Lynn Venhaus

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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.

The Muny’s Spirited ‘Bring It On’ Pops with Personality and Pizzazz

The Muny’s Spirited ‘Bring It On’ Pops with Personality and Pizzazz

By Lynn Venhaus

A spirited Muny debut that is tailor-made for that grand stage, “Bring It On: The Musical” is a marvel of motion that takes place in the cutthroat world of competitive cheerleading.

An engaging combination of original music, exhilarating dance, spunky multi-skilled performers, slick craftsmanship and a relatable finding-your-place story will win you over.

The sociable story is a teen rivalry set in two diverse socio-economic high school cultures that takes a page from “Legally Blonde” and “Mean Girls,” among others, The popular 2000 movie that inspired it starred Kirsten Dunst and Gabrielle Union, grossed $90 million worldwide and sparked five direct-to-video sequels and a TV movie.

Fun fact: Screenwriter Jessica Bedinger pitched the idea as “Clueless” meets “Strictly Ballroom” after becoming obsessed with cheer competitions on ESPN and having experience as a former music journalist covering hip-hop artists.

Taylor Sage Evans, Kennedy Holmes and Jonalyn Saxer. Photo by Phillip Hamer.

Full of pep, elaborate steps and impressive biceps, the acrobatic achievements are quite a spectacle, and 16 of the nation’s most elite college cheerleaders from the University of Kentucky are part of the energetic ensemble. The school has won 24 national championships.

Count me impressed. Their gasp-inducing athletic leaps, lifts and tumbles choreographed by cheer consultant Ryan Martin O’Connor, Kentucky head coach, combined with Jennifer Weber’s high-octane choreography, are thrilling.

While cheerleaders are a staple of film narratives since the 1950s, it is rarely the focus of traditional musical theater.

Enter a team of Broadway heavyweights who saw its appeal through a different lens – adding a hip-hop beat to a standard musical format, with other modern flourishes. Tony winners Lin-Manuel Miranda and Tom Kitt teamed up for the music, Miranda and Tony nominee Amanda Green collaborated on the lyrics, and Tony winner Jeff Whitty wrote a very funny libretto.

The Truman squad of Regine Sophia, Saxer, Katie Riedel and Evans. Photo by Phillip Hamer.

Back then, Mike Isaacson, the Muny’s executive producer and artistic director, co-produced the show with Kristin Caskey for Fox Partners, which premiered in Atlanta in 2011 and earned a 2013 Tony Award nomination for Best Musical and so did choreographer Andy Blankenbuehler, who also directed.

Missouri native Taylor Louderman and Adrienne Warren, who would later win a Tony as Tina Turner, starred as Campbell and Danielle, Jason Gotay was Randall, and Ariana de Bose made her Broadway debut as Nautica.

When it played at the Fabulous Fox in spring 2012 before its Broadway engagement, I was surprised at how enjoyable it was. With its crisp and snappy dance moves and lively performances, it seemed like a perfect fit for stages.

While a challenging commitment, the show has transferred seamlessly to the Muny’s canvas because of the entire creative team’s dedication to getting it right, from Denis Jones’ briskly paced direction to Caite Hevner’s imaginative video designs that add much to the storytelling.

Kennedy Holmes (left) and Jonalyn Saxer in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Jones, who has helmed 11 shows at the Muny and won three St. Louis Theater Circle awards, has a knack for presenting spry, ebullient shows performed gracefully with remarkable precision.

However, this show is fortified by perky performances and a perennial thoughtful message about friendship. What’s more important than winning? Purpose, self-worth and valuing true-blue relationships.

Saxer is Campbell, a sweet but driven cheerleader who is popular at Truman High School. Her main goal is to be captain and lead the team to Nationals. However, her dreams are dashed when she must transfer high schools because of redistricting.

She’s now at Jackson High School, where the cheerleading squad was disbanded. She convinces some skeptical students that competitive cheerleading would be their ticket to bigger dreams and more opportunities.

Katy Geraghty (center) and members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

She confidently delivers ballads, such as “What I Was Born to Do.” But when she has doubts or shows determination – “One Perfect Moment,” “What Was I Thinking” or even crazy-worry “Something Isn’t Right Here,” that’s when her character’s colors come out.

The clever Whitty, whose irreverent humor helped create “Avenue Q,” has altered the original conflict, dropped and brought in characters and injected Millennial speak.

He added a ruthless schemer “All About Eve” subplot, or more appropriate, “All About Eva,” a two-faced sophomore who masterminds her ascension into cheerleading royalty while orchestrating others’ demise.

Making her Muny debut as villainous Eva, Taylor Sage Evans, who was a standout as the replacement Anne Boleyn in the national tour of “Six” during the Fabulous Fox run in January, is the bouncy plastic blonde wannabe. She reveals her true colors in “Killer Instinct” and “Eva’s Rant.”

From left: Kennedy Holmes, Jonalyn Saxer, Aj Paramo and Ayla Ciccone-Burton in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

While there is much fresh talent to applaud, one of the obvious hallmarks of Muny summers are returning artists who have come back again and again to our “alone in its greatness” experience.

If actors describe Muny shows as “summer camp,” then “Bring It On” is a triumphant homecoming for Kennedy Holmes, who became a star on that stage over the past 10 years.

A Muny Kid, her big break came as Little Inez in “Hairspray” in 2015, and in recent years, she was in “Dreamgirls” and “Beautiful: The Carole King Musical” (as Little Eva). At age 14, she was an early standout on Season 15 of “The Voice” in 2018, but at the finale, came in fourth – the youngest finalist ever (she was robbed!). She’s been in demand ever since.

Jonalyn Saxer and Bryce Williams in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Now 20 and a student at USC, she’s a poised leading lady as Danielle, the ‘crew’ dance team chief at Jackson High. Talk about a Muny moment! It’s so gratifying to see her easily slip into this role that requires her to be a fluid hip-hop dancer and master the vivacious pop and hip-hop lyrics by Miranda and Green..

Saxer, who was an appealing Peggy Sawyer in Jones’ “42nd Street” here in 2016, works well with Kennedy as they navigate their differences, singing together superbly in the touching “We’re Not Done.” Among her credits are multiple Broadway shows, the first national tour of “Mean Girls” and the 2021 Spielberg film of “West Side Story.”

In a scene-stealing performance, Katy Geraghty, as Bridget, is the wackiest sidekick this side of Ethel Mertz. She also endears as a girl who was an ‘outsider’ all her life but finally fits in at her new school.

Geraghty is quickly becoming a Muny favorite, after her hilarious turn as Sister Mary Patrick in “Sister Act” two summers ago. (She was also impressive as Little Red in the 2022 Broadway revival of “Into the Woods.”)

Saxer, Holmes, Geraghty. Photo by Philip Hamer.

