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.
A haunting and hard-hitting portrait of human tenacity in the face of injustice, “I’m Still Here” has now opened in local theaters.
A political drama based on a harrowing true story from Brazil, it has become one of the most acclaimed films of the year, and is nominated for three Academy Awards, including Best Picture, Best International Feature, and Best Actress – Fernanda Torres in a riveting performance as shattered wife turned human rights crusader.
During Brazil’s military dictatorship in 1971, Rubens Paiva, a former congressman and open critic of the new regime, was taken from his home in Rio de Janeiro, ordered to give a deposition to government officials. He was never again seen by his family.
His wife, Eunice, mother of their five children, will begin a search for the truth about his disappearance that lasted for decades. Based on their son Marcelo Rubens Paiva’s memoir, the screenplay by Murilo Hauser and Heitor Lorega details her own horrific experience when she was imprisoned for 12 days. She was interrogated and asked to identify anyone with Communist affiliations from photographs, including her family. Her oldest daughter, Eliana, was also arrested.
From that point on, she could not get any information about her husband. They were not alone, but through one family, director Walter Salles shows us the costs of defending freedom of speech, of the press and protests.
For historic reference, several generals served as president at this time: Emílio Garrastazu Médici from 1969 to 1974, Ernesto Geisel from 1974 to 1979 and João Figueiredo from 1979 to 1985. During the 20-year reign, over 20,000 people were tortured and murdered.
Selton Mello depicts Ruben as a compassionate family man, involved in his children’s active lives and in a loving relationship with his wife. He worked as an engineer, and his family didn’t realize he was assisting dissidents in the opposition movement.
Eunice returns to school at age 48 and becomes a human rights attorney. She had moved her family to Sao Paulo, and courageously continued seeking answers about Rubens. Torres’ poignant performance stands out, as a mother who does what she needs to do and follows her convictions.
The film follows her journey until 2014, when she passes. In her old age, Torres’ own mother, actress Fernanda Montenegro plays the character. Fun fact: Montenegro, 95, is considered the greatest Brazilian actress of all-time, and was the first from her country to be nominated for an Oscar, for the 1998 film, “Central Station,” and now her daughter is the second actress to follow in her footsteps.
Salles, who directed “Central Station” and “The Motorcycle Diaries” (2004), takes a methodical approach and allows the film to unfold naturally, showing the close-knit family bonds, their resilience, and above all, Eunice’s remarkable strength.
A cautionary tale, “I’m Still Here” reminds us to pay attention to the insidious way powerful people take control and take away rights, and how one person can make a difference.
“I’m Still Here” is a 2024 political drama directed by Walter Sallas and starring Fernanda Torres, Selton Mello, Maria Manoella, Marjorie Estiano, and Antonio Saboia. It runs 2 hours, 17 minutes, and is rated PG-13 for thematic content, some strong language, drug use, smoking and brief nudity. It opened in St Louis theatres on Feb. 7.It is in Portuguese with English language. Lynn’s Grade: A-.
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 Critics Choice Association will host the 30th annual Critics Choice Awards will now take place on Friday, Feb. 7..
The Critics Choice Awards, hosted by Chelsea Handler, will broadcast LIVE on E! on Friday, February 7, 2025 (7:00 – 10:00pm ET/PT) from the Barker Hangar in Santa Monica. The show will also be available to stream the next day on Peacock. There will no longer be a “Live from E!: Critics Choice Awards” two-hour red carpet special ahead of the telecast.
“Conclave” and “Wicked” lead this year’s film contenders, having earned 11 nominations each. “Conclave” collected nods for Best Picture and Best Acting Ensemble, with Ralph Fiennes recognized in the Best Actor category and Isabella Rossellini up for Best Supporting Actress. Edward Berger was nominated for Best Director, while Peter Straughan earned a nod for Best Adapted Screenplay and Stéphane Fontaine could take home the trophy for Best Cinematography. Rounding out the nominations for “Conclave” were Suzie Davies for Best Production Design, Nick Emerson for Best Editing, Lisy Christl for Best Costume Design, and Volker Bertelmann for Best Score.
In addition to Best Picture, “Wicked”’s 11 nominations include a nod for Best Acting Ensemble, while castmates Cynthia Erivo and Ariana Grande racked up nominations for Best Actress and Best Supporting Actress respectively. Jon M. Chu is a contender for Best Director, with Winnie Holzman and Dana Fox nominated for Best Adapted Screenplay, and Alice Brooks for Best Cinematography. Nathan Crowley and Lee Sandales were recognized in the Best Production Design category, while Paul Tazewell garnered a nod for Best Costume Design. Frances Hannon, Sarah Nuth and Laura Blount received a nomination for Best Hair and Makeup, and Pablo Helman, Jonathan Fawkner, Paul Corbould and David Shirk were nominated for Best Visual Effects.
“Dune: Part Two” and “Emilia Pérez” follow closely behind with 10 nods apiece, including Best Picture nominations for both films. Rounding out the Best Picture category are “A Complete Unknown,” “Anora,” “The Brutalist,” “Nickel Boys,” “Sing Sing,” and “The Substance.”
Dune: Part Two
“Dune: Part Two” saw Denis Villeneuve earning a nomination for Best Director, as well as Best Adapted Screenplay alongside Jon Spaihts. Greig Fraser received a nod for Best Cinematography, while Patrice Vermette and Shane Vieau are up for Best Production Design and Joe Walker was recognized in the category of Best Editing. Jacqueline West could take home the award for Best Costume Design, and Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer are contending for Best Visual Effects. In addition, Hans Zimmer is nominated for Best Score, and the film garnered a nod for Best Hair and Makeup.
“Emilia Pérez” notably garnered a nomination for Best Foreign Language Film, in addition to Best Picture. Karla Sofía Gascón earned a nod for Best Actress, while castmate Zoe Saldaña is up for Best Supporting Actress, and the film was recognized in the category of Best Acting Ensemble. Jacques Audiard was nominated twice, for Best Director and for Best Adapted Screenplay, while two songs, “El Mal” (Zoe Saldaña, Karla Sofía Gascón, and Camille) and “Mi Camino” (Selena Gomez) are contenders for Best Song. Clément Ducol & Camille and are also up for Best Score.
“This year brought us an incredible wealth of storytelling and performances, leading to indescribably close races for nominations,” said CCA CEO Joey Berlin. “We are honored to be able to celebrate our landmark 30th year of the Critics Choice Awards with this talented group of nominees and are thrilled to bring viewers our best show yet. Knowing how close the balloting for nominations was, we anticipate an exciting evening of high drama on January 26.”
The full list of film category nominations can be found below.
A Complete Unknown
As previously announced, “Shōgun” (FX / Hulu) leads the television contenders for the 30th annual Critics Choice Awards with six nominations. The show earned a nod for Best Drama Series, while the cast was recognized in multiple categories including Hiroyuki Sanada for Best Actor in a Drama Series and Anna Sawai for Best Actress in a Drama Series. Tadanobu Asano and Takehiro Hira are both up for Best Supporting Actor in a Drama Series, while Moeka Hoshi could take home the Best Supporting Actress in a Drama Series award.
The Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement. Historically, they are the most accurate predictor of Academy Award nominations. The 30th annual Critics Choice Awards show will be executive-produced by Bob Bain Productions and Berlin Entertainment. The Critics Choice Awards are represented by Dan Black at Greenberg Traurig, LLP.
Sponsors of the Critics Choice Awards include FIJI Water and Milagro Tequila.
Follow the 30th annual Critics Choice Awards on Instagram and X @CriticsChoice, on TikTok @OfficialCriticsChoice, and on Facebook/CriticsChoiceAwards.
About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing almost 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit:
E! is the only global, multi-platform brand for all things pop culture airing original series including breakout hit “House of Villains” and popular acquired comedy series. The “E! News” brand is the leading multi-platform publisher delivering breaking entertainment news and pop culture coverage 24/7 across linear, EOnline.com and all digital and social media. The brand’s programming slate includes “E! News” and “E! News’ The Rundown” on Snapchat. “Live from E!” covers signature red carpet events, keeping fans connected to their favorite stars on pop culture’s biggest nights and the “People’s Choice Awards” celebrates the best in pop culture and is the only award show for the people, by the people. E! is part of the NBCUniversal’s Entertainment portfolio which includes NBC, Bravo, E!, Oxygen True Crime, SYFY, Universal Kids, USA Network and Peacock. For more information, visit EOnline.com.
The Brutalist.
FILM NOMINATIONS FOR THE 30TH ANNUAL CRITICS CHOICE AWARDS
BEST PICTURE A Complete Unknown Anora The Brutalist Conclave Dune: Part Two Emilia Pérez Nickel Boys Sing Sing The Substance Wicked
BEST ACTOR Adrien Brody – The Brutalist Timothée Chalamet – A Complete Unknown Daniel Craig – Queer Colman Domingo – Sing Sing Ralph Fiennes – Conclave Hugh Grant – Heretic
BEST ACTRESS Cynthia Erivo – Wicked Karla Sofía Gascón – Emilia Pérez Marianne Jean-Baptiste – Hard Truths Angelina Jolie – Maria Mikey Madison – Anora Demi Moore – The Substance
BEST SUPPORTING ACTOR Yura Borisov – Anora Kieran Culkin – A Real Pain Clarence Maclin – Sing Sing Edward Norton – A Complete Unknown Guy Pearce – The Brutalist Denzel Washington – Gladiator II
A Real Pain
BEST SUPPORTING ACTRESS Danielle Deadwyler – The Piano Lesson Aunjanue Ellis-Taylor – Nickel Boys Ariana Grande – Wicked Margaret Qualley – The Substance Isabella Rossellini – Conclave Zoe Saldaña – Emilia Pérez
BEST YOUNG ACTOR / ACTRESS Alyla Browne – Furiosa: A Mad Max Saga Elliott Heffernan – Blitz Maisy Stella – My Old Ass Izaac Wang – Didi Alisha Weir – Abigail Zoe Ziegler – Janet Planet
BEST ACTING ENSEMBLE Anora Conclave Emilia Pérez Saturday Night Sing Sing Wicked
Wicked
BEST DIRECTOR Jacques Audiard – Emilia Pérez Sean Baker – Anora Edward Berger – Conclave Brady Corbet – The Brutalist Jon M. Chu – Wicked Coralie Fargeat – The Substance RaMell Ross – Nickel Boys Denis Villeneuve – Dune: Part Two
BEST ORIGINAL SCREENPLAY Sean Baker – Anora Moritz Binder, Tim Fehlbaum, Alex David – September 5 Brady Corbet, Mona Fastvold – The Brutalist Jesse Eisenberg – A Real Pain Coralie Fargeat – The Substance Justin Kuritzkes – Challengers
BEST ADAPTED SCREENPLAY Jacques Audiard – Emilia Pérez Winnie Holzman, Dana Fox – Wicked Greg Kwedar, Clint Bentley – Sing Sing RaMell Ross & Joslyn Barnes – Nickel Boys Peter Straughan – Conclave Denis Villeneuve, Jon Spaihts – Dune: Part Two
Conclave
BEST CINEMATOGRAPHY Jarin Blaschke – Nosferatu Alice Brooks – Wicked Lol Crawley – The Brutalist Stéphane Fontaine – Conclave Greig Fraser – Dune: Part Two Jomo Fray – Nickel Boys
BEST PRODUCTION DESIGN Judy Becker, Patricia Cuccia – The Brutalist Nathan Crowley, Lee Sandales – Wicked Suzie Davies, Cynthia Sleiter – Conclave Craig Lathrop, Beatrice Brentnerova – Nosferatu Arthur Max, Jille Azis, Elli Griff – Gladiator II Patrice Vermette, Shane Vieau – Dune: Part Two
BEST EDITING Sean Baker – Anora Marco Costa – Challengers Nick Emerson – Conclave David Jancso – The Brutalist Joe Walker – Dune: Part Two Hansjörg Weißbrich – September 5
BEST COSTUME DESIGN Lisy Christl – Conclave Linda Muir – Nosferatu Massimo Cantini Parrini – Maria Paul Tazewell – Wicked Jacqueline West – Dune: Part Two Janty Yates, Dave Crossman – Gladiator II
Gladiator 2
BEST HAIR AND MAKEUP Christine Blundell, Lesa Warrener, Neal Scanlan – Beetlejuice Beetlejuice Hair and Makeup Team – Dune: Part Two Stéphanie Guillon, Frédérique Arguello, Pierre-Olivier Persin – The Substance Frances Hannon, Sarah Nuth, Laura Blount – Wicked Traci Loader, Suzanne Stokes-Munton, David White – Nosferatu Mike Marino, Sarah Graalman, Aaron Saucier – A Different Man
BEST VISUAL EFFECTS Mark Bakowski, Pietro Ponti, Nikki Penny, Neil Corbould – Gladiator II Pablo Helman, Jonathan Fawkner, Paul Corbould, David Shirk – Wicked Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer – Dune: Part Two Luke Millar, David Clayton, Keith Herft, Peter Stubbs – Better Man Bryan Jones, Chervin Shafaghi, Pierre Olivier-Persin, Jean Miel – The Substance Erik Winquist, Stephen Unterfranz, Paul Story, Rodney Burke – Kingdom of the Planet of the Apes
BEST ANIMATED FEATURE Flow Inside Out 2 Memoir of a Snail Wallace & Gromit: Vengeance Most Fowl The Wild Robot
BEST COMEDY A Real Pain Deadpool & Wolverine Hit Man My Old Ass Saturday Night Thelma
BEST FOREIGN LANGUAGE FILM All We Imagine as Light Emilia Pérez Flow I’m Still Here Kneecap The Seed of the Sacred Fig
BEST SONG “Beautiful That Way” – The Last Showgirl – Andrew Wyatt, Miley Cyrus and Lykke Li “Compress / Repress” – Challengers – Trent Reznor, Atticus Ross, Luca Guadagnino “El Mal” – Emilia Pérez – Zoe Saldaña, Karla Sofía Gascón, Camille “Harper and Will Go West” – Will & Harper – Kristen Wiig “Kiss the Sky” – The Wild Robot – Maren Morris “Mi Camino” – Emilia Pérez – Selena Gomez
BEST SCORE Volker Bertelmann – Conclave Daniel Blumberg – The Brutalist Kris Bowers – The Wild Robot Clément Ducol & Camille – Emilia Pérez Trent Reznor & Atticus Ross – Challengers Hans Zimmer – Dune: Part Two
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.
Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.
Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”
This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.
After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.
He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.
Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.
Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.
He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.
In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.
Take Ten Q & A with Joel Moses
1. What is special about your latest project?
“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.
I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”
2. Why did you choose your profession/pursue the arts?
“My mom says that from an early age I was always in character. Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.
When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”
3. How would your friends describe you?
“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.
With Nicole Angeli in “Lungs.”
4. How do you like to spend your spare time?
“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”
5. What is your current obsession?
“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”
6. What would people be surprised to find out about you?
“I get anxious in social settings and can sometimes struggle with words.”
7. Can you share one of your most defining moments in life?
“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”
8. Who do you admire most?
“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”
9. What is at the top of your bucket list?
“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”
10. What is your favorite thing to do in St. Louis?
“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”
I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”
11. What’s next?
“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”
In his award-winning role in “The Christians” at West End Players Guild.
More Information on Joel Moses
Birthplace: near Kansas City, Mo. Current location: St Louis Education: BFA: Theatre Performance – University of Central Missouri – 2006. Moscow Art Theatre – Summer Acting Intensive – 2012. MFA: Acting – Northern Illinois University – 2013.
Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.
First job: Fry Cook. Dairy Queen. First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.” Favorite jobs/roles/plays or work in your medium?
It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.
• Ubu in King Ubu, Organic Theater Company
• Einstein in Picasso at the Lapin Agile, Organic Theater Company
• Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.
• Branwell in Bronte Sister House Party, SATE.
With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.
And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.
• Lungs, Albion Theatre.
• George Deever in All My Sons, New Jewish Theatre.
• Heisenberg in Copenhagen, St Louis Actors’ Studio
• Duke Frederick in As You Like It, St. Louis Shakespeare Festival.
Awards/Honors/Achievements:
St. Louis Theater Circle Awards:
• Outstanding Performance in a Drama: The Christians – West End Players
• Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE
Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner
“What is utterly absurd happens in the world.” Gogol
A song that makes you happy: “Scatman” – Scatman John
With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.
“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.
The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.
Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell photo.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
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.
Friends, family and fans are invited to take part in a Community Celebration & Memorial for Ken Page, honoring the extraordinary life and work of St. Louis’ beloved theatre legend.
The joyous evening of music and memories will be held Friday, April 11, at 7:30 p.m. at The Sheldon Concert Hall in Grand Center. This ticketed event is free and open to the public; ticket information will be available March 3.
A Bishop DuBourg High School graduate, Page made his Muny debut in 1972 in the ensemble of South Pacific. He went from St. Louis to starring roles on Broadway, in London and in film, and his work was heralded throughout.
He made his Broadway debut as Nicely-Nicely Johnson in the all-Black revival of Guys and Dolls and starred as Old Deuteronomy in the original Broadway company of Cats. Other Broadway credits include Ain’t Misbehavin’ (Ken) and The Wiz (Lion). In London’s West End, he performed in Children of Eden (Father) and My One and Only in Concert (London Palladium).
Page provided the voice for Mr. Oogie Boogie in the Disney/Tim Burton animated film The Nightmare Before Christmas and performed the score live around the world. His other film credits include Dreamgirls, Torch Song Trilogy and All Dogs Go to Heaven.
The Muny was Page’s artistic home, and he graced the stage in more than 45 shows, most recently as the Bishop of Digne in Les Misérables (2024). Since 2013, Page served as “the voice of The Muny,” his singular baritone welcoming audience members before each performance. He also voiced the theatre’s TV and radio advertisements.
Page received lifetime achievement awards from the Manhattan Association of Cabaret Artists, Project One Voice/Black Theatre, and the St. Louis Arts and Education Council.
The Community Celebration & Memorial for Ken Page, produced by The Muny, is organized by a friends committee that includes Carrie Houk, Mike Isaacson, Lana Pepper, Laura Peters, Greg Schweizer, Mary Strauss and Pat Vogelsang.
About The Muny
Now entering its 107th season in St. Louis, The Muny is a 501(c)(3) nonprofit dedicated to enriching lives by producing exceptional musical theatre, 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.
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.
A trio of ragtag revolutionaries cling to their cause and their rules as they hide from an authoritarian regime in the very quirky and vague-on-purpose “Pictures from a Revolution” (Quadri di una rivoluzione) by Sicilian playwright Tino Caspanello.
Strange but intriguing because of the agile skills of the acting quartet, this U.S. premiere is uneven in tone, perhaps because of the English translation by Haun Saussy, but then again, Caspanello is committed to keeping us guessing and in the esoteric structure with the sketchiest details.
While the men – called by numbers, initially act like the Three Stooges, they are in a serious battle to maintain their resistance against totalitarian forces in an unidentified country.
While living inside the walls of a stadium, they take turns being on guard, convinced enemies are lurking outside, waiting to capture the rebels. They make grand gestures and believe there is a purpose to their righteous anger. After all, they are following their rules.
What do they stand for, and why are they still fighting? They’re hungry, tired and cranky, debating actions to take. J. Samuel Davis, in a wonderfully comic role, is the sage 584, the oldest of the group. He decides to journey outside their encampment in hopes of lassoing a cow – for milk and eventually meat. His slapstick is a delight.
Isaiah DiLorenzo and Andre Eslamian. Photo by ProPhotoSTL
Instead, he has captured an unnamed woman (Lizi Watt), who ferociously fights him like a caged animal on the attack. They are confused by her then eventually won over by her charms. She changes her story but begs them to believe her. She must stay or they may be found out.
Watts is impressive in this fierce and fearless role that she tackles with robust physicality. Should they trust her or is she dangerous? She throws off the dynamic of the trio – Isaiah DeLorenzo is at his idiosyncratic best as 892, the chief. He likes to pontificate about ideals and how important their mission is. We don’t really know who the enemy is.
As the youngest rebel 137, Andre Eslamian has another fine turn after strong work in Lize Lewy’s “Longing” last summer and in SATE’s “The Palpable Gross Play: A Midsummer adaptation” the year before. His character seems the most pragmatic and tends to a garden.
Director Philip Boehm has added a performance art quality to the production by his artful staging, and using dance-like movements for all characters, which become more pronounced as the 90-minute play unfolds. Cecil Slaughter was the movement coordinator, and the ensemble is elegantly in sync.
