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.
St. Louis Actors’ Studio (STLAS) is pleased to present the 11th Annual LaBute New Theater Festival celebrating new works by emerging professional playwrights July 11-27 at The Gaslight Theater. STLAS received hundreds of submissions worldwide and selected five one-act pieces to be produced on the stage at The Gaslight Theater, along with another new piece by esteemed film director, screenwriter and playwright Neil LaBute, the festival’s namesake who also serves on its creative team. This year’s productions include the following works/playwrights:
Teotwawki by Aleks Merilo (two-time finalist) of Tacoma, Wash.
Poor Me by Tracy Carns of New York, N.Y.
A Modest Proposal by David MacGregor of Howell, Mich.
Carpool by Dave Carley of Ontario, Canada
Hungry Women by Melisa Maney of Hillsborough, N.J.
Scenes from a Bookstore by Neil LaBute
Tickets are now available for the LaBute New Theater Festival via Ticketmaster or at the theater box office one hour before show time. Performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $65 each plus fees, $60 each plus fees for students with valid ID and seniors 65+. For more information, visit stlas.org or email [email protected].
One of last year’s. one-act plays “Love in the Time of Nothing” by Jayne Hannahwon Outstanding New Play from the St Louis Theater Circle. Shown here are Greg Hunsaker and Jane Paradise. Patrick Huber photo.
About St. Louis Actors’ Studio
St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.
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.
Tickets on sale now; Nancy Crouse to receive Lifetime Achievement Award too, and Ryan Cooper returns as host
To celebrate 25 years of shining stars, Arts For Life will honor regional community musical theater at its annual Best Performance Awards June 29. The organization will also honor two legendary women with Lifetime Achievement Awards – renowned singer and actress Karen Mason and accomplished theater veteran Nancy Crouse.
Karen Mason, who will perform, learned how to dream big while growing up in St. Louis and Chicago. First hired as a singing hostess at the restaurant Lawrence of Oregano in 1976, she went on to a career of great acclaim as a cabaret singer and musical theater performer.
Her Broadway debut was in “Play Me a Country Song” in 1982, and she was in “Jerome Robbins’ Broadway” in 1989. Mason originated the role of Tanya in “Mamma Mia!” in 2001, earning a Drama Desk Award nomination.
She took over the role of Velma Von Tussle in “Hairspray” in 2008 and played the Queen of Hearts in “Wonderland” in 2011. She was standby to Glenn Close in the 1993 LA production of “Sunset Boulevard,” then went on to play Norma Desmond in almost 300 performances in L.A. and on Broadway.
Karen Mason
In national tours, she was in “A Christmas Story: The Musical” in 2011 and played Madame Giry in “Love Never Dies,” Andrew Lloyd Webber’s follow-up to “The Phantom of the Opera,” which ran at the Fox Theatre in St. Louis in October 2018.
Locally, she performed in “White Christmas” at the Muny and sang with the St. Louis Symphony Orchestra and at the Sheldon Concert Hall. She has performed across the country and recorded six solo albums.
She has received 13 MAC Awards – the most ever — from the Manhattan Association of Cabarets & Clubs (MAC), which honors achievements in cabaret, comedy and jazz through membership-voted awards.
Mason won an Outer Critics Circle Award for her performance in the off-Broadway Kander and Ebb revue “And the World Goes Round.”
Nancy Crouse moved to St. Louis in 1999 after an impressive career in both theater education and theater administration. She grew up in Indiana and earned a master’s degree in theatre from Ball State University.
She taught English and theatre for 33 years, retiring in 1996, and spent many years as the managing artistic director for Muncie Civic Theatre.
Nancy Crouse
She and her husband Ron came to St. Louis to live closer to their two daughters Kim and Kara, both teachers. Since then, Nancy has kept being busier than ever working for several theater companies as a performer, director, set designer and costume designer, including Clayton Community Theatre, Act Two, and Theatre Guild of Webster Groves.
Hawthorne Players is her home base, and she won Best Director for her “The Color Purple” production last year, which also won best large ensemble musical. She has received multiple BPAs and Theatre Mask Awards (drama and comedy) over the years.
Crouse said theater has taught her to “dream without limits, imagine possibilities, choose like-minded collaborators, invite and listen to their viewpoints, plan meticulously, flex as necessary, improvise with what you have, work hard to achieve, push barriers that need broken, but most of all to live in the moment and have fun sharing your dreams collectively with an audience.”
Best Performance Awards Ceremony
Tickets are now on sale for the awards ceremony, which will take place on Sunday, June 29, at 2 p.m. at the Keating Theater at Kirkwood High School. Formal attire is requested, and seating is reserved. Doors open at 1:30 p.m. and soft drinks and snacks will be available in the lobby.
Local performer and event producer Ryan Cooper returns as the host for a record sixth time. He is a two-time BPA recipient and is currently the signature event producer for the Main Street Historic District in St. Charles, Mo.
“I’m a big Arts for Life fan. As a lifelong St. Louisan, I grew up working with many of the wonderful companies that make up the vibrant St. Louis community theatre scene,” he said.
Performances will be presented from the nominated musicals for large ensemble, small ensemble and youth productions.
