend of Robin Hood, fighting for the common man, has endured for more than 700 years and been fictionalized in countless ways (even the Rat Pack, aka 1964’s “Robin and the Seven Hoods” starring Frank Sinatra as “Robbo,” set gangster-style in 1930s Chicago!).
With so many movie and TV adaptations, nearly everyone has seen a version – Douglas Fairbanks’ silent movie in 1922, Errol Flynn’s finest hour in 1938’s “The Adventures of Robin Hood,” Disney’s animated feature in 1971, miscast Kevin Costner’s “Robin Hood: Prince of Thieves” in 1991, Mel Brooks’ spoof “Robin Hood: Men in Tights” in 1993, and then millennial efforts from Ridley Scott in 2010 with Russell Crowe and Cate Blanchett, and another same-titled one “Robin Hood” in 2018, albeit younger performers, starring Taron Egerton, among them.
So, you likely know the story – maybe not beyond “stealing from the rich and giving it to the poor,” but playwright Ken Ludwig incorporates the 12th century history – in fact, the first act gets bogged down with the backstory.
However, the second act rebounds with vigorous swordplay as our heroes endure the slings and arrows of an outrageous ruler (greedy Prince John) and his henchman (including sycophants Sheriff of Nottingham and Sir Guy of Gisbourne). Like their rogue counterparts in France as embodied by “The Three Musketeers,” the rascals are “all for one, one for all.”
Ludwig, known for such farces as “Lend Me a Tenor,” “Moon in Buffalo,” and “Baskerville: A Sherlock Holmes Mystery,” produced this play in 2017. He has infused some contemporary behavior so as not to have the action mired in the past (and off-putting to today’s sensibilities).
As Robin grows up from playboy to a man with a conscience, he and his band of outlaws are committed to social justice, their eyes opened by seeing the monarch’s cruelty and corruption through several characters.
Delivering both the swagger and the rebel with a cause, Louis Reyes McWilliams reveals himself to be a noble lad after his aimless youth. Although he’s dashing in his romantic endeavors as well, he’s clearly met his match in his spunky childhood pal Maid Marian, for she is no push-over.
What’s refreshingly modern is that Marian is not a damsel in distress. Rather, Jayne McLendon plays her as just as fleet-footed and even more of a sharp-shooter than her male peers. It’s a delightful rendering, and she has terrific chemistry with McWilliams.
Costume Designer Dottie Marshall Englis, splendid at creating period pieces that offer ease of movement, has superbly outfitted this lively bunch so they can run, jump and fight without pesky restrictions.
The characters’ camaraderie is this play’s strong suit, and their stamina is impressive – they had to be athletic and graceful throughout to execute their game plans.
Ever-reliable Michael James Reed, always first-rate and masterful as Friar Tuck, ties everything together as a trustworthy confidante, acting as the narrator and breaking the fourth wall to alert the audience to what’s happening.
One of the show’s highlights is the audience involvement, as they’re encouraged to cheer and boo, some getting called into action. Bergstrom focused on the joy, the sense of fun, this story contains.
Other performance standouts include Fabiola Cabrera-Davila as Deorwynn, a feisty peasant avenging her farmer father’s unfortunate death due to the acting king’s tyranny. Her courage inspires others to be dedicated to their mission, especially Robin and a smitten Little John, robustly embodied by CB Brown. (They look imposing but are really a teddy bear).
Oriana Lada is a noteworthy supporting player, nimbly handling several roles, including as a paramour of Robin’s. Credited as Alize, she’s part of an ensemble who is adept at multiple parts, like monks, soldiers, foresters, archers and executioners.
The dastardly villains include David Weynand, amusing as the weaselly Sheriff of Nottingham; hardy Matt Lytle as the smug Sir Guy of Gisbourne; and iron-man Eric Dean White as the capricious, conniving Prince John. Usurping his brother Richard the Lionheart’s throne while he is away fighting in The Crusades, he is hoodwinking the masses. White oozes with unctuousness in this juicy role.
(For a reference, “The Lion in Winter” is a good history lesson about John’s parents, Henry II and Eleanor of Aquitaine, and his relationship with his brothers.)