Another unusual aspect of this play is its inclusion of 11 works of art by some of the world’s most famous painters – shown as slides, with Boehm narrating as if he’s teaching an art history class. Among them: “The Night Watch” by Rembrandt, “Leda Atomica” by Salvador Dali, “The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, “Ballet Rehearsal on Stage” by Edgar Degas and “Cornfield with Crows” by Vincent Van Gogh.
Lizi Watt as The Woman. Photo by ProPhotoSTL.
The scenes often echo the themes of the famous painting being shown before it, which is interesting. Patrick Huber’s projection work is fluid in presenting the paintings. He also worked on the scenic design, fashioning an enclave for the squatters that has a lived-in feel, aided by propmaster Rachel Seabaugh.
Because the dialogue is fanciful, and the situation almost surreal like, there is little emotional connection, and the conflicts are both petty and daunting. Much bickering wears down one’s goodwill — but the funny situations do elicit laughs.
The technical work is uniformly first-rate, with Michele Friedman Siler’s costume design giving each man a distinctive look and outfitting The Woman in a slinky dress, an evening bag and nice heels, so that questions are raised by her appearance.
Boehm and Huber also handled the intricate sound design while Steve Carmichael took care of the lighting design, reflecting the different times of day. Joe Schoen worked as a vocal consultant.
“Pictures from a Revolution” continues Upstream Theater’s commitment to exploring thought-provoking works from around the globe that are universal in its themes. At times, it seems like theater of the absurd, while other moments are dark comedy.
And the cast’s commitment to bringing different elements of humanity to their roles is admirable, which is why their performances stand out, not only individually, but as a quartet.
Upstream Theater presents “Pictures from a Revolution” from Jan. 24-26, Jan. 30-31, Feb. 1-2, and 6-8, at The Marcelle Theater, 3310 Samuel Shepard Drive, St. Louis. There is a 2 p.m. matinee and an 8 p.m. performance on Saturday, Feb. 8. The play runs for 1 hour, 30 minutes without intermission. This play contains language that some may find offensive and well as discussion of mature themes. For tickets, contact metrotix.com. For more information, visit www.upstreamtheater.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A silly but harmless light-hearted comedy, “You’re Cordially Invited” is a low expectation streaming movie that turns out to be a welcome diversion for the winter doldrums.
If I consistently laugh out loud during a predictable rom-com, then I consider it a victory. Because this is a personality-driven project, Will Ferrell and Reese Witherspoon are in their comfort zone – he plays the doofus helicopter widower dad Jim who is well-meaning and she’s Margot, an uptight high-strung career woman who is estranged from her family. Sound familiar?
His only daughter, Jenni (Geraldine Viswanathan) is getting married, and so is Margot’s sister Neve (Meredith Hagner), and they have both booked a charming small inn on an idyllic island for the same weekend. Naturally, chaos ensues.
In wanting to throw unforgettable celebrations for their loved ones, the pair go head-to-head as they stop at nothing to make that happen. Both are tightly wound and kick it into high gear with their competing egos.
On the other hand, their relatives are horrified at their acting out, which makes for more awkward situations. But the families try to make the best of sharing the venue.
The venue is picture-perfect gorgeous, which is the real resort Lake Oconee, about 75 miles east of Atlanta, subbing for the fictional Palmetto House.
Of course, the story is goofy, featuring some good slapstick bits, but also stretched thin (and goes a tad too long – 110 minutes), but it’s fun to watch this ensemble.
Ferrell and Witherspoon have never worked together before, but they both have that Def-Con 5 tendency to go over-the-top, which suits their roles. They display their customary crisp comic timing, which makes their skirmishes funny.
Witherspoon’s job as a reality TV producer also provides some laughs, including a Bobby Moynihan-hosted show called “Is It Dead?”
The two brides-to-be are charming and sweet, unfortunately caught in the middle of the shenanigans.
The supporting players include Jack McBrayer, who was a hoot as Kenneth the page on “30 Rock,” as the inn proprietor; hilarious Tennessee comedienne Leanne Morgan who dryly delivers some of the best lines as Margot’s lonely sister Gwyneth; comedian Rory Scovel as her brother Colton; and Jimmy Tatro and Stony Blyden as the two grooms, Dixon and Oliver. Dixon works as a Chippendales dancer, so you know what will happen there.
Character actress Celia Weston hits the right notes as the judgmental Southern family matriarch Flora and Keyla Monterroso Mejia is loud as the excitable party-girl Heather, Jenni’s maid of honor. The bridesmaids, while not in many scenes, are their own comedy troupe.
There are also a couple surprise cameos that add to the fun. And the music soundtrack is an important element of the film. You’ll never quite hear the Dolly Parton-Kenny Rogers duet “Islands in the Stream” the same way again.
Nicholas Stoller, who wrote and directed “You’re Cordially Invited,” has made some crowd-pleasing hits including “Forgetting Sarah Marshall,” “Neighbors” and “The Five-Year Engagement.” He also wrote “The Muppets” and its sequel.
The story gets a tad schmaltzy wrapping up all the families’ turmoil. Turns out Jim and Margot have more in common in their fear of being alone and not needed. The family connections add some warmth and sincerity.
Weddings are often fertile ground for wacky comedies, among them: “The Wedding Planner,” “Wedding Crashers,” “Shotgun Wedding,” “My Best Friend’s Wedding,” “Father of the Bride,” and “Bridesmaids.” This falls somewhere in the middle of the road. But at this time of year, it fits the bill for something amusing and mindless.
“You’re Cordially Invited” is a 2025 romantic comedy written and directed by Nicholas Stoller and starring Will Ferrell, Reese Witherspoon, Celia Weston, Leanne Morgan, Meredith Hagner, Geraldine Viswanathan, Rory Scovel, Jack McBrayer, Jimmy Tatro and Stony Blyden. Its runtime is 1 hr. 50 minutes and is rated R for language throughout and some sexual references. It began streaming on Amazon Prime Jan. 30. Lynn’s Grade: B-.
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.
For a small show, “Athena” packs a mighty punch. Set in the specific world of competitive fencing, the 75-minute two-hander is a remarkable achievement for a fierce pair of young actresses whose skill and timing are paramount to the show’s success.
Led with a deft hand and an acute ear by director Nancy Bell, “Athena” tells a slice-of-life story between two 17-year-old athletes as they train for national competition, with the goal of qualifying for the Junior Olympics.
A third character, Jamie (Carmen Cecelia Retzer), is seen briefly near the end.
The worldlier Athena (Isa Venere) appears to have the upper hand in this rivals dynamic, while studious Mary Wallace (Jaelyn Genyse) for all her bravado, is more insecure and sheltered.
Both ambitious and driven, they have teamed up to practice together after school – Athena lives in the city while Mary Wallace commutes from Teaneck, N.J. They have spent so much of their lives competing that they don’t make friends easily, but a bond, no matter how bumpy, forms based on mutual respect and admiration. They push each other and accept nothing but their best. Much is riding on their success and their future.
