Lynn Venhaus

Total Post: 1347

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.

Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

By Lynn Venhaus

Wow, just wow!

The latest heart-warming production of “Meet Me in St. Louis,” which is self-referential – us sitting in Forest Park watching a musical about the 1904 World’s Fair set in Forest Park, is so remarkable that with the Muny’s utmost care and dedication, all our collective memories came alive.

We felt it, the nearly 8,000 of us gathered on Friday. That connection, that thread linking each one of us, elicited never-ending smiles on a summer night. Just as our ancestors did, we reveled in the Muny magic under the stars

This cherished musical’s ninth time on that renowned stage is thrilling, sentimental and even tear-jerking. After all, it’s unmistakably “right here in St. Louis,” which is a vibrant valentine to the community.

Director Maggie Burrows and her creative team established a homey feel, leaning into the happy golden days of yore.

Beth Leavel (left) and the company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

That sense of wonder, of awe, and a swelling of civic pride came together organically to celebrate our treasured traditions and what makes our region so special through the devoted designers/ technical team. They feel the same way, and it shows.

In fact, the visual storytelling splendors they’ve designed are unprecedented – we’ve never seen these melded in such a spectacular way. Set designer Ann Beyersdorfer’s re-imagining of the Smith’s Victorian home at 5135 Kensington Place is a revolving work of art, a picturesque red-brick exterior and richly period-detailed interior on the Muny’s massive turntable (master technicians, we salute you).

Add the changing seasons – once again, falling snow, like “Frozen” did last year for winter, and the natural beauty of trees framing the stage. The whole feel of the panoramic landscapes of our fair city, 1903-1904, as we keep rolling along on the shores of the Mississippi River.

New York-based Beyersdorfer, a Belleville native who has designed seven sets for the Muny, three for Stages St. Louis (current “Guys and Dolls”), and the upcoming “Little Women” for The Repertory Theatre of St. Louis, has created lasting memories here.

From left: Kyla Stone, Beth Leavel and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The scenic design, paired with the ravishing video designs by Greg Emetaz and Kylee Loera, was a next-level display of what the Muny artisans are capable of, and the breathtaking sights prompted the audience to cheer and applaud loudly multiple times. The recreation of vintage lithograph postcards was exquisite.

The stage musical, first commissioned by and for the Muny in 1960, has always offered comforting nostalgia about the simple joys of childhood and affectionate family dynamics.

Let’s face it, the storyline is a deluxe Hallmark movie. Warm and winsome that it is, the Smith family drama occurs when a planned move to New York City throws plans awry, including romance for the two eldest daughters and being here when St. Louis hosts the World’s Fair.

Officially the Louisiana Purchase Exposition, which honored Lewis and Clark’s westward expansion and celebrated technology, culture and industry, the fair took place from April 30 to Dec. 1, 1904, on 1,200 acres in Forest Park.

Stan Brown, Lilah Levinson. Photo by Phillip Hamer

It was the first time the Olympic games were held in the U.S., and introduced such foods as hot dogs, ice cream cones, cotton candy and iced tea. More than 60 countries and 43 states took part, and it attracted 20 million visitors.

Because the show matters so much here, the cast’s bond to the story was strong, honoring it with sincerity and joy. St. Louisan Colin Donnell, a Broadway veteran, is the genial patriarch, Alonzo Smith, who wants the best for his family.

He and his real-life wife, Patti Murin, are captivating anchors, projecting an emotional closeness. She’s appeared at the Muny seven times, last seen as Anna in “Frozen” last summer, and this time as sensible Anna Smith.

Triple-threat dynamo Katerina McCrimmon, fearlessly tackling such iconic roles as Fanny Brice on the national tour of “Funny Girl” in 2023 (brought down the house at the Fox!), and Eva Peron in last summer’s “Evita” here, assuredly slips into Judy Garland’s shoes as strong-willed, kind-hearted Esther Smith.

From left: Joylin Bass, Lilah Levinson and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

With her powerhouse vocal range, she balanced belting with vulnerability. She emulated Garland’s rich velvet timbre, combined with her emotional honesty and passionate singing, and they both shared the gift of tender, wistful delivery.

In the eye-popping and jaw-dropping “The Trolley Song,” we followed a moving trolley’s path through turn-of-the-century St. Louis as video projections of neighborhood vistas went by.

Gordon Greenberg’s snappy re-do of the book by Hugh Wheeler, which improved characters, pacing and boosted local references, debuted for the Muny’s 100th anniversary in 2018, and now, just in time for Forest Park’s 150th anniversary, it enveloped us with heart and humor.

Author Sally Benson grew up at that Academy neighborhood address, in the home her father purchased in 1891. Fun fact: her maiden name was Smith and her nickname Tootie. (Spoiler alert: They did move to New York. Sadly, the home was demolished in 1994.)

Patti Murin and Colin Donnell in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

Her fond recollections were published in short story installments, “The Kensington Stories,” in The New Yorker in 1941, and proved so popular, she turned it into a book in 1942, the basis for the beloved MGM film starring Judy Garland and directed by Vincente Minnelli.

The movie was released in 1944 wartime America, resonating about home and togetherness, and included Garland favorites “The Boy Next Door” and the holiday classic “Have Yourself a Merry Little Christmas,” which McCrimmon makes her own. The movie is no. 10 on the American Film Institute’s 100 best movie musicals.

The show’s music and lyrics are by Ralph Blane and Hugh Martin, and additional material by George W. Meyer, Edgar Leslie and E. Ray Goetz, Kerry Mills and Andrew B. Sterling.

This refreshed production, with additional orchestrations by John McDaniel, includes the cut song by Rodgers and Hammerstein “Boys and Girls Like You and Me,” originally intended for the film, and the stage debut of “You and I,” a duet sung by Donnelly and Murin.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

This year, a new number premiered, “That’s Enough of That,” sung by Tony Award winner Beth Leavel. The Muny fan favorite, whose 13 memorable performances include Mama Rose in “Gypsy” (St. Louis Theater Circle Award), Dolly Levi in “Hello, Dolly!” and Aunt Eller in “Oklahoma,” portrays the lovable housekeeper, Katie Connelly. During the song, she dispenses wry, wise advice to the two oldest Smith daughters, Rose and Esther.

The song is written by Mark Sonnenblick, with orchestrations by Greg Anthony Rassen. Sonnenblick is having a banner year, after winning an Oscar, Grammy and Golden Globe for collaborating on the smash hit “Golden” from “K Pop Demon Hunters” (a joyful mental loop).

A musical theater composer and lyricist, he’s written additional lyrics for the musical “The Devil Wears Prada” and the films “Spirited,” “Theater Camp” and “Lyle, Lyle Crocodile.” He also wrote the opening song Pink performed at this year’s Tony Awards.

It’s nice to know that Mike Isaacson, executive producer and artistic director, is open to fresh ideas and making updates to outdated shows.

Katerina McCrimmon (left) and Lilah Levinson in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The enthusiastic principals demonstrated a tight-knit communal feel, with noteworthy turns by Stan Brown as retired doctor Grandpa Prophater, Kyla Stone as oldest sister Rose, Andrew Poston as boy next door John Truitt, Ilan Eskenazi as brother Lon Smith, Joylin Bass as younger sister Agnes, Gregory Lee Rodriguez as Rose’s beau Warren Sheffield, and Emma Crow as Lon’s sophisticated outsider girlfriend Lucille Ballard.