DeAnte Bryant, spry as the Troubadour, also smoothly played other roles and was the assistant fight director.
The Troubadour’s music and score were composed/arranged by St. Louisan Colin McLaughlin, who also was the music director. He went medieval on 21st century tunes, at times, reimagining pop hits by using old-fashioned instruments like lutes, harpsichords and recorders. The choice of Outkast’s Grammy-winning 2003 song “Hey Ya!” for curtain call was inspired.
Amanda Werre’s expert sound design and Christine Watanabe’s sterling lighting design add to the quality of The Rep show, as their efforts always do.
With its improvisations, goofy additions (yay, Monty Python’s “Spamalot” reference), and vibrant casting, this is not your 14th century ballad come to life. It’s a fresh take – script could have been sharper, though – on a classic story.
While it has commendable heart and humor, “Sherwood” also has a message that always stands the test of time – respect the dignity of the common man, and band together to resist tyranny, especially without fear of “the others” – no time for we vs. them when society is at a moral crisis. Enjoying this popular adventure and energetic effort by all involved is the cherry on top.
The Repertory Theatre of St. Louis presents “Sherwood: The Adventures of Robin Hood” March 21 through April 13. The play is appropriate for ages 8 and up, with the use of mild innuendo throughout. The production may use strobe lighting, fog, and haze. It runs 2 hours and 5 minutes, including a 15-minute intermission. Performances are on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.
On April 13 at 2 p.m., a special Sherwood Family Day will take place. Post-show festivities include costumed performers from the St. Louis Renaissance Festival and an interactive archery experience.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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.
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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
Without skipping a beat, four iconic music legends continue a sentimental reunion in the cheery holiday show “Million Dollar Quartet Christmas,” which has been gift-wrapped with star power and delightful musicality.
On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at the Sun Records studio in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.
That twist of fate was captured in an enchanting jukebox musical “Million Dollar Quartet” that highlighted the enduring rhythm of roots rock. It was first produced in Florida in 2006, then Chicago in 2008, and eventually on Broadway in 2010, and the nostalgic charmer was nominated for three Tony Awards
This 2021 sequel version is a festive and fun presentation that builds on the original premise, which were both smash hits at The Repertory Theatre of St. Louis in 2017 and at Stages St. Louis in 2023.
In a savvy move, the two companies have collaborated to bring this crowd-pleasing show to life with many of the same artists involved in the Stages production but presented on The Rep’s mainstage. This is the first partnership, but hopefully not the last.
The memorable trio of Scott Moreau duplicating Johnny Cash’s deep bass-baritone, Jeremy Sevelovitz as fast-playing honky-tonk specialist Carl Perkins and Brady Wease as sparkplug Jerry Lee Lewis easily blend with suave newcomer Sean Buckley, whose graceful moves capture Elvis Presley’s vitality.
What a jolly time it is to see this cast perform together. Crackling with electricity, these other fabulous, fantastic four guys create a warmth onstage, even if they needle each other.
Their energy is limitless, and their showmanship stellar. While it is a blissful blast from the past, it’s not just the Christmas songbook’s greatest hits. They dip into their rockabilly classics – those fusions of country and rhythm and blues they became known for – but present fresh takes on holiday classics like “Jingle Bell Rock,” “I’ll Be Home for Christmas,” and “God Rest Ye Merry Gentlemen.”
Everyone expects “Blue Christmas,” of course, and Buckley delivers a dandy one. Upbeat highlights include Chuck Berry’s “Run Rudolph Run,” the Bing Crosby cover “Mele Kalikimaka” and “Boogie Woogie Santa Claus.”
The statuesque Shelby Ringdahl is back as Elvis’ girlfriend Dyanne, and so is Jeff Cummings as impresario Sam Phillips. The dynamic duo of music director Dave Sonneborn as W.S. “Fluke” Holland on drums and Chuck Zayas as Jay Perkins on bass, one of the original cast members, have returned.
It’s obvious this entire group of seasoned professionals are a tight team that enjoys spending time together – and wow, can they rock around the Christmas tree. With their slick musicianship, there is a whole lotta shakin’ going on.
Colin Escott’s script, while formulaic, focuses on the heart and the humor, and because the group feels so familiar with each other, they smooth over the rough edges.
