Packed with impressively choreographed action sequences and featuring another lovable performance from Ke Huy Quan, director Jonathan Eusebio’s “Love Hurts” delivers schmaltzy Valentine’s Day beats with a side of cartoonishly excessive violence.
Marvin (Quan) is a successful realtor who goes about his days with a smile on his face and a sense of true contentment. His depressed and jaded assistant, Ashley (Lio Tipton), on the other hand, threatens to leave her job, but can’t bring herself to actually quit. Marvin’s boss and BFF, Cliff (Sean Astin), awards Marvin a coveted Employee of the Month certificate.
Everything seems dandy for Marvin for the time being (Marvin’s inner monologue frequently reminds us that he loves his life), but, as it happens, Marvin’s history as an assassin just ain’t done with him yet.
After being ambushed in his workplace office by The Raven (Mustafa Shakir), a killer with a taste for bad poetry, Marvin makes use of his dormant skill set.. Marvin KOs The Raven with the help of, among other things, a freshly-sharpened #2 pencil — reassuring Ashley that he’s doing “high intensity yoga” when she hears the ruckus from the lobby and knocks on the door.
The Raven was sent by Marvin’s crime lord brother, Alvin a.k.a. Knuckles (Daniel Wu), to find the whereabouts of Rose (Ariana DeBose), Alvin’s former right-hand who stole money from him and, along with that, stole Marvin’s heart. Long ago, when working as an assassin for his brother, Marvin was ordered to eliminate Rose, but he spared her life.
André Eriksen, Ke Huy Quan) and Marshawn “Beastmode” Lynch, star in a scene from the movie “Love Hurts.” The OSV News classification, A-III — adults. Motion Picture Association rating, R — restricted. Under 17 requires accompanying parent or adult guardian. (OSV News photo/Universal Pictures)
The badass Rose, previously in hiding, has returned to take down Knuckles once and for all, while also luring Marvin into his old ways — not-so-subtly nudging him to embrace the love he still has for her.
She soon gets in touch with Marvin directly (by tasing him, as one does), and Marvin reluctantly joins forces with her to end Alvin’s criminal reign. They’re also pursued by goons King (Marshawn “Beastmode” Lynch) and Otis (André Eriksen), who are working for Renny (Cam Gigandet), the current second-in-command at Knuckles’ criminal enterprise.
They all have absolutely no idea who they’re dealing with. Over-the-top violence, double-crosses, and copious exposition dumps ensue, as the innocent-looking Marvin confronts his violent past and maybe embraces his true love along the way.
Suffice to say, viewers going into “Love Hurts” expecting a masterfully crafted action extravaganza à la “Monkey Man,” “Nobody,” or the “John Wick” franchise won’t be blown away. Longtime stunt coordinator Eusebio’s film, his feature directorial debut, is neither slick nor particularly clever, ultimately doing little with its now-familiar premise.
But what “Love Hurts” does have, in spades, is charm, thanks in large part to Quan, who more than holds his own as an action star even when the script lets him down.
Indeed, as demonstrated recently in his Oscar-nominated turn in “Everything Everywhere All At Once,” Quan has an inherent likability that’s easy to become attached to. Here, in “Love Hurts,” that persona is initially dialed up to 11, with Marvin embracing his job as a realtor seemingly caring only about helping his customers find their perfect homes.
It’s a natural fit for Quan, and Luke Passmore’s screenplay finds humorously nutty contrasts between the normal-ish appearance Quan puts on at the beginning and the cutthroat carnage he’s willing to dish out if provoked.
Less successful are the film’s inner monologues (not just applicable to Marvin), which outright tell us what Marvin feels at any given moment, undermining Quan’s obvious skills as an actor to show rather than tell.
Quan shines over the rest of the ensemble, which, like him, aren’t supported by strong characterizations. DeBose slides into the role of the “cool,” seductive Rose a bit too easily, not given much to work with on her own thanks to the screenplay’s rushed exposition; Rose functions more as a vessel for Marvin’s arc than anything else.
