You cannot really review the current touring production of “Mamma Mia!” that made a stop at The Fox February 13-18 without acknowledging the power, musicality and earworm-iness of the source material – that is, the Swedish supergroup ABBA.
Inducted into the Rock and Roll Hall of Fame in 2010, ABBA’s diverse musical influences created a unique fusion of genres that continues to resonate with audiences. From their meticulous studio craftsmanship to their harmonic complexity and juxtaposition of melodies with poignant lyrics, ABBA set a standard that continues to resonate in contemporary pop.
Their ability to blend joy with melancholy and infuse authentic emotion into their music remains a testament to their enduring influence and cultural significance, transcending boundaries of time, genre and geography.
Consider the popularity of the current virtual concert “ABBA Voyage” in London, featuring virtual avatars called “ABBAtars,” resembling the group’s appearance in 1979 (just a few years before they disbanded), accompanied by re-recorded vocals from the original bandmembers, recorded. In these virtual resurrections, ABBA joins other influential performers, including Tupac, Michael Jackson, Elvis Presley, Maria Callas (opera diva) and Whitney Houston (pop diva).
L to R) Jalynn Steele (Tanya), Carly Sakolove (Rosie), and Christine Sherrill (Donna Sheridan) Photo by Joan Marcus
So, mash up some of the best of ABBA’s song with a mostly forgotten 1968 comedy starring Gina Lollobrigida, “Buona Sera, Mrs. Campbell,” and you get a “supa-pa, troupa-pa” of a jukebox musical that has been a chugging along since 1999. This latest touring production (celebrating the 25th anniversary!) opened in St. Louis at the Fox with another capacity audience.
The Gateway City has always had a thing for “Mamma Mia,” (along with “Wicked”), that is just one of those delightfully unexplainable things. Maybe it’s the strong women (most of them older) and unabashed girliness. Maybe it’s use of men as more or less silly set dressing. Maybe it’s because, as it gallops along, the musical never takes itself too seriously. Maybe it’s the spandex?
As opening night proved yet again – it’s a flat-out good time and designed to be an effective ABBA delivery system. From the moment Alisa Melendez belted out the opening notes of “I Have a Dream,” it was evident that this production lives up to its predecessors. Melendez’s portrayal was a testament to her talent and charisma, effortlessly carrying the audience through Sophie’s journey of self-discovery and the quest to uncover her father’s identity.
Christine Sherrill’s portrayal of Donna, Sophie’s fiercely independent mother, struck a perfect balance of strength and vulnerability, captivating the audience with her powerful vocals and authentic emotional depth. Joined by her loyal friends Rosie and Tanya, portrayed with impeccable comedic timing by Carly Sakolove and Jalynn Steele respectively, Donna’s journey is enriched by the genuine camaraderie and chemistry among the trio.
(L to R) Jim Newman (Bill Austin), Victor Wallace (Sam Carmichael), and Rob Marnell (Harry Bright) Photo by Joan Marcus
The supporting cast, including the trio of potential fathers – Harry Bright (Rob Marnell), Bill Austin (Jim Newman) and Sam Carmichael (Victor Wallace) – each brought their own unique flair to the stage, infusing the production with humor and sincerity.
The Ensemble’s electrifying dance numbers and infectious enthusiasm were also standouts. Anthony Van Laast’s choreography is clever, fun and energetic. Even though the dance numbers continue to delight, they could use a bit of a refresh. However, in the spirit of “if it ain’t broke don’t fix it,” this may be asking for the unnecessary. From the lively choreography of “Lay All Your Love On Me” to the nostalgia-inducing medleys, the ensemble’s energy was palpable, igniting the stage with every high kick and synchronized move.
The lighting and staging hew closely to the show’s overall aesthetic – simple, clever at times, and effective – and do not get in the way of the delivery of the tunes. The show suffered somewhat from acoustics. The sound was sometimes too loud, unbalanced and interfered with the clarity of the vocals.
(L to R) L’Oréal Roaché (Lisa), Alisa Melendez (Sophie Sheridan), and Haley Wright (Ali) Photo by Joan Marcus
As the performance drew to a close, it became evident that “Mamma Mia!” succeeds as a celebration of love, friendship and the enduring power of music to unite and uplift. If the show ended with the curtain, it would prove worthy of its ticket prices. Then the cast kept the party going with an anticipated, electrifying encore that ends up being one of the highlights of the show.
Donning vibrant costumes and exuding boundless energy, the cast launched into a bouncy, enthusiastic medley. It was fun to see the Ensemble dancers cut loose and strut their stuff – with the audience on their feet, clapping and singing along.
“Mamma Mia!” runs at The Fabulous Fox from Feb. 13-18. For ticket information, visit www.fabuloufox.com
Mesmerizingly crafted, “Moby Dick” is an astonishing triumph of sound and fury.
Through its hybrid expressionist storytelling involving aerials, acrobatics, dance, visual artistry and dramatic encounters, the aesthetically innovative staging is extraordinary.
This brilliant vision by director David Catlin, who adapted the 1851 novel by Herman Melville, has been executed fluidly with bold intentions. He has stripped an unwieldy story down to essentials — although it still takes 3 hours with 2 intermissions to tell this three act masterpiece.
Catlin immerses us as green hands on the Pequod whaling ship – you will feel as if you are on the voyage on the treacherous high seas around the world.
Perhaps comparable to a Cirque du Soleil experience, it is unlikely that you have seen anything like it, unless you were privy to its landmark 2015 debut at the Lookingglass Theatre Company in Chicago, where it was developed and mounted.
The Fates, Photo by Liz Lauren
Catlin, a longtime ensemble member, is not the only one involved in The Rep’s stunning and at times, jaw-dropping, production. An outstanding Christopher Donahue, who originated the role of Captain Ahab there, returns as the maritime officer obsessed with revenge against the great white sperm whale who bit his leg off.
A sparse high concept set designed by Courtney O’Neill, aided by assistant designer Catalina Nino, yields to an epic sea adventure that at its core is a battle between fate and free will, as Ahab goes mad in his maniacal quest while his first mate Starbuck believes that our choices fulfill our destiny.
This isn’t your English class study guide, rather a living work of art, composed stylistically with dynamic imagery and movement that creates an unrivaled seafaring adventure.
The now iconic Ishmael is the first sailor we encounter, a philosophical narrator who has worked on a merchant vessel. This time, he signs up for the Pequod, leaving Nantucket. This sea hunt is for whale oil and the byproducts used in the 19th century – the appeal of a comfortable lifestyle was at odds with the messy and grimy business of whale hunting.