Jaelyn Genyse and Isa Venere/ Photo by Jon Gitchoff.
Athena, aka Darby Schlossberg, has named herself after the Greek mythological goddess of wisdom and warfare, known for heroic endeavors. She projects confidence, and a command of the sport, but her life skills aren’t as developed yet. They both crave experiences but have devoted themselves to the goal of making it as far as they can in the sport.
Playwright Gracie Gardner’s nimble dialogue is matched by the actresses’ physical agility as they realistically banter and spar. It’s as if we are eavesdropping on two teenagers and their Gen Z viewpoints, frustrations and assessments of their daily routines.
Laced with humor, hormonal angst and that age group’s never-ending melodramas, “Athena” pops with personality and pizzazz.
The tremendous amount of work involved in mounting this show can’t be overstated – what a monumental task for all involved. With its warrior attitude, this intimate 2018 play is a good fit for the Steve Woolf Studio Series
Isa Venere as Athena. Photo by Jon Gitchoff.
Venere and Genyse are flawless in their natural portrayals, conveying appealing vitality as their characters and handling physicality with grace and aplomb. They appear to be well-trained in this ancient sport, and much credit goes to Fight Director Paul Steger and Fencing Consultant Annamaria Lu.
Seth Howard’s set design of a rectangular “piste” is functional and formatted for an in-the-round experience, while Jayson M Lawshee’s lighting design suits the competition and training demands.
Sound designer Jimmy Bernatowicz keeps the fast-paced action at a lively clip, interspersing contemporary dance hits to pump up the energy. Costume designer Renee Garcia outfits the pair in their practice and competitive uniforms, one recognizable through her neon orange shoes and the other by her colorful socks.
With bravura lead performances, this coming-of-age journey of self-discovery is a compelling look at girls trying to grab the brass ring, and ways female friendships are put to the test.
Jaelyn Genyse as Mary Wallace. Photo by Jon Gitchoff
The Repertory Theatre of St. Louis presents “Athena” by Grace Gardner Jan. 15 through Feb. 9 “Performances take place in the Emerson Studio Theatre of the Loretto-Hilton Center on the Webster University campus. This production lasts 75 minutes without intermission. It contains strobe lights, strong language, and is recommended for ages 16 and up. For more information: www.repstl.org.
Mary Wallace and Athena (Jaelyn Genyse and Isa Venere. Photo by Jon Gitchoff.
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.
“Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
An abundance of new voices and fresh faces mixed with familiar stories and reliable veterans to give us another compelling year of theater among regional professional groups.
Sometimes, there were so many offerings, one couldn’t get to them opening weekend, or my schedule prevented me from early viewing. I attended around 80 eligible shows and am grateful for the theater companies accommodating me. This does not include touring, school or community theatre productions.
I am enriched and in awe of the talent in our midst. And sharing what it feels like to be human in the 21st century is a very wonderful experience. That sense of belonging and community abounds. Onward to a magical year ahead.
As a local theater critic and writer about arts and entertainment, here’s my highly personal annual assessments on 2024 output – my “LOTTIES” – Lynn’s Love of Theatre Awards, as I announce every year. They are not set at five, but categories vary. If I wanted to recognize a performer or a show, I did (my rules). This is separate from the St. Louis Theater Circle, of which I am a founding member. My esteemed colleagues and I will present our annual awards at a gala ceremony, aka theater prom, on Monday, March 24, at the Loretto-Hilton Center on the Webster University campus. Nominations will be revealed soon.
“The Inheritance, Parts I and II.” Provided by Tesseract Theatre Company.
Production of the Year: “The Inheritance, Parts I and II” by Tesseract Theatre Company
A 7-hour commitment but worth every minute, riveting from start to finish, with everyone giving their all. Epic in scope and intimate in execution, Tesseract Theatre Company’s production was exhilarating.
Playwright Matthew Lopez wrote a vivid and perceptive rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love. Surprising in its wit and depth of feeling, this Tony and Olivier-Award winning play is a magnum opus on what it’s like to be gay in America.
Boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble, they each met their moments. Intertwining a sprawling cast of 13, Lopez examined healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.
Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.
In an uncommon structure, Lopez tackled the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastic way. It is specific to the LGBTQIA+ experience, but allies could relate.
Companies of the Year: The Repertory Theatre of St. Louis (large) and Tesseract Theatre Company (small)
Danny Williams and Kate Bergstrom. Provided.
The Rep gets the honor, turning around the venerable institution in spectacular fashion after it was on the brink of not surviving in 2023. A change in direction and a rallying community – both faithful and skeptical – helped the reset. So did new Artistic Director Kate Bergstrom, a sunny collaborative charmer whose efforts have been nothing short of astounding, along with managing director Danny Williams, who came aboard in 2022. Two absolute stunners – “Moby Dick” and “August: Osage County” helped restore the luster in early 2024 while The Studio returned with “The Roommate” and a new partnership with Stages St. Louis for the crowd-pleasing “Million Dollar Quartet Christmas” followed a classic “Dial M for Murder” to deliver on its promises. Enthusiasm and goodwill is palpable at every function.
At the Tesseract Theatre Company, Kevin Corpuz and Brittanie Gunn took over operations, and continued bold moves started by founder Taylor Gruenloh in 2010. “The Inheritance, Part 1 and 2” was a landmark achievement, they shifted to musicals for the summer new play festival, and then their ambitious production of “Anastasia: The Musicals” in the fall cemented the statement that they have arrived. Can’t wait to see what is ahead.
Alan Knoll
Artist of the Year: Alan Knoll
Actor-Director Alan Knoll is such a St. Louis fixture that it would be easy to take him for granted, but we never ever do. He’s not one to phone it in, always finds an entry point for us, and continues to stretch his capabilities. Last year, he did some of his finest work yet – as flawed dads in “We All Fall Down” and “August: Osage County,” and as a loyal servant in “Life Is a Dream.”
He also directed the acclaimed drama “Red” for New Jewish Theatre, where he previously helmed “Brighton Beach Memoirs” and “Broadway Bound,” part of Neil Simon’s Eugene trilogy.
In a 40-plus year career, he estimates he has been in more than 150 productions. He has worked at the Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory in St. Louis, and at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and is about 160 miles from St. Louis.
With his name in the ensemble, you can be assured of a first-rate performance, and with him in the director’s seat, you know you are in for a thoughtful, insightful production.
Tom Ridgely. Photo by Kevin Roberts.
Producers of the Year
Tom Ridgely, Sr. Louis Shakespeare Festival
As the producing artistic director of the St. Louis Shakespeare Festival since 2018, Tom Ridgely has expanded offerings and community partnerships, and taken an innovative, collaborative approach to their mission. In 2024, he oversaw one of the freshest summer productions yet in Forest Park’s Shakespeare Glen – “As You Like It,” and their TourCo’s “The Tempest” broke attendance records in multiple city parks and outdoor venues. Their work in schools and with young artists is an important component as well. Under his leadership, the organization thrives on reinvention and keeps its audiences engaged. The Shakespeare in the Streets events are eagerly anticipated, and they always attempt new ground.