Gigandet and Wu don’t bring much to the table, besides some dangerously-sharp boba tea straws, but Eriksen and, especially, Lynch (who showed his comedic chops in 2023’s “Bottoms”) are hilarious and well-cast as two henchmen in a bromance.
Shakir is also entertainingly deadpan as The Raven, who strikes up an unexpected romance with Tipton’s Ashley. Astin (a long way from “The Lord of the Rings”) seemingly has more romantic chemistry with Quan than DeBose does. Rhys Darby, sans most of his teeth, also pops in for a brief but memorable appearance as a back-stabbing bad guy.
From a storytelling perspective, “Love Hurts” is clumsy, packing in a surprisingly dense amount of exposition during its 83-minute (wow!) runtime that Eusebio doesn’t weave into the proceedings with any sort of elegance.
But that’s okay when the action is so relentless, creative, and, above all else, fun — creating an entertainingly unhinged juxtaposition between the film’s cheesy, lovey-dovey character arcs and R-rated beatdowns.
Bridger Nielson’s cinematography puts viewers right in the thick of it, in which characters use anything and everything at their disposal to dish out maximum pain. Like the best of Jackie Chan, “Love Hurts” excels when showing violent set-ups and payoffs amid its fisticuffs and gun-fu-adjacent set-pieces; they’re perfect to watch with a crowd, where the carnage on display provides more comedy than anything in the film’s script.
And that’s what “Love Hurts” delivers — excellent action with a likable lead let down by a decidedly less-than-excellent narrative that, despite its ample flaws, remains agreeably pure at the end of the day. Quan and DeBose, especially, deserve meatier roles than this, but “Love Hurts” is a perfectly enjoyable, blood-spattered action film that doesn’t overstay its welcome.
“Love Hurts” is a 2025 action-comedy directed by Jonathan Eusebio and starring Ke Huy Quan, Ariana DeBose, Sean Astin, Cam Gigandet, Mustafa Shakir, Marshawn Lynch, Lio Tipton, Daniel Wu, and Andre Eriksen. It is rated R for strong/bloody violence and language throughout. and the runtime is 1 hour, 23 minutes. It opened in theaters Feb. 7. Alex’s Grade: B.
Neither scary nor swoonworthy, director Josh Ruben’s “Heart Eyes” is a horror-rom-com hybrid that is amusing but never truly carves out its own spot among its influences.
We follow Ally (Olivia Holt), an advertising exec at a Seattle jewelry company who has given up on romantic love. In fact, her “ingenious” new ad campaign proposal revolves around doomed cinematic romances. This idea doesn’t go over well with her boss (Michaela Watkins, with a cartoonish southern drawl) and on social media, given that there’s a killer on the loose — a masked murderer with heart-shaped eyes, who has employed copious tools for impaling, slicing, and dicing unsuspecting couples on Valentine’s Day for the past two years.
The Heart Eyes Killer has arrived in Seattle, and, as evidenced by a suitably gnarly cold open involving a staged proposal, literal “camera cut,” and novel use of an industrial grape press, they’re as bloodthirsty as ever.
But, for the time being, Ally isn’t all that concerned, given that she’s written off true love as a myth. In typical rom-com fashion, she bumps into the extroverted and charismatic Jay (Mason Gooding) at a coffee shop, and sparks fly. Their first interaction is awkward, cute, and, given the film’s propensity for slapstick violence, quite bloody, ending with Ally and her best friend (Gigi Zumbado) awkwardly rushing out of the building.
It turns out, however, that Jay was just hired at Ally’s company to help clean up her PR mess with the ad campaign, and he’s eager to take her out for dinner to discuss a new marketing plan — after his yoga session in a nearby spa.
Ally agrees to meet Jay at a swanky restaurant (complete with a cheesy dress-shopping montage beforehand), but she remains emotionally guarded, unwilling to welcome this (overeager) Mr. Right into her life. Their meet-up is decidedly awkward and uncomfortable, exacerbated by a run-in with Ally’s ex and his girlfriend. Ally kisses Jay to make her ex jealous, which catches the attention of the Heart Eyes Killer lurking nearby.