Another memorable Muny performer with 11 shows here, Sean Harrison Jones plays Steven, a Truman cheerleader and Campbell’s boyfriend. He was in the original Broadway cast of “The Outsiders,” in “Hamilton” on Broadway and national tour, and was Action in the 2021 film of “West Side Story.”

With his easy-going demeanor and soaring tenor, Bryce Williams stands out as Randall, a popular Jackson student and DJ who befriends Campbell. They share a lovely duet “Enjoy the Trip.” It’s an impressive Muny debut, and he’s still in college.

When Campbell’s first day at the new school is chaotic, the “Do Your Own Thing” number firmly establishes the rules and draw the lines. “Move!” is a savvy directive. Music director Anne Shuttlesworth never lets up.

The scenes at Jackson are where the show gets into a rhythmic groove, and the opening second act number “It’s All Happening” is a rousing fired-up anthem.

The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Supporting players who added much sass and satire were Katie Riedel as the golden girl Skylar, a spot-on Paris Hilton imitation, with terrific comic timing. One of her zingers in an a-ha moment — “Omigod, everyone’s gone through all this, like, personal growth, but I’m exactly the same person I was a year ago. Oh well! I like myself. Always did.”

In contrast, Regine Sophia is a sunny Kylar (real name Inez), who hangs with Skylar.

Danielle’s posse includes Nautica and La Cienega – and Ayla Ciccone-Burton and AJ Paramo are a dynamic duo. Randall’s buddies Twig and Cameron are winsomely played by Kevin Trino Perdido and Brandon O’Neal Bomer.

Special recognition must go to dancer Bailey “Bailrok” Munoz, who wowed the crowd with a spectacular breakdance routine in the Leprechaun mascot outfit during “Friday Night, Jackson.” Munoz won “So You Think You Can Dance” competition show in Season 16, the only breakdancing winner in the show’s 18 seasons.

Dancer Bailey Munoz as the mascot with members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Weber, who was Tony nominated for “& Juliet,” has designed choreography as vibrant as O’Connor’s vigorous cheer routines. Those numbers, including “Bring It On,” “Legendary,” “Crossing the Line” and the finale “I Got You” are dazzling.

To allow for the splashy dance numbers, Ann Beyersdorfer’s scenic design is masterful fluidity and function, efficiently mobile for the major cheer numbers, too. Jason Lyons’ harmonious lighting designs set the scenes and the sound work of John Shivers and David Patridge was clear and cohesive.

Continuing effective design work, Tristan Raines’ costumes were conducive to movement and represented high school fashions while Ashley Rae Callahan’s wig designs blended in well.

With its disarming good-time vibe, “Bring It On” pops with personality, energizing with uplift and inspiration – and is just so darn much fun.

Surprise guests on Wednesday night! From left: Mike Isaacson, Kwofe Coleman, Amanda Green, Lin-Manuel Miranda and Tom Kitt with the company of “Bring It On: The Musical.” Photo by The Muny | Emily Santel

The Muny presents “Bring It On: The Musical” June 16 – June 22 nightly at 8:15 p.m. in Forest Park. The musical is 2 hours and 10 minutes long, with one intermission. For more information, visit www.muny.org

This review is based on Tuesday’s rain-shortened one-act performance and Thursday’s full production

The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Splendid Pairing Boosts Stages’ Silly Comic Mystery ‘Murder for Two’

Splendid Pairing Boosts Stages’ Silly Comic Mystery ‘Murder for Two’

By Lynn Venhaus

With the physicality of silent film actors and the verbal dexterity of Abbott & Costello, a delightful duo cavorts with glee for a quick-witted, fast-paced musical comedy, “Murder for Two.”

The rollicking romp that opened Stages St. Louis’ season showcases Jeremiah Ginn in a stunningly agile tour de force as a dozen murder suspects and Ian Fairlee as the eager small-town police officer who wants to get ahead in the department. Could he make detective by solving this case?

The actors are also deft pianists who tickle the ivories while they’re coaxing the audience to laugh at their foibles, for this work includes a dozen songs.

The premise is a surprise birthday party for Great American Novelist Arthur Whitney, thrown by his wife Dahlia, a fretful, melodramatic Southern belle straight out of a Tennessee Williams play. Everybody in attendance is a suspect, all 12 of them.

Joe Kinosian, who wrote the music and co-wrote the book with Kellen Blair, who also wrote the lyrics, borrows the format from old-fashioned murder mysteries. Think Agatha Christie’s one-room setting filled with possible suspects, but then add the wacky charm of a sketch comedy troupe.

The twist of eccentric characters, so prevalent in parodies, such as the 1985 film “Clue” and the 1976 Neil Simon spoof “Murder by Death,” creates a fertile playground for the two actors.

The colorful characters are distinguished through Ginn’s remarkable quick-changes and sleight of hand techniques – whether it’s a pair of glasses, a dance movement, a hat or an accent shift.

Memorable suspects include the deceased’s flustered wife, snooty ballerina Barrette Lewis, the blabby town psychiatrist Dr. Griff, Dahlia’s niece – a pushy forensics student – Steph, bickering married couple (and next-door neighbors) Barb and Murray Flandon, peculiar gung-ho firefighter Henry Vivaldi, and a boys’ choir. Some are too nonplussed about a cold-blooded murder committed right in front of them. Hmmm…

His vocal flexibility as he moves between characters’ dialogues is quite something, managing to keep them all distinct. The boys in the choir sounds straight out of a Bowery Boys movie/Little Rascals short, which is obvious in the song “A Lot Woise” sung by Timmy, Yonkers and Skid.

Ian Fairlee as Marcus. Photo by Phillip Hamer.

As the fledgling detective Marcus Moscowicz, Fairlee gains the audience’s sympathy in rapid exchanges with his boss, his silent partner Lou, and others on the phone. He wants to do everything by the book, as outlined in his funny “Protocol Says” number.

Ginn’s sprightly delivery gets a workout in the ‘company’ numbers – “It Was Her,” “So What If I Did?” and “Process of Elimination.”

The story, heavy on true crime tropes, liberally adds daffy shenanigans as Marcus tries to narrow down who’s the killer and what could have been the motive. We learn the ‘who’ is immaterial to finding out why. You think you sorta know from the get-go — but you may be surprised because your hunch could be the infamous ‘red herring’ employed in so many mysteries.

The reveal is anti-climactic because the whodunit is secondary to the pair’s goofy antics. Ginn is so animated, he could be a live-action figure at Disney World, reminiscent of vaudeville clowns of a different era. He and Fairlee nimbly volley back and forth like tennis pros if they were ‘50s era Dean Martin and Jerry Lewis.

Ginn, who was a part of the New York cast, blends his considerable skills in dance, song and obviously has dealt with ‘seltzer down his pants.’ He is masterful in switching accents, like Peter Sellers did playing multiple characters in films like “Dr. Strangelove” and “The Pink Panther.”.