Large ensemble nominees are “Anything Goes,” Kirkwood Theatre Guild; “Bright Star,” Hawthorne Players in Florissant; “The Hunchback of Notre Dame,” Goshen Theatre Project in Collinsville, Ill.; “Joseph and the Amazing Technicolor Dreamcoat,” Curtain’s Up Theater Company in Edwardsville, Ill.; and “She Loves Me,” Monroe Actors’ Stage Company in Waterloo, Ill.
Merrily We Roll Along,” Take Two Productions in St. Louis, and “Once Upon a Mattress,” Act Two Theatre in St. Peters, Mo., and are nominated for small ensemble musical.
In the youth category, Gateway Center for the Performing Arts’s “Ragtime” and “Alice by Heart,” Young People’s Theatre’s “Seussical” and Stages Performing Arts Academy’s “Anastasia: The Musical” are nominated for best youth musicals.
Tickets to the show are $30.00 + a $2.00 service fee per ticket. They can be purchased at www.artsforlife.org. Nominations are also listed on the website.
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.
An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.
Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.
From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.
Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.
Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”
The play within a play. Photo by Phillip Hamer.
His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.
“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.
Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.
That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.
Scott C. Neale’s striking set. Photoby Phillip Hamer.
The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.
And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:
“To be, or not to be, that is the question Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: ’tis a consummation Devoutly to be wish’d. To die, to sleep; To sleep, perchance to dream—ay, there’s the rub: For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause—there’s the respect That makes calamity of so long life.“
Sarah Chalfie as Ophelia. Photo by Phillip Hamer.
Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.
His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.
Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.
Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.
Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.
Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.
You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.
Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”
Gertrude, Hamlet. Photo by Phillip Hamer.
Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause. He also delivers the often misquoted “Though this be madness, yet there is method in’t.”
No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.
She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.
In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.
Hamlet, Ophelia. Photo by Phillip Hamer.
The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.
The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.
Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.
Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”
Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.
Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.
Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.
This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.
St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org
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.
Broadway meets community as The Muny, Greater St. Louis Inc., KMOV and Ballpark Village proudly announce a Tony Awards Watch Party on Sunday, June 8, to benefit St. Louis tornado relief efforts. The watch party begins at 5 p.m. CT. The Muny will receive the 2025 Regional Theatre Tony Award as part of The Tony Awards: Act One, a preshow ceremony starting at 5:40 p.m. CT.
The free, public event will take place at Ballpark Village, where guests can watch Broadway’s biggest night live on the big screen, surrounded by fans, friends and fellow supporters of the arts and the St. Louis community.
The watch party will be hosted by Tony nominee, Muny alum and Missouri native Taylor Louderman, along with KMOV’s Great Day St. Louis co-host Laura Hettiger, bringing star power and hometown pride to this celebration of theatre and resilience.
Admission is free, but attendees are asked to bring a nonperishable food item or toiletry donation to support the St. Louis Area Foodbank, or make a monetary gift upon entry to support Urban League of Metropolitan St. Louis, two organizations working tirelessly to assist those impacted by recent severe weather across the region.
Celebrating The Muny’s National Recognition
This year’s celebration holds special significance for St. Louis, as The Muny will be honored during the ceremony as the 2025 recipient of the Regional Theatre Tony Award. The prestigious award recognizes The Muny’s exceptional contribution to the American theatre landscape and its unwavering commitment to artistic excellence and community engagement for over 100 seasons. The award will be presented during The Tony Awards: Act One — a preshow of live, exclusive content leading into the 78th Annual Tony Awards, televised on CBS — streaming exclusively on Pluto TV.
Event Highlights
Live viewing of the 78th Annual Tony Awards and Act One preshow
Hosted by Tony-nominated actress Taylor Louderman and KMOV’s Laura Hettiger
Celebration of The Muny’s Regional Theatre Tony Award win
Food and beverages available for purchase
Special guest appearances, remarks and giveaways
Donation drive supporting tornado relief through the St. Louis Area Foodbank and Urban League of Metropolitan St. Louis
Day: Sunday, June 8, 2025 Time: Event starts at 5 p.m. CT | The Tony Awards: Act One 5:40 p.m. CT | 78th Tony Awards 7 p.m. CT Place: Ballpark Village, 601 Clark Ave., St. Louis Cost: Free and open to the public — but bring a nonperishable food item, toiletry or monetary gift
For more information, follow The Muny on social media.
New season tickets start at just $126 and are on sale now at muny.org/season-tickets and at the Muny Box Office, located at 1 Theatre Drive in Forest Park. Single-performance tickets go on sale May 19.
The 78th Annual Tony Awards will return to the legendary Radio City Music Hall in New York City next month. Hosted by Tony, Emmy and Grammy Award winner and three-time Oscar nominee Cynthia Erivo, The American Theatre Wing’s Tony Awards will broadcast live to both coasts on Sunday, June 8 (7-10 p.m. CT) on CBS and streaming on Paramount+.
Paramount+ With Showtime subscribers will have access to stream via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live but will have access to view on-demand the day after the special airs.
A full list of this year’s nominees and additional honorees is available here.
Taylor Louderman
About The Muny
Now entering its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.
About the Tony Awards
The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are executive producers and showrunners for White Cherry Entertainment. Weiss will serve as director. The American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing. At The Broadway League, Kristin Caskey is Chair and Jason Laks is President. At the American Theatre Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO. Learn more at tonyawards.com. Follow @TheTonyAwards on Instagram, TikTok and Facebook.