Ishmael and Queequeg. Photo by Liz Lauren.
At a crowded inn, he is forced to share a room with a distinctively tattooed Polynesian harpooner, Queequeg, and that comical situation cements a friendship between the men. Muscular Kevin Aoussou is an imposing and regal Queequeg.
Walter Owen Briggs conveys Ishmael’s curious nature and sense of wonder, while looking at developments sensibly. He struggles with Ahab’s recklessness and the looming doom.
The Fates and the sailors. Photo by Liz Lauren
Ahab’s single-mindedness is his tragic flaw, and it will consume him. As the men resist, he pushes harder. He has tough altercations with brave first mate Starbuck, a fierce and agile Felipe Carrasco, that are intense and frightening.
The ensemble offers personal portraits to help identify them as crew members, and their instincts are finely tuned. In supporting roles are original castmates Micah Figueroa as Cabaco and Captain of New Bedford whaleship and Raymond Fox as Stubb as well as Captains Boomer and Gardiner, joining Julian Hester as Bulkington.
They indicate the physical aspects of their struggles with precise movements by acrobatic choreographer Sylvia Hernandez-Distasi, a founder and artistic director of The Actors Gymnasium in Chicago. She impresses with dazzling derring-do.
Three women portray the Fates – Maggie Kettering, Ayana Strutz and Bethany Thomas – and they swirl in and out, like spirits. They also present themselves as images of loved ones left behind, and townspeople in the villages.
The dexterity and physical stamina required of these performers is remarkable, and not unnoticed.
Kevin Aoussou. Photo by Liz Lauren
Costume designer Carolyn “Sully” Ratke and associate designer Stephanie Gluggish have fashioned ethereal garb for the mystical spirits, and an interesting wardrobe to create a human metaphor for Moby Dick and other whales. The other costumes are period-appropriate.
The squalls, the hunt, and the insurmountable typhoon are thrillingly staged as spectacles, diving deep into the life-or-death danger. The technology used is next-level and breathtaking, especially what Rigging Designer Isaac Schoepp has created.
(Kudos to the stagehands who participated in the curtain call, deserving a major standing ovation for their efforts), Bravo!
Lighting designer William C. Kirkham, and assistant designer Madeleine Reid, along with sound designer Rick Sims and associate sound designer Forrest Gregor, have recreated an atmospheric ocean tableau — thunderstorms, eerie nighttime shadows, blazing sun daylight, fire, the mysterious echoes of the high seas and the relentless waves.
They have captured dreamlike sequences as well as nightmares through aural and visual techniques, and Sims’ music compositions add texture.
A sequence of staggering beauty is when lanterns lit with whale oil illuminate the night sky, as they rise and seemingly float away, like fireflies.
Photo by Liz Lauren
Moments of non-traditional storytelling are effective bridging the gap between the classic text and a new way to look at a staged presentation. However, the everlasting human condition commentary is not overshadowed by the production’s technical mastery.
Now, this show can be a challenge to navigate, particularly if you have never read “Moby Dick” or only made it through a few pages – it is not an easily digested drama. But stick with it, let the experience sweep you away, and you will be rewarded handsomely. (And you may want to read some Cliff Notes or Wikipedia information beforehand).
It’s exciting to watch something so significantly singular swing for the fences and achieve a greatness that people will be talking about for years.
The Repertory Theatre of St. Louis presents “Moby Dick,” adapted from the book by Herman Melville and directed by David Catlin of the Lookingglass Theatre Company through Feb. 25. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.
Christopher Donahue as Captain Ahab. Liz Lauren photo.
A career path that includes comedy, live theatrical performances and an upcoming Robert DeNiro film has taught Amadeo Fusca to be open to challenges that come your way. Known for his energy and quick wit, the actor says that getting laughs from an audience is always the cherry on top to making a live connection.
Recently in town for “Men Are From Mars Women Are From Venus Live” at the Playhouse at West Port Plaza, Fusca explained the part play-part stand-up comedy based on the 1992 best-selling self-help book by John Gray is a revised version of the one-man show now celebrating its 10th anniversary, the Evolution Tour. He was here before, in 2016, and last year at The Pageant. He will be in other major cities this spring with the revamped version.
Gray’s book exploring the differences between the sexes has sold in excess of 50 million copies, been translated into 40 different languages and is one of the most recognizable titles in the world.
He said you can expect the same delightful, light-hearted comedy that is definitely for adults. Eric Coble, the original writer, and director Mindy Cooper are back to inject new life into the script, ensuring its relevance and resonance with today’s audiences. Moving swiftly through a series of vignettes, Fusca covers everything from dating and marriage to the bedroom.
Fusca does his homework, using local references, works in ad-libs and improvises, too — he’s so familiar with the material, and how audiences will respond.
He enjoys engaging an audience, hearing all the laughs and giggles, and seeing couples elbow each other as they see themselves on stage. Fusca said it’s a great night out – combining storytelling, comedy and some sage wisdom from the book.
“Men Are From Mars, Women Are From Venus” at Westport in 2016
Originally from Pittsburgh, Amadeo has now performed “Men are From Mars Women are From Venus Live!” in over 60 cities, across 30+ states and in front of 75,000 people and counting.
In 2013, he won the legendary Friars Club “So You Think You Can Roast?” competition beating out 55 other comedians roasting ‘80s child star Ricky Schroeder and NBA Hall of Famer Dennis Rodman in the process. As the winner, Amadeo was among the dais to roast Jack Black along with comic legends such as “Roastmaster” General Jeff Ross, Sarah Silverman, Amy Schumer, Bob Saget, Jerry Lewis and more!
In addition to his theatrical comedy, Amadeo can also be seen in various television and film productions including: “Princess Cut” on HBO MAX, “NCIS” on CBS, “That Damn Michael Che” on HBO MAX, Marvel’s “Daredevil” on Netflix, “Boardwalk Empire” on HBO, “The Holiday Dating Guide” on Lifetime, “Almost Family” on FOX and “As the World Turns” on CBS.
Sometime this year, you can catch him as Lucky Luciano in the new Robert DeNiro film “Alto Knights” directed by Barry Levinson.
He had been performing his infamous character World Renowned Conductor Salvatore Giovanni across the globe to roaring reactions in the world’s greatest variety show run by Zach Zucker called “Stamptown,” which played at the Edinburgh Fringe Festival.
But now, he has developed Salvatore into a solo show that may just play on this stage one day as well…
1. Why did you choose your profession/pursue the arts? I grew up in a household where we followed the Oscars very closely every year. I would watch all the best dramas and analyze who I thought should win. On top of that, we just watched a lot of great TV shows at my house as well. Including classics like Taxi. I always admired the work and felt good doing it.
