Lynn Venhaus

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Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.  She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.  She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle. She is retired from teaching journalism/media as an adjunct college instructor.

The LOTTIES — Lynn’s Love of Theater Awards for 2019

The LOTTIES — Lynn’s Love of Theater Awards for 2019

Or, Theater interrupted by life…or something like that. Awards and reflections on the year.

By Lynn Venhaus
Often times, the wise words of others are in a loop playing in my head.

“I want life to imitate art,” Carrie Fisher wrote in “Postcards from the Edge,” and I often share that same sentiment. Particularly in 2019, which will always be labeled an “annus horribilis” for personal reasons.

Although John Lennon is attributed to have said “Life is what happens to you while you’re busy making other plans,” he really just quoted it in one of his songs on “Double Fantasy.” That one I put in regular rotation.

When times were really rough last year, I thought of Courtney Love’s band Hole and their album cover “Live Through This,” which was made after Kurt Cobain died. I kept repeating that phrase over and over.

Now 65, I know all too well the ebbs and flows of life, but last year seemed unusually mired in the deep end. You see, without going into lengthy details, I lost my cherished oldest son in December 2018 and my only surviving brother, who was terminally ill, Labor Day weekend on his 57th birthday; my two sisters and I lost our other brother years ago. Life is filled with loss, and I made it through all the ‘firsts’ with a lot of help from my friends and family. But pain, anguish and sorrow were/are unfathomable and the tsunami of grief is as unpredictable as anything in life.

My brother honored as a Legacy Coach at his alma mater, Belleville West, in January, eight months before his death. You can’t see his walker. He was a coach and junior high science teacher for 35 years.

As Matt went steadily downhill last summer, I decided I would spend more time with him, and I was already cooking his meals. So that meant missing some theater, and I have no regrets on that decision.

We all must prioritize what’s important in our lives. Theater has always brought me great joy and illuminated life in an exhilarating way, and last year, sometimes it was a lifeline.

I am grateful for the opportunities to see so much worthwhile theater, and I appreciate the theater community for being so understanding and patient last year on my circumstances and my crazy work schedule.

The upside to tragedy is the outpouring of kindness and concern from people – it was a comforting blanket I wrapped myself in, and was able to get up and get going because I knew I wasn’t alone, and that there were so many others to lean on and raise me up.

I can’t thank people enough and I am forever grateful – it means so much. Now, back to work. Words matter – I’m a writer, after all. A few years ago, as I was dropping Tim off at Union Station to visit some out-of-town friends after a break-up blindsided him, I mentioned ye olde chestnut about using what you learn at a later time, and he replied: “Like you say, Mom, everything’s copy.” I learned that from Nora Ephron. And it’s true.

Tim

Well maybe some day. Right now, I prefer to immerse myself in other’s words. Seeing how people take fresh pages of a script, how eloquent it can be, how well it can be interpreted – that is the task of the creative souls. And it’s so fun to see what can be crafted on a stage in town, whether it’s a small black box or the immense Muny stage.

Sitting in the dark, sharing a moment – that’s what it’s all about, and we sure shared some  outstanding moments in 2019. The eternal optimist, I am looking forward to another exciting year.

And as we all know, there will be more times we’re knocked down. And being helped up is one of the best things in life. And when you open yourself up — be it in conversation, writing or on stage, you feel human and whole.

How art enriches us is truly inspiring. 2019 was a good year for theater, particularly dramas, which were often inspired. It was important to have somewhere to go and something else to think about, as I continue to marvel at the accomplishments – passionate people behind their visions, strong talent and a desire to do good work, that it is about the work.

I like when people take risks, when they present new ways of doing things, and don’t rely on the same-old casting. My biggest pet peeves are miscasting and lack of character development/prep work/vision. If you are going to invest the time and want people to give up their time and money, then do the work, go above and beyond, and not just slide by. Hire who is right for the part, not just because they are a friend.

OK, off my soapbox.

I have now launched my longtime-coming website, and we should be full speed ahead in 2020, www.PopLifeSTL.com. I haven’t launched its daily and weekly features yet, but reviews and news releases are up. All in due time.

So, my awards this year are based on the 79 regional professional plays I did see, and not the touring shows nor community theater. That would add about 16 more shows. There is no way to see everything.

This is the year I gave up reviewing opera and let another reviewer go in my place. I needed to make some changes, and sadly, that had to be dropped. Maybe another work. I have been in awe of what Opera Theatre of St. Louis, Union Avenue Opera and Winter Opera achieve year after year.

My brother’s memorial service was the weekend of Shakespeare in the Streets, so I had to cancel, and he died the weekend I had RSVP’d for “The 39 Steps.” I saw “The Night of the Iguana” but left the next day to spend Mother’s Day with my youngest son in New York City, so missed “A Lovely Sunday Afternoon for Creve Coeur” and the other programming. I was on my way to the final matinee of “Death Tax” when an accident closed three lanes of I-64. Life…


I also traveled quite a bit this year, some for work, some for play. Tim was working on his MFA in screenwriting at DePaul University at the time of his death. He was home on holiday break. His professors named an award for him at their annual film festival, so I went up to Chicago the first weekend in June to see it happen.

However, I was fortunate to spend Mother’s Day watching Jeff Daniels as Atticus Finch in “To Kill a Mockingbird” in the sold-out acclaimed Bartlett Sher-Aaron Sorkin production in the Shubert Theatre. You could have heard a pin drop and the standing ovation was immediate, loud and long. Meeting the star afterwards was an unexpected thrill.

“To Kill a Mockingbird” brilliant production at the Shubert. Photo Credit: Julieta Cervantes

The week I was in NYC I also saw the  fabulous and fun “The Prom,” which was produced by local folks and had a book and lyrics by Centralia’s own Chad Beguelin, who I had the good fortune to meet in 2010 and have been writing about his triumphs ever since.

I did something new, too — I revised my late son’s last script, a comedy short that his DePaul professor raved about, A for the trimester. And we had a team shoot it in late September over a weekend, a real challenge and labor of love. As Eleanor Roosevelt said: “You must do the thing you think that you cannot do.”

Unfortunate, but sadly not considered in voting here: “The Revolutionists” and “Shakespeare in Love” at Insight; “Equivocation,” “Exit, Pursued by a Bear” and “Cricket on a Hearth” at West End Players Guild; “Such Sweet Thunder,” Shakespeare Festival St. Louis; “Nina Simone: Four Women” and “Milk Like Sugar,” The Black Rep; Black Mirror Theatre’s “Translations”; ERA’s “Never Let Go”; “Salt, Root and Roe,” Upstream Theatre; “Karmatic” TLT Productions; “The Merchant of Venice” and “The 39 Steps” at St. Louis Shakespeare; “Leaving Iowa” and “Travels with My Aunt” at Act Inc.; “The Hundred Dresses” at Metro Theatre Company; “Disenchanted” at Stray Dog, the parodies of “Jaws” and ‘Gremlins,” and the second leg of the LaBute New Play Festival at St. Louis Actors’ Studio.

Without further ado, I present my annual “LOTTIES,” which is Lynn’s Love of Theatre Awards, for 2019. These are my opinions alone. As in previous years, I usually name 10 my lists, but this year because of missing what I did, it’s either 8 or 9. Eventually, I will post my other ones, since 2014, in archives. And I intend to archive all the Circle Awards/Nominations for reference.

If you are wondering about the St. Louis Theater Circle Awards nominations, they will be announced on KWMU around noon on Friday, Feb. 7, with the press releases embargoed until 1 p.m. You can see the nominations here on PopLifeSTL.com in the afternoon.