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.
OK, Boomers. Does “The Heidi Chronicles” retain its bittersweet ‘voice of a generation’ 37 years after its laudable premiere in 1988?
Yes, it does in New Jewish Theatre’s persuasive production now playing through June 15. One woman’s coming-of-age story and her realization of self-worth still hits home.
Under Ellie Schwetye’s perceptive, poignant direction, an exemplary cast breathes life into these well-defined characters with warmth, wit and understanding. They are as resolute as the director and creative team in sharing this quest for fulfillment.
Those of different generations perhaps can relate in a universal parallel lives’ way, for whip-smart playwright Wendy Wasserstein’s entertaining and profound insights endure.
As a fellow child of the 1960s, Wasserstein’s words have always spoken to me. But now, looking in the rear-view mirror, with humor, heart and hindsight, this ensemble’s backbone and boldness was measurable.
Consciousness-raising, 1970s style. Photo by Jon Gitchoff.
Wasserstein, who sadly died of lymphoma at age 55 in 2006, won the Pulitzer Prize for Drama and the Tony Award for Best Play in 1989 for this masterwork. Fun fact: she was the first solo female writer so honored with the award.
Her long-lasting legacy is apparent, creating richly textured characters and the ever-identifiable self-doubts. She also wrote “The Sisters Rosensweig” and “An American Daughter,” plus an under-appreciated Paul Rudd-Jennifer Aniston 1998 movie “The Object of My Affection.” But none landed like Heidi’s story.
As Heidi Holland, Emily Baker’s transformation from awkward schoolgirl to confident feminist who becomes a well-respected art historian over the course of three tumultuous decades, 1965 – 1989, is realistic.
Hopeful in the 1970s but disillusioned in the 1980s, Heidi continues to search for what matters. She is passionate about women artists, informing students of neglected painters and their achievements in a man’s world. That she is fierce about – and good at teaching.
Owning her hard-fought choices, she eventually eschews the super-woman stereotype of yuppie-ism in favor of humanism, individualism and the road she wants to travel. In a discerning performance, Baker displays strength, vulnerability and intelligence.
Emily Baker, Joel Moses. Photo by Jon Gitchoff
The post-war Baby Boom generation known for navel-gazing and its cultural and societal impact has been analyzed many times, but this is one single woman’s voyage that resonates, and compassion is key.
Wasserstein’s atmospheric look back highlights specific years and events that everyone born between 1946-1964 has etched somewhere in their memory, starting with the agony of a teenage mixer then moving on to college activism, displaying the youthful optimism that presidential candidate Gene McCarthy, who opposed the Vietnam War, sparked in 1968.
That sets the tone for the significant characters who come in and out of Heidi’s life. Her first romance with a smooth-talking heartbreaker, the radical journalist Scoop Rosenbaum, leads to much second-guessing.
As the once-and-future womanizer who sells out for position and money, Joel Moses brings out Scoop’s brash, cocky and opinionated qualities, but also his charm. He winds up a prominent magazine editor who dines at Lutece and steps out on his wife, a children’s book illustrator and mother of his two children. But he and Heidi have always had a testy but candid connection.
Cutting a rug. Will Bonfiglio and Emily Baker. Photo by Jon Gitchoff.
The one constant male in her life is stand-up guy Peter Patrone, a gay pediatrician she met when they were young, and they instantly bonded over snappy repartee. Will Bonfiglio adds nuance to the earnest doctor, for they don’t ignore the scariness and worry during the AIDS epidemic. He shares his concerns with sympathetic Heidi.
Wasserstein selected touchstones as turning points. Her militant feminist friends gather for urgent consciousness-raising (IYKYK) during the growing women’s movement. They also attend baby showers and weddings.
The tides change when her successful friends that once rejected materialism to emphasize social responsibility now care about being seen and embrace status symbols in the 1980s.
Kelly Howe is delightful as Heidi’s trendy best friend Susan Johnston, who knows how to flirt and roll up her skirt in the school gym, throws herself into activism, then achieves major success as a Hollywood producer. They no longer have much in common but past loyalty.
Courtney Bailey, Paola Angeli. Photo by Jon Gitchoff.
Besides the four main actors, there are four others who capably play 16 supporting roles. Courtney Bailey and Ashwini Arora provide much comic relief, most notably Bailey as mother-to-be Jill and Scoop’s bride Lisa.
Arora is amusing as April, a vapid preening TV host, but as radical lesbian Fran, ready for liberation – or unleashing – in society, she is hilarious. “Either you shave your legs, or you don’t,” she says at the women’s meeting.
Wearing New Wave shoulder-padded power suits and colorful attire, Paola Angeli is a hoot as Susan’s and April’s assistants, and in the female gatherings as a friend. In addition, Bailey is Debbie and Arora plays Molly and Betsy.
Joshua Mayfield smoothly tackles five parts, including schoolmate, activist, waiter and boyfriends.
One of the funniest scenes is a morning talk show set, with guest appearances by Scoop, Peter and Heidi on “Hello, New York,” and how they handle the host’s superficial questions. The trio’s body language says so much about their characters.