Thus, Ally and Jay are on the run from the sadistic slayer, eventually encountering a pair of detectives, Zeke Hobbs (Devon Sawa) and Jeanine Shaw (Jordana Brewster) — yes, it’s a joke about the “Fast & Furious” spinoff film “Hobbs and Shaw” — who are determined to catch the killer once and for all. Plus, love is in the air, or whatever.
“Heart Eyes” has a solid premise — parodying two conflicting genres for a Valentine’s Day film with as much cheesy romance as ultraviolent mayhem. But to what end, exactly? Ruben’s film is enjoyable, but lacks the cleverness and wit to truly stand out. It tries to have the best of both worlds while remaining firmly in bland territory, no matter how cheekily self-aware it thinks it is.
That’s not to say “Heart Eyes” is a bad film, just an insubstantial one. It is too obvious in its humor and structure to leave much of an impression beyond mild enjoyment. Holt and Gooding make a solid pairing, with nice chemistry that makes their gradual attraction believable, if not easy to become invested in.
Neither actor is given much to work with from a “dramatic” perspective, and the screenplay by Christopher Landon, Michael Kennedy, and Phillip Murphy relies on broad, reference-heavy humor that’s both trying too hard and not hard enough to earn its laughs and scares.
“Heart Eyes” ultimately embraces the clichés of both rom-coms and slashers without meaningfully subverting them. The Heart Eyes Killer itself, for example, is seemingly a combination of Jason Vorhees, Batman, and V from “V For Vendetta,” stalking around in the shadows with a full toolbelt of weapons underneath their jacket. Except this time, their mask has two glowing red hearts where eyes should be.
Indeed, “Heart Eyes” is content to coast on tropes without presenting much of anything surprising within the genres it parodies and, clearly, has affection for., Instead, it insists that its competent mediocrity on both the horror and romance fronts is enough to excuse an ultimate lack of ideas.
Jump scares are aplenty, laws of space and time are thrown out the window, and the ultimate “reveal” is eye rolling, to say the least. But Holt and Gooding are charming, the kills are gnarly, and the film’s seemingly perpetual scenes of cat-and-mouse pursuits are engagingly helmed and keep the film moving at a fast clip.
Through all the bloodshed, Ruben’s film maintains an innocence and belief in the power of love that’s endearing, and, for Valentine’s Day fare at the movies, what more could you ask for? “Heart Eyes” doesn’t aim for “classic” status; it’s a fun, harmless little trifle that won’t break anyone’s heart.
“Heart Eyes” is a 2025 horror-romance directed by Josh Ruben and starring Olivia Holt, Michael Watkins, Mason Gooding, Gigi Zumbado, Jordana Brewster, and Devon Sawa. It is rated R for strong violence and gore, language and some sexual content., and the run time is 1 hour, 37 minutes. It opened in St. Louis Feb. 7. Alex’s Grade: B-.
Featuring outrageous kills and directorial craft, Osgood Perkins’ “The Monkey” is a nihilistic experience that undermines its potential through a reliance on hit-or-miss dark comedy — substituting emotional connection for blunt-force laughter and smug pessimism about the state of humanity.
Based on the short story by Stephen King, Perkins’ film begins with pilot Petey Shelborn (Adam Scott) attempting to return the titular drum-playing toy monkey to an antiques shop, but not having much success (the shop’s owner meets a grisly end, to put it mildly). Petey takes a flamethrower to the little rascal, but the monkey doesn’t give up so easily.
Years later, in 1999, Petey’s young children, identical twins Hal and Bill (both played by Christian Convery) are living with their mother (Tatiana Maslany), with Petey no longer in the picture. Hal is the more sensitive, soft-spoken one, whereas Bill is a popular, immature bully, often humiliating his brother at school.
While looking through their father’s belongings one random day, the boys find the monkey, and things start to get tragic. Hal and Bill are unnerved but intrigued by this creepy contraption. They wind the key on the monkey’s back, watch its mouth open into a toothy grin, and see its drumstick spin theatrically.