I did not want my awards to coincide with the Circle, but it was not to be this year. However, these are my traditional annual awards, reflect my personal take on the year that was.

I am a Circle founding member; we began in 2012. The awards will be presented on Monday, March 30, at the Loretto Hilton Center on the campus of Webster University, (the Repertory Theatre of St. Louis’ home). More information will be forthcoming.

The 2019 LOTTIES* (LYNN’S LOVE OF THEATER AWARDS)

Barrett Foa and Meredith Baxter in “Angels in America, Part 2: Perestroika”

PRODUCTION OF THE YEAR: “Angels in America, Parts I and 2.”

Talk about ambitious. But oh, so worthwhile. The Repertory Theatre of St. Louis’ first show under new artistic director Hana Sharif was an absolute stunning visceral and artistic work and raised the bar. Not only did it take risks but its heavyweight cast delivered on its promise.

“Part I: Millennium Approaches” and Part 2: Perestroika” required a commitment of time but the investment was worth it. How interesting, too that a 30 year old play could be so relevant today.

“Brighton Beach Memoirs” became New Jewish Theatre’s biggest hit of all-time

COMPANY OF THE YEAR: New Jewish Theatre.

From start to finish, 2019 was a banner year for NJT under new artistic director Edward Coffield. “District Merchants,” “Time Stands Still,” “I Now Pronounce,” “Brighton Beach Memoirs” and “Fully Committed” were extremely well done with outstanding casts and production values.

Ellie in “Antigone: Requiem for Patriarchus”

ARTIST OF THE YEAR: Ellie Schwetye.

Ellie in “A Lovely Sunday for Creve Coeur”

One of the most versatile and accomplished women in town, she’s been honored and nominated by the St. Louis Theater Circle year in and year out. But this year might be her finest – and perhaps busiest – on record. She directed “Photograph 51” at West End Players Guild, “A Model for Matisse” for the Midnight Company and “Fully Committed” at New Jewish Theatre. She acted in “Classic Mystery Game” and “Antigone: Requiem for Patriarchus” at SATE. She did sound for “The Night of the Iguana” at the Tennessee Williams Festival and “The Women of Lockerbie” at SATE. She was involved in SIUE’s Summer Play Festival, with “As You Like It.” Her choices of music for any show are impeccable.
I’m likely missing a few things too.
She’s always excelled at being a collaborator but she deserves an award all it’s own.

The national tour of “Dear Evan Hansen” came to the Fox.

BEST TOURING SHOWS: “Come from Away” and “Dear Evan Hansen,” both at the Fox.

Repertory Theatre of St. Louis’ production of “Nonsense and Beauty” as the Loretto-Hilton Center. ©Photo by Jerry Naunheim Jr.

BEST NEW PLAYS:
1. “Nonsense and Beauty,” Scott C. Sickles, The Repertory Theatre of St. Louis
2. “Canfield Drive,” Kristen Adele Calhoun and Michael Thomas Walker, The Black Rep
3. “It’s a Wonderful Life,” John Wolbers, Metro Theatre Company
4. “Feeding Beatrice,” Kristen Greenidge, The Repertory Theatre of St. Louis
5. (tie) “Kim Jong Rosemary,” Carter Lewis, LaBute New Play Festival, St. Louis Actors’ Studio
5. (tie) “A Model for Matisse,” Barbara F. Freed and Joe Hanrahan, The Midnight Company

Caleb Miofsky in “Cry-Baby” at New Line

FIVE TO WATCH:
Summer Baer
Tristan Davis
Caleb Miofsky
Tateonna Thompson
Jordan Wolk

Alicen Moser in “District Merchants”
Alicen Moser in “Antigone”

12 ACTING MVPS
(For their noteworthy range of work in 2019, and not only St. Louis professional in some cases)
Nicole Angeli
Will Bonfiglio
Kevin Corpuz
Eileen Engel
Wendy Greenwood
Stephen Henley
Keating
Ryan Lawson-Maeske
Stephanie Merritt
Alicen Moser
Spencer Sickmann
Jennifer Theby-Quinn

DYNAMIC DUOS

J. Samuel Davis and Gary Wayne Barker in “District Merchants”
Will Bonfiglio and John Wolbers
  1. Gary Wayne Barker and J. Samuel Davis, “District Merchants,” New Jewish Theatre
  2. Jacob Flekier and Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
  3. Will Bonfiglio and John Wolbers, “Photograph 51”
  4. Eli Mayer and Khailah Johnson, “Footloose,” The Muny
  5. Kevin O’Brien and Sara Rae Womack, “Guys and Dolls,” Stray Dog Theatre
  6.  Ryan Lawson-Maeske and William Roth, “A Life in the Theatre”
  7. Joe Hanrahan and Shane Signorino, “Popcorn Falls,” Midnight Company
  8. Erin Kelley and J. Samuel Davis, “The Agitators,” Upstream Theatre
  9. Jeffrey Heyenga and Robbie Simpson, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
  10. Joe Hanrahan and Rachel Hanks, “A Model for Matisse,” Midnight Company

JUVENILE PERFORMANCE AWARDS

Flower girls in “I Now Pronounce” at New Jewish Theatre
  1. Millie Edelman, Abby Goldstein and Lydia Mae Foss as the flower girls, “I Now Pronounce,” New Jewish Theatre
  2. Leo Taghert as 10 year old Tommy in “The Who’s Tommy,” Stray Dog Theatre

 SPECIAL TECHNICAL ACHIEVEMENT: Michael B. Perkins for his exquisite video projection design in “Love, Linda” and “A Model for Matisse.”

Jane Paradise in “Brighton Beach Memoirs”

COMEDY AWARDS
Best Actress in a Comedy

  1. Jane Paradise, “Brighton Beach Memoirs,” New Jewish Theatre
  2. Laura Sohn, “Love’s Labors Lost,” Shakespeare Festival St. Louis
  3. Kea Trevett, “Love’s Labors Lost,” Shakespeare Festival St. Louis
  4. Susie Lawrence, “Sylvia,” Stray Dog Theatre
  5. Keating, “Well,” Mustard Seed Theatre
  6. Sofia Lidia, “The MotherF**cker with the Hat,” R-S Theatrics
  7. Perri Gaffney, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
  8. Colleen Backer, “Color Timer,” LaBute New Play Festival, St. Louis Actors’ Studio
Frankie Ferrari and Delaney Piggins in ‘I Now Pronounce”

Best Supporting Actress in a Comedy

  1. Laurie McConnell, “Brighton Beach Memoirs.” New Jewish Theatre
  2. Melissa Harlow, “Sylvia,” Stray Dog
  3. Frankie Ferrari, “I Now Pronounce,” New Jewish Theatre
  4. Delaney Piggins, “I Now Pronounce,” New Jewish Theatre
  5. Lori Adams, “Well,” Mustard Seed Theatre
  6. Ka-Ling Cheung, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
  7. Michelle Hand, “Pride and Prejudice,” The Repertory Theatre of St. Louis
  8. Taleesha Caturah, “The MotherF**with the Hat,” R-S Theatrics
  9. Caitlin Mickey, “Wittenberg,” Upstream Theatre
Will Bonfiglio in “Fully COmmitted” at New Jewish