Fairlee and Ginn. Photo by Phillip Hamer.

While Ginn has the showier roles, Fairlee is as adept with the comic timing in a cagey part. They play off each other well.

Director Michael Kostroff maintained high energy during both acts, and brought out the ingenuity of the work, using as many resources as possible in that confined space.

Ann Beyersdorfer’s sly set, designed to be an author’s mansion in New England, is a well-appointed canvas for the nifty surprises galore, a nod to the Clue game board and every remote country estate where spooky things happen. She has given the actors room to dash around and broaden the action to outside..

And when it’s time for Dahlia’s big show-stopping number, “Steppin’ Out of the Shadows,” a humorous ridiculously over-the-top extravaganza, that’s when Stages ramps up the fun.

The show, which won Chicago’s Jefferson Award for Best New Musical in 2011, was developed at the Chicago Shakespeare Theater, then later produced on Broadway.

Jeremiah Ginn, as Dahlia. Photo by Phillip Hamer.

Because the cleverly constructed play entertains with slapstick, sight gags and slick technical effects, it seems natural to present at mystery dinner-theaters and for inoffensive school plays (never mind that murder is in the title and a few off-color remarks that can be altered.) This show would have been a major crowd-pleaser on the Goldenrod Showboat in its heyday. (Stages’ wildly popular production of the comedy “Clue” — their first-ever non-musical in 2023 was not only an audience hit but an awards magnet).

While both Ginn and Fairlee are skilled pianists, the music isn’t really necessary. They are enjoyable in the roles, with or without the music. And deliver the songs with aplomb. Ginn also served as music director.

The rest of Stages’ tip-top team makes the production flow smoothly. Sean M. Savoie’s lighting always enhances the settings, especially in a mystery where lights suddenly go out and things go bump in the night. Hankyu Lee’s sound design was sharp without any issues. Costume coordinator Erica Jo Lloyd kept up with all the shifts that helped define the characters.

With its zesty vaudeville-style humor, the energetic pair come across as looney, and they’re tuneful, so what’s not to enjoy?

Stages St. Louis presents “Murder for Two” from May 30 to June 29 in the Ross Family Theatre at the Kirkwood Performing Arts Center. .210 E. Monroe Ave. For more information or tickets, visit www.stagesstlouis.org.

New Line’s ‘Rent’ Strikes a Discordant Note with Some Tune, Tone Troubles

New Line’s ‘Rent’ Strikes a Discordant Note with Some Tune, Tone Troubles

By Lynn Venhaus

One of the big-bang bursts in musical theater history, “Rent” is why transformative composer Jonathan Larson endures 30 years after his masterwork spoke to the dreamer in all of us.

Therefore, it’s disappointing when people entrusted to perform his deeply emotional and vocally demanding songs fall short because of repeated off-key issues.

After producing “Rent” in 2014, New Line Theatre has brought it back 11 years later as its 100th show, a milestone achievement in its 33 years. Artistic director Scott Miller, an early Rent-head, enthusiastically co-directed, with assistance from associate artistic director Chris Moore, who also amiably played good-natured anarchist Tom Collins.

Using Puccini’s opera “La Boheme” as his template, Larson set his Gen X characters in New York City’s East Village in the 1990s as they struggled with life, love and HIV/AIDS over the course of a year.

As a struggling artist for many years, Larson knew the world he wrote about, which was based on a concept by Billy Aronson. For making their doubts, anxiety and commitments relatable, emphasizing community and connection, Larson posthumously won the Pulitzer Prize for Drama.

He won three of the show’s four Tony Awards (Musical, Book, Score and Actor in a Featured Role – Wilson Jermaine Heredia as Angel Dumott Schunard) out of 10 nominations.

Tragically, Larson did not live to see the first Off-Broadway preview performance, because he died that day — Jan. 25, 1996, after suffering an aortic dissection. He was 35.

While intentions are noble, because this treasured show resonates with so many, the noticeable aural flaws marred this production’s overall effectiveness. The rock opera’s celebrated reputation, inevitable expectations and music challenges are hard to live up to if key performers can’t stay in tune.

These shortcomings made me wonder what rehearsals were like because the band is sensational, and some of the singers’ soar, but voices allowed to make repeated mistakes didn’t adjust or correct before opening. This performance was a week later.

As is customary, the New Line band was outstanding. Musicians John Gerdes on bass, Clancy Newell on drums, Adam Rugo and Zack Kempen on guitar, and music director Randon Lane and Jason Eschoflen on keyboards were a major asset. But they couldn’t be miracle workers rescuing in-trouble vocalists every time, no matter how often they tried.

Corrinna Redford and Nathan Mecey as Mimi and Roger, with Chris Moore as Tom Collins. Photo by Jill Ritter Lindberg.

“Rent” features various musical styles. The biggest hurdle were those singers who relied on belting to convey their emotions, but unable to stay on key, wound up screeching,

Corrinna Redford, who played exotic dancer-junkie Mimi Marquez, was erratic vocally and pushed out of her range in “Out Tonight” and “Goodbye Love.” They were messy, breathy and undisciplined, as was “Your Eyes.”

Shouting less, which resulted in a softer interpretation, helped in “Without You” and “I Should Tell You.” Portraying her love interest Roger, Nathan Mecey often went flat when they sang together, thus trying to achieve their spark was difficult.

As lovestruck Collins, Moore fared the best delivery-wise — a sweetly romantic “I’ll Cover You” shared with Angel (and later his heartbreaking reprise) and a hopeful, melodic “Sante Fe.”

With Aarin Kamphoefner as Angel, they displayed the most chemistry of the couple pairings. To their credit, starting with their introduction “You OK, Honey?,” then becoming the positive and compassionate pair did not seem like a stretch.

Chris Moore singing “I’ll Cover You” reprise, with Angel in background. Photo by Jill Ritter Lindberg.

Angel, a street musician and drag queen afflicted with AIDS, is the glue that holds all her friends together. She is such a vibrant life force that when Kamphoefner didn’t go full ebullient RuPaul, you wanted more oomph because she is the life of the party, especially in “Today 4 U” and “Happy New Year.” However, Kamphoefner gave the role its necessary warmth, and was achingly vulnerable in “Will I?”

A too-large circular centerpiece restricted movement, which didn’t help when it came time for the pivotal “Contact,” because Angel’s death was less impactful staged that way, pulling focus away.

In a different choice, he remained on stage afterwards, wearing a white-cream pants ensemble. Usually, Angel’s absence is a big hole that you feel, not see.

As roommates/best friends, aspiring documentary filmmaker Mark Cohen (J. David Brooks) and struggling musician and ex-junkie Roger Davis are tasked with delivering the show’s most dynamic numbers, including “Rent,” which started fine because of the cohesive band’s skills, but veered off-key.