Andrew Kuhlman and Gayle Seay
Andrew Kuhlman and Gayle Seay, Stages St. Louis
Andrew Kuhlman is the homegrown element as executive producer, rose through the ranks, while Gayle Seay brings an astute experienced eye as artistic director at Stages St. Louis. With two seasons under their belt, they showed Stages St. Louis’ audiences that they were moving forward while not messing with the recipe for success that co-founders Jack Lane and the late Michael Hamilton focused on when they started the company in 1987. Andrew, who was mentored by both Jack and Michael, continues to build partnerships while Gayle, familiar with the Stages’ family as a longtime casting director, knows the right people to go to in mounting their shows. They’ve demonstrated that theirs is a strong match, and they build on recent successes. Last season’s “Steel Magnolias,” “Newsies” and “Ragtime” continued the legacy.
Touring Production of the Year: (tie) “The Cher Show,” The Broadway Series at Stifel, and “Jagged Little Pill” at The Fox.
Jacob Schmitt and Bryce Miller in “Trayf”
THE MVPs
(Must have excelled in two or more shows this year, not a rookie, and whose presence made a difference)
Rachel Bailey Ann Hier Brown Matthew Cox Jerome (J Samuel) Davis Isaiah DiLorenzo Jayson Heil Bryce Miller Drew Mizell Joel Moses Dustin Petrillo Ben Ritchie Jacob Schmidt Molly Wennstrom Eric Dean White Sarah Wilkinson
ONES TO WATCH Ashwini Aurora Cory Burke Jade Cash Tyson Cole Rafael Da Costa Dominic Di Ciccio Andre Eslamian Aaron Fischer Nadja Kapetanovich Gabriel Paul Allison Sexton
Nicole Angeli and Joel Moses in “Lungs”
DYNAMIC DUOS /TRIOS
Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
John Riddle and Jordan Donica in “Les Miserables” (The Muny)
Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
Andre Navid Eslamian and Leta DeBardeleben in “Longing”
Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
Matt Anderson, Jeremy Goldmeier, and Donna Parrone as Haunted House actors in “Ripcord” (Stray Dog Theatre)
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
Jamaal Fields-Green as Michael Jackson in the “MJ – The Musical” finale in the touring production at The Fox. Whatever that ‘surprise’ move he concocted for the 1992 “Dangerous” World Tour was. One of the most exhilarating things I’ve ever seen in a musical.
BEST YOUTH PERFORMERS
Will Schulte, “Les Miserables,” The Muny
Zoe Klevorn, “Ragtime,” Stages St Louis
Shane Rose, “All My Sons,” New Jewish Theatre
Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
Lucy Miller, “Wedding Band,” The Black Repertory Theatre
Davin Wade, “Newsies,” Stages St. Louis
Maliah Strawbridge, “Big Machine,” Fly North Theatricals
Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke) in “Fiddler on the Roof,” The Muny
BEST NEW PLAYS
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing” at the LaBute New Play Festival. Patrick Huber photo.
“Longing” by Lize Lewy
“Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
“Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
“Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
“Romanov Family Yard Sale” by Courtney Bailey, ERA
“Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
“Am I Dangerous” by e.k. doolin, Contraband Theatre
“Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
“Cash Flow,” Marjorie Williamson, First Run Theatre
“Sandra’s Son,” Cbabi Bayoc (work in progress)
As You Like It. Photo by Phillip Hamer.
BEST COMEDY PRODUCTIONS
“As You Like It,” St. Louis Shakespeare Festival
“Trayf,” New Jewish Theatre
“The Roommate,” The Repertory Theatre of St. Louis
“Woman in Mind (December Bee),” Albion Theatre
“Steel Magnolias,” Stages St. Louis
“Spirits to Enforce,” The Midnight Company
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“The Tempest,” St. Louis Shakespeare Festival, Tour Co.
“Romanov Family Yard Sale,” ERA
“Red Jasper,” Michael Madden Productions
BEST DRAMA PRODUCTIONS
“The Inheritance, Part 1 and 2,” Tesseract Theatre Company
“Moby Dick,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“August: Osage County,” The Repertory Theatre of St. Louis
“Red,” New Jewish Theatre
“The Whale,” St. Louis Actors’ Studio
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
“Life is a Dream,” Upstream Theater
“Hold On!” The Black Rep
“Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.
BEST MUSICAL PRODUCTIONS
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“Newsies,” Stages St. Louis
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Blues in the Night, “The Black Rep
“(Title of Show),” Prism Theatre
“Waitress,” The Muny
BEST SUPPORTING ACTRESS IN A COMEDY
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
Kari Ely, “Steel Magnolias,” Stages St Louis
Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Anna Blair, “The Butcher of Baraboo,” West End Players Guild
Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
Ami Loui, “Steel Magnolias,” Stages St. Louis
Emily Baker and Isaiah Di Lorenzo in “Woman in Mind (December Bee).” Albion Theatre.
BEST SUPPORTING ACTOR IN A COMEDY
Spencer Sickmann, “Trayf,” New Jewish Theatre
Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
Cassidy Flynn, “Romanov Family Yard Sale,” ERA
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
BEST ACTRESS IN A COMEDY
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Nancy Nigh, “Red Jasper,” Michael Madden Productions
Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
Jan Meyer, “Elephants’ Graveyard,” First Run Theatre 10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
(tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST ACTOR IN A COMEDY
Jacob Schmidt, “Trayf,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie “Red Jasper,” Michael Madden Productions
Alan Knoll, “We All Fall Down,” New Jewish Theatre
Joel Wilper, “Bell, Book & Candle,” Stray Dog Theatre
Denise Thimes and Alex Jay in “King Hedley II” at The Black Rep.
BEST SUPPORTING ACTRESS IN A DRAMA
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
Alex Jay, “King Hedley II,” The Black Rep
Evann De-Bose, “Hold On!” The Black Rep
Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Denise Thimes, “King Hedley II,” The Black Rep
Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
Kari Ely, “Wedding Band,” The Black Rep
BEST ACTRESS IN A DRAMA
Maggie Wininger, “Molly Sweeney,” Albion Theatre
Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
Amy Loui, “All My Sons,” New Jewish Theatre
Nicole Angeli, “Lungs,” Albion Theatre
Jacqueline Thompson, “Wedding Band,” The Black Repertory
Eileen Engel, “Dutchman,” Soul Siren Playhouse
Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater
BEST SUPPORTING ACTOR IN A DRAMA
Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
Jayson Heil, “All My Sons,” New Jewish Theatre
Dustin Petrillo, “Red,” New Jewish Theatre
Eric Dean White, “Hold On!” The Black Rep
Jerome Davis, ‘King Hedley II,” The Black Rep
Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
Joseph Garner, “Dark Matters,” West End Players Guild
Jerry Vogel, “Life is a Dream,” Upstream Theater
Gary Glasgow, “Life is a Dream,” Upstream Theater
Greg Johnston and Jayson Heil in “All My Sons.” New Jewish Theatre.