Best Actor in a Comedy

  1. Will Bonfiglio, “Fully Committed,” New Jewish Theatre
  2. Isaiah DiLorenzo, “True West,” St. Louis Actors’ Studio
  3. Jacob Flekier, “Brighton Beach Memoirs,” New Jewish Theatre
  4. Steve Isom, “Wittenberg,” Upstream Theatre
  5. Michael Cassidy Flynn, “Classic Mystery Game,” SATE
  6. Adam Flores, “The MotherF**ker with the Hat,” R-S Theatrics
  7. Griffin Osborne, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
  8. Alan Knoll, “Wittenberg,” Upstream Theatre
  9. Joe Hanrahan, “Charlie Johnson Reads All of Proust,” Midnight Company
Spencer Kruse and Jacob Flekier in “Brighton Beach Memoirs”

Best Supporting Actor in a Comedy

1. Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
2. Patrick Blindauer, “Love’s Labors Lost,” Shakespeare Festival St. Louis
3. Shane Signorino, “Popcorn Falls,” Midnight Company
4. Aaron Dodd, “The Motherf**ker with the Hat,” R-S Theatrics
5. Jesse Munoz, The Motherf**ker with the Hat, R-S Theatrics
6. Michael McGloin, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
7. Chuck Brinkley, “Brighton Beach Memoirs,’ New Jewish Theatre
8. Michael James Reed, “Pride and Prejudice,” The Repertory Theatre of St. Louis

“The Play That Goes Wrong” at The Repertory Theatre of St. Louis

Best Director of a Comedy

  1. Alan Knoll, “Brighton Beach Memoirs,” New Jewish Theatre
  2. Tom Ridgely, “Love’s Labors Lost,” Shakespeare Festival St. Louis
  3. Melissa Rain Anderson, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
  4. Ellie Schwetye, “Fully Committed,” New Jewish Theatre
  5. William Whitaker, “True West,” St. Louis Actors Studio
  6. Meredith McDonough, “The Lifespan of a Fact,” The Repertory Theatre of St. Louis
  7. Philip Boehm, “Wittenberg,” Upstream Theatre
“It’s a Wonderful Life” at Metro Theatre Company

Best Ensemble in a Comedy

  1. The Play That Goes Wrong, The Repertory Theatre of St. Louis
  2. Brighton Beach Memoirs, New Jewish Theatre
  3. Love’s Labors Lost, Shakespeare Festival St. Louis
  4. It’s a Wonderful Life, Metro Theatre Company
  5. (tie) The MotherF**ker with the Hat, R-S Theatrics

(tie) Well, Mustard Seed Theatre

BEST COMEDY PRODUCTION

“True West” at St. Louis Actors’ Studio
  1. Brighton Beach Memoirs, New Jewish Theatre
  2. Love’s Labors Lost, Shakespeare Festival St. Louis
  3. The Play That Goes Wrong, The Repertory Theatre of St. Louis
  4. True West, St. Louis Actors’ Studio
  5. Wittenberg,  Upstream Theatre
    6. Fully Committed, New Jewish Theatre

DRAMA AWARDS

Ben Ritchie and Nicole Angeli in “Photograph 51”

Best Actress in a Drama

  1. Nicole Angeli, “Photograph 51,” West End Players Guild
  2. Wendy Greenwood, “Time Stands Still,” New Jewish Theatre
  3. Jeanne Paulsen, “Alabama Story,” The Repertory Theatre of St. Louis
  4. Kristen Adele Calhoun, “Canfield Drive,” The Black Rep
  5. Zoe Farmingdale, “Indecent,” Max and Louie Productions
  6. Julie Layton, “Fifty Words,” St. Louis Actors’ Studio
Nisi Sturgis in “The Night of the Iguana”

Best Supporting Actress in a Drama

1. Nisi Sturgis, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
2. Eileen Engel, “Time Stands Still,” New Jewish Theatre
3. Rae Davis, “District Merchants,” New Jewish Theatre
4. Donna Weinsting, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
5. Rachel Hanks, “A Model for Matisse,” Midnight Company
6. Sophia Brown, “Fefu and Her Friends,” Theatre Nuevo
7. Miranda Jagels-Felix, “Antigone: Requiem for Patriarchus,” SATE

Jim Butz in “The Night of the Iguana”

Best Actor in a Drama
1. James Andrew Butz, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
2. Barrett Foa, “Angels in America,” The Repertory Theatre of St. Louis
3. Gary Wayne Barker, “District Merchants,” New Jewish Theatre
4. Graham Emmons, “The Crucible,” Stray Dog Theatre.
5. Spencer Sickmann, “Farragut North,” St. Louis Actors’ Studio
6. Jim Poulos, “Oslo,” The Repertory Theatre of St. Louis

David Ryan Smith and Peter Fre

Best Supporting Actor in a Drama

  1. J. Samuel Davis, “District Merchants,” New Jewish Theatre
  2. Carl Howell, “Alabama Story,” The Repertory Theatre of St. Louis
  3. David Wassilak, “Farragut North,” St. Louis Actors’ Studio
  4. Karl Hawkins, “District Merchants,” New Jewish Theatre
  5. David Ryan Smith, “Angels in America,” The Repertory Theatre of St. Louis
  6. Ryan Lawson-Maeske, “Photograph 51,” West End Players Guild
  7. John Feltch, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
  8. Gerry Love, “The Crucible,” Stray Dog Theatre
  9. Ben Ritchie, “The Crucible,” Stray Dog Theatre
  10. Ben Cherry, “Angels in America,” The Repertory Theatre of St. Louis
    (tie) Peter Freschette, “Angels in America,” The Repertory Theatre of St. Louis
    (tie) Taylor Gruenloh, “Two Degrees,” Tesseract Theatre
Angels in America

Best Director of a Drama

1. Joanne Gordon, “Indecent,” Max and Louie Productions
2. Anthony Speciale, “Angels in America,” The Repertory Theatre of St. Louis
3. Jacqueline Thompson, “District Merchants,” New Jewish Theatre
4. Gary F. Bell, “The Crucible,” Stray Dog Theatre
5. Ellie Schwetye, “Photograph 51,” West End Players Guild
6. Lucy Cashion, “Antigone: Requiem for Patriarchus,” ERA/SATE
7. Steve Woolf, “Oslo,” The Repertory Theatre of St. Louis
8. Seth Gordon, “Nonsense and Beauty,” The Repertory Theatre of St. Louis

Best Ensemble in a Drama Production

“Antigone: Reqiuem for Patriarchus” at SATE
  1. Angels in America, Parts 1 and 2, The Repertory Theatre of St. Louis
  2. District Merchants, New Jewish Theatre
  3. Photograph 51, West End Players Guild
  4. Indecent, Max and Louie Productions
  5. Antigone: Requiem for Patriarchus, ERA and SATE
  6. The Crucible, Stray Dog Theatre
  7. The Women of Lockerbie, SATE
  8. Nonsense and Beauty, The Rep
  9. Time Stands Still, New Jewish
  10. Oslo, The Rep

Best Dramatic Production

The Crucible at Stray Dog Theatre
  1. Angels in America, The Rep
  2. District Merchants, New Jewish
  3. The Crucible, Stray Dog
  4. Photograph 51, West End Players Guild
  5. Indecent, Max and Louie Productions
  6. Nonsense and Beauty, The Rep
  7. The Night of the Iguana, Tennessee Williams Festival St. Louis
  8. Oslo, The Rep
  9. Time Stands Still, New Jewish
  10. Farragut North, St. Louis Actors’ Studio

MUSICAL AWARDS

Casr of Cry-Baby at New Line

Best Musical Director
1. Ryan Fielding Garrett, “Kinky Boots,” The Muny
2. Jennifer Buchheit, “The Who’s Tommy,” Stray Dog Theatre
3. Nicolas Valdez, “Cry-Baby,” New Line Theatre
4. Charles Creath, “Don’t Both Me I Can’t Cope,” The Black Rep
5. Nicolas Valdez, “Be More Chill,” New Line Theatre
6. Scott Schoonover, “Daddy Long Legs,” Insight Theatre
7. Holly Barber, “Hedwig and the Angry Inch,” The Q Collective