2. How would your friends describe you? Nocturnal
3. How do you like to spend your spare time? Seeing shows, gambling on sports and word games.
4. What is your current obsession? Fanduel Faceoff – A betting app with games
5. What would people be surprised to find out about you? I never learned how to ride a bike
6. Can you share one of your most defining moments in life? When I was awarded the winner of the Friars Club “So You Think You Can Roast?” Competition and got to Roast Jack Black.
7. Who do you admire most? My Mom for everything she’s endured in life and keeps on persevering through.
8. What is at the top of on your bucket list? “Go into Outer Space”
9. What is your favorite thing to do in St. Louis? Perform (:
10. What’s next? Heading to London to perform some shows with my World Renowned Conductor Character Salvatore Giovanni and then shows in Davenport, IA, Cincinnati, OH, Burnsville, MN and Sioux Falls, SD.
More About Amadeo
Age: 37 Birthplace: Pittsburgh, PA Current location: Los Angeles, CA Education: BA in Acting from Point Park University Conservatory of Performing Arts Day job: Acting First job: Busboy First role: Albert Peterson in “Bye Bye Birdie” Favorite roles/plays: Jerusalem – Mark Rylance Dream role/play: Something Funny & Serious that hasn’t been made just yet. Awards/Honors/Achievements: Friars Club Roast Competition Winner Favorite quote/words to live by: “All I know is I don’t know” A song that makes you happy: “Good Riddance” by Green Day
The producer of the “Men Are From Mars, Women Are From Venus” Evolution Tour is St. Louis based Emery Entertainment has produced and promoted thousands of events around the globe, including superstar attractions Blue Man Group, David Copperfield and James Taylor. The talented team assembled for this production continues with the award-winning playwright Eric Coble, direction by Broadway veteran Mindy Cooper, and animation & video production by the talented animators at Bazillion Productions.
Westport Playhouse is back, hosting plays, musicals, films, comedy, private events and much more. Enhanced with a new 40-foot video screen backdrop, upgraded lighting and a new sound system, Westport Playhouse is located at 635 Westport Plaza in Maryland Heights. For more information or to see a list of nearby restaurants,
Performance times are February 14-16 at 7:30 p.m.; February 17 at 2 p.m. & 7:30 p.m.; and February 18 at 2 p.m. Tickets may be purchased through MetroTix at www.metrotix.com or by calling 314/534-1111. Additionally, tickets will be available at The Westport Playhouse box office one hour prior to show time. All seats are $67. Use promo code MARS to save half-off.
By Lynn Venhaus Seeking his own creative lane in St. Louis, multi-hyphenate Cameron Jamarr Davis is making some noise as founding artistic director of Soul Siren Playhouse, whose inaugural production is Amira Baraka’s “Dutchman.”
The 60-year-old revolutionary play is running from Feb. 1 to Feb. 18 at the new venue, Greenfinch Theater and Dive.
An American nonprofit arts and cultural enrichment organization committed to social outreach, activism, and artistic development through the medium of dramatic and artistic expression, Soul Siren Playhouse aims to challenge and provoke thought, thus change, through artistic exploration and dramatic encounters — while holding space for safe, civil, proactive communication and collaboration on polarizing issues, he said.
The past five years have been a journey for Cameron. “One riddled with lessons, setbacks, successes, and various trials of patience, determination and faith,” he said.
After starting Soul Siren in Los Angeles in 2019, he relocated back to St. Louis and weathered the pandemic. In 2022, he was named a directing fellow at St Louis Shakespeare Festival and played James Hewlett, the first black Shakespearean actor in the U.S., in “The African Company Presents Richard III” at The Black Rep..
In 2023, he won the St. Louis Theater Circle Award for Outstanding Supporting Performer in a Drama, Male or Non-Binary Role, for that role.
Cameron Jamarr Davis as James Hewlett, the first black Shakespearean actor in the U.S. Photo by Phillip Hamer.
He also portrayed Hector MacQueen in “Murder on the Orient Express” at The Rep and was the cop, among other roles, in “Clue” at Stages St. Louis.
“Clue” and “Murder on the Orient Express” are both nominated for Outstanding Ensemble in a Comedy, and “Clue” leads all St. Louis Theater Circle Awards nominations with 11. (Ceremony on March 25).
“Cameron said “Clue” was the highlight of 2023 on stage for him.
“It was one of those productions that actors dream to be a part of because it was the definition of ‘theater magic’ — all the elements came together so perfectly, you could feel the pure, unrelenting joy that the audience was experiencing. That, in turn, reminded me of the joy I experience onstage as an actor, and the gift of light that theater is capable of bringing to people’s lives,” he said.
“To work with such skilled, hilarious actors, I was on stage legit trying not to break every night. And would bow at the end of every performance not only taking pride in what I do, but beaming with sincere joyfulness. That show truly was a gift, and redeemed something for me I didn’t know I needed,” he said.
The cast of “Clue” at Stages St. Louis, with Cameron third from left. Phillip Hamer photo.
Davis is currently an artist-in-residence at the Kranzberg Arts Foundation, and has rebuilt Soul Siren from the ground up, along with a collective of committed artisans. He is a graduate of Clayton High School and earned a BFA in Dramatic Performance at the University of Cincinnati College Conservatory of Music.
For Soul Siren’s first show, Cameron wanted to celebrate the timeless artistry of “Dutchman.” When he read it in college, he identified with its passion, rawness and abstract chaotic nature.
“Unfiltered and unapologetic, Baraka’s writing sirens the soul of the artist as strongly as it does the revolutionary,” he said.
He describes the 65-minute show as an emotionally charged and highly symbolic version of the Adam and Eve story, where an unsuspecting black man is encountered by a mysterious and calculating white seductress alone on an underground train.. It won the Obie Award for Best Play in 1964.
“The show is gritty, raw, and provocative. It is a clear affirmation of a counter-cultural identity that demands to be seen, felt, heard and understood,” he said.
“We aim to assume a timeless approach to this story that is coming upon the 60th Anniversary of its premiere off-Broadway in March 1964. We also have an interactive dramaturgy display, educating audiences on the playwright, the Black Arts Movement of the 70’s, and the genre of beat poetry, which came about at this time that also has influence on the play’s script,” he said.
Cameron Jamarr as Clay and Eileen Engel as Lula in “Dutchman.” Photo by Zak Littrell.