As the guys reminisce about their humble beginnings, they tell Christmas tales tied to their Southern roots. They admit struggling to fit into a cutthroat show business when people don’t understand their blue-collar cultural upbringing.
The men are at a crossroads, some having tasted more success than the others. They got their start through Phillips, aka “The Father of Rock ‘n Roll,” whose personal feelings are hurt because of the professional transactions. He’s too much of a country boy to be considered a main player by the big-city record companies.
After putting Sun Records on the map, Elvis received a huge record contract with RCA Records, while Johnny and Carl recently moved on to Columbia. The brash Jerry Lee is pegged as Phillips’ next big thing.
As played by the high-spirited Wease, swaggering Lewis is full of braggadocio, easily getting on everyone’s nerves. Yet, his pounding of the piano keys is always a high point.
There is a wistfulness that you sense among the three older ones. Elvis expresses a homesick blues, though, while Cash and Perkins are making wishful new plans. That adds a relatable poignancy as people tend to reflect on the year past at holiday time and look ahead to a more promising future.
Dyanne’s role is stronger this go-round, and Ringdahl dances merrily while joining the guys. At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer. Ringdahl delivers a playful “Santa Baby.”
Director Keith Andrews focuses on the opportunity for magical moments – because it is the most wonderful time of the year. He has previously directed the original six times, so he is quite familiar with this material.
The precise craftsmanship of scenic designer Adam Koch is noteworthy for decking the halls with bright lights, mistletoe, tinsel and a tree, all bathed in a beautiful glow by lighting designer Sean M. Savoie. And sound designer Beef Gratz’ work is crisp and clear.
Costume designer Brad Musgrove has outfitted everyone in 1950s winter garb, plus woven in sequins for another killer grand finale. He selected a knockout red cocktail dress for Dyanne, while wig designer Dennis Milam Bensie coiffed her chicly.
A special shout-out to those who dressed the theater in style, transforming the lobby and outside into a breathtaking winter wonderland.
The stars shined brightly, and the cast’s harmony embossed this celebration of comfort and joy with wonderful verve. “Million Dollar Quartet” is a two-hour sentimental journey that sparks warm memories, reaffirms music’s deep connection in our lives, and allows our hearts to be light.
In partnership with Stages St. Louis, the Repertory Theatre of St. Louis presents the musical “Million Dollar Quartet Christmas” Dec. 4 – 22. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.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
Sometimes, adults need a playdate too. For a merry good time, head to The Repertory Theatre of St. Louis’s Emerson Studio to join in the fun of watching a pair of seasoned performers – two of St. Louis’ finest – beautifully bookend each other in a dark comedy on self-discovery, “The Roommate.”
Jen Silverman’s sharp and funny character study, written in 2015, takes place in a big old house in Iowa City, Iowa. Under Rebekah Scallet’s concise and brisk direction, Kelley Weber and Nancy Bell breathe fresh life into contrasting personalities that are at crossroads.
Their odd-couple pairing is often the foundation for beloved television sitcoms, but in The Rep’s Studio space, it is an intimate journey molded by the playwright’s wit, technical brilliance, and the pitch-perfect comedic timing of the two lead actresses.
With a saucy wink and a broad smile, Scallet assuredly prepares us for the unexpected, timing out revelations for maximum effect, so that the audience is quickly invested in each unusual turn of events.
A never-better Weber plays sensible Sharon, recently divorced whose son lives away. She’s a chipper sort who has played it safe for most of her life, seemingly content with her rather traditional lifestyle. To help pay the bills and have some company, she advertises for a roommate.
Enter luminous Nancy Bell as Robyn, a free spirit who wants to relocate from New York City. She’s very different from Sharon – she reveals she is gay, vegan, a smoker trying to quit, and grows pot. (Marijuana remains illegal in Iowa, although medical marijuana is allowed). Mysterious, she appears to have more secrets, and some of her murky past eventually comes out.
Bell, widely respected for her talents on stage and directing productions, portrays Robyn with a marvelous ease. She understands Robyn’s desire to create a new identity after a lifetime of mistakes and regrets.