Don’t Bother Me I Can’t Cope at The Black Rep

Best Choreographer (and not just in musicals)

1. Kirven Douthit-Boyd, “Don’t Bother Me I Can’t Cope,” The Black Rep
2. Mike Hodges, “Guys and Dolls,” Stray Dog Theatre
3. Rusty Mowery, “Kinky Boots,” The Muny
4. Ellen Isom, “Indecent,” Max and Louie Productions
5. Tony Gonzalez, “Grease,” Stages St. Louis
6. Heather Beal, “Feeding Beatrice,” The Repertory Theatre of St. Louis

Best Supporting Actress in a Musical

Taylor Louderman in “Kinky Boots”
  1. Taylor Louderman, “Kinky Boots,” The Muny
  2. Michelle Ragusa, “The Boy from Oz,” Stages St. Louis
  3. Sarah Gene Dowling, “Hedwig and the Angry Inch,” The Q Collective
  4. Kendra Lynn Lucas, “Grease,” Stages St. Louis
  5. Khalia Johnson, “Footloose,” The Muny
  6. Eleanor Humphrey, “Dreamgirls,” Stray Dog Theatre
  7. Laura Michelle Kelley, “Matilda,” The Muny
  8. Grace Langford, “Avenue Q,” The Playhouse at Westport
  9. Jenny Powers, “1776,” The Muny
    10. Tateonna Thompson, “Dreamgirls,” Stray Dog
    10. Denise Thimes, “Don’t Bother Me, I Can’t Cope,” The Black Rep

Best Actress in a Musical

Ebony Easter as Effie in “Dreamgirls” (center)
  1. Ebony Easter, “Dreamgirls,” Stray Dog Theatre
  2. Jennifer Theby-Quinn, “Daddy Long Legs,” Insight Theatre
  3. Mattea Conforti, “Matilda,” The Muny
  4. Kendra Kassebaum, “Guys and Dolls,” The Muny
  5. Mamie Parris, “Paint Your Wagon,” The Muny
  6. Sarah Rae Womack, “Guys and Dolls,” Stray Dog Theatre
  7. Brittany Bradford, “Guys and Dolls,” The Muny
Zak Farmer in “La Cage Aux Folles” at New line

Best Actor in a Musical
1. Zachary Allen Farmer, “La Cage Aux Folles,” New Line Theatre
2. J. Harrison Ghee, “Kinky Boots,” The Muny
3. David Elder, “The Boy from Oz,” Stages St. Louis
4. Luke Steingruby, “Hedwig and the Angry Inch,” The Q Collective
5. Caleb Miofsky, “Cry-Baby,” New Line Theatre
6. James Patterson, “Man of La Mancha,” Stages St. Louis
7. Mark Kelley, “A Man of No Importance,” R-S Theatrics

Best Supporting Actor in a Musical

Kevin Corpuz, right in “Be More Chill” at New Line
  1. Omega Jones, “Dreamgirls,” Stray Dog Theatre
  2. Kevin Corpuz, “Be More Chill,” New Line Theatre
  3. Omar Lopez-Cepero, “Paint Your Wagon,” The Muny
  4. Tristan Davis, “The Who’s Tommy,” Stray Dog Theatre
  5. Eli Mayer, “Footloose,” The Muny
  6. Ryan Cooper, “Man of La Mancha,” Stages St. Louis
  7. Ken Page, “Guys and Dolls,” Stages St. Louis
  8. Mike Wells, “Guys and Dolls,” Stray Dog Theatre
  9. Patrick John Moran, “Man of La Mancha,” Stages St. Louis
  10. Zach Stefaniak, “Guys and Dolls,” Stray Dog Theatre
    (tie) Ben Davis, “1776,” The Muny
Avenue Q at the Playhouse at Westport

Best Director of a Musical

1. Mike Dowdy-Windsor and Scott Miller, “Be More Chill,” New Line Theatre
2. DB Bonds, “Kinky Boots,” The Muny
3. Justin Been, “Dreamgirls,” Stray Dog Theatre
4. Lee Anne Mathews, “Avenue Q,” The Playhouse at Westport
5. Jordan Woods, “Hedwig and the Angry Inch,” The Q Collective
6. Ron Himes, “Don’t Bother Me, I Can’t Cope,” The Black Rep

A Man of No Importance


Best Ensemble in a Musical
1. “Kinky Boots,” The Muny
2. “Dreamgirls.” Stray Dog Theatre
3. “Avenue Q,” The Playhouse at Westport
4. “Be More Chill,” New Line Theatre
5. “A Man of No Importance,” R-S Theatrics
6. . Don’t Bother Me I Can’t Cope,” The Black Rep
7. “Man of La Mancha,” Stages St. Louis
8. “Cry-Baby,” New Line Theatre

“Kinky Boots” at the Muny

Best Musical Production

1.“Kinky Boots,” The Muny
2. “Dreamgirls.” Stray Dog Theatre
3. “Be More Chill,” New Line Theatre
4. “Avenue Q,” The Playhouse at Westport
5. “Don’t Bother Me I Can’t Cope,” The Black Rep

?Dreamgirls”

Best Costume Design of a Musical

1. Sarah Porter, “La Cage Aux Folles,” New Line Theatre
2. Julian King, “Dreamgirls,” Stray Dog Theatre”
3. Mary Engelbreit and Leon Dobkowski, “Matilda,” The Muny
4. Brad Musgrove, “101 Dalmatians,” Stages St. Louis
5. Brad Musgrove, “Grease,” Stages St. Louis
6. Eileen Engel, “The Who’s Tommy,” Stray Dog Theatre
7. Gregg Barnes and Lindsay McWilliams, “Kinky Boots,’ The Muny

“The Who’s Tommy”

Best Lighting Design in a Musical

1. Tyler Duenow, “The Who’s Tommy,” Stray Dog
2. Joe Clapper, “Don’t Bother Me I Can’t Cope,” The Black Rep
3. Rob Lippert, “Be More Chill,” New Line Theatre
4. John Lasiter, “Paint Your Wagon,” The Muny
5. Tyler Duenow, “Dreamgirls,” Stray Dog Theatre
6. Sean M. Savoie, “The Boy from Oz,” Stages St. Louis

“Matilda” at the Muny

Best Set Design in a Musical

1. Mary Engelbreit and Paige Hathaway, “Matilda,” The Muny
2. James Wolk, “Man of La Mancha,” Stages St. Louis
3. Josh Smith, “The Who’s Tommy,” Stages St. Louis
4. Michael Schweikardt, “Paint Your Wagon,” The Muny
5. Peter and Margery Spack, “Don’t Bother Me I Can’t Cope,” The Black Rep

Feeding Beatrice

Best Sound Design of a Play

  1. Broken Chord, Angels in America, The Rep
  2. Ellie Schwetye, The Night of the Iguana, Tennessee Williams Festival
  3. David Samba, Feeding Beatrice, The Rep
  4. Kareem Deanes, Fully Committed, New Jewish Theatre
  5. Philip Evans, Indecent, Max and Louie Productions
    6. Justin Been, The Crucible, Stray Dog Productions
“Love’s Labors Lost”

Best Costume Design in a Play

  1. Michele Friedman Siler, Brighton Beach Memoirs, New Jewish
  2. Melissa Trn, Love’s Labors Lost, Shakespeare Festival St. Louis
  3. Felia Davenport, District Merchants, New Jewish
  4. Andrea Robb, A Life in the Theater, St. Louis Actors’ Studio
  5. Laura Hanson, Wittenberg, Upstream Theatre