As written, Mark is nerdy and quirky, and Brooks showed the brainy side, if not the skepticism. Roger is complicated because of recent traumas and initially more withdrawn. It’s a tough role to nail, and if there are vocal irregularities, that’s hard to overcome.

Jazmine Kendela Wade and J David Brooks as Joanne and Mark. Photo by Jill Ritter Lindberg.

The grand statement “What You Own” could be a vibrant exclamation —although an ongoing issue of their blocking behind the oversized table/platform hampered their delivery, for in that intimate confine, they seemed farther away, especially Roger

While bouncy Sarah Lueken, as self-centered Maureen Johnson, is appealing, capitalizing on being a flirt and using her sexuality, daring and sass, her big number “Over the Moon” could have been bolder and more defiant.  The cow print pants were inspired.

As Maureen’s Harvard-educated lawyer girlfriend Joanne Jefferson, Jazmine Kendela Wade was confident, but their song interpretations weren’t convincing.  

Because of Brooks’ foot injury, “Tango: Maureen” couldn’t be performed as expected, a playful dance, and “Take Me or Leave Me” lacked verve as well as pitch..

Aaron Tucker played an undistinguished Benjamin Coffin III, former friend turned foe who owns Mark and Roger’s building, married well, and had a fling with Mimi. It’s a stock villain character whose purpose is to advance several conflicts.

Brittany Kohl in ensemble.

Several fine singers played multiple roles  — as parents, marginalized citizens on the streets, AIDs patients, muggers, employers – and understood the complex demands of the music.

Both blending in and standing out were Rafael Da Costa, Lauren Gottreu, Chelsie Johnston, Brittany Kohl, Gabriel Scott Lawrence, Sofia McGrath, Tawaine Noah, and Rachel Parker. Lawrence and Noah were exceptional in “Will I?”

All performers projected earnestness and conviction, often giving off spirited summer camp energy in the ensemble numbers like “La Vie Boheme.”

But when it came time to express yearning, fear, and gut-wrenching sadness, it was not uniform in fervor, and supporting players brought more of the potency in those company numbers.

The signature piece “Seasons of Love” had some wobbly phrasing, but most soloists brought out its potency, especially daCosta and Noah. At first, it was hard to discern who was singing because of their placement.

The set, designed by Todd Schaefer, was a similar set-up that resident set designer Rob Lippert came up with when the first New Line “Rent” was staged at Washington University’s South Campus Theatre (the former CBC High School), which was effective. This tabletop swallowed up so much stage, it made transitions difficult.

Designers adding their personal touches to the overall effect included Zach Thompson, costumes; Ryan Day, sound; and Ryan Thorp, lighting.

The show is meant to be a celebration of life. In 2025 America, AIDS is no longer a death sentence, but because “Rent” captures a specific harrowing time and place, it can feel timeless and universal with its life-and-death themes.

Having seen Puccini’s opera twice, it was interesting to find out how the “Rent” characters closely resembled it – except in a different century and country, Paris in 1830.  

Sarah Lueken as Maureen. Photo by Jill Ritter Lindberg.

As a longtime fan who has seen “Rent” at least 12 times, starting with the first national tour in 1997, and experiencing chill-inducing Adam Pascal and Anthony Rapp reprise their roles in a 2009 national tour that remains one of the greatest highlights of my theater-going life, it is distressing to hear missteps.

New Line’s shaggy, raw, imperfect production still features moments so dear and emphasizes the evergreen message of “Measure your life in love.”

The cast believed in the dignity and acceptance aspect, that I’m certain of — if only they had devoted more effort to be in tune in service of that glorious score.

The rough spots hampered reaching the heights we expect with “Rent.” Had they all found their voices, this would have been a memorable show for all the right reasons.

New Line Theatre presents “Rent” May 30 – June 21, with Thursday through Saturday performances at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive. The musical contains adult content and language and deals with explicit sexual situations. For more information, visit www.newlinetheatre.org

Corrinna Redford and Nathan Mecey as Mimi and Roger. Photo by Jill Ritter Lindberg.

Take Ten with Emily Baker

Take Ten with Emily Baker

By Lynn Venhaus

Long admired as a versatile performer among the regional theater community, actress Emily Baker’s recent return to the stage has been met with universal acclaim.

In March, she won Outstanding Performer in a Comedy, Female or Non-Binary Role. as Susan in Albion Theatre’s “Woman in Mind” from the St. Louis Theater Circle.

In the Alan Ayckbourn play, she portrays a woman who has suffered a mental breakdown and has developed a vivid fantasy world. In her real life, she is neglected wife who is estranged from her son. By contrast, in her imagination, she is happy and successful with a perfect family who adores her.

One critic described her 2024 performance as “a tragicomic tour de force,” another called it “richly realized.”

Her virtuoso work as Heidi Holland in New Jewish Theatre’s “The Heidi Chronicles” (May 29 – June 15), portraying the feminist art historian from the 1960s to 1980s, has been hailed as showing “commanding poise and self-confidence,” and displaying “strength, vulnerability and intelligence.”

The Pulitzer Prize and Tony Award-winning play by Wendy Wasserstein was directed by Ellie Schwetye and starring Joel Moses, Will Bonfiglio, Kelly Howe, Courtney Bailey, Ashwini Arora, Joshua Mayfield and Paola Angeli.

“The Heidi Chronicles” at New Jewish Theatre. Photo by Jon Gitchoff.

As Heidi wrestles with questions of identity, success, and fulfillment during a time of profound societal transformation, Wasserstein’s work offers a powerful look at a generation’s evolving ideals and the personal cost of progress.

“I am delighted to be working at New Jewish again with this awesome group of people,” she said.

Baker described this special project as a way to relate to her parents’ experiences.

“My parents lived through the time periods in ‘The Heidi Chronicles’ at about the same age as Heidi, so I was excited about the prospect of learning more about my parents and the times by discussing the play with them. I really enjoy when a play gives you the ability to dig deep, not only into the character but also your own life and family,” she said.

Baker has returned to New Jewish Theatre for the first time since 2015, in which she played Patricia in “Sight Unseen” opposite her husband, Aaron Orion Baker, one of her favorite roles.

He played a now-famous artist who visits his ex-girlfriend in hopes she has a painting he’d like to include in an exhibit. She and her husband both resent his presence, for he treated her shabbily, and she hasn’t forgotten that she was a ‘sacrificial shiksa.” As they say, the plot thickens.

Emily Baker, at right, with her husband, Aaron Orion Baker, at left, in “Sight Unseen.”

Baker has worked with St. Louis Actors Studio, Upstream Theater, St. Louis Shakespeare, West End Players Guild, the former Muddy Waters Theatre Company and That Uppity Theatre Company, among others.

A favorite part is Ivy, Violet Weston’s daughter who stayed to take care of her mother, in “August: Osage County,” which was performed by STLAS in 2017.