The politics, music and fashions convey Heidi’s rapidly changing world and Schwetye’s vision is a keen lens into the time. She served as sound designer too, and her selections are a superb life soundtrack.
Joshua Mayfield, Emily Baker. Photo by John Gitchoff.
Showcasing seminal moments, like Nixon’s resignation in 1974, John Lennon’s murder in 1980 and the Berlin Wall being torn down in 1989, sets the moods. Kareem Deanes handled the demanding video projections with flair and Michelle Friedman Siler’s costumes splendidly define the personalities and the periods. It was as if she raided my old closets.
Inventive scenic designer Patrick Huber expertly handled the demands of apartments, Plaza Hotel, pediatric ward, restaurant and TV studio with nifty features. He also skillfully designed the lighting. Props supervisor Katie Orr did a swell job gathering items to decorate a doctors’ waiting room and gift-wrapped baby presents.
By the time we get to Heidi’s speech, “Women, Where Are We Going?” at an alumnae luncheon where she is the keynote speaker, she wants to cut through all the greeting-card platitudes that have ruled the narrative for all good girls. It’s an honest outpouring, sharing frustrations, aggravations and confusion.
Women of The Me Generation wanted it all but discovered there were personal costs and sacrifices to be made. Yet, found that forging one’s own path was possible. At last, Heidi chooses herself – and also finds comfort in knowing her friends have become her family.
Wedding reception guests Kelly Howe, Ashwini Arora. Photo by Jon Gitchoff.
Not seen on a local professional regional stage since The Repertory Theatre of St. Louis in 2007, this was a welcome reminder of the past, present and possible future.
With its potent performances and humor shaped through flawed characters, sarcastic remarks and uncertain times, this “The Heidi Chronicles” unequivocally states its relevance.
One glorious takeaway is that contemporary women’s roles are ever evolving, and when it seems that progress is stymied, we should remember we stand on the shoulders of giants, and can lead the charge into the future supporting uncommon women of any age and their choices.
The New Jewish Theatre presents “The Heidi Chronicles” from May 29 to June 15 at the Wool Studio Theater, 2 Millstone Campus Drive, Creve Coeur, Mo. Performances are on Thursdays, Saturdays, and Sundays. There is an additional show on Wednesday, June 4. Show times and tickets are available online at newjewishtheatre.org or by phone at 314.442.3283. NJT’s 2025 Season is generously sponsored by Mary Strauss. The play is 2 hours and 15 minutes long, with a 15-minute intermission.
Sunday, June 8 – Post-Show Talkback with the Director and Cast. Join members of the cast and crew following the 2pm performance for an engaging post-show discussion on the creation of NJT’s special production.
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.
Bread & Roses Missouri & A Call to Conscience Interactive Theater for Social Change at Metro Theatre Company
Social Justice Shorts 2025, a dynamic festival of short plays running June 6–8 at Metro Theatre Company. Building on the success of last year’s inaugural festival, this partnership brings together two organizations deeply rooted in using the arts to advance equity and social justice.
This year’s festival features 19 powerful short plays and monologues by playwrights from across the country that explore the urgent themes of justice, resistance, identity, and hope. Among the selected works are five compelling pieces from St. Louis-based writers—Kathleen Gamble, Nancy Bell, Michael Paplanus, Joan Appell Lipkin, and Chris Orlet—showcasing the depth and range of our local talent.
These stories speak to the heart of our region while connecting to national conversations around equity and collective liberation.
Olajuwon Davis and Molly Wennstrom in Ow by Peter Pasco
“The struggle is still more real than ever given the current political climate. This Social Justice Short Play Festival amplifies the diverse perspectives of playwrights boldly confronting injustice. As Dr. Martin Luther King Jr. said, ‘If you can’t fly, then run… keep moving.’ Let’s all take a stand. Join us in the fight for justice, engage with these stories, and commit to making a difference in our communities today.” says Fannie Belle Lebby, Artistic Director of A Call to Conscience Interactive Theatre for Social Change.
“We were amazed to have over 180 submissions from writers all over the country. We’re excited to be inviting local directors and actors to bring these powerful theater pieces to life in the cause of justice,” says Emily Kohring, Executive Director of Bread and Roses Missouri. Support for Social Justice Shorts 2025 is provided by the St. Louis Regional Arts Commission and the Whitaker Foundation.
Social Justice Shorts 2025 will take place at Metro Theatre Company (3311 Washington Ave, St. Louis, MO 63103) and presented in two distinct bills of plays. Audiences can attend either bill or both bills for the full experience. Tickets are available at https://cur8.com/25728/project/131879 or visit breadandrosesmo.org for more information.
Anum Arshad and Lilie Self-Miller in Aurora by Rhys Collins
SOCIAL JUSTICE SHORTS 2025 Friday, June 6 at 7:30 p.m. and Saturday, June 7 at 3 p.m.