Best Set Design in a Play

The Night of the Iguana
  1. Peter and Margery Spack, The Play That Goes Wrong, The Rep
  2. Dunsi Dai, The Night of the Iguana, Tennessee Williams Festival St. Louis
  3. Peter and Margery Spack, Brighton Beach Memoirs, New Jewish
  4. Kristin Cassidy, “Photograph 51,” West End Players Guild
  5. William Bloodgood, ‘Alabama Story,’ The Rep
  6. David Blake, “District Merchants,” New Jewish
  7. Lawrence E. Moten III, +Feeding Beatrice,” The Rep
    8. Patrick Huber, “True West,” St. Louis Actors’ Studio

Best Lighting Design in a Play

“Indecent”
  1. Jon Ontiveros, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
  2. Xavier Pierce, “Angels in America,” The Repertory Theatre of St. Louis
  3. Patrick Huber, “Indecent,” Max and Louie Productions
  4. Jason Lynch, “Feeding Beatrice,” The Repertory Theatre of St. Louis
  5. Sean Savoie, “District Merchants,” New Jewish Theatre

Photo Credits: Phillip Hamer, Jon Gitchoff, JPatrick Huber, Joey Rumpell, Peter Wochniak and Jerry Naunheim Jr.

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

“Head Over Heels” will open at New Line Theatre March 6. It is the regional premiere of the wild, sexy, modern musical fairy tale where Once Upon a Time is now.

“Head Over Heels” is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening.

Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.”

The wild story follows the escapades of a royal family who set out on a journey to save their beloved kingdom from extinction, only to discover the key to their realm’s survival lies within each of their own hearts — though not always in the way they expect — and in their willingness to let go of rigid tradition and change with the times.

With band and vocal arrangements by Broadway composer Tom Kitt (Next to Normal, If/Then, High Fidelity), and eleven amazing dance numbers, choreographed by New Liners Michelle Sauer and Sara Rae Womack, this is the heaviest dance show New Line has produced since Chicago in 2002.

Head Over Heels originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards.

The New Line cast includes Grace Langford (Princess Pamela), Melissa Felps (Princess Philoclea), Clayton Humburg (Musidorus), Jaclyn Amber (Mopsa), Zachary Allen Farmer (King Basilius), Carrie Priesmeyer (Queen Gynecia), Aaron Allen (Dametas), Tiélere Cheatem (Pythio), Kevin Corpuz, Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack.

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day.

The Daily Beast said, “Head Over Heels is a raucously choreographed joy — intelligent, winningly comic, and surprisingly-for-Broadway radical when it comes to its presentation of gender and sexuality.” Entertainment Weekly said, “The show is an ode to female independence with the winking spirit of a Shakespearean fairy and the neon edge of a rebellious ‘80s teenager, teaming up to beckon people into the woods. Forty years after The Go-Go’s’ formation, Head Over Heels does more than preserve the band’s iconic hits in amber. For two hours and 15 minutes, it’s enough to pull the world back into sync.”

TimeOut NY said, “It grafts a 2010s sensibility onto songs from the 1980s — by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career) — and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.”

Head Over Heels contains adult content. Produced by arrangement with Broadway Licensing, New York.

Tickets

HEAD OVER HEELS runs March 5-28, 2020, Thursdays, Fridays, and Saturdays, all at 8:00 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. March 5 is a preview.

Tickets are $25 for adults and $20 for students/seniors on Thursdays; and $30 for adults and $25 for students/seniors on Fridays and Saturdays. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website. 

DISCOUNTS

HIGH SCHOOL DISCOUNT: Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.

COLLEGE FREE SEATS: Ten free seats for every performance, open to any college student with a valid student ID.

EDUCATORS DISCOUNT: New Line offers all currently employed educators half price tickets on any Thursday night, with work ID or other proof of employment.

MILITARY DISCOUNT: New Line offers all active duty military personnel half price tickets on any Thursday night, with ID or other proof of active duty status.

All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

The New Line Film Series

Have a Little Rock & Roll Fable with your Rock & Roll Fable…

The New Line Film Series presents the movie musical ABSOLUTE BEGINNERS on Weds, March 18 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Head Over Heels.

Click Here for more info.

About New Line Theatre

New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country.

New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions.

Altogether, New Line has produced 89 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives funding from the Missouri Arts Council, a state agency, and the Regional Arts Commission.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change. New Line’s 29th season closes in June with Urinetown.

Stages St. Louis Announces Naming of new Main Stage Theatre for Ross Family

Stages St. Louis Announces Naming of new Main Stage Theatre for Ross Family

STAGES St. Louis and the City of Kirkwood are thrilled to announce the naming of the Main Stage Theatre at the Kirkwood Performing Arts Center (PAC). Thanks to a very generous gift from Don and Nancy Ross, the theatre will be named The Ross Family Theatre.

“Nancy and Don Ross have been extraordinary supporters of Stages for many years. This amazing gift to name the Main Stage Theatre at the Kirkwood Performing Arts Center is a transformative one. The entire Stages organization will be forever grateful,” said Executive Producer Jack Lane.

The Ross Family Theatre will serve as the mainstage for STAGES performances, beginning with the organization’s 35th Anniversary Season in 2021. The theatre will feature both orchestra and mezzanine levels, totaling 525 seats.

“Our entire family is so pleased to support Stages St. Louis with the naming of the Ross Family Theatre at the Kirkwood Performing Arts Center. For 34 years, Stages has been a tremendous asset to the cultural landscape of our community. On this new national level with the stunning state-of-the-art building, the future appears limitless for Stages. We are very proud to play a role and we hope others in our community will join us in supporting Stages for future generations,” said Don and Nancy Ross.

In addition to The Ross Family Theatre, the new Kirkwood PAC will also house a 2,000 square-foot event space, spacious upper and lower level lobbies connected by a grand staircase, a 3,000 square-foot studio theatre, and community and artistic support spaces.

The Performing Arts Center is slated to open in July 2020. In its inaugural year, the PAC is projected to entertain over 100,000 patrons between the seasons at both STAGES and the Kirkwood Theatre Guild and community events hosted by the City of Kirkwood.

STAGES 2020 Season, the final one in the Robert G. Reim Theatre, will kick off May 29 and runs through Oct. 4, 2020. The season features:

A Chorus Line
Music by Marvin Hamlisch Lyrics by Edward Kleban
Book by James Kirkwood & Nicholas Dante
May 29 – June 28

La Cage Aux Folles
Music and Lyrics by Jerry Herman Book by Harvey Fierstein July 17 – August 16

Always… Patsy Cline
Written and originally directed by Ted Swindley
Featuring the music of Patsy Cline
September 4 – October 4

Disney’s Alice in Wonderland
Music and lyrics by Sammy Fain and Bob Hilliard, Oliver Wallace and Cy Coban, Allie Wrubel and Ray Gilbert, Mack David, Al Hoffman and Jerry Livingston
Music adapted and arranged and additional music and lyrics by Brian Louiselle
Book adapted and additional lyrics by David Simpatico
June 16 – June 28


STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

In 2020, STAGES celebrates its 34th year of producing Broadway-quality theatre, presenting 132 performances from June through October to nearly 50,000 patrons. STAGES opened in 1987 with a budget of $50,000 and a part-time seasonal staff of eight. Today, the company employs a full-time staff of 23 overseeing a budget of $5.1 million. During the performance season, an additional 150 actors and crew members bring the productions to life.