Spunky Lilah Levinson as mischievous youngest sister Tootie stole all her scenes, comically landing every line.

A spirited ensemble, under the fine music direction of Paul Byssainthe Jr. and choreographer Sarah Meahl, helped the realistic feel — Leah Berry, Chloe Chamberlin, Jason Goldston, Beau Harmon (a funny Pee-wee Drummond!), Ava Noble, Ben Nordstrom, Sandra Valeska Orozco, Jasmine Overbaugh, Ronan Ryan, Gordon Semeatu, Drew Tanabe, Bronwyn Tarboton, Allie Villhard and Justus Wheatley (who is spotlighted singing a popular beer garden song “Under the Anheuser Bush” as the Christmas Ball band singer.

Kailey Bender and Michael Santomassimo are the swings, with Michael associate choreographer and dance captain, too. The Muny Youth Ensemble also took part.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The cast was fabulously costumed by Leon Dobkowski, with gorgeous all-white finery for the fair, elegant jewel-toned gowns for the Christmas ball and everyday vintage apparel, with Kelley Jordan’s natural-looking wig designs of cascading curls and braids.

The razzle-dazzle in a grand finale seemed to have multiple moving parts that will be talked about for years, starting with a magnificent reveal of lighting designer Paige Seber’s festive World’s Fair, followed by fireworks. Kudos to Director of Production Tracy Utzmyers and Technical Director Theo Prifti, and their teams.

During a lively curtain call, we joined the cast singing the title song, but the production people weren’t done yet with the wow factor. It’s as if they pushed farther to see what new heights they could achieve to celebrate our twin crown jewels, the Muny and Forest Park.

Putting a cherry on top, we watched our St. Louis skyline/history unfold, including the Arch being built and other nods to our heritage. This happy ending on an extraordinary night was akin to everyone wearing their hearts on their sleeves, feeling the ties that bind us, and roars and repeated ovations erupted.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The Muny presents “Meet Me in St. Louis” Aug. 6 – 13 at 8:15 p.m. Performances take place on the Muny’s outdoor stage in Forest Park. For more information, visit muny.org.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

By Lynn Venhaus

With boundless enthusiasm, a six-person ensemble enlivens “The Two Gentlemen of Verona,” an early Shakespeare comedy about boundaries in friendship and romance that remains a timeless cautionary coming-of-age story.

The intent is light-hearted, the folly of best buds falling in love with the same woman, and the betrayal and forgiveness that ensues. And saucy minions, too. (Google it).

If we’re outdoors, it must mean it’s a lovely summer evening courtesy of St. Louis Shakespeare Festival’s annual TourCo, where they travel across the bi-state area to bring live theater to local parks and plazas, this year 33 locations in all.

Six years’ strong, this far-reaching accessible and free initiative has evolved into a must-see experience. It is both the longest running play in St. Louis every season and the second largest Shakespeare tour in the country.

Sarah wilkinson and Tristan Wallach as young lovers Julia and Proteus. Photo by Phillip Hamer.

The picturesque open-air Cohen amphitheatre setting at the Missouri Botanical Garden was the stage Wednesday night, and it showcased all the key aspects of Shakespeare in the park that entertain: appealing performers, musicality and surprises – this time, a scene-stealing dog in the cast.

Director Rebekah Scallet, a Shakespeare veteran, has brought out the universality of the story, generally regarded less than other works, but she points out that it is a precursor to other themes and situations he explores in later plays. Capricious young men! As is typical in early Shakespeare comedies, there’s misunderstanding, disguises, and growing up to do.

What separates this version is its zip. The cast delivers a zesty introduction to set the stage for the 90-minute show in their Living Study Guide, which is a summary explaining characters and their motivations at the beginning. Because it’s a compact and concise adaptation, where the actors play multiple roles, they let us know who’s who and what’s what.

The energetic performers dash around, frequently changing an outfit or grabbing a musical instrument. All but one are making their Shakespeare debut. Newcomer Tristan Wallach is Proteus, who shifts from lovesick romantic into a traitor who betrays both his girlfriend Julia (Sarah Wilkinson) and best friend Valentine (Otto Klemp, who was in “The Tempest” earlier this summer).

Bryce Miller, Tristan Wallach and Jayson Heil. Photo by Phillip Hamer.

In Milan, to broaden his horizons, Valentine falls in love with the strong-willed Silvia (Jade Simone Francis), daughter of the Duke (Jayson Heil). Proteus, who stayed home, fell in love with Julia. However, Proteus’ father Antonio has sent him to Milan, where he falls in love with Valentine’s girlfriend. Rut-ro. But Silvia rejects him, repeatedly (cue women in audience applauding).

But things get messy as loyalty and good judgment go out the window, and we travel between court to forest (sound familiar?). Say what you will, but in those Renaissance times, they valued the bonds of male friendship over romantic love. Hmmm…That was around 1590, and times have changed.

Charmer Bryce Miller adds oomph to his role of Speed, the quick-witted servant of Valentine. He often comments on the two besties’ foolish antics and works hard to make sure the ‘older language’ sounds fresh. He also portrays goofy Thurio, a wealthy suitor pursuing Silvia, who is favored by the Duke.

As the smart but impulsive Julia, graceful and winsome Sarah Wilkinson disguises herself as a page boy, ‘Sebastian,’ to spy on Proteus, the first evidence of Shakespeare’s cross-dressing heroines. She is assisted by her sassy waiting-woman, Lucetta, played vibrantly by Francis. She has a more practical attitude about courtships than the fickle youths do, especially her faithful boss.

Otto Klemp and Jade Simone Francis. Photo by Phillip Hamer.

Adding even more charm is the seventh cast member, Crab, the ill-behaved pet of clownish Launce (Jayson Heil), Proteus’ servant. Five dogs are being rotated to play this scene-stealing role.

Many times, in Shakespeare comedies, the supporting characters are more interesting than the male leads, and that holds true here. Wallach and Klemp are fine in lead roles, but where they shine is in their acoustic musical accompaniment. They are both accomplished musicians.

Another distinguishing factor is original music, under the superb direction of Larry D. Pry, whose arrangements of melodic tunes fitting the period and setting stand out. The original music was written by Jordan Coughtry, who worked with Scallet when she was artistic director at the Arkansas Shakespeare Theatre.

It’s not all that unusual that “The Two Gentlemen of Verona” features music, for a groundbreaking rock musical adaptation at Joseph Papp’s NYC Shakespeare in Central Park in 1971 went on to Broadway and won the 1972 Tony Award for Best Musical (and best book), featuring Clifton Davis and Raul Julia as the leads.

Pre-pandemic, St. Louis Shakespeare Festival presented a 1980s hip-hop high school musical version of it, “Dress the Part,” in February 2020 from The Q Brothers, who played football players among over 20 parts, which won an ensemble award from the St. Louis Theater Circle in 2022.

Jayson Heil with Rocky, a Golden Retriever, as Crab. Photo by Phillip Hamer.

This company features a similar fast-paced, playful spirit that Scallet strived for, imbuing a fresh attitude.

The touring company requires a portable set, and scenic designer Katherine Stepanek shows her keen eye for setting a stage to be practical and attractive, with floral-festooned arch-shaped trellises draped with a vivid red material. These move easily to suit the locales. Like she always does, costume designer Michele Friedman Siler fits the occasion with perfectly suited outfits – and ones adaptable for St. Louis summers and quick changes.