“A provocative drama that rests between allegory and realism, I believe the danger of this play lies in its fearless attempt to explore what lies at the heart of America’s subconscious and collective identity. Its subterranean setting grants two complete strangers the freedom to encounter their hidden natures as well as one another. A clamorous racing train serves as the vessel for its action as well as the thoughts of its passionate playwright,” he said.
“Though Baraka, the individual, does not fully represent the philosophy, truth, and ideals of Soul Siren Playhouse; the fearless and socially conscious instincts represented in ‘Dutchman’ speak directly to the foundation of our goals as a cultural institution,” he explained.
“We want to facilitate community dialogue on the challenging questions the play continues to present, Our intention is to unify, harmonize and most importantly, entertain, with this bold, challenging story,” he said.
The cast features Cameron Jamarr, Eileen Engel, Jeremy Thomas and alternates DeAnte Bryant and Donald Kidd in a brief role. The creative team includes Scenic Design by Bradford Rolen, Lighting Design by Lenny Banks, Sound Design and Hair Design by De’Janna Scales-Hand, and Dramaturgy by Zahria Moore. Bradford Rolen is also the Stage Manager. The show was co-directed by Cameron, Eileen, Rolen and Moore.
So far, the word he hears most from audiences is “unexpected.” You’ll want to join the conversation.
Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson, St. Louis.
Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m.
The cost is free (donations can be made), but RSVPs are necessary. For RSVPs/tickets, visit: https://a.purplepass.com/organizer/67544
For more information: www.playsiren.com.
There will be talkbacks following the shows Thursday 2/8 and 2/15.
Our Take Ten Q&A with Cameron Jamarr Davis
1. What is special about your latest project?
“Our first show ‘Dutchman’ has been five years in the making to get to this point, and we have made personal history by presenting our inaugural production as a black inspired theater company on the first day of Black History Month.”
2. Why did you choose your profession/pursue the arts?
“It very much chose me. I was torn between going to college to study acting professionally or pursuing a degree in English. After inadvertently booking my first professional gig at 17 with St. Louis Shakespeare Festival in “Richard lll,” I took that as a sign to pursue the arts as a professional actor.”
3. How would your friends describe you? Passionate. Loving. Crazy. Soulful. Intelligent. Wild.
Portraying Richard III and the actor James Hewlett at The Black Rep. Phillip Hamer photo.
4. How do you like to spend your spare time? Baking. Writing. Learning how to DJ. Plotting how to take over the world.
5. What is your current obsession? Creating my own professional, creative lane in this city.
6. What would people be surprised to find out about you? I’ve had the honor of dining with Prime Ministers of the United Nations in Nairobi, Kenya. Good God, the food was incredible!
7. Can you share one of your most defining moments in life? Unexpectedly losing my mom at the age of 24. Until then, I’d taken so much of my life, life in general, for granted. In light of her death, I was forced to choose new Life.
8. Who do you admire most? My friends. Their resilience. Their loyalty. The capacity and magnitude of their hearts.
9. What is at the top of your bucket list? Participation in a traditional ayahuasca ceremony led by an indigenous shaman.
The cast of “Murder on the Orient Express” at The Rep. Davis, fifth from right, played Hector MacQueen, the personal secretary and translator to Samuel Ratchett, who is murdered (spoiler alert). Photo by Phillip Hamer.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through, and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
If it weren’t for the pandemic I probably would not have moved back to St. Louis. Sustaining myself creatively was essential in navigating and enduring the uncertainties of the pandemic. In this time I learned patient persistence and the power of the pivot. I created a spoken word album and decided to relocate to St. Louis to restart Soul Siren Playhouse from the ground up, yet did not want to produce theater that required mask mandates. I watched theater become an unidentifiable shadow of itself; actors and audiences in masks, plus various barriers between Art, the Artist and Community. I watched art become increasingly self-serving as a means of survival.
Moving forward I believe that theater’s primary objective should be to entertain, and to be of service to its local community via artistic expression or creative intent (free tickets, child care at shows, pay with a can performances to support food banks, etc). I believe theater can take a greater responsibility in the role of social elevation and enrichment. How can theater meet the needs of audiences and return value as opposed to the self-serving nature of exploitation I commonly see as a detriment.
11. What is your favorite thing to do in St. Louis? Grocery shop at Soulard Market on Saturday mornings.
12. What’s next? Developing my one-man show, “Death Jam” as an Artist in Residence with the Kranzberg Arts Foundation.
With the cast of “Clue,” at left, as a police officer, at Stages St Louis last summer. Phillip Hamer photo.
More About Cameron Jamarr Davis
Age: 33 Birthplace: St. Louis, Current location: St. Louis Family: Only Child / Fairy God Cousin / Cool “Uncle” with no kids or siblings Education: BFA Dramatic Performance from the University of Cincinnati College-Conservatory of Music (CCM) Day job: Substitute Teacher, Clayton School District First job: Busser/Dishwasher, Outback Steakhouse (age 16) First movie you were involved in or made: “Fenced Off” – Rebel Pilgrim Productions in Cincinnati, Ohio Favorite jobs/roles/plays or work in your medium? Oberon in “A Midsummer Night’s Dream” / Leontes + The Bear in “A Winter’s Tale “/ Kendrick Lamar in Lil Wayne’s “Mona Lisa” Dream job/opportunity: Producing Artistic Director of my own theater company Awards/Honors/Achievements: 2023 STL Theater Circle Winner (Best supporting actor in a drama for “The African Company Presents Richard lll” at the STL Black Rep), 2024 Artist in Residence of the Kranzberg Arts Foundation, 2022 Directing Fellow with St. Louis Shakespeare Festival, 2023 Community Arts Training (CAT) Cohort Favorite quote/words to live by: call it our craziness even, call it anything. it is the life thing in us that will not let us die… it is the light in us it is the light of us it is the light… – Lucille Clifton, “Roots” A song that makes you happy: “Built for Greatness” – Marieme Marieme is a Soul Siren Playhouse board member and this song is featured as a promo for Michelle Obama’s Netflix special. This song is GREAT and will make anyone feel like they can conquer anything.
Eileen Engel, Bradford Lewis Rolen, and Cameron Jamarr Davis. Photo provided.
Gateway Center of the Performing Arts and Monroe Actors Stage Company lead with 31 nominations each
Tickets are now available for the Arts For Life annual awards ceremonies for community theater recognition. The Theater Mask Awards will be on April 20 and the Best Performance Awards will be on June 30.
Nominations were recently announced, with Act Two Theatre’s “The Drowsy Chaperone” and Monroe Actors Stage Company’s “How to Succeed in Business Without Really Trying” leading all musical productions with 17 nominations apiece and O’Fallon Theatre Works’ “Radium Girls” topping plays with 12. See the link below.