BEST ACTOR IN A DRAMA
Greg Johnston, “All My Sons,” New Jewish Theatre
Christopher Harris, “Red,” New Jewish Theatre
William Roth, “The Whale,” St. Louis Actos’ Studio
Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Joel Moses, “Lungs,” Albion Theatre
Reginald Pierre, “Life is a Dream,” Upstream Theatre
Rachel Bailey, “Title of Show,” Prism Theatre Company
Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis
Lauren Tenenbaum, “American Idiot,” New Line Theatre
Emily Bautista, “Les Miserables,” The Muny
Samantha Massell, “Fiddler on the Roof,” The Muny
Nancy Ticotin, “In the Heights,” The Muny
Adrianna Hicks “Anything Goes,” The Muny
Tamar Greene and Shereen Pimentel in “Ragtime” at Stages St. Louis. Phillip Hamer photo.
BEST SUPPORTING ACTOR IN A MUSICAL
Matthew Cox, “Ragtime,” Stages St. Louis
George Abud, “Anything Goes,” The Muny
Matthew Cox, “Newsies,” Stages St Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
James D. Gish, “Les Miserables,” The Muny
Nick Rashad Burroughs, “Dreamgirls,” The Muny
Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Will Bonfiglio, “First Date,” New Jewish Theatre
Jayson Heil, “First Date,” New Jewish Theatre
Troy Iwata, “Waitress,” The Muny
Rafael DaCosta, “Dracula,” New Line Theatre
BEST ACTRESS IN A MUSICAL
Jessica Vosk, “Waitress,” The Muny
Tiffany Mann, “Dreamgirls,” The Muny
Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
Marissa McGowan, “Ragtime,” Stages St. Louis
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Jill Abramovitz, “Fiddler on the Roof,” The Muny
Jaelyn Hawkins, “(title of show),” Prism Theatre
Taylor Quick, “Newsies,” Stages St. Louis
Katie Orr, “(title of show),” Prism Theatre
Savy Jackson, “Disney’s The Little Mermaid,” The Muny
Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
BEST ACTOR IN A MUSICAL (Male or Non-binary)
Adam Heller, “Fiddler on the Roof.” The Muny
John Riddle, “Les Miserables,” The Muny
Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Benji Santiago, “In the Heights,” The Muny
Drew Mizell, “Nevermore,” Stray Dog Theatre
Jay Armstrong Johnson, “Anything Goes,” The Muny
Al Bastin, “The Big Machine,” Fly North Theatricals
Clayton Humburg, “American Idiot,” New Line Theatre
BEST ENSEMBLE IN A COMEDY
“Romanov Family Yard Sale,” ERA
“Spirits to Enforce,” Midnight Company
“As You Like It, St. Louis,” Shakespeare Festival
“Woman in Mind (December Bee),” Albion Theare
“Red Jasper,” Michael Madden Productions
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Ripcord, “Stray Dog Theatre
“Steel Magnolias,” Stages St. Louis
BEST ENSEMBLE IN A DRAMA
“The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
“August: Osage County,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“Hold On!” The Black Rep
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
“The Whale,” St. Louis Actors’ Studio
“Moby Dick,” The Rep
Life is a Dream,” Upstream Theatre
“King Hedley II,” The Black Rep
“Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.
BEST ENSEMBLE IN A MUSICAL
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Newsies,” Stages St. Louis
“Les Miserables,” The Muny
‘(Title of Show),: Prism Theatre Company
BEST LIGHTING DESIGN IN A PLAY
Jayson M. Lawshee, “Red,” New Jewish Theatre
Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
Sean Savoie, “Hold On!” The Black Rep
William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.
BEST LIGHTING DESIGN IN A MUSICAL
John Lasiter, “Fiddler on the Roof,” The Muny
Rob Denton, “Anything Goes,” The Muny
Sean Savoie, “Ragtime,” Stages St. Louis
Jason Lyons, “Disney’s The Little Mermaid,” The Muny
Tyler Duenow, “Nevermore,” Stray Dog Theatre
Travis Richardson, “Blues in the Night,” The Black Rep
Jason Lyons, “Les Miserables,” The Muny
BEST VISUAL PROJECTIONS/DESIGN 1. Zachary Grimm, “Longing” 2. Kylee Loera, “Anything Goes,” The Muny 3. Katherine Freer, “Disney’s The Little Mermaid,” The Muny 4. Zach Cohn, “Hold On!” The Black Rep 5. Joe Taylor, “Romanov Family Yard Sale,” ERA 6. Mike Tutaj, ‘Waitress,” The Muny
BEST SOUND DESIGN IN A PLAY 1. Rick Sims, “Moby Dick,” The Repertory Theatre of St. Louis 2. Zachary Grimm, “Longing” 3. Michael Musgrave-Perkins and Philip Boehm, “Don’t Wait for the Marlboro Man,” Upstream Theater 4. Chuck Harper, “Wolf Kings,” Young Liars 5. Kareem Deanes, “The Roommate,” The Rep 6. Amanda Werre, “All My Sons,” New Jewish Theatre 7. Amanda Were, “Dial M for Murder,” The Rep
BEST COSTUME DESIGN IN A PLAY
“Romanov Family Yard Sale.” ERA.
Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
BEST COSTUME DESIGN IN A MUSICAL
Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
Brad Musgrove, “Ragtime,” Stages St. Louis
Tristan Raines, “Anything Goes,” The Muny
Brad Musgrove, “Newsies,” Stages St. Louis
Eileen Engel, “Big Machine,” Fly North Theatricals
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
BEST SCENIC DESIGN IN A COMEDY 1. Scott Neale, “As You Like It,” St. Louis Shakespeare Festival 2. Kate Rance, “Steel Magnolias,” Stages St. Louis 3. Andrea Ball, “We All Fall Down,” New Jewish Theatre 4. Gary F. Bell, “Bell, Book & Candle,” Stray Dog Theatre 5. Robert Mark Morgan, “The Roommate,” The Repertory Theatre of St. Louis
“Red” at New Jewish Theatre.