Among her portrayals at St. Louis Shakespeare, she played the title role in “The Further Adventures of Hedda Gabler,” Ariel in “The Tempest,” and Penelope in “The Odyssey.”

She won her first St. Louis Theater Circle Award as Gretchen in the comedy “Boeing Boeing” at the former Dramatic License Productions in 2013. A German airline stewardess, Gretchen isn’t aware that pilot Bernard has two other fiancées.

After a hiatus to raise daughter Evelina, she has returned to acting in satisfying roles. Next up is playing Eunice, one of Stella’s friends and neighbors, in the Tennessee Williams Festival St. Louis’s “A Streetcar Named Desire,” which will be presented Aug. 7 – 17 at the Grandel Theatre in St. Louis.

The New Jewish Theatre presents “The Heidi Chronicles” from May 29 to June 15 at the Wool Studio Theater, 2 Millstone Campus Drive, Creve Coeur, Mo. Performances are on Thursdays, Saturdays, and Sundays. There is an additional show on Wednesday, June 4. Show times and tickets are available online at newjewishtheatre.org or by phone at 314.442.3283. NJT’s 2025 Season is generously sponsored by Mary Strauss. The play is 2 hours and 15 minutes long, with a 15-minute intermission.

As Susan in “Woman in Mind” with Isaiah DiLorenzo as her ‘imaginary husband.’

Q & A with Emily Baker

1. Why did you choose your profession/pursue the arts?

I am a teacher/school librarian and actor.  I knew I was interested in acting pretty early on.  I also believed that I would enjoy working in education from a pretty early age.  Both of those avenues involve connecting to people and sharing a bit of yourself with them.  I think that’s what interests me most about both career paths.

2. How would your friends describe you?

My friends describe me as passionate, empathetic, creative, intuitive, helpful, and kind.

3. How do you like to spend your spare time?

I love nature.  I enjoy walking at the Missouri Botanical Gardens with my family, hiking, and gardening.  I also enjoy reading, especially classics like Jane Austen and Shakespeare. 

4. What is your current obsession?

I’m obsessed with Duluth Trading Company’s Heirloom Overalls.  They come in so many colors and patterns.  I currently own seven pairs and I’m probably not done.

5. What would people be surprised to find out about you?

I’m an only child.  Most people are surprised to find that out.  I guess I don’t fit the mold of a typical only child.

As Heidi Holland in “The Heidi Chronicles” at New Jewish Theatre. Photo by Jon Gitchoff.

6. Can you share one of your most defining moments in life?

Becoming a mother changed my life forever.  There was a period of time where I was unsure if I would get the chance to be a mom.  Being a parent is a beautiful, frustrating, rewarding, and tiring job, but I’m so thankful I get the opportunity to learn and grow as a human with my daughter.

7. Who do you admire most?

It’s too hard to choose one person.  The traits I admire most in humanity are perseverance, compassion, and optimism.

8. What is at the top of your bucket list?

Traveling more abroad.  I’d like to see Spain, Greece, Italy, and get back to Scotland (it’s my favorite place on earth).  My daughter is fascinated with the Northern Lights so I feel a trip somewhere where we can really see them clearly is in our family’s future, too.  I would travel often if I had the time and money to do so.  Seeing new places gives you perspective and helps you understand yourself and the world better.

9. What is your favorite thing to do in St. Louis?

I have to pick two.  Visiting Forest Park and going thrift shopping.  There is so much to do in Forest Park — much of which is free — and it’s so close.  And with thrift shopping, you never know what you might find.  It’s kind of like a treasure hunt.  I can do it for hours, hopping around to different ones.

10. What’s next?

I’ll be playing Eunice in “A Streetcar Named Desire” with the Tennessee Williams Festival St. Louis later this summer.

Emily Baker as Ivy Weston, with Meghan Baker as Barbara and Kari Ely as Violet, in St. Louis Actors’ Studio’s “August: Osage County.” Photo by Patrick Huber.

Name: Emily Baker
Age: (optional) 42
Birthplace: St. Louis
Current location: St. Louis
Family: Aaron Orion Baker, Evelina and Thief (our 90-pound dog)

Emily Baker and Maggie Wininger in Kate Chopin’s “The Awakening” by STLAS.


Education: BA in Theatre and English (Truman State University), Master of Arts in Education (Truman), and Master of Library and Information Science (Mizzou)

Day job: Middle and High School Librarian and Technical Theatre Teacher and Director in the Maplewood Richmond Heights School District.

First job: My first job was developing contact sheets of photo negatives at my dad’s photo studio when I was 13.


First play or movie you were involved in or made: I played the duck (no lines other than quacking) in a staging of the classical music piece “Peter and the Wolf” by Sergei Prokofiev when I was 6 or 7.

Favorite jobs/roles/plays or work in your medium?  Ivy in “August: Osage County” (St. Louis Actors’ Studio), Solange in “The Maids” (Upstream), Patricia in “Sight Unseen” (New Jewish), Gretchen in “Boeing Boeing” (Dramatic License Productions) and Susan in “Woman in Mind” (Albion).

Dream job/opportunity: My dream roles are mostly Shakespearean.  I’d love to play Beatrice in “Much Ado About Nothing” and Lady Macbeth in “Macbeth.”

Awards/Honors/Achievements: I’ve been the recipient of two St. Louis Theatre Circle Awards (Gretchen in “Boeing Boeing” and Susan in “Woman in Mind”).

Favorite quote/words to live by: “Whatever can anyone give you greater than now, starting here, right in this room, when you turn around?”  – William Stafford from the poem, “You Reading This, Be Ready.”

A song that makes you happy: “How Do You Feel” by Jefferson Airplane 

Photo at right: Emily Baker with Will Bonfiglio during rehearsals for “The Heidi Chronicles”.

Ben Ritchie and Emily Baker in “All in the Timing” at St Louis Actors’ Studio in 2014. Photo by Patrick Huber.

‘Materialists’ Explores Modern Romance Through a Realistic Lens

‘Materialists’ Explores Modern Romance Through a Realistic Lens

By Lynn Venhaus

“Cause the boy with the cold hard cash
Is always Mister Right
‘Cause we are living in a material world
And I am a material girl ” — Madonna

Writer-director Celine Song’s savvy and shrewd spin on modern relationships confronts expectations – and gender politics — without irony.

“Materialists,” her highly anticipated follow up to 2023’s acclaimed Oscar-nominated “Past Lives,” frames a romantic triangle with Song’s experience working at a dating service while she was trying to get her playwrighting career off the ground.

With her keen understanding of male-female dynamics, she presents an honest yet somewhat cynical look exploring intangible romantic love vs. a transactional business deal. Look at all the lonely people! Where do they all come from?

Apparently, many of them are in Manhattan. Another 100 people just got off the train in a city of strangers, some come to work, some to play.