BILL #1: THE ISMS Featuring: ● A Change Is Going to Come? by Kathleen Gamble ● Butterfly by Jenna Jane ● Grown-Up Stuf by D.L. Siegel ● Side Ef ects by Charles Day ● Something to Say by MC Crosby ● The Student by Nancy Bell ● The Round Up by Chris Orlet ● (UN)BOTHERED by Mildred Inez Lewis ● The 92% by Bryan-Keyth Wilson
Saturday, June 7 at 7:30 pm and Sunday, June 8 at 3 pm
BILL #2: THE GENERAL WELFARE Featuring: ● Are You Comfortable? by J. Lois Diamond ● Aurora by Rhys Collins ● Do Better, Home Depot by Matthew Moore ● First Chapter Friday by Kaily Anderson ● My Eating Disorder, Donald Trump and Me by Joan Lipkin ● Not My Tale to Tell by Donna Latham ● Ow by Peter Pasco ● Room 404 by Bridgette Dutta Portman ● The Nearest Far Away Place by Aleks Merilo ● The Project by Michael Paplanus
Tickets are available at https://cur8.com/25728/project/131879 or visit breadandrosesmo.org for more information.
ABOUT BREAD & ROSES MISSOURI Bread and Roses Missouri amplifies and elevates the stories of working people through art, performance, and activism. They believe that cultural and creative expression are a means to effect deep and lasting social change. Bread and Roses Missouri organizes and produces arts and humanities events, exhibits and workshops for and about workers and their families. We strive to empower participants and educate audiences. Through the arts they envision a world that achieves an economic base benefitting the entire community.
ABOUT A CALL TO CONSCIENCE INTERACTIVE THEATER FOR SOCIAL CHANGE A Call to Conscience (c2c) is a nonprofit 501(c)(3) theater collective that uses a multi-media format to dramatize historical themes dealing with the struggles of the oppressed. Using speeches, essays, and adaptations we highlight transformative events that evoked change and the various architects and leaders that helped create them. C2C’s mission is to serve as a catalyst for activism within our community. Founded in 2012 by a group of women participants of the Regional Arts Commission’s Community Arts in Training (CAT) Program, C2C presents challenging original works that engages audiences in thought-provoking conversations and an exchange of ideas regarding racism, police brutality, poverty, gender inequality, and other civil and human rights.
Cover Photo: Jayson Heil, Hailey Medrano and Olajuwon Ali in The Project by Michael J. Paplanus
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.
With its superlative cast, August Wilson’s powerful storytelling, and impressive milestones, “Radio Golf” is a triumph in all aspects.
Thoughtfully presented by the Black Repertory Theatre of St. Louis through June 8 in the Edison Theatre, this shrewdly observant play says so much about at what cost is doing the right thing vs. getting ahead. While it is set 1997, it speaks to issues for the ages.
The premise of Wilson’s 10th and final play is about a real estate entrepreneur who is determined to become Pittsburgh’s first black mayor. Set in the Hill District, Harmond Wilks and his business partner Roosevelt Hicks are golf enthusiasts with big plans for the neighborhood, and their future. But at what risk?
Their office, Bedford Hills Redevelopment Inc., is a storefront on Centre Avenue. The two partners talk of their hopes and dreams as they work on a modern housing and shopping development that will include Whole Foods and Starbucks.
Ronald L. Conner, a St. Louis native now living in Chicago, is a fiery, slick, upwardly mobile Roosevelt who is a bank vice-president and plays golf games to get ahead. Being accepted by the Country Club movers-and-shakers is a goal that he feels is within reach.
Ronald L. Conner and Reginald L. Wilson as business partners Roosevelt and Harmond. Photo by Keshon Campbell
Reginald L. Wilson, in a slow-burn riveting performance, views the development as a way to lift people up. But a block of the Hill District must be torn down. It’s his Black Rep debut but he has immersed himself in Wilson’s works, and previously starred in “Ma Rainey’s Black Bottom” and “Fences.”
Where Harmond and Roosevelt see blight, others see the heritage that marks the tight-knit families who grew up there. He isn’t looking at the other side – and both a cranky yet wise Old Joe Barlow and no-nonsense handyman-contractor Sterling Johnson remind him of people’s worth, no matter their economic means or position.
Himes is unabashedly brilliant and the audience’s favorite character as Joe, a neighborhood elder who knows its history. He also remembers Harmond’s father who was in the real estate business. Blunt and smart like a fox, Joe tells it like it is.
As street-smart Sterling, Kelvin Roston Jr. is the play’s conscience. A good judge of people and their motives, he warns Harmond about neglecting the reasons why people value their history and turning his back on his neighbors. An ex-con who has lived a colorful life, and his dialogue just sings with authenticity, thanks to Roston.
Savvy Velma Austin is the lone female in the cast, portraying Mame, Harmond’s ambitious wife and public relations professional. She is looking ahead and extremely conscious of image. She doesn’t want him to jeopardize the path they envision for their future.
The conflicts occur organically because the ensemble is skilled in delivering Wilson’s rhythmic prose, making their characters’ struggles well-grounded.
Ron Himes as Old Joe Barlow. Photo by Keshon Campbell.
Director Jon Royal’s layered approach allows Wilson’s realistic dialogue to breathe and to build with tense clashes.
Jim Burwinkel’s scenic design aptly encapsulates Wilks’ needs and his hopes – an MLK poster is near his desk and a Tiger Woods poster is near Roosevelt’s. Lighting designer Jayson Lawshee captures times of day through the windows and Justin Schmitz’ astute sound design includes a terrific soundtrack.
Also setting the moods were costume designer Shevare Perry, who fits the period well, and Mikhail Lynn, who nailed the props, such as stolen golf clubs.