The talented technical team also includes John Wilson as both the fight and intimacy coordinator, and Colin O’Brien as the expert production manager, with Britteny Henry doing her customary efficient job as stage manager, ensuring fluid entrances and exits.

Shakespeare may have been taught in your English class, but the best way to appreciate the bard is to see his plays performed, not read. And with the touring company coming to communities and neighborhoods, the time is perfect to bring a blanket or lawn chairs, pack a picnic, and see a family-friendly 90-minute Shakespeare show. Check social media for weather updates.

Simone, Klemp and Wilkinson. Photo by Phillip Hamer.

St. Louis Shakespeare Festival’s TourCo is presenting “The Two Gentlemen of Verona” free and open to all, no tickets required, to more than 30 parks and plazas in Missouri and Illinois from Aug. 4 to Sept. 6. Performances start at 6:30 p.m. and are 90 minutes in length. Visit https://stlshakes.org/tourco/ for a complete schedule.

The cast of “The Two Gentlemen of Verona” – Sarah Wilkinson, Tristan Wallach, Bryce Miller, Otto Klemp, Jade Simone Francis and Jayson Heil. Photo by Phillip Hamer.

First Run Theatre’s ‘Tenn’ Spotlights Playwright’s Backstage Drama

First Run Theatre’s ‘Tenn’ Spotlights Playwright’s Backstage Drama

By Lynn Venhaus

The rich legacy of Tennessee Williams has become a major point of pride in St. Louis, where he spent his formative years. For 10 years, we’ve embraced the Tennessee Williams Festival St. Louis, and rediscovered a new appreciation for the great American playwright.

Therefore, an original work about the dramatic and sometimes humorous events leading up to the Broadway premiere of his autobiographical “The Glass Menagerie,” a game changer in many ways, is worth diving back into the Williams lore.

An earnest “Tenn” by Aaron Scully takes us back to the ‘before’ – nervous investors, stressed-out playwright, unreliable leading lady, and major jitters by others involved.

But all those can and will be overcome, and who really matters are two people who fiercely believed in the play and playwright – namely talent agent Audrey Wood and director/producer Eddie Dowling.

They were life-changing contacts for Williams, and as played by Kelli Rao and Kevin Bailey, convey the necessary passion and support he needed to succeed. Without them, he would never have catapulted from obscurity to fame.

Dorothy LaBounty, Kevin Bailey and Kellie Rao. Photo by Brad Slavik.

In addition, Dowling steps onto the stage as dreamer Tom Wingfield, the character based on the author himself. Tom yearns for a different life, writing for a living and away from his family and mundane job in a shoe warehouse.

The events, presented as vignettes, start in 1939 and lead up to opening night on Dec. 26, 1944, in Chicago, then on Broadway on March 31, 1945. Scully frames it as Tennessee’s memories about his memory play, a clever premise. For his take, he has pared it down to a six-person ensemble.

After an earlier staged reading, First Run Theatre has produced this full-length play, meticulously mounted in the Kranzberg Arts Center, with cozy and concise period details in costumes, set, mannerisms and props (the vintage typewriter is a beat-up beaut). Granted, the production is low budget, but that also gives it an intimate feel.

Matt Newlin anchors the backstage drama as Tennessee, fiercely protective of his work, but fretful that the play based on his life would have the same fate as his earlier flop, “Battle of Angels.”

His Tenn is a genteel Southern gentleman, soaking up experiences and commenting on what’s happening, showcasing the playwright’s trademark wit and insecurities. Scully captures those aspects of the character well, and Newlin depicts him as a sympathetic creative that you root for to succeed.

Bailey, Newlin and Charles Huevelman. Photo by Brad Slavik.

Dorothy LaBounty deftly portrays the alcoholic actress Laurette Taylor, who drew rave reviews immortalizing Williams’ histrionic mother Edwina as the character Amanda Wingfield, a faded Southern belle who is ill-equipped to deal with harsh financial conditions in a small St. Louis apartment in the late 1930s.

Giving this story a sense of gravitas are Kyle Reeves as Donald Windham, Williams’ partner, and Charles Huevelman as the financier Louis Singer, who balks at putting more funds into the show.

A notable absence is an actress playing Laura, who is modeled after Tenn’s fragile sister Rose. In the opening, Newlin explains that there are 12 scenes, not in chronological order, and not everyone that was involved is part of the process.

For a modest production, set designs are an essential part of this storytelling, and set designer Brad Slavik, the producer and board president, has crafted an ambitious scenic tableau, with a fire escape, restaurant, hotel room, stage and other settings.

Three hard-working stagehands Mike True, Phoebe Carlson and Lilly Holland are busy changing settings, which can be cumbersome to the play’s flow.

‘Tenn’ at First Run Theatre. Photo by Brad Slavik.

With costume designer Lauren Smith Beardon’s retro outfits, lighting designer Mike Gasparich’s illumination, and props manager A. Merkt adding old-timey lamps, they set the scenes well. Rachel St. Pierre was a scenic painter and Jenn Ciavarella the technical director, with Addie McGrath and Lilly Holland sound designers.

Before the Tony Awards were created in 1947, the New York Drama Critics’ Circle awarded “The Glass Menagerie” the Best American Play in 1945. For Tenn, the rest, as they say, is history. He went on to win two Pulitzer Prizes for Drama with “A Streetcar Named Desire” 1948 and “Cat on a Hot Tin Roof” in 1955.

Inspired by the world around him, Tenn made his mark with his poetic realism. His understanding of the human condition, his ability to highlight outsiders, misfits and eccentrics, and his focus about love, understanding, compassion and kindness, made him singular.

All his works are about loss – the summer, beauty, youth, love – and yes, glass animals. None of these things last very long.

Born Thomas Lanier Williams III in 1911 in Mississippi, he moved to St. Louis when he was 8 because his father, a traveling shoe salesman, was promoted at the International Shoe Company. St. Louis was a very polluted bustling industrial town in the 1920s and 1930s.

He was the second of three children born to a hot-tempered, hard-drinking Cornelius Coffin Williams and his neurotic wife, Edwina Dakin, who was frustrated in a bad marriage.

His sister Rose (1909-1996) was schizophrenic and institutionalized for the remainder of her life after a botched lobotomy in 1943. His brother Dakin (1919-2008) was an attorney who lived in Collinsville for years.

His family life was miserable, but he was ambitious and yearned for adventure. His restlessness took him away, but his roots here are significant. The family moved several times, and Williams attended both Soldan and University City high schools.

College included stints at University of Missouri-Columbia from 1929 to 1931 and Washington University in 1936, before earning a degree at the University of Iowa, then heading to New York City.

He also lived in Provincetown, Mass.; New Orleans; and Key West, Fla. Williams died Feb 25, 1983, in New York City, at age 71, and is buried in a family plot in Calvary Cemetery in St. Louis.

LaBounty, Rao, Bailey, Newlin and Huevelman. Photo by Brad Slavik

Scully is stingy with historical details, relying on the audience to know about the play and Williams’ backstory. Sure, the play is classic and iconic, but what about those unfamiliar?

What is missing here is the ‘how’ and ‘why’ the play was heralded. Perhaps characters rehearsing some of the scenes, to demonstrate Williams’ verbal dexterity, his emotional honesty, and his psychological profiles? Audiences connected to his memorable characters, and we should get a sense of that.