John (Chris Evans), a scruffy still-struggling actor whose main hustle is cater waitering, once lived with and loved Lucy (Dakota Johnson), who ditched acting for the performance artistry of a dating service.

Lucy is a smart single woman whose success as a matchmaker is judged by how many engagements she’s facilitated – whether they ‘checked a lot of boxes’ for lonely, hopeful souls believing in happily ever after, or just satisfying hook-ups.

No longer content to look for love the old-fashioned way, well-heeled New Yorkers put their trust and money into this dating service called Adore. They do the math.

Adore is a carefully curated luxury service where employees work the algorithms, selling happiness like advertising agencies market the sizzle instead of the steak.

In their shallow look for Mr. or Ms. Right, these eager-to-mingle clients draft rigid non-negotiables to Lucy, hoping she will make their largely unattainable dreams come true.

Women discuss height, hairline and salary while men concern themselves with age and BMI. Much of the film’s humor is derived from people’s shopping lists.

While attending two clients’ wedding, Lucy meets Harry (Pedro Pascal), the groom’s suave brother who works in private equity and lives in a $12 million penthouse. Cha-ching. Taking milady out on the town to the ritziest places, he attentively shows her a lavish lifestyle that she could only once fantasize about.

Basically, he’s what they call in the dating biz a “unicorn,” a perfect match. But will the tug from the imperfect one who got away be too much for Lucy to resist? Security vs. uncertainty…Hmmm.

That’s the rom-com rub, but of course, Song isn’t going to go down the road often traveled. She brings fresh insight and an interesting perspective about commitment – even though we are conditioned to reach for the stars.

There is also a sobering subplot involving a dating hopeful named Sophie (Zoe Winters) who hasn’t had any luck moving past the first date. She is disillusioned by the whole mating ritual, and must deal with a scary situation.

The charisma is considerable with Evans and Pascal the as suitors. I’ve always been more lukewarm about Johnson – after all, she won a well-deserved Razzie last year for “Madame Web.” But just as she was in “Peanut Butter Falcon” and “Cha Cha Real Smooth,” she is dialed in and believable, a pleasant surprise.

The movie is book-ended with a caveman courtship in ancient civilization, so the point is made, but in present day, most couples don’t need to unite a kingdom or settle through land and livestock. Point taken, but really, exploring the modern dilemmas works just fine.

Not as profound or lyrical as “Past Lives,” but nonetheless an interesting point of view, “Materialists” charms with its simple straightforward vision.

“Materialists” is a 2025 romantic comedy-drama written and directed by Celine Song and starring Dakota Johnson, Chris Evans, Pedro Pascal and Zoe Winters. Its run time is 1 hour, 56 minutes and it is rated R for language and brief sexual material. It opened in theatres June 13. Lynn’s Grade: B+

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

By Lynn Venhaus

“Moonlight and love songs are never out of date” …”As Time Goes By”

Stephen Peirick and Mara Bollini act their hearts out in a complicated love story about damaged souls making a connection in Terence McNally’s perceptive “Frankie and Johnny in the Clair de Lune.”

McNally, who won five Tony Awards during a six-decade career and was nicknamed “The Bard of America,” had a keen ear for dialogue – the way ‘real’ people talk. Even if characters are New Yorkers, you can universally identify with their joys and sorrows.

Frankie, a waitress, and Johnny, a short-order cook, work at the same diner. After several weeks of mutual attraction, they finally hook up for a date that turns into a passionate all-nighter back at her apartment. Their sexual activity is heard, not seen, but discussed in detail, and some nudity is involved.

Their thought-provoking post conversations are full of sly observances, remarkable coincidences, laughter, explicit language – and need for sustenance, not only her craving a cold leftover meatloaf sandwich or using his knife skills to prepare a Western omelet.

Stephen Peirick and Mara Bollini. Photo by Sarah Gene Dowling.

Unfiltered Johnny is a loquacious fellow – even quotes Shakespeare – but there is some darkness hinted at, while Frankie is more guarded, not so quick to reveal her life story. It’s obvious, with their real ages 41 and 48, that their experiences include so-called baggage and battle scars, but what they choose to share is heartfelt.

This relatable working-class pair do not expect fairy tale fantasy endings, after failures and faults have piled up over the years, but wanting fulfillment instead of only sexual pleasure is brought up in conversation.

McNally, who died in 2020, also had a gift for creating a community, exchanging ideas and presenting ways to deal with change, as his plays “Master Class,” “Love! Valour! Compassion!” and “Mothers and Sons” demonstrate, as do his books for musicals “Ragtime,” “Kiss of the Spider Woman,” and “The Full Monty.”

In this hopeful yet realistic look at elusive love, he wants the audience to ponder if they could heal after expressing their feelings and make a stronger commitment despite the difficulties.

The play, celebrated in both its off-Broadway run in 1987 and later Broadway and revival, starred acting luminaries Kathy Bates and F. Murray Abraham, Michael Shannon and Audra McDonald, and Edie Falco and Stanley Tucci as the titular characters.

A much-maligned 1991 movie adaptation, directed by Garry Marshall, starred Michelle Pfeiffer and Al Pacino. It was criticized for the stars being “too attractive” to play ordinary roles, and was described as lacking depth.

The best thing about Stray Dog’s carefully crafted production is its intimacy, and that has much to do with the performances from two veteran actors who are brave enough to expose their vulnerabilities, with physicality, good comic timing and frankness.

Director Gary F. Bell approaches the mature-themed material in his customary straightforward manner, steadily and clear-eyed. He also designed suitable costumes for a casual date and lingerie.

Savvy sound designer Justin Been punctuates the evening with a fine selection of classical music, including Claude Debussy’s beloved “Clair de Lune,” which means “moonlight” in French.

The soothing, ethereal piano piece conjures up gentle imagery and sums up the couple’s longing. It’s a perfect coda for an emotional rollercoaster ride.

Photo by Sarah Gene Dowling.

Johnny is smitten in a hopeless romantic way, wanting more than a one-night stand, and eager to rush in, which Frankie is wary of, for she is not so sure she’s ready for his intensity. Their push and pull are the crux of the two-act play.

Because we’re in the post-#MeToo era, and “no means no,” as it should, some of the actions are problematic (the play is set in the 1980s). If it was a contemporary piece written today, they would not have moved on to a second act, and I think concerns about Johnny’s attempted manipulation of Frankie would be raised.

So, there is that. She wanted him to leave, said so a couple times, and he wanted to stay. His directness seems more uncomfortable than persuasive. Women’s safety should always be at the forefront of storytelling in 2025. Therefore, this is a period piece that can get cringy 38 years later.

After that troublesome exchange, it appears that she willingly changed her mind because we would have had a very different outcome. As truths are tdivulged, more of a growing closeness can be felt.