In “Radio Golf,” like he has touched on so eloquently before, Wilson examines the lifelong practices of white-run institutions, and whether minorities getting a place at the table was lip service, or another way for control, or an opportunity. And what would you do to ensure that opportunity?
All good, thoughtful points. As Martin Luther King once said, “The time is always right to do the right thing.”
Wilson published the play before his death in 2005, long before social media could have exploited the efforts of people involved to do the right thing vs. the corporate and political spins of the day. However, at that time, the outrage that is the norm when righteous dudes stand up for rights and beliefs now is sadly absent.
Reginald L Wilson and Velma Austin as Harmond and Mame. Photo by Keshon Campbell.
Wilson’s monumental American Century Cycle covers 100 years of the Black experience in America, chronicling social and historical changes in his remarkable style. He won Pulitzer Prizes for two of the plays – “Fences” and “The Piano Lesson.”
“Radio Golf” is the Black Rep’s second completion of the cycle, which took them 18 years to achieve. The Black Rep first completed it – only the third company in the U.S. to do so – from 1988 to 2003.
Starting in 2007, they have presented Wilson’s collection in chronological order. Thanks to the Black Rep, since 2012, I have seen seven of Wilson’s works, and each one has been a gem to treasure.
“Radio Golf” is also a record for actors Himes, founder and producing artistic director of the Black Rep, and Conner, who complete their own personal cycle this go-round.
They have earned St. Louis Theater Circle awards for outstanding production of a drama with Wilson’s “Two Trains Running” in 2022 and “Jitney” in 2023, and Ron Himes won best actor for “Fences.”
All 10 powerful in their own ways, these finely acted and impeccably produced shows illuminate black heritage and specific challenges as only Wilson can, and it’s always the right time to be reminded of his humanity.
With vibrant performances, The Black Rep’s “Radio Golf” is a masterful production that elevates its timeless message for today.
Kelvin Roston Jr as Sterling talks to Harmond.
The St. Louis Black Repertory Company presents “Radio Golf” through June 8. The opening weekend of May 16 – 18 was cancelled because of tornado damage, and performances have been added from Thursday, June 5 to Sunday, June 8. A portion of those ticket sales will support tornado relief. Performances take place in the Edison Theatre on the campus of Washington University with support from The Whitaker Foundation. For more information: www.theblackrep.org Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more.
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 late great Democratic politician Ann Richards, former Texas governor and vocal feminist advocate, once said: “In politics, if you want anything said, ask a man. If you want anything done, ask a woman.”
She also said, “The roosters may crow, but the hens deliver the goods.”
Amen to that. Such is the example of Tesseract Theatre’s audacious side-splitting satire “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” by Selina Fillinger.
The focus is on the subtitle and resembles recent “Saturday Night Live” zingers as we see seven women connected to the U.S. President trying to get through a terrible, horrible, no good, very bad day without a gentle good night in sight, either.
The president’s off-color remark about his wife has created a frenzy, and while his chief of staff and press secretary try to develop a response, other firestorms are brewing. Conditions spiral from there, as zany as a Marx Brothers movie, with nods to “VEEP” and “Noises Off!” as well.
Kelly Schnider as Harriet. Photo by Florence Flick.
Given the world’s current state of affairs, we might as well laugh, and there are plenty of opportunities to do so. Because the alternative is screaming or crying, and we have more chances for that in the continuous “Twilight Zone” loop we’re living in now.
We never see the leader of the free world, but vivid descriptions by the colorful characters piece together an unflattering portrait of an incompetent lout that sure doesn’t appreciate his ninja staff as he should because they deal with his sexual and political fallout. While vulgar, his obscene description of his wife is the least of his problems.
With its spry septet and fleet, whip-smart direction by Jessica Winingham, this regional premiere merges Fillinger’s sly, sharp dialogue and goofy antics into stylish chaos performed with gusto in the Kranzberg Black Box Theatre.
Displaying a farcical team spirit, even at their silliest, the weathered women elevate the nuttiness. Their fierce ‘we’re all in this together’ attitude fuels this stellar female cast.
The best and brightest politicos, now beleaguered, are in various degrees of meltdowns. As Harriet, Kelly Schnider is the epitome of a crisis manager as the sleek chief of staff who has been handling most of the nation’s business anyway.
Sarajane Clark is at her blunt, sarcastic best as Jean, the sharp-tongued press secretary trying to put out fires as soon as the president’s troublemaker sister, haughty unhappy wife, chatty girlfriend and nosy news reporter start them.
Angela Jean Hetz is amusing as Stephanie, the dutiful but hapless secretary who is always worried about losing her job. She throws herself into broad physical comedy with glee, and some blood is spilled.
The other four roles complicate the staff’s workday, which escalates the worsening situation.
Telegraphing B.S. through her facial expressions, Kimmie Kidd is comically delicious as the polished all-image-focused First Lady Margaret, whose line delivery drips with sarcasm as often as possible. She does not suffer fools, although she must act blissfully happy as the president’s spouse.
Angela Jean Hetz and Isa Davis. Photo by Florence Flick.