Weber, who hasn’t been as visible in recent years but recently retired as an educator, goes beyond the stereotypical Midwest homemaker to depict a range of emotions — showing loneliness, frustration, desires, and vulnerability.
Bell and Weber are old friends in real life, and project an unmistakable bond on stage. As natural as two people can be slipping into the skin of another – Bell sporting a temporary snake tattoo on her arm – they are convincing as they transform because of each other’s influence.
Most jarring is Sharon’s embrace of things dark, dangerous and criminal. Weber’s zest for walking on the wild side is not only believable but hilarious, while Robyn’s more casual personality takes a back seat when she becomes a cautionary voice of reason.
Those differences are what propel the action in this 90-minute show without intermission. Some twists and turns take place that are unforeseen, and while Silverman boxes in the characters toward its awkward conclusion, you never feel that the actresses are disingenuous. Their performances are complete.
While the offbeat story is the centerpiece, the creative team has enhanced the atmosphere with splendid work. Noteworthy is Jayson M. Lawshee’s warm interior lighting design and Kareem Deanes’ crisp sound design (with astute music choices for effective needle drops).
Scenic designer Robert Mark Morgan’s cozy kitchen design speaks to the room’s importance as the hub, the heartbeat of the home. With its exterior porch, sitting area and upstairs bedrooms factoring into the action, the setting is functional and the actors’ movements fluid.
The lived-in look and summer season is reflected in Lou Bird’s costume design too – mostly capris and an assortment of colorful print blouses for Sharon and ordinary jeans and T-shirts for Robyn.
A triumph all the way around, “The Roommate” emphasizes that reinvention can happen any time in life – with obvious bumps in the road. It is a bright spot on the fall theater landscape and opens the Studio series with flair.
With all due respect to the renowned stars Mia Farrow and Patti LuPone currently performing in the Broadway production, our St. Louis dynamic duo gives confident, engaging, relatable performances that bristle with energy, indicative of their own star power commanding local stages. Bell and Weber for the win! (Special mention to former associate artistic director Becks Redman for her astute casting.)
“The Roommate” is also special for its significance in re-opening the studio performance space to inaugurate the Steve Woolf Studio series, named after the late artistic director who made his mark in that role for 33 years. He retired in 2019 and died at age 75 in 2021.
In the past, the Studio series presented adventurous productions on a smaller scale than the mainstage season and was known for showcasing a variety of voices. The Studio remained dark after the pandemic shutdown in 2020, although “Gruesome Playground Injuries” was presented at the Kirkwood Performing Arts’ Strauss black box theatre in 2022.
Sitting in the Loretto-Hilton Center’s Studio space Friday, being part of its return, felt like a warm group embrace. Fond memories were shared and that feeling of comfort and familiarity surfaced.
That feeling carried over in the goodwill and support for what the current Augustin Family Artistic Director Kate Bergstrom and Managing Director Danny Williams are trying to achieve since The Rep announced its struggle to remain open in fall 2023. They launched a successful “Rally for the Rep,” and the turnaround to date has been remarkable.
Live theater has taken on a feeling of coming home since its return from the global pandemic, and that reconnection is meaningful, especially that The Rep is beginning its 58th season.
Given The Rep’s challenges and its renaissance-in-progress, there is a new sense of belonging, that people are pulling together to help it succeed in its mission. “The Roommate” is one of the reasons to cheer.
The Repertory Theatre of St. Louis presents “The Roommate” Oct. 23 – Nov. 17 in the Emerson Studio, 130 Edgar Road, St. Louis. Subscriptions and single tickets are available online at repstl.org, over the phone 314-968-4925 or in person at the Loretto-Hilton Center Box Office Tuesdays – Thursdays from 10:30-5pm. Seating for the production is General Admission with subscribers given priority seating beginning 30 minutes prior to curtain.
Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. For more information, please visit repstl.org.
Post Show Discussions follow Saturday, Nov. 2 and 9 at 4 pm performances.
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
When you see actor Eric Dean White’s name in a cast, you know that he will deliver an authentic performance. His latest role as Gooper, the resentful and ruthless son of Big Daddy, who schemes to control his family’s fortune, in “Cat on a Hot Tin Roof,” is a fine example of his commitment to a character.