Johnny’s desire for a genuine love connection and Frankie’s hesitant steps to trust again are moments of sweet tenderness – but that appearance of pressure that wound up being worked through took some suspension of belief, truth be told.

The two actors have worked together several times, including superbly as the iconic bickering married couple George and Martha in “Who’s Afraid of Virginia Woolf?,” which was staged at Stray Dog in 2023. There is little comparison to those dynamics..

Their ease with each other helps convey their loneliness, aspirations and fears. Peirick and Bollini, both likable performers, display comfortable chemistry.

This demanding two-hander requires a great deal of stamina and ‘heavy lifting,’ because they are on stage for the entire 2 hours and 15 minutes, so this accomplishment is commendable.

Photo by Sarah Gene Dowling.

The creative team’s naturalistic designs are good assets to tell this comedy-drama. Bell also designed the set, a well-worn one-room studio walk-up in Manhattan, in the Hell’s Kitchen neighborhood. However, it can become claustrophobic over the course of a long night.

Tyler Duenow’s lighting design illuminates the pillow talk with different lamps or keeps everybody in the dark during the more ‘delicate’ moments. He also streams moonlight and the breaking dawn during the times they reference the moods and the music.

Stage managers Justin Been and his assistant Aasrith Veerapaneni keep things moving.

On one hand, “Frankie and Johnny in the Claire de Lune” is a product of its time. Its pragmatic look at relationships still offers a glimmer of hope. Overall, the characters resonate, largely due to the engaging efforts of Peirick and Bollini. In today’s vernacular, they play people who want to be seen and heard in a valuable way.

It’s still the same old story
A fight for love and glory
A case of do or die
The world will always welcome lovers
As time goes by,
— Herman Hupfield

Stray Dog Theatre presents “Frankie and Johnny in the Clair de Lune” June 5 through June 21 at the Tower Grove Abbey, 2336 Tennessee Avenue. The performances are Thursday through Saturday at 8 p.m., with special Sunday matinees at 2 p.m. on June 8 and 15. The show contains mature language, adult situations, flashing lights, discussion of abuse, and nudity. Viewer discretion is advised. For more information: straydogtheatre.org

Sarah Gene Dowling Photo.

Six New Works Part of This Summer’s LaBute New Theater Festival

Six New Works Part of This Summer’s LaBute New Theater Festival

 St. Louis Actors’ Studio (STLAS) is pleased to present the 11th Annual LaBute New Theater Festival celebrating new works by emerging professional playwrights July 11-27 at The Gaslight Theater. STLAS received hundreds of submissions worldwide and selected five one-act pieces to be produced on the stage at The Gaslight Theater, along with another new piece by esteemed film director, screenwriter and playwright Neil LaBute, the festival’s namesake who also serves on its creative team. This year’s productions include the following works/playwrights:

  • Teotwawki by Aleks Merilo (two-time finalist) of Tacoma, Wash.
  • Poor Me by Tracy Carns of New York, N.Y.
  • A Modest Proposal by David MacGregor of Howell, Mich.
  • Carpool by Dave Carley of Ontario, Canada
  • Hungry Women by Melisa Maney of Hillsborough, N.J.
  • Scenes from a Bookstore by Neil LaBute

Tickets are now available for the LaBute New Theater Festival via Ticketmaster or at the theater box office one hour before show time. Performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $65 each plus fees, $60 each plus fees for students with valid ID and seniors 65+. For more information, visit stlas.org or email help@stlas.org.

One of last year’s. one-act plays “Love in the Time of Nothing” by Jayne Hannah won Outstanding New Play from the St Louis Theater Circle. Shown here are Greg Hunsaker and Jane Paradise. Patrick Huber photo.

About St. Louis Actors’ Studio

St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org. 

Lifetime Achievement Award Honoree Karen Mason to Perform at AFL Best Performance Awards June 29

Lifetime Achievement Award Honoree Karen Mason to Perform at AFL Best Performance Awards June 29

Tickets on sale now; Nancy Crouse to receive Lifetime Achievement Award too, and Ryan Cooper returns as host

To celebrate 25 years of shining stars, Arts For Life will honor regional community musical theater at its annual Best Performance Awards June 29. The organization will also honor two legendary women with Lifetime Achievement Awards – renowned singer and actress Karen Mason and accomplished theater veteran Nancy Crouse.

Karen Mason, who will perform, learned how to dream big while growing up in St. Louis and Chicago. First hired as a singing hostess at the restaurant Lawrence of Oregano in 1976, she went on to a career of great acclaim as a cabaret singer and musical theater performer.

Her Broadway debut was in “Play Me a Country Song” in 1982, and she was in “Jerome Robbins’ Broadway” in 1989. Mason originated the role of Tanya in “Mamma Mia!” in 2001, earning a Drama Desk Award nomination.

She took over the role of Velma Von Tussle in “Hairspray” in 2008 and played the Queen of Hearts in “Wonderland” in 2011. She was standby to Glenn Close in the 1993 LA production of “Sunset Boulevard,” then went on to play Norma Desmond in almost 300 performances in L.A. and on Broadway.

Karen Mason

In national tours, she was in “A Christmas Story: The Musical” in 2011 and played Madame Giry in “Love Never Dies,” Andrew Lloyd Webber’s follow-up to “The Phantom of the Opera,” which ran at the Fox Theatre in St. Louis in October 2018.

Locally, she performed in “White Christmas” at the Muny and sang with the St. Louis Symphony Orchestra and at the Sheldon Concert Hall. She has performed across the country and recorded six solo albums.

She has received 13 MAC Awards – the most ever — from the Manhattan Association of Cabarets & Clubs (MAC), which honors achievements in cabaret, comedy and jazz through membership-voted awards.

Mason won an Outer Critics Circle Award for her performance in the off-Broadway Kander and Ebb revue “And the World Goes Round.”

Nancy Crouse moved to St. Louis in 1999 after an impressive career in both theater education and theater administration. She grew up in Indiana and earned a master’s degree in theatre from Ball State University.

She taught English and theatre for 33 years, retiring in 1996, and spent many years as the managing artistic director for Muncie Civic Theatre.

Nancy Crouse

She and her husband Ron came to St. Louis to live closer to their two daughters Kim and Kara, both teachers. Since then, Nancy has kept being busier than ever working for several theater companies as a performer, director, set designer and costume designer, including Clayton Community Theatre, Act Two, and Theatre Guild of Webster Groves.

Hawthorne Players is her home base, and she won Best Director for her “The Color Purple” production last year, which also won best large ensemble musical. She has received multiple BPAs and Theatre Mask Awards (drama and comedy) over the years.

Crouse said theater has taught her to “dream without limits, imagine possibilities, choose like-minded collaborators, invite and listen to their viewpoints, plan meticulously, flex as necessary, improvise with what you have, work hard to achieve, push barriers that need broken, but most of all to live in the moment and have fun sharing your dreams collectively with an audience.”