To date, STAGES professionals have produced 119 musicals, with over 3,700 performances, playing to more than one million patrons. Subscriptions to the 2020 Season begin at just $120 and are on sale now. Single tickets will go on sale April 6, 2020. Single ticket prices range from $25 – $66.

STAGES’ Mainstage productions perform in the intimate, 377-seat Robert G. Reim Theatre at the Kirkwood Civic Center, 111 South Geyer Road in St. Louis, MO 63122. For more information or to purchase tickets call 314-821-2407 or visit www.StagesStLouis.org.

Rap Artist Tef Poe to Star in The Black Rep’s “Spell #7”

Rap Artist Tef Poe to Star in The Black Rep’s “Spell #7”

“Spell # 7” will be The Black Rep debut of rap artist Tef Poe. Tef Poe has received numerous Hip-Hop awards for his work, and was recently featured as a Harvard Fellow at the W.E.B. DuBois Research institute.

Tef says “This is an opportunity for me to sharpen my skills and work with some of the best talent in this region.  The Black Rep is known for reimagining what’s possible in Black entertainment.  I knew this would be a challenge for me. My background obviously isn’t rooted in theatre. But the hip hop world has a few commonalities so I’m able to play into my strengths with this character. I’m honored to be a part of this production.  My respect for my cast mates and our director is insurmountable.”

“Spell # 7” will also feature Drummond Crenshaw, Robert Crenshaw, and Jacqueline Thompson as well as four of our Professional Acting Interns: Brian McKinley, Tyler White, Christina Yancy, and Camille Sharp.

“Spell # 7” is a striking choreopeom by the author of “for colored girls who have considered suicide when the rainbow is enuf”, Ntozake Shange.  Set in a bar in St Louis frequented by Black artists and musicians, actors, and performers. In a series of dreamlike vignettes and poetic monologues, they commiserate about the difficulties they face as Black artists.  The piece is framed by the narrator, Lou (played by Brian McKinley), a magician who wants to use his magic to help the artists come to terms with their Blackness and rejoice in their identities.

“Spell # 7” is the second production supported by the Sophisticated Ladies Giving Initiative.  This initiative supported last year’s production of Nina Simone: Four Women by Christina Ham.

This production is also funded with support from the Regional Arts Commission, World Wide Technology, Washington University in St. Louis, Steward Family Foundation, and Centene Corporation. “Spell # 7” is also underwritten in part through a grant from the Creative Impact Fund for Diversifying the Arts – a partnership between the Arts and Education Council and local community leaders.

“Spell # 7” is directed by Ron Himes, with choreography by Heather Beal, scenic design by Dunsi Dai, lighting design by Joe Clapper, costume design by Brandin Vaughn, and sound design by James Biko.  Jim Anthony is the stage manager and D’Angelo Himes is the assistant stage manager.

The production will run Feb. 19 – March 8 at the AE Hotchner Studio Theatre on the campus of Washington University. Tickets are available at www.theblackrep.org/, or by calling the box office at 314-534-3807.

###

About The St Louis Black Repertory CompanyThe St Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and international playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.

‘Songs for Nobodies’ Another Tour de Force for Debby Lennon

‘Songs for Nobodies’ Another Tour de Force for Debby Lennon

By Lynn Venhaus

Wow. Just a WOW.
Dynamic Debby Lennon has a beautifully trained voice that is spellbinding, and even better on stage when she is playing a character. She is a terrific storyteller, which is why she’s often the centerpiece in recent revelatory shows by Max and Louie Productions.

“Songs for Nobodies” showcases both those talents in a warm, endearing way. On a simple set, wearing a nondescript black dress, Lennon vividly creates a genuine connection between the audience and the stars.

Lennon smoothly guides us through homages of divas Judy Garland, Patsy Cline, Billie Holiday, Edith Piaf and Maria Callas. This is no small feat, given the challenges of their distinctive personas but also the differences in dialects and genres – standards, country, blues, torch ballads and opera.

Lennon delivers each number with customary skill, from Garland’s “Come Rain or Come Shine,” the Harold Arlen classic that was part of her Carnegie Hall concert in 1961, to Callas’ signature aria “Vissi d’arte” from Puccini’s “Tosca” – her 1953 recording is considered the best.

Photo by John Lamb

These are not imitations, but rather representations. As Lennon sings these memorable selections of the 20th century in a revealing and heartfelt way, we are transported to other times and places, as this play offers intimate glimpses into ordinary lives with extraordinary results.

Kevin Bowman’s projection design creates a visual frame of reference for each interaction – the famous singer, who after all is human, and the regular people who are their fans. Touched by the music, those fans make a connection that matters in their lives.

Lennon sets each vignette by smartly defining each fictional everyday woman character with humor and instantly likable traits. And why not? They have unexpected life-changing encounters with musical icons of the 20th century, much to their surprise and joy.

These females are the “Nobodies” in the title, but that’s facetious because they are significant human beings. And Lennon brings out the fun in those personalities.

Lennon has sung with the St. Louis Symphony for 33 years and has performed with Opera Theatre of St. Louis, Union Avenue Opera and Winter Opera in St. Louis, in addition to the Muny and other professional regional theater companies.

Debby Lennon sings Edith Piaf, Photo by John Lamb.

For her unforgettable performances in Max and Louie’s “Grey Gardens” and “Souvenir,” she won two St. Louis Theater Circle Awards. Last year, she appeared in the one-woman show “Love, Linda, The Life of Mrs. Cole Porter.”

Perhaps the most emotional segment is Billie Holiday’s, given her troubles with addiction and the segregated time she lived in, and her bold song “Strange Fruit” is an example of her courage. And “Lady Sings the Blues” was part of her portfolio too.

And French chanteuse Edith Piaf’s rousing “Non, je ne regrette rien” (No, I Don’t Regret Anything) is one of the most familiar songs, and Lennon matches its fervor. She also delivers a robust “L’Accordeoniste.”

Music Director Nicolas Valdez, who also plays piano, superbly conducts the one-woman show. He is joined by Jake Stergos on bass and Keith Bowman on percussion. They are behind a black scrim that is strikingly lit by lighting designer Tony Anselmo, a nice touch.

With wit and charm, Australian playwright Joanna Murray Smith has imagined these memorable women in intriguing scenarios. Beatrice Ethel Appleton, who is stationed in a powder room in a New York hotel; Pearl Avalon, a proud back-up singer; and fashion writer Too Junior Jones thrilled to interview Billie Holliday take place in the U.S. Edie Delamotte, whose section takes historical liberties when talking about Piaf; and Orla McDonough with prima donna Maria Callas.

The most moving is Edie Delamotte’s recollection of her French father’s hardships during World War II.

The play is captivating in the way it presents the personalities, this timeless music and why we care about our relationships with artists.

Director Pamela Hunt also noted the women lived at a time where many a man controlled their lives. This is indeed an interesting aspect.

These gifted singers are bright-light individuals who allowed their brilliance to shine, which is still felt today, and their stories go beyond entertainment.

In their mission statement, Max and Louie refers to “bringing artists and audiences together in a shared experience that illuminates life through joy, wonder, laughter and tears.” Mission accomplished with “Songs for Nobodies.” You could feel the audience’s happiness. That’s a good way to start Max and Louie’s 11th season.