Through the nonprofit organization AFL, the TMAs have honored drama and comedy plays since 2015 while the BPAs have honored musical theater in community and youth productions since AFL began the awards recognition program in 1999.
This year’s 10th annual Theatre Mask Awards will take place starting at 11 a.m. on Saturday, April 20, at the Royale Orleans banquet center, 2801 Telegraph Road, St. Louis, Mo. 63125. Doors open at 10:30 a.m.
Awards will be presented in 17 categories as lunch is served. Cocktail attire is suggested. Tickets to the event are $30 + $2 service fee. Table seating is available at 8 per table.
Please let us know what theatre group or person(s) you would like to sit with in the checkout process by clicking “Add an order note” while viewing your cart.
A full meal is included with the ticket purchase (menu coming soon). Please let us know if you have any special dietary concerns or needs. A cash bar is available.
Mark Lull
Mark Lull returns as the master of ceremonies after hosting in 2022. A 10-time AFL nominee, he won Best Performance by a Comedic Actor as Uncle Fester in Alfresco Productions’ “The Addams Family” in 2015.
A retired school principal, he has performed at Worlds of Fun in Kansas City, The Muny, and with other theater companies in the St. Louis metropolitan area. He is currently teaching early childhood education at St. Louis Community College and serves as vice president on the AFL board of directors.
For the Best Performance Awards on Sunday, June 30, at 2 p.m. at the Keating Theater at Kirkwood High School, formal attire is requested, and the event will be reserved-style seating. A cash bar will be available. Doors open at 1:30 p.m.
The event will include performances from the top musicals nominated in the three Best Musical Production categories. Tickets to the show are $30.00 + a $2.00 service fee per ticket. Seating is reserved seating. Please let us know which theatre group or individual you would like to sit with in the “notes to seller” section at checkout.
Both TMA and BPA tickets are available online with a service fee of $2 added: https://arts-for-life-2.square.site/.
A combination ticket for both, at a discounted price of $50 with a $2 service fee, is available, but must be purchased by April 12.
Reservations can be arranged through the mail and tickets can be picked up at the venues on event day. Please make check payable to ARTS FOR LIFE and mail to PO Box 16426, St. Louis, MO 63125.
All BPA ticket orders will be held at the box office unless a self-addressed stamped envelope is included with the ticket order. If ordering for a group, please attach a list of individual names for box office pick-up.
Please contact us at afltrg@artsforlife.org if you have any special seating needs or COVID-19 related concerns. Handicapped seating is available.
“Radium Girls’ at O’Fallon Theatre Works is nominated for 12 TMAs. KWR Photography.
Award Nominations
Nominations are listed on the website, www.artsforlife.org.
“Arts For Life provides a community recognition program. These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.
Gateway Center for the Performing Arts earned 31 BPA nominations – for “Bare: A Pop Opera” (7) and youth productions “9 to 5: The Musical” (14) and “School of Rock” (10), with Monroe Actors Stage Company in Waterloo receiving 17 BPA and 14 TMA nominations (including “Father of the Bride” – 3, “Fuddy Meers” – 1, “Unnecessary Farce” – 10, and “How to Succeed” – 17) for a total of 31.
Act Two Theatre in St. Peters followed with 17 BPA and 12 TMA nominations for a total of 29 (including “Peter and the Starcatcher” – 11, “Sandy Toes and Salty Kisses” – 1, and “The Drowsy Chaperone” – 17).
O’Fallon Theatre Works had 29 total, for 23 TMA and 6 BPA nominations (“Emma: Portrait of a Lady” – 11, “Radium Girls” – 12, and “Be More Chill” – 6).
The Kirkwood Theatre Guild had 20 overall, with TMA nominations for “The Last Night of Ballyhoo” – 6, “Vanya and Sonia and Masha and Spike” – 6, and “The Mousetrap” – 4, with 4 BPA nominations for “The Sound of Music.”
‘The Drowsy Chaperone’ at Act Two earned 17 nominations. Lori Biehl Photography.
Other participating groups included Alpha Players of Florissant, Christ Memorial Productions, Clayton Community Theatre, Crusader Players, Curtain’s Up Theatre, Dayspring Arts and Education, Goshen Theatre Project, Hawthorne Players, KTK Productions, Looking Glass Playhouse, Over Due Theatre, Theatre Guild of Webster Groves, Spotlight Productions and Take Two Productions.
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A taut, stressful, and grimly compelling watch with lots on its mind, director Ilker Çatak’s “The Teachers’ Lounge” resonates long after the credits roll as an allegory for society’s messy, complicated realities.
Çatak’s film follows Carla (Leonie Benesch), aka Ms. Nowak, a newly hired sixth grade math and gym teacher at a German middle school who cares deeply for her students’ education and well-being. She’s patient, organized, empathetic, yet naive — confident in her abilities as an instructor while largely ignorant of the paranoia and distrust bubbling within the school’s stark walls.
Carla tries her best to avoid gossip among the faculty, which currently involves finding out who’s behind a series of petty thefts in the school. Carla’s antagonistic peers (who view Carla as an outsider, she emigrated from Poland) suspect the students. She’s summoned to a room where she, some other teachers, and the principal (Anne-Kathrin Gummich) pressure a couple of sixth-graders from Carla’s classroom into accusing a Muslim classmate as being the perpetrator.
After school officials search wallets in Carla’s classroom, the student is brought in for questioning, and the whole situation reeks of racism. Upset and seeking justice for her class, Carla takes matters into her own hands, setting up a hidden camera in the titular teachers’ lounge to clear up the situation once and for all. Or so she hopes.
Although Carla does, allegedly, locate the culprit, an administrative colleague, her discovery sets off a chain reaction of chaos involving rumors, vengeance, rebellion, and shredding of the already-uneasy bond between students’ families and school authority. Carla, thrown into the center, grapples with her own notions of right vs. wrong and which side to take; her good intentions yielding regrettable outcomes for everyone involved and innocents caught in the crossfire.
Leonie Benesch as new teacher Carla Nowak.
“The Teachers’ Lounge,” then, is quite a harrowing, immersive, and grueling watch, with few optimistic things to say about the human condition. Çatak keeps the tension high from beginning to end, refusing to let viewers catch their breaths as we observe one calamity occur after another — a microcosm of pluralistic society imploding on itself.
Benesch is magnificent, rendering Carla as a multifaceted character that’s at once admirable and frustratingly idealistic. We see Carla’s confidence radiate in the classroom, almost conducting the class like an orchestra in their morning greeting. She then transitions into quiet rage at her colleagues, shifts into determination as she acts on her gut feelings for justice, and crumbles before our eyes as the environment she cares so passionately about seemingly turns against her.