(I’ve since learned, after a Q&A with the author, that he originally wanted to use lines from “The Glass Menagerie,” but because of copyright issues, could not.)

From Newlin, we do get a sense of his idealistic passion, and Bailey’s fervent portrayal of Dowling as the guiding light, is a standout. Director Julie George-Carlson has thoughtfully staged this glimpse into the past.

Elia Kazan, who directed several of Williams’ iconic stage and film productions, described him as thus: “Everything in his life is in his plays, and everything in his plays is in his life.”

The story here feels incomplete, and I left wanting more, for Williams is as fascinating of a character as the fictional ones he created. “Tenn” focuses solely on the backstage drama that results in a triumphant theatrical achievement.

As a work in progress, “Tenn” illuminates a key aspect of Williams’ luster.

“Make voyages. Attempt them. There is nothing else,” Williams wrote in his 1953 play “Camino Real.”

First Run Theatre is presenting “Tenn” from July 31 through Aug. 9, Friday and Saturday at 8 p.m., and Sunday at 2 p.m., at the Kranzberg Arts Center, 501 N. Grand, St. Louis MO. The two-act play has one 15-minute intermission. For tickets and information, please visit www.firstruntheatre.org.

SATE opens its Season of Motherhood with World Premiere of ‘Confetti Kids’  

SATE opens its Season of Motherhood with World Premiere of ‘Confetti Kids’  

Maya doesn’t have a ride to prom. Her friends have ditched her, and her mom, Dr. Rachel Graves, is too busy fighting for a community that’s been poisoned by WWII-era radioactive waste. Like most fights, the front line has formed at a St. Louis County PTA meeting.

Confetti Kids by Aurora Behlke is a world premiere, with performances Aug. 20–Sept. 5, Thursdays through Saturdays at 7 PM, at The Chapel, 6238 Alexander Drive (63105). Tickets are $20 for artists, seniors, and students; $25.00 for general admission; and are available through Eventbrite. 

Confetti Kids follows Rachel Graves, a nuclear scientist and single mother whose carefully controlled world begins to unravel as her community confronts the legacy of decades-old radioactive contamination near her daughter’s high school. As Rachel is drawn into the fight for environmental justice, she must navigate the tension between scientific objectivity and the deeply personal stakes of protecting her family.

All while life continues to revolve around the very real, very urgent matters of teenage friendships, prom preparations, and growing up. Blending humor and hope, Confetti Kids explores motherhood, friendship, inherited consequences, and the choices we make when the past presents constant obstacles. 

For generations, Coldwater Creek has been woven into the fabric of North St. Louis County. A place where families walked, children played, and neighborhoods grew. What many residents didn’t know was that the creek also carried the legacy of radioactive waste generated during uranium processing for the Manhattan Project.

As contamination spread through flooding, Coldwater Creek became the center of decades of community advocacy, scientific investigation, and ongoing environmental cleanup. Its story raises urgent questions about environmental justice, public trust, and what we owe communities living with the consequences of decisions made long ago.

The performing ensemble includes: Nicole Angeli, Adam Flores, Hailey Medrano, and Tia Williams.

Kristen Strom will direct the production. Jim Bernatowicz is the stage manager. Lighting design by Theresa Comstock, costume design by Kayla Lindsay, set design by Erik Kuhn, with sound design by Ellie Schwetye. Props by CeCe Entz, Video/Projection design by Eric Satterfield. Dramaturg was Keir Aitken. Mason Hunt serves as master electrician, and graphic design by Dottie Quick. Ellie Schwetye, Rachel Tibbetts, and Summer Baer are co-producers. 

Confetti Kids was developed through the 2024 Confluence Writers Project, the St. Louis Shakespeare Festival’s fellowship supporting emerging playwrights from Missouri and Illinois. Written by Aurora Behlke for the festival, the play continues the Confluence Writers Project’s mission of nurturing new voices and bringing original Midwestern stories to the stage.

This production also marks SATE’s second full production of a Confluence developed play, following its acclaimed world premiere of Courtney Bailey’s Brontë Sister House Party, another commission that went on to earn multiple St. Louis Theater Circle Awards. SATE is proud to continue to foster new and impactful work by local playwrights. 

Funding for Confetti Kids made possible by Missouri Arts Council and the Regional Arts Commission.

St. Louis Holocaust Museum Presents Staged Reading of ‘Camp Siegfried’ 

St. Louis Holocaust Museum Presents Staged Reading of ‘Camp Siegfried’ 

The St. Louis Kaplan Feldman Holocaust Museum invites the community to a special staged reading of Camp Siegfried, the acclaimed play by Pulitzer Prize and Tony Award-winning playwright Bess Wohl, whose latest work, Liberation, has earned widespread critical acclaim. The performance will take place on Thursday, August 20, at 6 p.m.

Set on Long Island in 1938, Camp Siegfried tells the unsettling story of an American summer camp operated by the German American Bund, a pro-Nazi organization that sought to spread Nazi ideology in the United States before World War II. Through the relationship of two teenagers, the play explores identity, belonging, propaganda, and the vulnerability of young people to extremist movements. The reading offers audiences a powerful reminder that the rise of fascism was not confined to Europe.

“We are excited to explore the little-known history of German American bunds through this eye-opening play” says Myron Freedman, the museum’s Executive Director. ” Bess Wohl’s teenage characters speak volumes as they negotiate the influence of each other and a world pulling to extremes.”

The staged reading is presented in conjunction with the Museum’s special exhibition, Nazis Next Door: St. Louis Faces Nazism in the 1930s, which explores how the St. Louis community responded to the rise of Nazism both abroad and at home. This program is made possible through the generous support of Mary Strauss and The Rubin and Gloria Family Education Institute.

Presented as part of the Museum’s ongoing public programming, the event reflects the Museum’s mission to preserve Holocaust history, amplify survivor voices, and inspire visitors to confront antisemitism, prejudice, and injustice.

The staged reading will take place at the St. Louis Kaplan Feldman Holocaust Museum, located at 36 Millstone Campus Drive, St. Louis, MO 63146.

Tickets are $8.  Advanced registration is encouraged. More information can be found on the Museum’s website:

Staged Reading: Camp Siegfried by Bess Wohl | St. Louis Kaplan Feldman Holocaust Museum

About the St. Louis Kaplan Feldman Holocaust Museum

The St. Louis Kaplan Feldman Holocaust Museum preserves the history and lessons of the Holocaust through compelling exhibitions, survivor testimony, educational programming, and community engagement. By connecting the history of the Holocaust to contemporary issues of antisemitism, bias, and civic responsibility, the Museum empowers visitors to become active allies and advocates for a more just and compassionate world.

Winners Announced for Critics Choice Association’s Annual Super Awards

Winners Announced for Critics Choice Association’s Annual Super Awards

“THE BOYS” AND “WIDOW’S BAY” LEAD TELEVISION WINNERS WITH THREE WINS EACH

“OBSESSION,” “PROJECT HAIL MARY,” “SUPERMAN,” AND “THE FURIOUS” TOP FILM WINNERS WITH TWO WINS EACH

(Los Angeles, CA – August 6, 2026) – The Critics Choice Association (CCA) announced today the winners of the sixth annual Critics Choice Super Awards, honoring the most popular, fan-obsessed genres across both television and movies, including Superhero, Science Fiction/Fantasy, Horror, and Action.