Displaying a big chip on his shoulder because his handsome and athletic brother Brick was favored by his parents, White is smooth and shrewd in the supporting role.
This delectable story of big drama, big money and big lies, presented by the Tennessee Williams Festival St. Louis Aug. 8 – 18, is a Southern Gothic excursion into an American dysfunctional family, 1950s style, that won a Pulitzer Prize for Drama in 1955, and Williams considered it his favorite.
White is thrilled to be in this ensemble.
“Simply put, ‘Cat’ is one of the greatest American plays by one of the greatest American playwrights, and it’s just an honor to be part of it,” White said. “We have a fantastic cast, and we are being led by director Michael Wilson, who is a renowned Tennessee Williams expert…It has been an honor and a pleasure to work with this team.”
White’s love for the material is evident, and he has previously been part of the Tennessee Williams Festival St. Louis, from its first year, performing in “The Rooming House Plays” in 2016, and in “Small Craft Warnings” in 2017.
Throughout his career, he has moved easily between hero and villain roles, showing his versatility, and becoming a reliable fixture of the professional regional theater community. He is a member of Actors’ Equity Association and SAG-AFTRA.
Relishing a unique opportunity to play the most evil villain of them all, he won a St. Louis Theater Circle Award as an arrogant calculating Satan in “The Last Days of Judas Iscariot,” presented by Mustard Seed Theatre in 2018.
He has been nominated four other times, his first nod for playing Felix Turner, the doomed New York Times fashion reporter and activist Ned Weeks’ lover who succumbs to AIDS, in “The Normal Heart” at HotCity Theatre in 2014, which also won the award for outstanding production of a drama.
His other nominations show his impressive range. Earning three nominations in a row, he played a brash guy whose encounter with a stranger on a walk leads to more conversations in “The Kiss” at Upstream Theatre in 2015; Daisy’s exasperated son Boolie in “Driving Miss Daisy” at the New Jewish Theatre in 2016; and recognized as a conflicted fundamentalist Christian minister in the puppet comedy “Hand to God” at St. Louis Actors’ Studio in 2022.
Earlier this year, he stood out in dual roles in The Black Repertory Theatre’s “Hold On!” as hot-headed intolerant bigots Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark. The play was about the landmark Voting Rights Act of 1965 after the Selma to Montgomery March organized by civil rights activists.
He has played a cruel racist before, as impresario Stephen Price in “The African Company Presents Richard III” at the Black Rep in 2022, and as a Hitler apologist in Neil LaBute’s one-act “The Fourth Reich” that was presented in 2018 during the LaBute New Theater Festival and off-Broadway in January 2019. (He’s been a frequent contributor in the LaBute Festival).
His work in “Hold On!” was in January, soon after delighting audiences as a seasoned radio announcer in The Repertory Theatre’s triumphant comeback “It’s a Wonderful Life! – A Live Radio Play” in December.
With his mellifluous voice, he played Freddie Filmore and amusingly delivered commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and other St. Louis notables.
This fall, he returns to The Rep in their season opener, the classic mystery “Dial M for Murder.” He will play the eccentric but thorough Inspector Hubbard. In announcing the cast, they described him as a “Rep favorite.”
The play, to be directed by Melissa Rain Anderson, who deftly helmed “The Play That Goes Wrong” in 2019, will run Sept. 18 – Oct. 13 at the Loretto-Hilton Center on the campus of Webster University.
He joins the cast that includes Jenelle Chu as Margot, Jordan Coughtry as her former tennis pro husband Tony, Jayson Heil as their friend Max, Ethan Dunne Stewart as police officer Thompson and David Diaz Weynand as Lesgate, Tony’s old schoolmate.
Frederick Knott’s play, which inspired Alfred Hitchcock’s 1954 cinematic thriller, combines passion, blackmail and revenge into an edge-of-your-seat murder mystery when a gold-digging husband’s perfect crime misfires, trapping all parties in a sinister and dangerous web of lies.
He is home on The Rep’s mainstage, for he appeared as the Ghost of Christmas Future in “A Christmas Carol” and as Mrs. Bennett’s brother Mr. Gardiner in “Pride and Prejudice.”