Benesch lends Carla a sense of authentic determination through subtle expressions and gradually evolving body language; Carla refuses to surrender her fight to do “the right thing,” pulled between her ideals and a dangerous atmosphere that she’s unwittingly cranked to a boiling point.
Indeed, Carla’s good intentions only exacerbate pre-existing tensions. Suspicions of prejudice, surveillance, and lack of transparency flood classrooms, parents’ group chats, and the teachers’ lounge itself. Both the school authority and the alleged culprit, struggle for control of the narrative, as does a bright, quiet student in Carla’s class named Oskar (an excellent Leonard Stettnisch), who, driven by love and loyalty, fights for what he believes in — rallying some classmates while alienating others.
Carla tries to restore balance, almost always handicapped by “ethics” that restrict transparency and forces beyond her control and the school walls that can’t be alleviated, no matter how stubbornly (and misguidedly, especially late in the film) she tries to manage them.
It’s all rather agonizing to watch unfold, like a train wreck we’re powerless to stop. “The Teachers’ Lounge” almost never leaves the school’s grounds — trapping us in this miniature society torn between different perspectives and beliefs, while reflecting a situation Carla is powerless to extricate herself from.
Cinematographer Judith Kaufmann’s camera sticks close to Carla the whole runtime, never leaving her perspective. This in-your-face approach not only provides a suffocating, relentless quality to the film over its 98-minute runtime, but it also feeds into Carla’s burgeoning self-doubt and impulsive actions. Çatak helps viewers feel connected to and empathetic with Carla, observing her as she (sometimes stubbornly) follows morals, while never letting us forget that ambiguity abounds and everyone has different views on the ordeal.
We observe cause-and-effect in motion from beginning to end, each well-intentioned action precipitating further conflict and confusion, no light at the end of the tunnel to be found. Marvin Miller’s throbbing score, too, accompanies the mayhem perfectly, sometimes mirroring the sensation of breathing, growing more labored and jagged as the action escalates.
The film’s more stylistic flourishes (thematically resonant yet calling attention to themselves in overly “cinematic” fashion) don’t hit nearly as hard as the moment-to-moment drama, but are minor distractions in an otherwise airtight, wholly involving watch. Ultimately, Çatak’s film reaches outside its immediate setting to comment on the world at large. Unpleasant though it might be, it’s difficult to look away.
“The Teachers’ Lounge” is a 2023 drama from Germany, in English subtitles, directed by Ilker Catak and starring Leonie Benesch, Leonard Stettnisch, and Anne-Kathrin Gummich. It is the German entry as Best International Feature at this year’s Academy Awards. It is Rated PG-13 for strong language and its runtime is 1 hour, 38 minutes. It opened in local theatres on Feb. 9. Alex’s Grade: A-.
Leonard Stettnisch as Oskar in “The Teacher’s Lounge.”
As good as Kingsley Ben-Adir is portraying the reggae icon in “Bob Marley: One Love,” the movie’s script fails to hit the right notes, and the result is a disjointed, unsatisfying profile.
Made in partnership with Marley’s widow Rita and two children Ziggy and Cedella, the film celebrates Marley’s life and music as Jamaica’s most famous citizen who never wavered in his message of love and unity, broke boundaries and promoted healing in his country – although the timeline is wonky here.
The trio of screenwriters Zach Baylin, Frank E. Flowers and Terence Winter plus director Reinaldo Marcus Green narrowly focused on the years 1976-1978, when Marley was at the height of his career, and then he learned he had cancer. Now, granted, this isn’t a documentary, it’s “inspired by a true story,” but they have left out some key details of his life.
At the onset, the film explains that warring political factions heightened danger on the island, and an assassination attempt was made on Marley’s life. On Dec. 3, 1976, two days before the free Smile Jamaica Concert he organized, he was wounded, Rita was shot in the head, and manager Don Taylor had serious injuries.
He moved to London to escape, toured Europe, and recorded his acclaimed album “Exodus.” (He also made “Kaya” then, but that’s omitted).
When a toe injury didn’t heal, he was diagnosed with acral lentiginous melanoma, a rare skin cancer, but didn’t stop touring – for a while. (Tragically, he died at age 36 in 1981, after cancer spread to other areas).
Green, who directed “King Richard” about Venus and Serena Williams’ father, presents part of Marley’s journey in flashbacks that focus on imagery without context – his childhood years with a white absentee father, and he leaves with his mother, plus nods to his faith in Rastafari. Those, in repetition, cloud the story instead of illuminate.
The film mentions Haile Selassie I, the emperor of Ethiopia who was considered a god in the religion, but doesn’t explain much about it. Rastafari originated in poor Afro-Jamaican communities in the 1930s as reaction to British Colonial culture and is rooted in Protestant Christianity and mysticism.
Marley’s relationship with his wife, Rita, well-played by Lashana Lynch, began as teenagers, and she was also in his band, The Wailers, as one of the back-up singers of “I Threes” after Peter Tosh and Bunny Wailer left. They married in 1966. Both came from the Trenchtown neighborhood in Kingston.
It is not clear that the three children they had together are among the 11 recognized as Marley’s, for they both had extramarital affairs. Cedella, David “Ziggy,” and Stephen are theirs, and Bob adopted Sharon, Rita’s daughter from a previous relationship. There is no mention that he had six other children with six different women between 1972 and 1978.
How Marley became a music legend, with his unique blend of reggae, rocksteady, and ska, isn’t given much air either – you’ll have to either be familiar with his rise in the music business or read about it later.
Marley returned to Jamaica in April 1978 to much fanfare, and presented the One Love Peace Concert, his attempt to unite opposing political parties. It is only in the archival footage at the film’s end that the political leaders shake hands – populist prime minister Michael Manley and Edward Seaga, head of the opposing Jamaica Labour Party, but it did not end the island’s violence and political tensions.
In fact, what the movie doesn’t say is that the concert’s two organizers were killed in the years following, and 1,000 more people died in 1979-80.
Now the music is a high point, as expected. Many of the hits, including “Jamming,” “Get Up/Stand Up,” “I Shot the Sheriff,” “One Love/People Get Ready,” and “This Is Love” are included in the soundtrack.
One of the most touching scenes is when Marley plays “The Redemption Song” for his family while sitting around a fire, and his wife asks him: “When did you write that?” and he answers: “All my life.”