Max and Louie Productions presents “Songs for Nobodies” Jan. 23 – Feb. 2 at the Kranzberg Arts Center. 501 N. Grand. Performances are Thursday at 7:30 p.m., Friday and Saturday at 8 p.m. and Sunday at 3 p.m. A special 2 p.m. matinee on Saturday, Feb. 1, has been added. For more information, visit www.maxandlouie.com

Debby Lennon. Photo by John Lamb

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

By Connie Bollinger
Contributing Writer
Full disclosure: I ordinarily don’t enjoy audience interactive productions However, “Flanagan’s Wake,” playing now through March 21 at the Playhouse at Westport Plaza, proved to be a delightful exception.

Part improv, part scripted, part interactive,”Flanagan’s Wake” tells the story of an Irishman’s funeral and the family and friends who come together in an Irish pub to toast him on his way to paradise.  

Already a long-running smash hit in Chicago, Emery Entertainment has moved the interactive play to St. Louis, where the locals memorialize his passing with plenty o’ pints, zany sing-a-longs and witty tales.

There’s a priest, of course, dear Father Damon Fitzgerald, played by Alan Knoll, whose penchant for sacrilege and gambling is well presented. Knoll tells a thumping good story about the deceased and about an unknown Apostle named Kevin.

Alan Knoll as Father Fitzgerald. Photo by John Flack

Mother Flanagan is there, an ancient, salacious, Gaelic speaking old blister, played to perfection by Bill Burke. Mayor Martin O’Doul (Lynn Berg) hosts the gathering, as it’s his Pub after all.

Brett Ambler is Brian Ballybunion, a fun-loving handsome young man with big dreams. Dustin Petrillo plays Mikey, Teresa Doggett is Kathleen Mooney, the Irish Pagan, and Jennifer Theby-Quinn is Fiona Finn, Flanagan’s long-time fiance.

Music Director Charlie Mueller commands the pub piano, accompanying some of the most surprising songs we’ve ever heard, and three patient bartenders (Janelle Pierce, Sean Seifert, and Matt Billings) round out the cast, along with Patrick Blindauer playing the accordion.

The assembled audience are the cousins and friends come to participate in Flanagan’s send-off.

A romp of this magnitude requires a talented director and an equally skilled stage manager. Luckily, Director Lee Anne Mathews and Stage Manager Emily Clinger are up to the challenge, keeping the action moving along at a break-neck pace but never giving us the feeling of being rushed. 

The cast of “Flanagan’s Wake” are Improv wizards. Brett Ambler creates a wonderfully funny song out of thin air right before our eyes. Theresa Doggett’s Pagan Kathleen tells a  tale of a visit from the “Little People”  that is both surprising and, I’m sure, mostly improvised.

The Mayor, Lynn Berg, also spins a yarn about Flanagan that incorporates audience suggestions and never misses a beat; but for me, the favorite is Jennifer Theby-Quinn’s Fiona, the long suffering, hard drinking, short-tempered fiance whose Banshee;like wails of grief will literally make your ears ring. Fiona throws herself on Flanagan’s casket at every opportunity, causing brother Mikey (Dustin Petrillo) to have to wrestle her off kicking and screaming. 


Some of you may remember Ms Theby-Quinn in Westport’s production of “Avenue Q,” where she played Kate Monster and Lucy the Lounge Singer. Indeed, much of the cast of “Flanagan’s Wake” have St. Louis connections.

Teresa Doggett (Kathleen) recently appeared in “Pride and Prejudice” at the Rep and is also the resident Costume Designer for the Union Avenue Opera.

Jennifer Theby-Quinn as Fiona Finn. Photo by Jack Flack

Bill Burke (Ma) comes to the Playhouse from St. Louis’ own Stray Dog Theater where he recently played in “The Tempest” and “Macbeth.”  Patrick Blindauer has appeared in movie and television productions as well as several productions at the Muny.  Brett Ambler played Brian in “Avenue Q” last year at Westport, and  Dustin Petrillo’s St. Louis credits include Myriad Productions’ “Heathers the Musical” where he played JD.

“Flanagan’s Wake” is irreverent, loud, sarcastic, and delightful — just like family.  

The Playhouse @Westport presents “Flanagan’s Wake” Jan. 24 through March 21. Performances run Thursdays, Fridays and Saturdays at 7:30 p.m., with a special Tuesday, March 17, St. Patrick’s Day performance. Tickets are available at www.metrotix.com or at the box office one hour prior to show time. Groups of 10 or more should call 314-616-4455 for special rates. The Playhouse is located at 635 Westport. Visit www.playhouseatwestport.com for more information.

Theresa Doggett and Dustin Petrillo dance. Photo by John Flack.


Tennessee Williams Festival St. Louis Seeks One-Acts for Playwriting Initiative

Tennessee Williams Festival St. Louis Seeks One-Acts for Playwriting Initiative

The Tennessee Williams Festival St. Louis invites playwrights to submit original one-act plays for our 2020 Playwriting Initiative. At least three winners will be chosen by our panel of playwrights. The winning plays will be presented in a staged reading, with professional actors, as an element of the 2020 Tennessee Williams Festival St. Louis, May 7-17, 2020. 


The winning playwrights will be invited to attend the staged reading and to participate in a talkback panel—featuring the other winners and the judges—at the conclusion of the event. The plays, with playwrights’ biographies, will be listed in the official Festival program.The winning playwrights will be provided with Festival passes. (The Festival will not be able to provide other compensation or reimbursement.)

Tennessee Williams

Tennessee Williams started out in St. Louis writing one-act plays, and one of his biggest breaks was winning a competition sponsored by the Group Theater in New York—the first time he signed his name as “Tennessee” rather than “Tom.” He wrote more than seventy throughout his career—sometimes edgy, often experimental, and always infused with his unsurpassed poetry. Many of them have been presented at the Tennessee Williams Festival St. Louis, several as world premieres. We invite you to find your inspiration in his artistry and to share it with us.

The panel is chaired by Jack Ciapciak, winner of New York University’s 2017 Goldberg Playwriting Prize and winner of our own inaugural Playwriting Initiative. Judges also include Deanna Jent, whose play Falling has been produced on Broadway, and Gregory Carr, who teaches playwriting at Harris Stowe University. 

Guidelines for submission:

  • The play must be no more than 15 minutes long.
  • The play must not have been professionally produced (although plays that have been workshopped or presented as staged readings are acceptable).
  • The play must be submitted by the author of the play.
  • Only one submission per author.
  • The author must include a statement of no longer than 250 words, including a brief biography, contact information, and author’s availability to attend the staged reading and serve on the talkback panel. (Attendance is requested but not mandatory.)
  • The play must be in a PDF in Standard Playwriting Format. 
  • Submit your materials by March 1, 2020, to info@twstl.org with the subject line 2020 Playwriting Initiative.

Winners will be notified no later than April 1, 2020. By submitting the play, authors give performance rights to the Tennessee Williams Festival St. Louis for the May, 2020 event, as well as possible other uses in connection with the 2020 Festival. Authors retain all other rights. 

For more information, visit the website: www.twstl.org

Acting Elevates True Crime Drama ‘Just Mercy’

Acting Elevates True Crime Drama ‘Just Mercy’

By Lynn Venhaus
Attorney Bryan Stevenson’s own account of the Walter McMillian case, as recorded in the 2014 bestselling nonfiction book “Just Mercy: A Tale of Justice and Redemption,” is faithfully adapted on screen by writer-director Destin Daniel Cretton.

After earning a law degree from Harvard, Bryan Stevenson (Michael B. Jordan) sets up shop in Alabama, focusing on defending wrongly condemned Death Row inmates, and finding out many were not afforded proper representation.

McMillian (Jamie Foxx) is one of his first cases. He is sentenced to die in 1987 for the murder of an 18-year-old girl. Evidence overwhelmingly proves his innocence, but it’s an uphill battle because of racism and legal and political maneuvering.