He has also performed in other regional theaters around the country, including Houston and Arkansas. He appeared on an episode of “Chicago Fire” in 2015, and has acted in locally shot films, including “Finch,” “Penitentia,” “Cringe” and “Belleville.”
For White, keeping busy in an industry in flux is gratifying. When he’s not working on stage or off, he’s husband to Wendy and dad to daughters Payton and Cassidy.
Take Ten Q & A with Eric Dean White
1.Why did you choose your profession/pursue the arts?
“That’s a very good question and I ask myself that all the time. It’s almost absurd in a way how difficult it is to work professionally in any form of the arts. The rejection and inconsistency of work takes its toll on you. But the simple fact is I love it and maybe more importantly, I’m fascinated by it. Plus, people keep hiring me, so I keep saying yes!”
2. How would your friends describe you?
“Eric Dean White? Never heard of him.”
3. How do you like to spend your spare time?
“What is this “spare time” you speak of?”
4. What is your current obsession?
(This was asked before it concluded). “The 2024 Summer Olympics in Paris! Specifically, men’s and women’s soccer and women’s gymnastics.”
5. What would people be surprised to find out about you?
“I’m extremely sensitive to — and irritated by — certain sounds and noises. Often to the point that I have to leave the room.”
6. Can you share one of your most defining moments in life?
“Meeting Wendy.”
7. Who do you admire most?
“I’m hesitant to place too much admiration on individual people. I’m very moved by acts of selflessness and grace — especially when no one is watching.”
8. What is at the top of your bucket list?
“I’d like to travel more in the coming years. Haven’t been able to do much of that as of late.”
9. 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 terrible for the live arts. There is no way to sugar coat it. I’m not sure if we will ever get back to where we were before the pandemic. There is very little interest in public funding of the arts via state and federal governments and corporate funding has also dried up. I don’t know what the path forward is. There are arts leaders much smarter than me doing all they can to try and figure out a path forward. I wish them luck. I encourage individuals to buy tickets to see live theatre and other performances.”
10. What is your favorite thing to do in St. Louis?
“I love going to Cardinals, St. Louis City SC and Blues games. I love going to all of our parks and museums. I love all the various art, food and cultural festivals we have. Oh – and St. Louis has a fantastic theatre and music scene!”
More About Eric Dean White:
Age: 49
Birthplace: Sikeston, Missouri
Current location: St. Louis (City),
Family: One wife, two daughters, one pit bull
Education: Studied marketing at the University of Missouri and acting at The American Academy of Dramatic Arts (New York City campus)
Day job: Visitor and Member Services at the Saint Louis Art Museum
First play or movie you were involved in or made: I didn’t do any acting of any kind until I was about 24 years old. I think my first was a production of the play “June Moon” by George S. Kaufman and Ring Lardner during my first year at The American Academy of Dramatic Arts in New York.
Favorite jobs/roles/plays or work in your medium? I’m just lucky to keep getting cast. That’s all that matters.
Favorite quote/words to live by: “Did it ever occur to you that no one ever asked us to do this?” – Jack O’Brien at the 2024 Tony Awards.
A song that makes you happy: First one that came to mind was Eddie Vedder’s cover of “Save It for Later” that was recently featured in season 3 of “The Bear” (episode 2). Also check out the original version of the song by The English Beat – great as well!
Cover photo with Kari Ely in “Cat on a Hot Tin Roof” by Suzy Gorman.
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
Whether you describe her as a grand dame or a beloved veteran, the multi-talented Donna Weinsting is a true all-around champion in local theater who only garners accolades from her peers.
A popular figure on stage, in films and comedy clubs throughout St. Louis for 60 years, she is not resting on her laurels, by any means. She is part of this year’s ninth annual Tennessee Williams Festival St. Louis (Aug. 8-18), as part of the cast of “Life Upon the Wicked Stage.” (And was part of the first, in “The Rooming House Plays” in 2016).
“Life Upon the Wicked Stage” celebrates the Grand Center Theatre District and includes three one-act plays about show business — “In Our Profession,” “The Magic Tower” and “The Fat Man’s Wife.” It will also feature music and is directed by former St. Louisan Brian Hohlfeld. Donna is cast in “The Magic Tower.”