“The Boys” and “Widow’s Bay” were the standouts among this year’s television winners, each taking home three trophies. “The Boys” earned three wins from its five nominations, including Best Superhero Series, Limited Series or Made-for-TV Movie. Antony Starr won Best Actor in a Superhero Series, Limited Series or Made-for-TV Movie, as well as Best Villain in a Series, Limited Series or Made-for-TV Movie. “Widow’s Bay” swept all three categories in which it was nominated, with wins for Best Horror Series, Limited Series or Made-for-TV Movie; Matthew Rhys for Best Actor in a Horror Series, Limited Series or Made-for-TV Movie; and Kate O’Flynn for Best Actress in a Horror Series, Limited Series or Made-for-TV Movie.

“Obsession,” “Project Hail Mary,” “Superman,” and “The Furious” led this year’s film winners, earning two wins each. “Obsession” was named Best Horror Movie, with Inde Navarrette honored as Best Actress in a Horror Movie. “Project Hail Mary” took home Best Science Fiction/Fantasy Movie, with its star Ryan Gosling winning Best Actor in a Science Fiction/Fantasy Movie. “Superman” was named Best Superhero Movie, and David Corenswet won Best Actor in a Superhero Movie. In the Action categories, “The Furious” won Best Action Movie, and Xie Miao received Best Actor in an Action Movie.

The Critics Choice Super Awards is also presenting a special honor recognizing a certain outstanding performance in a horror film. This year, Indy, the Nova Scotia Duck Tolling Retriever and four-legged star of IFC’s thriller “Good Boy,” will receive the Best Good Boy in a Horror Movie award for his scene-stealing performance.

Select acceptance speeches are available on Instagram and X @CriticsChoice, on TikTok @OfficialCriticsChoice, and on Facebook/CriticsChoiceAwards.

The full list of winners can be found below.

FILM WINNERS FOR THE 6TH ANNUAL CRITICS CHOICE SUPER AWARDS

Ryan Gosling in “Project Hail Mary.”

BEST ACTION MOVIE

The Furious

BEST ACTOR IN AN ACTION MOVIE

Xie Miao – The Furious

BEST ACTRESS IN AN ACTION MOVIE

Charlize Theron – Apex

BEST SUPERHERO MOVIE*

Superman

BEST ACTOR IN A SUPERHERO MOVIE*

David Corenswet – Superman

BEST ACTRESS IN A SUPERHERO MOVIE*

Milly Alcock – Supergirl

Obsession.

BEST HORROR MOVIE

Obsession

BEST ACTOR IN A HORROR MOVIE

Ralph Fiennes – 28 Years Later: The Bone Temple

BEST ACTRESS IN A HORROR MOVIE

Inde Navarrette – Obsession

BEST SCIENCE FICTION / FANTASY MOVIE

Project Hail Mary

BEST ACTOR IN A SCIENCE FICTION / FANTASY MOVIE

Ryan Gosling – Project Hail Mary

BEST ACTRESS IN A SCIENCE FICTION / FANTASY MOVIE

Emily Blunt – Disclosure Day

BEST VILLAIN IN A MOVIE

Amy Madigan – Weapons

BEST GOOD BOY IN A HORROR MOVIE

Indy – Good Boy

Josh O’Connor, Emily Blunt in “Disclosure Day.”

* Superhero categories also include Comic Book and Video Game Inspired movies
 

James Marsden, Sterling K Brown in “Paradise.”

TELEVISION WINNERS FOR THE 6TH ANNUAL CRITICS CHOICE SUPER AWARDS

BEST ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Task

BEST ACTOR IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Sterling K. Brown – Paradise

BEST ACTRESS IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Kaitlin Olson – High Potential

BEST SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE* (Tie)

Spider-Noir

The Boys

Antony Starr in “The Boys.”

BEST ACTOR IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE*

Antony Starr – The Boys

BEST ACTRESS IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE*

Danielle Brooks – Peacemaker

BEST HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Widow’s Bay

BEST ACTOR IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Matthew Rhys – Widow’s Bay

Kate O’Flynn in “Widow’s Bay.”

BEST ACTRESS IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Kate O’Flynn – Widow’s Bay

BEST SCIENCE FICTION / FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Pluribus

BEST ACTOR IN A SCIENCE FICTION / FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Sterling K. Brown – Paradise

BEST ACTRESS IN A SCIENCE FICTION / FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Rhea Seehorn – Pluribus

BEST VILLAIN IN A SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE

Antony Starr – The Boys

Rhea Seehorn in “Pluribus”

* Superhero categories also include Comic Book and Video Game Inspired programs

About the Critics Choice Association
Founded in 1995, the Critics Choice Association (CCA) is one of the largest critics organizations in the world, representing more than 500 media critics and entertainment journalists. It is known for presenting the annual Critics Choice Awards, honoring the finest in cinematic and television achievement for over three decades.

With a commitment to recognizing industry creatives and professionals across genres, CCA has expanded its slate of events over the years to include the Critics Choice Documentary Awards, Critics Choice Real TV Awards, and Critics Choice Super Awards. The CCA also produces a series of Celebration events to recognize historically underrepresented communities, including the Celebration of Black Cinema and Television, Celebration of Latino Cinema and Television, Celebration of AAPI Cinema and Television, and Celebration of LGBTQ+ Cinema and Television. 

For more information, visit www.CriticsChoice.com and follow along on Instagram and X @CriticsChoice, on TikTok @OfficialCriticsChoice, and on Facebook/CriticsChoiceAwards.

Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

By Lynn Venhaus

With extra oomph in every song and dance number, Stages St. Louis delivers a festive confection in “Guys and Dolls.”

The snazzily attired ensemble looks like they’ve walked out of an idyllic vintage postcard of 1950s Times Square, bringing to life the exciting rhythms and zip of New York City. The colorful characters move in synchronized fashion, striking poses as this mix of pickpockets, cops, tourists, card sharks, and evangelists breeze by.

The look of “Runyonland” transports us to the bustling energy of midtown Manhattan and signals that we’re in store for one of the best musicals from the golden age. Ann Beyersdorfer’s resplendent scenic design, in tandem with lighting designer Sean Savoie’s bright neon lights, makes the skyline glow.

Costume designer Tim Kent’s stunning work is an integral element of this show, with outfits that dazzle in the Hot Box numbers – eye-popping elegance in “Take Back Your Mink” and glitzy in the fizzy “A Bushel and a Peck,” and boost the wise-guys pizzazz. Even every accessory, including outstanding hats and pocketbooks, are a marvel to see. Kent, a former designer of over 40 musicals at Stages from 1990-1997, has returned with an unmistakable flair.

Adelaide and the showgirls in “Take Back Your Mink.” Photo by Phillip Hamer.

Once we hear that unforgettable score, with muscular music and lyrics by Frank Loesser, we’re off to the races with the overlapping witty banter of “Fugue for Tinhorns,” and the robust ensemble piece “The Oldest Established” soon follows.

The entertaining book by Jo Swerling and Abe Burrows, based on journalist Damon Runyon’s short stories, features these gamblers, hustlers and gangsters in their Prohibition era habitat. This romanticized ‘underworld’ is taken from Runyon’s “The Idyll of Miss Sarah Brown,” “Blood Pressure,” and “Pick the Winner.”

They have names like Nathan Detroit (Matthew Schatz), Benny Southstreet (a sensational Wesley J. Barnes), Big Jule (Zoe Vonder Haar), Rusty Charlie (Reagan Pender), Harry the Horse (Aaron Fried) and Angie the Ox (Patrick Blindauer). The performers have mastered the distinctive slang called Runyonese, and director James Monroe Iglehart has defined this theatrical and funny production with an exaggerated chaotic kinetic energy.