The boys have absolutely no idea that, when the monkey starts to play the drum that evening, accompanied by circus music, their babysitter will get decapitated at a Teppanyaki restaurant.
Everyone is shocked by the suddenness and brutality of the death (including the priest at her funeral service, who stumbles through his sermon in darkly funny fashion), but Hal — who feels like the monkey is watching and stalking him at any given moment — suspects he knows who, or what, is behind it.
And, after being humiliated yet again at school, Hal sees a chance to get the revenge he’s craved his whole life against Bill. But the monkey doesn’t take requests, resulting in further tragedies that tear the family apart, and in the monkey being thrown into a nearby well, hopefully never to be heard again.
Flash forward 20 years, and the all-grown-up, at least physically, Hal (now played by Theo James) is a deadbeat dad estranged from his son, Petey (Colin O’Brien), drifting through life without much enthusiasm or purpose.
When their kooky Aunt Ida (Sarah Levy) meets a demise of R-rated “Looney-Tunes” proportions, Bill (also played by James) contacts Hal out of the blue to reveal that, yes, the monkey is back for more bloody shenanigans, and there’s no running away this time.
Perkins, who directed last year’s “Longlegs,” has a knack for creating unsettling worlds where violence could occur at any point. “The Monkey,” though, represents a stylistic departure in terms of its cartoonish, deadpan instincts that encourage viewers to laugh at the carnage — it’s best viewed in a packed theater with viewers willing to go along with its warped sense of humor.
Without real emotional connection, however, “The Monkey” eventually wears out its welcome by not fully exploring its themes and presenting characters that are difficult to latch onto amid Perkins’ devilishly sardonic tendencies.
Indeed, there’s definitely merit to the off-kilter, desensitized world that Perkins depicts here, and the skillful ways he crafts suspense through patient camera movements and editing that jolts and amuses in equal measure.
The film plays with expectations and takes obvious glee in putting the story’s hapless characters in harrowing situations where, should that monkey kick into gear, their fates are essentially sealed.
The kills are memorably gory throughout, usually ending in exploding limbs and showers of blood. The bulk of the film’s crowd-pleasing entertainment value comes from watching what elaborate scenario Perkins concocts for us next; he encourages us to laugh at the craziness, which ensures “The Monkey” is never boring.
Perkins doesn’t spend time delving into the monkey’s origins or how it came to focus on Hal and his family. It’s a smiling, omnipresent manifestation of death, fueled by hatred of the Other and remaining ambiguous in its targets — except that it never chooses the one who winds the key. This idea is compelling, as is the film’s timely perspective on continuing to live amid the anarchy in whatever way we can and break cycles of trauma.
The film’s main issues stem from a lack of strong characterization, especially as the screenplay resorts to third-act exposition dumps (also a flaw in “Longlegs”), and tends to undercut its fleeting moments of sincerity with blood-spattered punchlines that leave little room for reflection. Perkins ultimately takes the easy way out rather than thoughtfully engaging with the story’s themes.
The ensemble — Maslany and James especially — do what they can to add extra layers to their characters through their easy charisma and ability to convey unspoken pain, but there’s no escaping the film’s exhaustingly snarky sensibilities.
It’s apparent that “The Monkey” is deeply personal to Perkins, who experienced unimaginable family tragedy himself. But regardless of how he and this film use humor as a deflection from trauma, it creates a distancing effect that numbs and dilutes the film’s messages and, finally, lessens the impact of its twistedly hopeful ending.
At the end of the day, “The Monkey” is a strange beast — defiantly marching to the beat of its own sinister drum but seemingly forgetting to give its characters the same attention.
“The Monkey” is a 2025 horror-comedy thriller directed and written by Osgood Perkins. It stars Theo James, Christian Convery, Tatiana Maslany, Adam Scott, Sarah Levy and Colin O’Brien. Rated R for strong bloody violent content, gore, language throughout and some sexual references and runs for 1 hour, 38 minutes. It opened in theaters March 7. Alex’s Grade: B-,
A haunting and hard-hitting portrait of human tenacity in the face of injustice, “I’m Still Here” has now opened in local theaters.