Carrie Houk, the festival’s artistic director, described the piece as a “like a mini-jukebox musical.”
“It features songs from the period to evoke an era of vaudeville and the type of entertainment Tom (Tennessee Williams) would have encountered in his Grand Avenue outings long, long ago,” she said.
Eight performances will take place at 1 p.m. and 4 p.m. on Saturday, Aug. 10 and 17 and Sunday, Aug. 11 and 18, at the Curtain Call Lounge, which is next door to the Fox Theatre, 521 N. Grand Boulevard.
Donna is enthusiastic about the show.
“It’s going to be a treat for Tennessee Williams fans. Interspersed between the three one-acts are musical numbers fitting the times accompanied by the marvelous Tom Clear on piano,” she said. “Brian Hohlfeld is a joy to be directed by and the cast of Julie Layton, Gary Wayne Barker, Julia Crump, and Dominic DeCicco is excellent. I’m happy to be in the mix.”
Weinsting has also been announced as part of the St. Louis Actors’ Studio’s 17th season “Something Old, Something New.” She and Whit Reichert will perform in an original play by Carter W. Lewis called “With,” to be directed by Annamaria Pileggi, set for April 4 – 20, 2025.
“The special thing about this project is just about everything. I’ll be working in a two hander with Whit Reichert written by Carter Lewis and directed by Annamaria Pileggi for Actors Studio. Dream team,” she said.
Donna will play Minnie and Whit will be Clifford, and their world will be humorous, but ultimately heartbreaking, as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.
The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically awry. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.
She is happy to contribute to the current arts scene.
“I feel invigorated and full of excitement again,” she said.
Earlier this summer, Donna was awarded a Lifetime Achievement Award from the non-profit organization Arts For Life. AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
“I am beyond honored to receive this very special recognition, humbled and excited. I feel that this is a gift — to be acknowledged for something I have had a passion for nearly my entire life,” she said.
Born Donna Collins, she grew up in St. Louis, and while her family moved several times, she landed in Oakville at age 13, and that is where she has lived ever since. She was first in a summer city park production of “Sleeping Beauty,” then a play in junior high.
“The die was cast and a 60-year career in acting and stand-up comedy was launched,” she said.
A graduate of Mehlville High School, she has never shied away from a challenge, playing leads as well as supporting and brief roles. She has performed in one-woman shows, played characters like Mr. Potter in “It’s a Wonderful Life,” Jabba the Hutt in “Star Wars,” and various animals in WiseWrite plays written by 10-year-olds.
Besides STLAS and TWSL, she has been on the stages of regional professional companies The Repertory Theatre of St. Louis, Max and Louie Productions, New Jewish Theatre, Slightly Askew Theatre Ensemble, Stray Dog Theatre, St. Louis Shakespeare, Upstream Theater, West End Players Guild, and the shuttered Orange Girls, Insight Theatre, OnSite, and others.
She has appeared at the Bluff City Theater in Hannibal, Mo., Ozark Actors’ Theatre in Rolla, Mo., Arrow Rock Lyceum Theatre in Arrow Rock, Mo., Stages Houston and 59E59 Theatre Off-Broadway in New York as part of the LaBute New Theatre Festival.
The community theater organizations she has worked with include Clayton Community Theatre, Theatre Guild of Webster Groves, and the no longer active Affton Players.
Her honors include a Kevin Kline Award for Lead Actress, as Bessie in “From Door to Door” at New Jewish Theatre, St. Louis Theater Circle Award for Outstanding Actress as Iola in “Salt, Root and Roe” at Upstream Theater, and a St. Louis Theater Circle Award for Comedy Ensemble for “Jacob and Jack” at New Jewish Theatre, where she played both Ester and Hannah.
She will be shooting a movie in Springfield this fall called “Big Mike’s Cabin,” and has appeared in other locally shot films “Ethan and Edna” and “Doubting Thomas.”
“It is wonderful that we are giving the film industry the incentive to come to Missouri again,” she said..
While awards are a cherry on top, Donna said she is most proud of her family — her two children, five grandchildren, eight great-grandchildren and her 63-year marriage to her high school sweetheart, Mike.