Iglehart’s brisk guidance, and the collaborations to evoke this bygone era’s sentimental atmosphere, are key to this show’s appeal. Through a superb fusion of modern dance, jazz and ballet, choreographer Lindsay Joy Lancaster has created a style that gives this “Guys and Dolls” revival its signature. Pulsing with musicality, Lancaster’s dance moves in ‘Havana” and “Crapshooters Ballet” are the show’s MVP.

“Luck Be a Lady.’ Photo by Phillip Hamer.

The storytelling remains sweet and funny, especially the long-engaged dancer Miss Adelaide (Katerina Papacostas), who is tired of fiancé Nathan’s stalling, and yearns for a stable life. Papacostas is a rare find and steals the show with her feisty take on the iconic role. She takes charge in “Adelaide’s Lament” and comically bickers with her betrothed in “Sue Me.”

With those pre-feminism roles of the ‘50s, the female leads of that era have been mainly “need a man to take care of me” but Adelaide is no pushover, and it’s refreshing. Neither she nor Sarah are passive this time around. We’re just going to ignore the sexist tropes of that day here (you know, dolls and dames).

As Nathan, Schatz affably embodies the fast-talking, good-natured con man, and he and Papacostas, despite his commitment phobia, have a winning chemistry. He just values his illegal dice game more.

Unfortunately, the other principal pair, Sky Masterson (Sam Harvey) and Sarah Brown (Lindsay Roberts Greene), do not have any spark with their forced connection. High-roller Sky tries to woo the uptight, idealistic sergeant at the Save-a-Soul Mission because of a bet, but then they wind up falling for each other. That aspect proves that cool cat Sky can’t control love, and neither can Sarah.

Sam Harvey and Lindsay Roberts Greene in “If I Were a Bell.” Photo by Phillip Hamer.

Seen at Stages as the slick Danny Zuko in “Grease” in 2019, Harvey delivers smooth vocals as the suave Masterson, especially city love letter “My Time of Day” and the swinging splashy “Luck Be a Lady” in the high-stakes crap game that takes place in the city’s sewer.

Greene has a beautiful voice and sings her solos “I’ll Know” and “If I Were a Bell” with aplomb. But she and Harvey are mismatched in “I’ve Never Been in Love Before,” and do not click vocally.

The cast’s harmony comes together in the showstopping “Sit Down, You’re Rockin’ the Boat,” one of the all-time great ensemble pieces, and this high-spirited cast raises the roof. It’s Tamar Green’s time to shine as the cheerful Nicely-Nicely Johnson, Nathan’s loyal sidekick.

A welcome presence, Greene is a natural force whose expressive, rich tenor has made him a standout as George Washington in “Hamilton” on Broadway, and a tower of strength as Coalhouse Walker in Stages St. Louis’ “Ragtime,” for which he won the St. Louis Theater Circle Award in 2025.

“Sit Down You’re Rocking the Boat.” Photo by Phillip Hamer.

The ‘Sit Down’ foot-stomping, hand-clapping revival-style number always brings down the house so that “Marry the Man” duet between Sarah and Adelaide that follows always feels like an after-thought, but it leads to the inevitable happy ending.

Supporting characters of note include St. Louisan John Flack, an ideal fit as Arvide Abernathy, the kindly loving grandfather of Sarah Brown, and the bass drum player in the mission band. His warm, heart-tugging ballad “More I Cannot Wish You” is one of the show’s highlights.

Another high point is local treasure Zoe Vonder Haar as Chicago high roller Big Jule – what fun! Other veteran local performers who grace the stage include Steve Isom as gruff Lt. Brannigan, Pam Reckamp as no-nonsense General Cartwright, and Blindauer as a comical Angie the Ox.

The swaggering guys (previously not mentioned) include Paul Giarratano, Josiah Gundersen, Philly Kang, Connor Kelly-Wright, and Jack David Mullen, while the sprightly dolls were Teah Juliette Bell, Anna Chin, Marjorie Failoni, Cara Palombo and Maya Santiago. Swings include Aubrey Aldag, James Caposito and Mason Hensley. They find the sweet spot, not too seedy or campy, as the saints and sinners.

Katerina Papacostas and Matthew Schatz as Miss Adelaide and Nathan. Photo by Phillip Hamer.

Musical director Dolores Duran-Cefalu buoyantly leads an orchestra that includes Jonathan M. Taylor on drums and percussion, Adam Anello on bass, George Manning on trombone, Chris Miller and Dan Smith on trumpets, Lea Gerdes, Joseph Hendricks and JD Tolman on reeds, Fiona Brickey on violin, and Mark Maher and Duran-Cefalu on keyboards.

Other contributions include terrific wig and hair design by Paige Stewart, clear sound design by Breanna Fais, and sharp stage managing by E. Sara Barnes.

Let’s face it, this musical comedy fable is such a staple in school and community theater that you’d be hard-pressed to find someone who hasn’t seen it, been on a crew or acted in it. Nearly everyone who has a connection to the play looks back on it fondly, as you just can’t find fault with those peppy numbers, no matter how times have changed.

“Guys and Dolls.” Photo by Phillip Hamer.

The Tony-winning musical premiered on Broadway on Nov. 24, 1950, and ran for 1,200 performances. It has been revived numerous times – 1955, 1965, 1976, 2009, and most notably, the 1992 revival that won four Tony Awards and ran for 1,143 performances. And there was that 1955 movie starring Marlon Brando and Frank Sinatra.

Laced with nostalgia, Iglehart’s delightfully crisp and snappy production comes alive with intention and demonstrates why this quintessentially American musical has staying power and a devoted audience.

Stages St. Louis presents “Guys and Dolls” July 24 through Aug. 23, with performances daily except for Mondays, at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org

“The Oldest Established.” Photo by Phillip Hamer.

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

By Lynn Venhaus

Get ready to groove! A harmonious blend of electrifying sound, smooth moves and soulful expression, “Ain’t Too Proud: The Life and Times of the Temptations” deftly delivered passionate personal portraits in The Muny’s premiere production.

The iconic songs that made this rhythm and blues group the most successful ever sound pure and powerful as the soaring falsettos, high tenor leads and deep bass notes recall a timeless soundtrack to the ‘60s and ‘70s    – and freshly highlight their extraordinary career for those not as familiar.

This is an endearing classic jukebox musical with dramatic storytelling about perseverance, ambition, collaboration and resilience — how these five Detroit guys rose from humble beginnings to international stardom.

The show opened on Broadway Feb. 28, 2019, stopped for the pandemic shutdown on March 12, 2020, then resumed Oct. 16, 2021, and closed Jan. 16, 2022. It was nominated for 12 Tony Awards and won for choreography. National tours have stopped at the Fox Theatre in St. Louis twice, first in 2022, and then for a weekend in 2025.

From left: Jawan M. Jackson, James T. Lane, Nick Rashad Burroughs, Elijah Ahmad Lewis and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The Temptations were the first Motown group to win a Grammy (“Cloud Nine” in 1969), had 53 hits in the Billboard Top 100, were inducted into the Rock and Roll Hall of Fame in 1989, and Billboard named them the #1 Greatest R&B/Hip-Hop Artist of All-Time in 2017.