A political drama based on a harrowing true story from Brazil, it has become one of the most acclaimed films of the year, and is nominated for three Academy Awards, including Best Picture, Best International Feature, and Best Actress – Fernanda Torres in a riveting performance as shattered wife turned human rights crusader.
During Brazil’s military dictatorship in 1971, Rubens Paiva, a former congressman and open critic of the new regime, was taken from his home in Rio de Janeiro, ordered to give a deposition to government officials. He was never again seen by his family.
His wife, Eunice, mother of their five children, will begin a search for the truth about his disappearance that lasted for decades. Based on their son Marcelo Rubens Paiva’s memoir, the screenplay by Murilo Hauser and Heitor Lorega details her own horrific experience when she was imprisoned for 12 days. She was interrogated and asked to identify anyone with Communist affiliations from photographs, including her family. Her oldest daughter, Eliana, was also arrested.
From that point on, she could not get any information about her husband. They were not alone, but through one family, director Walter Salles shows us the costs of defending freedom of speech, of the press and protests.
For historic reference, several generals served as president at this time: Emílio Garrastazu Médici from 1969 to 1974, Ernesto Geisel from 1974 to 1979 and João Figueiredo from 1979 to 1985. During the 20-year reign, over 20,000 people were tortured and murdered.
Selton Mello depicts Ruben as a compassionate family man, involved in his children’s active lives and in a loving relationship with his wife. He worked as an engineer, and his family didn’t realize he was assisting dissidents in the opposition movement.
Eunice returns to school at age 48 and becomes a human rights attorney. She had moved her family to Sao Paulo, and courageously continued seeking answers about Rubens. Torres’ poignant performance stands out, as a mother who does what she needs to do and follows her convictions.
The film follows her journey until 2014, when she passes. In her old age, Torres’ own mother, actress Fernanda Montenegro plays the character. Fun fact: Montenegro, 95, is considered the greatest Brazilian actress of all-time, and was the first from her country to be nominated for an Oscar, for the 1998 film, “Central Station,” and now her daughter is the second actress to follow in her footsteps.
Salles, who directed “Central Station” and “The Motorcycle Diaries” (2004), takes a methodical approach and allows the film to unfold naturally, showing the close-knit family bonds, their resilience, and above all, Eunice’s remarkable strength.
A cautionary tale, “I’m Still Here” reminds us to pay attention to the insidious way powerful people take control and take away rights, and how one person can make a difference.
“I’m Still Here” is a 2024 political drama directed by Walter Sallas and starring Fernanda Torres, Selton Mello, Maria Manoella, Marjorie Estiano, and Antonio Saboia. It runs 2 hours, 17 minutes, and is rated PG-13 for thematic content, some strong language, drug use, smoking and brief nudity. It opened in St Louis theatres on Feb. 7.It is in Portuguese with English language. Lynn’s Grade: A-.
The Critics Choice Association will host the 30th annual Critics Choice Awards will now take place on Friday, Feb. 7..
The Critics Choice Awards, hosted by Chelsea Handler, will broadcast LIVE on E! on Friday, February 7, 2025 (7:00 – 10:00pm ET/PT) from the Barker Hangar in Santa Monica. The show will also be available to stream the next day on Peacock. There will no longer be a “Live from E!: Critics Choice Awards” two-hour red carpet special ahead of the telecast.
“Conclave” and “Wicked” lead this year’s film contenders, having earned 11 nominations each. “Conclave” collected nods for Best Picture and Best Acting Ensemble, with Ralph Fiennes recognized in the Best Actor category and Isabella Rossellini up for Best Supporting Actress. Edward Berger was nominated for Best Director, while Peter Straughan earned a nod for Best Adapted Screenplay and Stéphane Fontaine could take home the trophy for Best Cinematography. Rounding out the nominations for “Conclave” were Suzie Davies for Best Production Design, Nick Emerson for Best Editing, Lisy Christl for Best Costume Design, and Volker Bertelmann for Best Score.