“Being with my amazing family is the absolute joy of my life,” she said.
Questions and Answers with Donna Weinsting
1. Why did you choose your profession/pursue the arts?
“I didn’t choose the arts, they chose me. I don’t ever remember wanting to be anything but an actor.”
2. How would your friends describe you?
“My friends would all say I’m their funny friend. They support me and make me feel special.”
3. How do you like to spend your spare time?
“I used to fill my spare time with tennis and golf. Lots of tennis and golf. COVID took me away from that and I just got less active. Now my spare time is seeing plays and lots of television.”
4. What is your current obsession?
“My current obsession is binging the really great series you can watch in the comfort of your home. Love Ted Lasso, Outlander, Hacks and many others.”
5. What would people be surprised to find out about you?
“People would probably be surprised to know I have a basement full of archery, tennis and golf trophies.”
6. Can you share one of your most defining moments in life?
“One of my most defining moments in life was entering a talent contest on a cruise and doing stand-up for the first time in my life at 48. It was an epiphany to know I could make 2,000 people laugh just being myself. I can’t explain how overwhelming that feeling of euphoria was.”
7. Who do you admire most?
“I admire the most people who can do it all and do it well. People who can write, perform, direct and produce are superstars. People who devote themselves to the betterment of others is inspiring.”
8. What is at the top of your bucket list?
“Top of my bucket list is to be in a television series. Betty White is gone and can never be replaced but there is a definite need for a sassy old woman.”
9. 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 sort of ended my acting career for a while. I got older and even though I am not a strong singer, COVID took a great deal out of my voice and now I no longer have confidence in it. I got through the pandemic by watching a lot of television and keeping track of the lives of my family. I learned from the isolation that I don’t have the drive I would like to have. I could have used the down time to learn a new language, play the piano, write a play and clean out my closets, instead I watched television and bitched about not being in a play.
“The pandemic was disastrous for the arts. Many small companies closed and some of the big ones were hit with financial hardships. I am encouraged by the fortitude of those in the arts though. New companies are springing up and the talent here in St. Louis is so rich and full of promise.”
10. What is your favorite thing to do in St. Louis?
“My favorite thing to do is be on the stage, but if I’m not, I love to see good theatre and support and encourage our plethora of talent here. I love a good martini and being with old and dear friends too. I’ve been married to my high school sweetheart for 63 years and have a son and daughter, five grandchildren and eight of the most beautiful, smart and intelligent great grandchildren in the world.
12. What’s next?
“In the fall I have been cast in a film being shot in the Ozarks called “Big Mike’s Cabin.”. Then in April of next year I will be doing the play with Whit Reichert. I feel reinvigorated and full of excitement again.”
More About Donna Weinsting:
Age: 82
Born: Arbyrd, Missouri in the bootheel.
Currently live: Oakville, Missouri
Family: Husband of 63 years, son, daughter, five grandchildren and eight great grandchildren.
Education: I have an associate degree from Meramec Community College.
Day job: I have been a Real Estate Salesperson for almost 50 years.
First job: My first job was working the lunch counter in a Walgreen’s Drug Store when I was 15.
First play: My first play was in Sleeping Beauty in a St. Louis park summer production. I was a handmaiden.
Favorite Roles: It is hard to choose my favorite roles but the ones that stand out are, “‘Homebody” Off Broadway, ‘ “Salt, Root and Roe”, “Gray Gardens”, ” ‘night, Mother”, “From Door to Door”, and “The Lion in Winter”. I also got a kick out of playing Jabba the Hutt, Mr. Potter and Donald Trump.
Dream Role: My dream job is a television series, Broadway play or major film role.
Awards: I’ve won a Kevin Kline for Outstanding Lead Role, a St. Louis Theatre Circle Award for Lead Actress in a drama, a St. Louis Theatre Circle Award for Comedy Ensemble and have had several nominations.
Words to Live By: My favorite words to live by are never give up. Life can throw unbelievable obstacles in your way and its easy to throw in the towel but working through them and coming out a better and stronger person is so fulfilling.
A Song That Makes Me Happy: “Somewhere Over the Rainbow”, beautiful and full of hope.
Cover Photo by Don Quon
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.