Formed as The Elgins in 1961, founder Otis Williams (James T. Lane) assembled the first quintet to include tenor Elbridge “Al” Bryant (Robert Crenshaw), bass Melvin Franklin (Jawan M. Jackson), tenor Eddie Kendricks (Elijah Ahmad Lewis) and baritone Paul Williams (Daniel Yearwood).

Under Berry Gordy’s (Galen J. Williams) tutelage, they ascended the charts as The Temptations, with Smokey Robinson (Tyler Hardwick) first writing their hits. Bryant left in 1964 and was replaced by David Ruffin (Nick Rashad Burroughs), who sang lead on “My Girl,” “Ain’t Too Proud to Beg” and “I Wish It Would Rain.”

As they go through decades of fame, personal loss, and historical change, Norman Whitfield (Robert Crenshaw) took over as composer, writing bold songs about real-world issues, affected by the civil rights movement, Dr. Martin Luther King’s death in 1968, and subsequent Detroit riots.

James T. Lane and Nasia Thomas in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The second member shift was when Dennis Edwards (Joseph Anthony Byrd) replaced Ruffin in 1968, then Kendricks and Paul Williams both left the group in 1971. Later members included Richard Street (Aramie Payton), Damon Harris (Tyler Hardwick), Glenn Leonard, Ron Tyson, and Ali-Ollie Woodson. By Williams’ account, there are 27 men who have been officially part of The Temptations, and today, there is an evolving roster.

This recognizable music instantly made a connection with the audience, and a comfortable rapport was established. A high-energy ensemble performed 31 Motown hits with synchronized, athletic dance steps.

Paul Williams, widely considered the group’s best dancer, helped develop those slick moves in the early days, including “The Temptation Walk,” which were recreated by Tony winner Sergio Trujillo, and then stylized by choreographer Rickey Tripp, making his dazzling Muny debut, aided by associate choreographer Nasha Harris Santiago

Also here for the first time, Music Director Darryl G. Ivey buoyantly conducted 23 top-tier musicians to masterfully blend those global smash hits. Under Marcia Milgrom Dodge’s fast-paced direction, pizzazzy sequences were enlivened by scenic designer Edward E. Haynes Jr.’s towering Ambassador Bridge set piece and Kevan Loney’s imersive video designs incorporating concert and television appearances. Rob Denton’s lighting design and Joshua Hummel’s sound design complimented the showbizzy atmosphere.

From left: E.J. Hamilton, Candice Marie Woods and NaTonia Monet in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Costume designer Gail Baldoni based impeccable retro garments on the original designs by Paul Tazewell and included those stylish matching suits the guys were known for and sparkly gowns for The Supremes. Kelley Jordan fashioned the wigs, and the hairstyles grow in size as the 1960s progress..

Behind the flash, the actors conveyed a band of brothers – in the emotional highs and lows, and in the personal, professional and political struggles of their time. Dominique Morisseau’s book, while gritty, follows a conventional formula – but does not gloss over painful occurrences. The darker side includes alcoholism, drug addiction, domestic violence and suicide.

Morisseau adapted founder Otis Williams’ autobiography, written with Patricia Romanowski, for the basis of the musical, and he not only attended Monday’s performance, but spoke to the crowd after the curtain call. Williams, 84, still tours with the group.

From left: NaTonia Monet, Galen Williams and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

As the sturdy narrator Williams, engaging James T. Lane broke the fourth wall. He also framed the heavy emotional cost of success, outliving his friends, and focused on keeping the band together. As the moral anchor, Williams dealt with the big egos and arguments, and is the last surviving member, so the story is his to tell.

Dynamic Nick Rashad Burroughs, such a live wire as James “Thunder” Early in 2024’s “Dreamgirls,” embodied the tempestuous and talented frontman Ruffin, who couldn’t overcome his demons.

From left: Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

A real aural delight is Jawan M. Jackson as the distinctive bass Franklin, nicknamed “Blue.” His “Papa Was a Rolling Stone” is unforgettable. No wonder that he originated the role on Broadway and is now part of The Temptations, for his rich, mature tone resonates so perfectly.

Elijah Ahmad Lewis, who was a principal standby on Broadway, plays the cool cat Eddie “Corn” Kendricks with verve, displaying the signature falsetto on “Just My Imagination,” “Get Ready” and “The Way You Do the Things You Do.”

Daniel Yearwood is a heart-tugging Paul Williams, providing warm, sincere vocals like “For Once in My Life,” and then emotionally going through a sad trajectory.

The polished and professional female squad played several notable roles, with Candice Marie Woods as a stunning Diana Ross, E.J. Hamilton as Mary Wilson and NaTonia Monét as Florence Ballard, all shimmering as The Supremes, with Monet also Tammi Terrell, and Nasia Thomas as Otis’ wife Josephine.

From left: Elijah Ahmad Lewis, Jawan M. Jackson, James T. Lane, Robert Crenshaw, Daniel Yearwood and the company of the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Noteworthy in support are Robert Crenshaw as Al Bryant and Norman Whitfield, two roles he played on the national tour and TJ Staten Jr. as Otis’ grown son Lamont. While his role as manager Shelly Berger isn’t as flamboyant as Uncle Fester, Cogsworth and Igor in previous Muny productions, it’s nice to see Steve Rosen return – and his curtain call schtick is very funny.

Besides the aforementioned, the hard-working ensemble included Joshua Keith, Essence Anisa Tyler, Riley Adams, AJ Bentley, Laila Fantroy, Kameron Henry, Myles Lacey, Kayla Montgomery and Landon Page.

We brought our fond memories to the Muny, and Dodge supplied the upbeat concert vibe to make it a lively and entertaining evening. She made the past feel very present.

A Detroit native, she played Motown 45s in her basement like my sister Julie and I did in our youth. So, of course we were seat dancing! And up on our feet for the curtain call. This is Dodge’s 11th musical at the Muny, and one that was deeply personal to her, which she conveyed to all of us there Tuesday night.

From left: Nick Rashad Burroughs, Jawan M. Jackson, Elijah Ahmad Lewis, James T. Lane and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The music of The Temptations lives on forever, and the Muny audiences won’t soon forget the fun party atmosphere nor the quintet’s heartfelt journey.

The Muny presents “Ain’t Too Proud: The Life and Times of The Temptations” from July 27 to Aug. 2 on the outdoor stage in Forest Park nightly at 8:15 p.m. and is presented by Moneta. The runtime is 2 hours, 30 minutes with 15-minute intermission included.

From left: Daniel Yearwood, Elijah Ahmad Lewis, Nick Rashad Burroughs, Joseph Byrd, Jawan M. Jackson and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

By Lynn Venhaus

“Is it now? I thought I had more time.”

A guy, clad in pajama pants and sitting in a wheelchair, utters those words. That’s the start of “Wakey Wakey,” a clever, insightful rumination on the humanity that connects us all.

Written by American playwright Will Eno, this thoughtful 2017 dramatic comedy is the latest uncommon offering from The Midnight Company and is a St. Louis premiere. In the title role of Guy is the company’s founder and artistic director, Joe Hanrahan. He’s charming, disarming and funny as an everyman facing mortality.

Eno’s rhythms ideally fit Hanrahan because it’s like everyday conversation in a natural stand-up routine way. He has performed Eno’s plays “Thom Pain (based on nothing)” twice (a finalist for the 2005 Pulitzer Prize), and “Title and Deed” before, so he is familiar with the anxious musings and reflections about the cosmic wonders that intrigue us every time we look up at the sky.