Ben-Adir, who was impressive as Malcolm X in “One Night in Miami” and amusing as one of the Kens in “Barbie,” immerses himself in a virtuoso performance. Not only did he nail the accent, speech pattern and movements of the man, but he also sang and played guitar.
Kris Bowers composed the film’s score, using Marley’s music as a foundation. Costume designer Anna B. Sheppard captured the culture and the period well, as did production designer Chris Lowe.
Despite the appealing music and the mega-watt turn by Ben-Adir, “Bob Marley: One Love” is too fragmented. It fails to offer something more scintillating overall, and lands merely as an average Hollywood biography.
“Bob Marley: One Love” is a 2024 biopic directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir, Lashana Lynch, and James Norton. It is rated PG-13 and the runtime is 1 hour, 47 minutes. It opens on Wednesday, Feb. 14. Lynn’s Grade: C.
By Lynn Venhaus A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.
As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.
In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.
The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.
Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb
It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.
Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.
Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).
The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.
Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.
Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb
When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.
Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.
As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.
The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.
It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .
Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.
A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.
Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.
This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.
Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb
Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.
ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Layered with twist upon twist adding up to not much at all, director Matthew Vaughn’s “Argylle” is a plodding spy adventure that doesn’t fully commit to its unhinged potential.
Vaughn’s film opens in green-screen-laden Greece, as Agent Argylle (Henry Cavill) is on a mission to interrogate the alluring Lagrange (Dua Lipa) with the help of his sidekick Wyatt (John Cena) and tech wiz Keira (Ariana DeBose). After some flirting, sexy dancing, and a “Looney Tunes”-esque car chase defying all laws of physics through winding streets and rickety rooftops, Argylle and pals capture Lagrange. She says that she’s actually been taking orders from Argylle’s boss, played by Richard E. Grant.
After this revelation, the camera zooms in on Cavill’s mouth, gradually morphing into Elly Conway’s (Bryce Dallas Howard), who’s finishing a reading of her fourth Argylle novel in green-screen-laden Colorado. Elly, an insecure writer who cares more about her cat, Alfie, than having a social life, is currently writing the Agent’s fifth outing. She’s afflicted with writer’s block — ending on a cliffhanger where Argylle learns about a “master key” that can dismantle the rogue organization once and for all. Elly’s mother, Ruth (Catherine O’Hara), insists she write an additional chapter, and Elly boards a train to meet her.
On board, Elly bumps into an unkempt stranger named Aidan (Sam Rockwell), who informs her that there’s a whole bunch of professional killers out to get her. Apparently, Elly’s novels overlap with real-world espionage, and she can lead Aidan to the location of a flash drive that can bring down “The Division,” led by Director Ritter (Bryan Cranston). Bloodless carnage ensues as Aidan takes down the wannabe assassins — in a fun bit of editing, Elly sees Aidan’s visage switch with Argylle’s between blinks.
Aidan and Elly embark on a globe-trotting adventure where the lines between reality and fiction blur, limits of good taste are breached, and convoluted plotting takes center stage, with plenty of star-studded cameos, cartoonish action sequences, and “cute” CGI cat close-ups to hold viewers’ interest, or at least attempt to. Can Elly become the courageous Agent Argylle she writes about?
Although displaying flashes of Vaughn’s enjoyable who-gives-a-damn attitude, “Argylle” is a disappointingly stale affair — full of generic characters and filmmaking that largely refuses to meet its story on its own goofy wavelength. It’s a peculiarly dull experience that elicits few thrills despite constantly trying to one-up itself narratively, forgetting to present engaging characters and abandoning the premise’s potential in favor of sandbox-level shenanigans.
Vaughn’s no-holds-barred bravado in the opening is infinitely more enjoyable than Elly’s story back in reality, where Vaughn’s excessive tendencies are held back by a bland protagonist. Indeed, Elly just isn’t all that compelling — she’s a reclusive, socially awkward loner rendered all the more dull by Howard’s seemingly disengaged performance and a screenplay by Jason Fuchs that gives her little of the charm or wit of the people we’re introduced to in her writings. To make matters worse, Elly’s arc over the course of the film isn’t just unbelievable, it’s actively irritating; going from one extreme to another as the latest exposition dump dictates. Howard’s unconvincing line delivery does her absolutely no favors.
Supporting players fare marginally better. Aidan is the sort of likably unstable role that Rockwell slides into perhaps too easily, quipping often and boogying whenever the opportunity arises, albeit held back by the film’s film’s family-friendly “tell don’t show” philosophy. A moment where Aidan lightheartedly instructs Elly how to stomp bad guys’ skulls is amusing though baffling — why not just go with an R rating to begin with? Who is this film made for exactly?
Cranston chews scenery as the Big Bad Ritter, and O’Hara brings chaotic unpredictability to Ruth. Cavill is both suave and awkwardly hilarious in his sadly brief screen time, while Cena, DeBose, Lipa, and the legendary Samuel L. Jackson (who doesn’t even get to drop the film’s only F-bomb) are wasted in glorified cameos — no matter what the film’s promotional materials want you to believe.
As the 139-minute runtime drags on, Vaughn’s colorful bursts of action — bringing back lovely memories of his “Kingsman” days — are the only elements of “Argylle” that sustain interest. The crazy camerawork, needle drops, and stunts shine with an energy sorely lacking in other departments. Even so, these sequences aren’t allowed to reach their full potential by PG-13 limitations.
More broadly, Vaughn’s decision to pull punches here extends to plot developments. There’s far too many instances of characters explaining backstory to each other, which viewers rarely get to see unfold. We’re just expected to take Vaughn and Fuchs’ words for it and go along for the ride; shoddy, sluggish storytelling makes that a difficult mission to accomplish.
“Argylle,” then, seems at odds with itself. This could have been a fun spoof on the spy genre if Vaughn and company had the freedom to embrace their strengths and not aim for sanitized zaniness that comes awfully close to insulting viewers’ intelligence. Several entertaining scenes aside, “Argylle” needs to find a new objective.