While the film is basically a legal procedural, it pushes buttons – frustration, anger and a clear indication that justice is sometimes only for those who can afford a good lawyer.

Cretton, along with screenwriter Andrew Lantham, depicts the harsh reality of dealing with black-and-white issues in the deep South (and beyond) as it methodically details the ‘cover your ass’ local good-old-boy police and legal system.

What elevates this film, however, is the acting. With the customary outstanding portrayals one expects from Michael B. Jordan and Oscar winner Jamie Foxx, we are presented with the ‘so-what’ obstacles that have led real-life hero Stevenson to overturn convictions of dozens of innocent people.

The McMillian case, detailed on “60 Minutes,” is so obvious in its railroading of an innocent man that the struggles seem more outrageous as the film weaves its matter-of-fact account with all the subtlety of a freight train collision.

The supporting cast also excels in bringing clearly defined characters to life – especially Rob Morgan and O’Shea Jackson Jr. as Death Row inmates Herbert Richardson and Anthony Ray Hinton. Brie Larson, so good in Cretton’s film “Short Term 12,” conveys activist Eve Ansley’s plight as a Southern wife and mother.

Versatile character actor Tim Blake Nelson delivers one of his finest performances as a key witness, Ralph Myers, whose original testimony helped put McMillian in prison.

Stevenson’s work, through his Equal Justice Institute, shows how badly the criminal justice system is broken – more criminal than just – and the filmmakers have done a public service by bringing it to our attention.

“Just Mercy” won the Audience Award at the St. Louis International Film Festival in November. It’s easy to see why it strikes a chord with anyone who believes in truth and justice.

This image released by Warner Bros Pictures shows Michael B. Jordan, left, and Rob Morgan in a scene from “Just Mercy.” (Jake Netter/Warner Bros. Pictures via AP)

Genre: Drama, True Story
Director: Destin Daniel Cretton
Starring: Michael B. Jordan, Jamie Foxx, Brie Larson, Tim Blake Nelson, O’Shea Jackson Jr.
Rated: Rated PG-13 for thematic content including some racial epithets.
Lynn’s Grade: B+
A version of this review was originally published in the Times newspapers.

Introducing PopLifeSTL

Introducing PopLifeSTL

Life it ain’t real funky
Unless it’s got that pop
Dig it
Pop life
Everybody needs a thrill
Pop life
We all got a space to fill
— Prince, “Pop Life”

Welcome to PopLifeSTL.com, a new arts, entertainment and lifestyle website curated by veteran journalist Lynn Venhaus.

Venhaus has had a continuous byline in St. Louis area publications since 1978 and has worked as a reporter, feature writer, reviewer and editor for daily and community newspapers and other platforms in the region. She has taught journalism and media at three area colleges as an adjunct instructor.

Lynn Venhaus

“We will spotlight local events but also cover a wide spectrum of entertainment,” she said.

Venhaus has written movie and theater reviews for many years. From 2008 to 2017, she wrote entertainment reviews for the Belleville News-Democrat, and currently covers film reviews for the Times newspapers (Webster-Kirkwood Times, South County Times and West End Word), KTRS Radio and the Reel Times Trio podcast. She also has a partnership with OnSTL.com for the podcast and content. This will be home to her theater reviews but she will also feature other local reviewers.

“We want to explore the local arts scene with enthusiasm and insight, but also with an informed critical eye,” she said.

Local contributors include reviewers CB Adams, Connie Bollinger, Andrea England Braun, Joe Pfaller and Jeff Ritter. We will welcome more experts as we grow.

Currently, we are a work in progress and will be placing fresh content as much as possible and after that, get the archives up to speed.

Venhaus talks to Seth Meyers at the Critics Choice Association Awards Jan. 12 in Santa Monica, Calif.

As a founding member of the St. Louis Theater Circle in 2012, which awards excellent in St. Louis regional professional theater, she has enjoyed getting to know the local theater community.

Film is a major force in her life, and she has been a vetted member of the St. Louis Film Critics Association since 2008 and its elected secretary since 2012.
She has been accepted into the national Alliance of Women Film Journalists and the Critics Choice Association (formerly the Broadcast Film Critics Association).

She is also a volunteer and member of Cinema St. Louis, and frequently serves on juries for the St. Louis Filmmakers Showcase, 48-Hour Film Project and St. Louis International Film Festival.

She has served on the Arts for Life board since 2010, which recognizes outstanding work in community theater.

“We are going to spotlight local people and places, including food and drink too – the whole leisure experience.”

She is a former feature writer, food editor and reviewer at the defunct St. Louis Globe-Democrat and wrote for niche publications at the Belleville News-Democrat, so promoting what the metropolitan area has to offer is important to her.

“We have hidden gems to explore, and there are so many untapped subjects in the region. I look forward to informing people of our colorful heritage and the interesting people who enrich our area,” she said.

Venhaus is a graduate of Illinois State University, with a comprehensive mass communications major and a minor in theatre. Born and raised in the metro-east, she currently lives in St. Louis. Her son, Charlie, lives in New York City and her son Tim passed away in December 2018.

Charlie, Lynn and Tim Venhaus, ushers at the 2011 Sundance Film Festival.

Currently, she covers news and features for several local publications as an independent contractor, Venhaus Creative. Editing and writing services are also available.

For more information, she can be reached at lynnvenhaus@gmail.com or 618-917-8175.

The Black Rep Welcomes New Board Members

The Black Rep Welcomes New Board Members

The St. Louis Black Repertory Company announces additions to its Board of Directors. Joining the Board is Feleccia Moore-Davis, Wanda Starr-Ferguson, and Paul Steger. “The new members further diversify the board towards the goal of bringing the magic of live theatre to everyone by entertaining diverse audiences, educating promising youth, and enriching our community,” says Ron Himes, Founder and Producing Director.

Feleccia Moore-Davis is Campus President at St. Louis Community College: Meramec. Feleccia is a first generation college graduate that recognizes the importance of education. She has more than 20 years of higher education experience teaching and in cross-functional administrative roles within Community Colleges. Prior to coming to STLCC Feleccia served as Provost and Vice President for Academic Affairs at Tallahassee Community College in Florida and Vice President for Instruction at Lone Star College-CyFair. Feleccia brings leadership, grant writing, fundraising, and program management to the board and plans to expand partnerships support and further expose students to the arts.

Wanda Starr-Ferguson is the Inclusion & Diversity Specialist for Edward Jones. Throughout her 20-year tenure at Edward Jones, Wanda served in multiple capacities the Compliance and Operations division including Asset Surveillance Officer, leading to a promotion to Field Supervision Director. Wanda has a passion for developing relationships with the community and giving back.  In 2017, Wanda was awarded “Volunteer of the Year”, by the Boys and Girls Clubs of Greater St. Louis. Wanda brings leadership, program management skills, and a strong passion for inclusion and diversity to the board. She looks to increase awareness of the Black Rep offerings to the St. Louis Community.

Paul Steger, Dean of the Leigh Gerdine College of Fine Arts at Webster University. Paul is a director, producer, actor, and action designer with credits on Broadway and in numerous regional theatres. He is a Certified Teacher with the Society of American Fight Directors and holds certificates from the British Academy of Stage and Screen Combat, the Nordic Stagefight Society, and Fight Directors Canada. Paul is a member of Actors’ Equity Association, the Screen Actors Guild, and the National Theatre Conference among others. He plans to serve as a liaison to higher education institutions across St. Louis and nationwide.    

About the Black Repertory Company

The St. Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and third world playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.