Eno’s written seven plays and known for a quirky writing style – fragmented dialogue and philosophical commentary. As Guy, Hanrahan, looking rumpled with disheveled hair, has come to terms with his final days. He speaks to the audience directly, reading from index cards like he’s addressing the local chamber of commerce.

He starts pondering life, grief and survival, then takes sharp turns into precise off-beat subjects. Hanrahan, with self-deprecating wit, is in a jolly mood sharing space with the audience.

He has slides to show, too. And he’s trying to figure out the remote control for the ‘clicks.’ His befuddlement struck a chord with the audience. It may feel random, but it has a point – and the more esoteric, the more it seemed to connect.

The audio, impeccably designed by director Ellie Schwetye, features snippets of songs and sound bites to fit the visual elements. The projection design is by the skilled Zac Grimm, who won the first-ever St. Louis Theater Circle Award for visual effects design in 2025, for Liz Lewy’s remarkable “Longing.”

At times, “Wakey Wakey” might feel like you’re back in a dorm room, talking about life, existential philosophies and aging. What do we think is worth celebrating and worth treasuring, and will we feel that way when we’re older?

Laced with laughs, the audience gets a kick out of Hanrahan engaging with them, breaking the fourth wall. Guy looks like he’s surrounded by boxes, living in a place that’s not his home, but is his final address. Written material indicates it is a hospice situation.

We all know that no one gets out alive, right, so instead of it being sad — Eno enlivens the conversation. Joe’s not alone, either. Rachel Hanks arrives midway through the one-act, as Lisa, saying she is to check on him. She’s a grounded presence, always.

The creative team ensured this was not just a simple ‘monologue,’ but rather a theatrical endeavor that said something, meant something, and we felt connected, starting with Schwetye’s crisp direction. This is her 11th collaboration with Hanrahan, and they’ve united on memorable productions, including “Tinseltown,” which won the St. Louis Theater Circle Award for Best New Play. Lighting designer Tony Anselmo superbly enhanced the visual aspect.

The key takeaway – which gets patrons talking – is that we don’t value the small things in life until, perhaps, it’s too late. So, celebrate them all: moments of laughter, wonder, joy and each other. The set-up at the Chapel lent itself to the cozy atmosphere, which felt very communal.

When Joe delivered the line: “We need to get better at saying hello,” that spoke to me. But there are many things that spoke to the ‘right here, right now’ of living in 2026.

The Midnight Company presents “Wakey Wakey” from July 16 to Aug. 1 without intermission at The Chapel, Performances are at 7:30 p.m. Thursday through Saturday and at 2 p.m. Sunday. For more information, visit www.midnightcompany.com

COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

By Lynn Venhaus

For COCA’s magical production of Disney’s “The Little Mermaid,” I had the pleasure of being surrounded by beloved family for a special afternoon of live musical theater.

This was not an assignment for regional professional theater reviewing, but rather supporting the arts and being with people I love. It was a charming and delightful show Sunday, the last of six performances this July – and the audience was clearly appreciative of this momentous labor of love. It was just fun to be a part of, and watch families enjoy the experience.

As a fan of the show, seen multiple times, it was heart-warming to see how transfixed my guests Josie, 9, and Meadow, 3, were by the fairy tale’s whimsy and wonder, and so were us moms and company. I spied many little girls in mermaid outfits in the beautiful Catherine B. Berges Theatre in University City.

So many fine elements were impressive – the vibrant characters in the underwater kingdom, the dazzling seascape, the glistening costumes, and the lush orchestrations. Shout-outs to scenic designer Seth Howard, technical director Cameron Tesson, costume manager Cody Floyd, Jayson Lawshee-Gress’ lighting designs and Luke Bowers’ sound designs.

Kaelyn McCurtis as Ariel

With that many costumes, special mention to assistant costume designer and draper Meredith LaBounty and costume shop manager Ari Stern. And to the volunteer make-up artist Michael Coleman.

It’s the first COCA musical directed by Will Bonfiglio as the Artistic Director of Theatre, and he surrounded himself with a strong creative team. Peerless Larry D. Pry as the music director and vivacious choreography by alum Alisa Cooper.

The production benefitted from student assistant director Aspen Meyer and JiaLi Deck as alumni assistant choreographer. And no production can do without a stellar production manager (Carolyn Carter), with assistants Lexi Sims and Gray Campbell, and youth manager Cassie Gant, who also served as an effective prop designer.

Always a fan of Bonfiglo’s innovative eye, he has an imaginative, clear image of an overall picture and how to achieve maximum heart-tugging. To date, Bonfiglio is the only three-time St. Louis Theater Circle Award winner as lead actor in a comedy.

Dr. Philip A. Woodmore as King Triton.

Bonfiglio incorporated so many enchanting aspects – including aerial wizardry! (Kudos to flying effects by On the Fly Productions and fly operators Mason Hunt, Connor Kielty, Isaac Bunting and Elliot Wright).

He set the shimmering tone in the opening “The World Above,” and the cast quickly endeared themselves. Kaelyn McCurtis was a spunky, engaging Ariel with a gorgeous voice, and Xander Ungerboeck was a likable Prince Eric.

Nayomi Shackelford was quite the villainess as Ursula – and special shout-out to Ursula’s shell designer Bess Moynihan. Flotsam and Jetsam looked great – Rian Page and Karajana Caplinger were quite nimble, too.

Grimsby is always an unsung hero, so bravo to Grayson Ritson for an impeccable job keeping the show moving fluidly. Ariel’s six sisters had fun with their roles – Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick.

Ariel’s sisters Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick with Flounder Nora Turner.

With adorable cheerfulness, the 16-person featured ensemble and the 13-person guppy and gull ensemble added to the show’s big, bright numbers. The cast included student performers, alumni, and adult professionals – including COCA’s Dr. Philip A. Woodmore, Artistic Director of Voice, as King Triton.

They sung their hearts out of composer Alan Menken and lyricist Howard Ashman and Glenn Slater’s game-changing score from the 1989 animated film: especially “Part of Your World” and “Kiss the Girl.” Always a showstopper, “Under the Sea” was a fun spectacle – complete with jellyfish, swimming turtles and other marine life.

The three comical characters — Nora Turner as confidante fish Flounder, Brynn Meyer silly seagull Scuttle and Safiya Austin-El as skittish sidekick Sebastian the crab – were standouts, as was Byron Jenkins as the fussy French Chef Louis in his signature number “Les Poissons.”

Nayomi Shackelford as Ursula with Kaelyn McCurtis.

Pry led an accomplished pit orchestra of 12 – Jonah Larsen, Joe Winters, Anne Stevenson, John Gerdes, Timothy R. Clark, Kris Pineda, Jeffrey Brayden Bollwinkel, Becca Bessette, Stephanie Brueggeman, Brandon Thompson, Alex Macke and Mo Carr.

(Fun fact: The movie is regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance in the 1990s.)

The stage musical arrived in 2007, and there was a live-action remake in 2023.

With strong performances and portraying a vivid underwater fantasy world, COCA offered family-friendly escapism and provided an emotional connection with comedic and theatrical flair.

Safiya Austin-El as Sebastian led the showstopper “Under the Sea.”

COCA presented their summer musical, “The Little Mermaid,” on July 17-19 and July 24-26.