Isa Davis is a hoot as ditzy Dusty, an unsophisticated smalltown girl who has been invited to the Oval Office to see the president, but she already ‘knows’ him. The disarming Gen-Z’er enlivens the day’s events considerably, using her impressive dance team skills and naivete to benefit them all.
Angelia Prather vies with Davis for the biggest scene-stealer as Bernadette, the president’s black sheep sister, fresh out of prison through a controversial presidential pardon. The drug-dealing lesbian sister also admits to some shady business in the West Wing. She might have the funniest lines of all.
Laurell Renea Costello has fun as Chris, the pushy reporter who overhears and sees things she shouldn’t have, landing in a big puddle of hot water.
Because there aren’t any doors, per se, to dart in and out of, or slam, the creative design dilemma is solved through Winingham’s choice to have moving partitions. This makes the women’s physical comedy unimpeded.
Angelia Prather and Sarajane Clark. Photo by Florence Flick.
Tony Anselmo’s lighting design and Michael Musgrove-Perkins’ sound design add to the atmosphere, with rambling sound bites from the current president and emphasizes the clown-car operations at Pennsylvania Avenue.
Costume Designer Mary Bobbins has made savvy choices suitable for each character’s personality.
Stage Manager Bella Lucero, Production Manager Sarah Baucom and Technical Director Kevin Sallwasser have created an astute playground for power plays, well-suited to achieve success in this production.
While the first act is sharp and skillful, the second act is goofier, often chemically enhanced nonsense – but it’s all madcap, not mean-spirited, in a feel-good but desperate ‘all for one, one for all’ attempt to clean up a very big mess.
Laurell renea Costello as Chris. Photo by Florence Fliick.
While one can pick apart Fillinger’s logic for orchestrating insanity, this delightful cast is so well-choreographed by Winingham that the pleasure is derived from the performances.
Fillinger, who was a staff writer on “The Morning Show,” is clever in her contemporary satire. So is Winingham’s fast-paced direction.
Somehow, the communal laughter is contagious and cathartic, especially at this moment in time. And women indicating there’s strength in community is a lasting takeaway, no matter how pessimistic you are about the future.
Tesseract Theatre Company presents “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” May 22 through June 1 at the Kranzberg Black Box Theatre in Grand Center. For more information, visit tesseracttheatreco.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The St. Louis High School Musical Theatre Awards winners were announced Thursday, May 15 at The Fabulous Fox. The ceremony was hosted by 2019 & 2020 SLHSMTA Outstanding Lead Actor winner Michael Harp and directed by Lee Anne Mathews. The winners were named in 19 categories (plus WOW! Performance Awards and Special Recognition Awards) including the Outstanding Lead Actress and the Outstanding Lead Actor who will go on to compete in the Jimmy Awards/National High School Musical Theatre Awards on Monday, June 23 at the Minskoff Theatre in New York City, presented by The Broadway League Foundation.
Outstanding Musical Level 1: Westminster Christian Academy, Hello, Dolly!
Outstanding Musical Level 2: Lutheran High School South, Little Women
Outstanding Lead Actress, Amelie Lock for her performance as Emma in Ladue High School’s production of The Prom: School Edition Outstanding Lead Actor, Tyler Bugg for his performance as Orpheus in Liberty High School’s production of Hadestown: Teen Edition
Outstanding Lead Actress: Amelie Lock | Ladue Horton Watkins High School
Outstanding Lead Actor: Tyler Bugg | Liberty High School
Outstanding Supporting Actress: Molly Sallaberry | Saint Louis Priory School
Outstanding Supporting Actor: Kevin Friel | Lutheran High School South
Outstanding Student Costume Design & Execution: Clara Walker & Emily Nguyen | Liberty High School
Outstanding Faculty Costume Design & Execution: Jenn Erickson | DaySpring Arts & Education Dianne Mueller | Westminster Christian Academy
Outstanding Ensemble: Lutheran High School South, Little Women
Outstanding Orchestra: Edwardsville High School, Chicago: Teen Edition
Outstanding Student Scenic Design & Execution: Allena Mitchell & Avery Bowen | Liberty High School
Outstanding Faculty Scenic Design & Execution: Eden Hudder | Frist Baptist Academy Rick Christensen | Francis Howell Central High School
Outstanding Student Choreography: Outstanding Faculty Choreography: Sophia Huddleston | Mary Institute and St. Louis Country Day School
Katheryn Pennington | Lutheran High School of St. Charles County
Outstanding Student Technical Execution: Rachel Church | Liberty High School
Outstanding Faculty Technical Execution: Evan Sanft | Lutheran High School South
Outstanding Musical Direction: Carter Datz | Liberty High School
Phylan Peters-Bahkou | Lutheran High School South
Outstanding Direction: Phylan Peters-Bahkou | Lutheran High School South
Student Reporters: Eric Perschbacher Belleville West High School Jane Nordstrom, Visitation Academy
Special Recognition Awards and WOW! Performance Awards for outstanding work in support of the production were also given out.