Rating: C
“Argylle” is a 2024 action-thriller directed by Matthew Vaughn and starring Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, John Cena, Ariana DeBose, Dua Lipa, Samuel L. Jackson, Sofia Boutella, Richard E. Grant, Rob Delaney and Catherine O’Hara. It is Rated PG-13 for strong violence and action and some strong language and the run-time is 2 hours, 19 minutes. It opens Feb. 2 in local theatres. Alex’s Grade: C
Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023
ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 11th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival Diana DeGarmo, “Clue,” Stages St. Louis Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival Christina Rios, “Broadway Bound,” The New Jewish Theatre Zoe Vonder Haar, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre Charlie Franklin, “Clue,” Stages St. Louis Nick Freed, “The Birthday Party,” Albion Theatre Bryce A. Miller, “The Nerd,” Moonstone Theatre Company Chuck Winning, “The Birthday Party,” Albion Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role Colleen Backer, “Outside Mullingar,” West End Players Guild Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre Sarah Burke, “Grand Horizons,” Moonstone Theatre Company Teresa Doggett, “The Birthday Party,” Albion Theatre Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild
Outstanding Performer in a Comedy, Male or Non-Binary Role Jacob Flekier, “Broadway Bound,” The New Jewish Theatre Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company Jason Meyers, “Outside Mullingar,” West End Players Guild Mark Price, “Clue,” Stages St. Louis
Outstanding Lighting Design in a Play Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis Jayson M. Lawshee, “Skeleton Crew,” The Black Rep Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Sean M. Savoie, “Clue,” Stages St. Louis Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Outstanding Sound Design G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Beef Gratz, “Clue,” Stages St. Louis Amanda Werre, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Play | Daryl Harris, “Death of a Salesman,” The Black Rep Liz Henning, “The Lion in Winter,” The Midnight Company Brad Musgrove, “Clue,” Stages St. Louis Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Set Design in a Play Nina Ball, “Confederates,” The Repertory Theatre of St. Louis An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Lee Savage, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role Nicole Angeli, “Mindgame,” Albion Theatre Velma Austin, “Death of a Salesman,” The Black Rep Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company Kelly Howe, “See You in a Minute,” Contraband Theatre Mindy Shaw, “The Immigrant,” The New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio Chauncy Thomas, “Death of a Salesman,” The Black Rep David Wassilak, “The Immigrant,” The New Jewish Theatre John Wolbers, “The Lion in Winter,” The Midnight Company
Outstanding Performer in a Drama, Female or Non-Binary Role Lavonne Byers, “The Lion in Winter,” The Midnight Company Kate Durbin, “Doubt: A Parable,” Prism Theatre Company Ricki Franklin, “See You in a Minute,” Contraband Theatre Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Male or Non-Binary Role John Contini, “Barrymore,” St. Louis Actors’ Studio Ron Himes, “Death of a Salesman,” The Black Rep Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding New Play “Action,” by Colin McLaughlin, Action Art Collaborative “In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company “One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio “The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts “See You in a Minute,” by Jacob Juntunen, Contraband Theatre
Outstanding Achievement in Opera Janai Brugger, “Susannah,” Opera Theatre of Saint Louis Teresa Doggett, “Don Pasquale,” Union Avenue Opera Gemma New, “Susannah,” Opera Theatre of Saint Louis Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis Patricia Racette, “Susannah,” Opera Theatre of Saint Louis
Outstanding Production of an Opera “Don Pasquale,” Union Avenue Opera “Ragtime,” Union Avenue Opera “Susannah,” Opera Theatre of Saint Louis “Treemonisha,” Opera Theatre of Saint Louis “The Turn of the Screw,” Union Avenue Opera
Outstanding Musical Director Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny Colin Healy, “Caroline, or Change,” Fly North Theatricals James Moore, “West Side Story,” The Muny Larry D. Pry, “Into the Woods,” The New Jewish Theatre David Sonneborn, “Million Dollar Quartet,” Stages St. Louis
Outstanding Choreographer Denis Jones, “Sister Act,” The Muny Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny Josh Rhodes, “Chess,” The Muny Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role Jackie Burns, “Beautiful: The Carole King Musical,” The Muny Jerusha Cavazos, “West Side Story,” The Muny Diana DeGarmo, “Aida,” Stages St. Louis Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre Taylor Louderman, “Chess,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role Jonathan Hey, “Into the Woods,” Stray Dog Theatre Phil Leveling, “Into the Woods,” The New Jewish Theatre Ken Page, “West Side Story,” The Muny Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny
Outstanding Lighting Design in a Musical Herrick Goldman, “Aida,” Stages St. Louis Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre Jason Lyons, “Disney’s Beauty and the Beast,” The Muny Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis
Outstanding Set Design in a Musical Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny Edward E. Haynes, Jr., “Chess,” The Muny Rob Lippert, “Godspell,” Stray Dog Theatre Kristen Robinson, “Little Shop of Horrors,” The Muny C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Musical Leon Dobkowski, “Little Shop of Horrors,” The Muny Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre Robin McGee, “Disney’s Beauty and the Beast,” The Muny Brad Musgrove, “Aida,” Stages St. Louis Marc. W. Vital III, “Eubie!,” The Black Rep
Outstanding Performer in a Musical, Female or Non-Binary Role De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company Bryonha Marie, “Sister Act,” The Muny Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny Molly Wennstrom, “Into the Woods,” The New Jewish Theatre
Outstanding Performer in a Musical, Male or Non-Binary Role Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company Ben Crawford, “Disney’s Beauty and the Beast,” The Muny Robin de Jesus, “Little Shop of Horrors,” The Muny Kevin O’Brien, “Into the Woods,” The New Jewish Theatre John Riddle, “Chess,” The Muny
Outstanding Ensemble in a Comedy “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “The Brechtfast Club,” ERA “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis
Outstanding Ensemble in a Drama “Death of a Salesman,” The Black Rep “The Immigrant,” The New Jewish Theatre “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Lehman Trilogy,” The Repertory Theatre of St. Louis “The Lion in Winter,” The Midnight Company
Outstanding Ensemble in a Musical “Caroline, or Change,” Fly North Theatricals “Disney’s Beauty and the Beast,” The Muny “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Outstanding Director of a Comedy Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company Steve Bebout, “Clue,” Stages St. Louis Alan Knoll, “Broadway Bound,” The New Jewish Theatre Suki Peters, “The Birthday Party,” Albion Theatre Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Director of a Drama Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio Rebekah Scallet, “The Immigrant,” The New Jewish Theatre Jacqueline Thompson, “Death of a Salesman,” The Black Rep
Outstanding Director of a Musical Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny Brian McKinley, “Caroline, or Change,” Fly North Theatricals Robert Quinlan, “Into the Woods,” The New Jewish Theatre Josh Rhodes, “Chess,” The Muny John Tartaglia, “Disney’s Beauty and the Beast,” The Muny
Outstanding Production of a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Outstanding Production of a Drama “Death of a Salesman” The Black Rep “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Immigrant,” The New Jewish Theatre “The Lehman Trilogy,” The Repertory Theatre of St. Louis “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding Production of a Musical “Aida,” Stages St. Louis “Caroline, or Change,” Fly North Theatricals “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “West Side Story,” The Muny
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com); Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