BEST SCENIC DESIGN IN A DRAMA
1, Margery Spack and Peter Spack, “Red,” New Jewish Theatre 2. Margery Spack and Peter Spack, “Dial M for Murder,” The Repertory Theatre of St. Louis 3. C. Otis Sweezey, “All My Sons,” New Jewish Theatre 4. Courtney O’Neill, “Moby Dick,” The Repertory Theatre of St. Louis 5. Rob Corbett, “Elephants’ Graveyard,” First Run Theatre 6. Timothy Jones, “King Hedley II,” The Black Rep
BEST SCENIC DESIGN IN A MUSICAL
Wilson Chin, “Waitress,” The Muny
Ann Beyersdorfer, “Newsies,” Stages St. Louis
Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
Arnel Sancianco, “In the Heights,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Jamie Bullins, “Blues in the Night,” The Black Rep
Adam Koch, “Million Dollar Quartet Christmas,” The Rep and Stages St. Louis
Alysia Velez and the company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
BEST CHOREOGRAPHY
Jared Grimes, “Anything Goes,” The Muny
Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
William Carlos Angulo, “In the Heights,” The Muny
Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
Mike Hodges, “Xanadu,” Stray Dog Theatre
Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
Lesia Kaye, “Dreamgirls,” The Muny
Chelsie Johnston, “American Idiot,” New Line Theatre
Parker Esse (original choreography by Jerome Robbins), “Fiddler on the Roof,” The Muny 10. Patrick O’Neill, “Disney’s The Little Mermaid,” The Muny
BEST MUSICAL DIRECTOR
James Moore, “Les Miserables,” The Muny
Khalid McGee, “Blues in the Night,” Black Rep
Roberto Sinha, “In the Heights,” The Muny
Darryl Archibald, “Fiddler on the Roof,” The Muny
E. Renee Gamez, “Ragtime,” Stages St. Louis
Zach Neumann, “Anastasia,” Tesseract Theatre Company
John Gerdes, “American Idiot,” New Line Theatre
Mallory Golden, “Title of Show,” Prism Theatre Company
Larry Pry, “First Date,” New Jewish Theatre
Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages
BEST DIRECTOR OF A COMEDY
Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
Aaron Sparks, “Trayf,” New Jewish Theatre
Rebekah Scallet, “The Roommate,” The Rep
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep
BEST DIRECTOR OF A DRAMA
Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Gary Wayne Barker, “All My Sons,” New Jewish Theatre
Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
Ron Himes, “Hold On!” The Black Rep
Philip Boehm, “Life is a Dream,” Upstream Theater
Ellie Schwetye, “Lungs,” Albion Theatre
Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.
BEST DIRECTOR OF A MUSICAL
Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
Marcia Milgrom Dodge, “Anything Goes,” The Muny
Rob Ruggiero, “Fiddler on the Roof,” The Muny
Sam Hayes, “(Title of Show),” Prism Theatre Company
William Carlos Angulo, “In the Heights,” The Muny
Lee Ann Mathews, “First Date,” New Jewish Theatre
Deidre Goodwin, “Ragtime,” Stages St. Louis
Lili-Anne Brown, “Waitress,” The Muny
John Tartaglia, “Disney’s The Little Mermaid,” The Muny
Justin Been, “Nevermore,” Stray Dog Theatre
From left: Cleavant Derricks, Jonah D. Winston, Nicole Michelle Haskins, Jessica Vosk and Lissa deGuzman in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
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.
ABC Broadcaster Jim McKay looked into the camera and gave us the horrifying news live from the 1972 Munich Olympics.
The tragic outcome was a gut-punch, for the news a short time earlier had been hopeful. That sickening feeling is authentically duplicated in “September 5,” an intense and riveting film that has meticulously recreated the network’s control room perspective.
As gunfire rang out in the Olympic Village early morning, the ABC Sports crew was thrust into action covering the breaking news as the world’s eyes and ears.
As TV executive Roone Arledge, Peter Sarsgaard leads an exceptional workmanlike ensemble, including John Magaro as producer Geoff Mason, Ben Chaplin as Marv Bader, vice president of ABC Olympics operations, and Leonie Benesch as Marianne Gebhardt, a German translator who is called on to play a bigger role.
Eight members of the Black September militant group scaled a fence, broke into Israeli athletes’ quarters, killed wrestling coach Moshe Weinberg and weightlifter Yossef Romano, and then took nine hostages.
Black September, an affiliate of the Palestine Liberation Organization, demanded the release of 236 prisoners: 234 in Israel and the two leaders of the West German Baader-Meinhof terrorist group.
No one anticipated such an event, nor had anything like this ever happened previously. It was the 10th day of competition, the first Olympics hosted in Germany since the controversial 1936 Berlin games presided over by Adolf Hitler.
The hostage mission failed. About 20 hours after it began, five of the hostage-takers would be dead, along with 11 members of Israel’s Olympic team and a West German policeman.
In retrospect, it is a moment that forever changed media coverage, an impact felt today. It was the first time an act of terror was live on television. Chilling images from that period still burn bright – especially the terrorist in a ski-mask on the balcony.
With its ‘you are there’ point of view, the tension is palpable in this 95-minute masterly constructed film as news and directions shift. Decisions are made in split-second time, and the staff is trying to be responsible while the clock is ticking, rumors swirl, and 900 million people are glued to television screens.
These are sports guys, not experienced journalists, and you see them adapt, with the added concerns of not sensationalizing an already fraught situation and just trying to maintain coverage just staying on the air.
Swiss director Tim Fehlbaum and his crew have seamlessly blended archival footage with the routines of a darkened media center using analog equipment. At the time, the technology was state-of-the-art, and you see how resourceful they are with the now-primitive pieces.
Technology aside, the questions facing this operation are the same journalists wrestle with today, and that is what makes this tale so fascinating. Fehlbaum co-wrote the tight script with Moritz Binder, and co-writer Alex David.
The Munich Olympics have been the focus of two previous films, Steven Spielberg’s 2005 historical drama “Munich” and the 1999 Oscar-winning documentary “One Day in September.”
And this one avoids making a political statement, preferring to focus on media, not the politics of Israeli-Palestinian relations. The film was in post-production when Hamas attacked Israel in October 2023.
The control room offers a fresh perspective, and adds to the claustrophobic nature of the story, as well as the balancing act of a group of different individuals needing to set aside their personal views.
Noteworthy are Benjamin Walker as Peter Jennings, the reporter on scene, and Zinedine Soualem as French engineer named Jacques. Jim McKay is only seen in archival footage.
Production designer Julian R. Wagner’s handiwork accented the crowded space, shooting at the Olympic village, which is now a heritage site, also added to the realistic atmosphere, and the taut editing by Hansjörg Weißrich kept the story on track.
Overshadowed by the massacre, the XX Olympiad was also known for Mark Spitz earning seven gold medals for USA, a world record until 2008, and Russian gymnast Olga Korbut became a media star as she won three. Competition had stopped for 34 hours, then resumed.
Winner of the audience award at the St. Louis International Film Festival in November, “September 5” is worth seeking out for its smart, insightful capture of a significant moment in time. It’s obvious that the splendid cast was committed to ‘getting it right,’ and they convey all the dedication, compassion, confusion and drive of the people involved.
“September 5” is a 2024 historical drama directed by Tim Fehlbaum and starring Peter Sarsgaard, John Magaro, Ben Chaplin, and Leonie Benisch. It is rated R for language, and the runtime is 95 minutes. It is opening in St. Louis theaters Jan. 24. Lynn’s Grade: A
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.