Best Performance Awards Ceremony

Tickets are now on sale for the awards ceremony, which will take place on Sunday, June 29, at 2 p.m. at the Keating Theater at Kirkwood High School. Formal attire is requested, and seating is reserved. Doors open at 1:30 p.m. and soft drinks and snacks will be available in the lobby.

Local performer and event producer Ryan Cooper returns as the host for a record sixth time. He is a two-time BPA recipient and is currently the signature event producer for the Main Street Historic District in St. Charles, Mo.

“I’m a big Arts for Life fan. As a lifelong St. Louisan, I grew up working with many of the wonderful companies that make up the vibrant St. Louis community theatre scene,” he said.

Performances will be presented from the nominated musicals for large ensemble, small ensemble and youth productions.

Large ensemble nominees are “Anything Goes,” Kirkwood Theatre Guild; “Bright Star,” Hawthorne Players in Florissant; “The Hunchback of Notre Dame,” Goshen Theatre Project in Collinsville, Ill.; “Joseph and the Amazing Technicolor Dreamcoat,” Curtain’s Up Theater Company in Edwardsville, Ill.; and “She Loves Me,” Monroe Actors’ Stage Company in Waterloo, Ill.

Merrily We Roll Along,” Take Two Productions in St. Louis, and “Once Upon a Mattress,” Act Two Theatre in St. Peters, Mo., and are nominated for small ensemble musical.

In the youth category, Gateway Center for the Performing Arts’s “Ragtime” and “Alice by Heart,” Young People’s Theatre’s “Seussical” and Stages Performing Arts Academy’s “Anastasia: The Musical” are nominated for best youth musicals.

Tickets to the show are $30.00 + a $2.00 service fee per ticket. They can be purchased at www.artsforlife.org. Nominations are also listed on the website.

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

By Lynn Venhaus

An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.

Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.

From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.

Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.

Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”

The play within a play. Photo by Phillip Hamer.

His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.

“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.

Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.

That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.

Scott C. Neale’s striking set. Photo by Phillip Hamer.

The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.

And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:

“To be, or not to be, that is the question
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream—ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect
That makes calamity of so long life.“

Sarah Chalfie as Ophelia. Photo by Phillip Hamer.

Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.

His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.

Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.

Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.

Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.  

Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.

You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.

Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”

Gertrude, Hamlet. Photo by Phillip Hamer.

Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause.  He also delivers the often misquoted “Though this be madness, yet there is method in’t.”

No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.

She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.

In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.

Hamlet, Ophelia. Photo by Phillip Hamer.

The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.

The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.

Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.

Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”

Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.

Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.

Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.

This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.

St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org

Laertes and Hamlet fence. Photo by Phillip Hamer.

Muny Hosts Tony Awards Watch Party on June 8 at Ballpark Village

Muny Hosts Tony Awards Watch Party on June 8 at Ballpark Village

Broadway meets community as The Muny, Greater St. Louis Inc., KMOV and Ballpark Village proudly announce a Tony Awards Watch Party on Sunday, June 8, to benefit St. Louis tornado relief efforts. The watch party begins at 5 p.m. CT. The Muny will receive the 2025 Regional Theatre Tony Award as part of The Tony Awards: Act One, a preshow ceremony starting at 5:40 p.m. CT.

The free, public event will take place at Ballpark Village, where guests can watch Broadway’s biggest night live on the big screen, surrounded by fans, friends and fellow supporters of the arts and the St. Louis community.   

The watch party will be hosted by Tony nominee, Muny alum and Missouri native Taylor Louderman, along with KMOV’s Great Day St. Louis co-host Laura Hettiger, bringing star power and hometown pride to this celebration of theatre and resilience. 

Admission is free, but attendees are asked to bring a nonperishable food item or toiletry donation to support the St. Louis Area Foodbank, or make a monetary gift upon entry to support  Urban League of Metropolitan St. Louis, two organizations working tirelessly to assist those impacted by recent severe weather across the region. 

Celebrating The Muny’s National Recognition 

This year’s celebration holds special significance for St. Louis, as The Muny will be honored during the ceremony as the 2025 recipient of the Regional Theatre Tony Award. The prestigious award recognizes The Muny’s exceptional contribution to the American theatre landscape and its unwavering commitment to artistic excellence and community engagement for over 100 seasons. The award will be presented during The Tony Awards: Act One — a preshow of live, exclusive content leading into the 78th Annual Tony Awards, televised on CBS — streaming exclusively on Pluto TV. 

Event Highlights 

  • Live viewing of the 78th Annual Tony Awards and Act One preshow 
  • Hosted by Tony-nominated actress Taylor Louderman and KMOV’s Laura Hettiger 
  • Celebration of The Muny’s Regional Theatre Tony Award win 
  • Food and beverages available for purchase 
  • Special guest appearances, remarks and giveaways 
  • Donation drive supporting tornado relief through the St. Louis Area Foodbank and Urban League of Metropolitan St. Louis 

Day: Sunday, June 8, 2025 
Time: Event starts at 5 p.m. CT | The Tony Awards: Act One 5:40 p.m. CT | 78th Tony Awards 7 p.m. CT 
Place: Ballpark Village, 601 Clark Ave., St. Louis 
Cost: Free and open to the public — but bring a nonperishable food item, toiletry or monetary gift 

For more information, follow The Muny on social media.

Season 107 at The Muny opens with Bring It On: The Musical (June 16-22) and includes Come From Away (June 26-July 2), Disney’s Frozen (July 6-14), Evita (July 18-24), Dear Evan Hansen (July 28-Aug. 3), La Cage aux Folles (Aug. 8-14) and Jersey Boys (Aug. 18-24).

New season tickets start at just $126 and are on sale now at muny.org/season-tickets and at the Muny Box Office, located at 1 Theatre Drive in Forest Park. Single-performance tickets go on sale May 19. 

The 78th Annual Tony Awards will return to the legendary Radio City Music Hall in New York City next month. Hosted by Tony, Emmy and Grammy Award winner and three-time Oscar nominee Cynthia Erivo, The American Theatre Wing’s Tony Awards will broadcast live to both coasts on Sunday, June 8 (7-10 p.m. CT) on CBS and streaming on Paramount+.  

Paramount+ With Showtime subscribers will have access to stream via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live but will have access to view on-demand the day after the special airs.

A full list of this year’s nominees and additional honorees is available here.

Taylor Louderman

About The Muny

Now entering its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.

About the Tony Awards

The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are executive producers and showrunners for White Cherry Entertainment. Weiss will serve as director. The American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing.  At The Broadway League, Kristin Caskey is Chair and Jason Laks is President.  At the American Theatre Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO. Learn more at tonyawards.com. Follow @TheTonyAwards on Instagram, TikTok and Facebook.