SPECIAL RECOGNITION: Awarded for an outstanding performance in a role not eligible for a nomination. Bayless High School Christian Brothers College High School Oakville High School St. Joseph’s Academy
WOW! MOMENTS: Awarded to a production for something that goes above and beyond what is expected of a traditional high school production Eureka High School Hazelwood West High School Rockwood Summit High School
CAROL B. LOEB PRODUCTION ENHANCEMENT AWARDS: Created to provide investments in the technical production elements of select High School theatre programs. Incarnate Word Academy University City High School
About The Jimmy Awards® / National High School Musical Theatre Awards® The Jimmy Awards®/The National High School Musical Theatre Awards® (NHSMTA®) program impacts more than 100,000 students who participate in high school musical theatre competitions sponsored by presenters of Touring
Broadway productions throughout the United States. Presented by the Broadway League Foundation, the program sends a Best Actress and Best Actor winner from each of these competitions to New York for a week-long theatre intensive of coaching and rehearsals with industry professionals in preparation for a one-night-only talent showcase on Broadway. Named for Broadway impresario James M. Nederlander, the program has been the catalyst for more than $2,000,000 in educational scholarships.
The fourteenth annual Jimmy Awards® will take place on Monday, June 23, 2025 at the Minskoff Theatre on Broadway. Coaching and rehearsals for this one-of-a-kind event will be held Saturday, June 14, 2025 through Monday, June 23, 2025 in New York City. For more information, please visit www.JimmyAwards.com.
About Carol B. Loeb Carol B. Loeb has a great passion for educating young people. A career mathematician and educator, Carol believes passionately that all areas of study contribute to a student’s success – including the arts and musical theatre. Through her intellect and generosity, she has impacted an untold number of students at all levels of education. She is honored to serve as the presenting sponsor of the St. Louis High School Musical Theatre
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Daily Dive Shows, Touch a Shark, American Museum of Natural History Exhibit ‘Sharks’ Highlight Summer Fun
You don’t have to travel to the ocean to see sharks this year. Summer of the Shark is open in St. Louis at America’s most interactive aquarium.
Sharks on the Mississippi River? Yes! The kings of the deep have arrived in St. Louis and are staying for the entire summer.Get ready for an unforgettable aquatic adventure at the St. Louis Aquarium, celebrating the Summer Of The Shark with exciting hands-on activities, experiences and exhibits featuring these magnificent creatures.
Visitors are immersed in a world of shark-centered adventures designed to get them up-close and personal with the rulers of the ocean. Summer Of The Shark focuses the Aquarium’s attention on its resident sharks with special events every day, including:
Shark Feeding Spectacle — Thursdays at 9:30 a.m. (First 30 guests) Shark Canyon Dive Shows — 1:15 p.m. daily Design a Shark Crown in KidsZone — all open hours “Shark Twain” Mascot Meet & Greet — various times daily Shark Nursery: Touch a Mermaid’s Purse Egg — all open hours Shark and Ray Touch Pool — all open hours Shark Activity Cart – 9 to 11 a.m. and 2 to 4 p.m. Activities change daily Artifacts Display — all open hours Sharks Exhibition — all open hours
Behind -the-scenes tours are offered at 10 a.m.12 p.m. and 3 p.m. daily. A 45-minute guided tour takes visitors through the lives of the sharks and their caretakers. This add-on experience is purchased separately from the all-day Aquarium pass.
A variety of shark species live at the St. Louis Aquarium, including:
White Tip Reef Sharks Bonnethead Sharks Brownbanded Bamboo Sharks Tasselled Wobbegongs Australian Marbled Catsharks Blacktip Reef Sharks Nurse Sharks Zebra Sharks Sandbar Sharks Blacknose Sharks Whitespotted Bamboo SharksWobbegong Sharks
SHARKS FROM THE AMERICAN MUSEUM OF NATURAL HISTORY
Summer Of The Shark includes a deep dive with Sharks, an exhibition from the American Museum of Natural History. The St. Louis Aquarium is the first to host this amazing touring exhibition.
Visitors will learn about ancient sharks and explore new discoveries about today’s sharks. Learn about their sixth sense and much more in this special exhibit. Sharks is organized by the American Museum of Natural History, New York (amnh.org) with support from Fundación Coppel A.C. The Museum gratefully acknowledges Warner Bros Discovery for its generous support of Sharks. A selection of footage in Sharks has been provided by Discovery’s Shark Week.
The St. Louis Aquarium at Union Station is located at 201 S. 18th Street in historic St. Louis Union Station. Follow the Aquarium and its sharks on social media @aquariumstl.
Aquarium tickets are available online at www.stlouisaquarium.com or in person at the ticket window. Advance tickets are recommended.
Beyond the Aquarium, St. Louis Union Station’s attractions include the 200-foot-tall St. Louis Wheel, the 18-hole St. Louis Mini-Golf, the St. Louis Carousel, Selfie Express train-themed photo illusions, the St. Louis Ropes Course, the A-Maze-ing Mirror Maze and outdoor carnival games. Three new rides open in the Wheel Park in August 2025. Restaurants at Union Station range from the diner-style Soda Fountain and the soccer-themed The Pitch Athletic Club to the Train Shed gastropub, quick service 1894 Cafe and the Station Grille. Family activities are scheduled every Saturday through Labor Day on the Purina Performance Plaza. St. Louis Union Station details are at www.stlouisunionstation.com.
Built in 1894, St. Louis Union Station was the biggest and busiest train terminal in the nation with service from 22 railroads at the crossroads of America. Today the family entertainment destination pays tribute to that history throughout the campus
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.