In addition to Best Picture, “Wicked”’s 11 nominations include a nod for Best Acting Ensemble, while castmates Cynthia Erivo and Ariana Grande racked up nominations for Best Actress and Best Supporting Actress respectively. Jon M. Chu is a contender for Best Director, with Winnie Holzman and Dana Fox nominated for Best Adapted Screenplay, and Alice Brooks for Best Cinematography. Nathan Crowley and Lee Sandales were recognized in the Best Production Design category, while Paul Tazewell garnered a nod for Best Costume Design. Frances Hannon, Sarah Nuth and Laura Blount received a nomination for Best Hair and Makeup, and Pablo Helman, Jonathan Fawkner, Paul Corbould and David Shirk were nominated for Best Visual Effects.
“Dune: Part Two” and “Emilia Pérez” follow closely behind with 10 nods apiece, including Best Picture nominations for both films. Rounding out the Best Picture category are “A Complete Unknown,” “Anora,” “The Brutalist,” “Nickel Boys,” “Sing Sing,” and “The Substance.”
Dune: Part Two
“Dune: Part Two” saw Denis Villeneuve earning a nomination for Best Director, as well as Best Adapted Screenplay alongside Jon Spaihts. Greig Fraser received a nod for Best Cinematography, while Patrice Vermette and Shane Vieau are up for Best Production Design and Joe Walker was recognized in the category of Best Editing. Jacqueline West could take home the award for Best Costume Design, and Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer are contending for Best Visual Effects. In addition, Hans Zimmer is nominated for Best Score, and the film garnered a nod for Best Hair and Makeup.
“Emilia Pérez” notably garnered a nomination for Best Foreign Language Film, in addition to Best Picture. Karla Sofía Gascón earned a nod for Best Actress, while castmate Zoe Saldaña is up for Best Supporting Actress, and the film was recognized in the category of Best Acting Ensemble. Jacques Audiard was nominated twice, for Best Director and for Best Adapted Screenplay, while two songs, “El Mal” (Zoe Saldaña, Karla Sofía Gascón, and Camille) and “Mi Camino” (Selena Gomez) are contenders for Best Song. Clément Ducol & Camille and are also up for Best Score.
“This year brought us an incredible wealth of storytelling and performances, leading to indescribably close races for nominations,” said CCA CEO Joey Berlin. “We are honored to be able to celebrate our landmark 30th year of the Critics Choice Awards with this talented group of nominees and are thrilled to bring viewers our best show yet. Knowing how close the balloting for nominations was, we anticipate an exciting evening of high drama on January 26.”
The full list of film category nominations can be found below.
A Complete Unknown
As previously announced, “Shōgun” (FX / Hulu) leads the television contenders for the 30th annual Critics Choice Awards with six nominations. The show earned a nod for Best Drama Series, while the cast was recognized in multiple categories including Hiroyuki Sanada for Best Actor in a Drama Series and Anna Sawai for Best Actress in a Drama Series. Tadanobu Asano and Takehiro Hira are both up for Best Supporting Actor in a Drama Series, while Moeka Hoshi could take home the Best Supporting Actress in a Drama Series award.
The Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement. Historically, they are the most accurate predictor of Academy Award nominations. The 30th annual Critics Choice Awards show will be executive-produced by Bob Bain Productions and Berlin Entertainment. The Critics Choice Awards are represented by Dan Black at Greenberg Traurig, LLP.
Sponsors of the Critics Choice Awards include FIJI Water and Milagro Tequila.
Follow the 30th annual Critics Choice Awards on Instagram and X @CriticsChoice, on TikTok @OfficialCriticsChoice, and on Facebook/CriticsChoiceAwards.
About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing almost 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit:
E! is the only global, multi-platform brand for all things pop culture airing original series including breakout hit “House of Villains” and popular acquired comedy series. The “E! News” brand is the leading multi-platform publisher delivering breaking entertainment news and pop culture coverage 24/7 across linear, EOnline.com and all digital and social media. The brand’s programming slate includes “E! News” and “E! News’ The Rundown” on Snapchat. “Live from E!” covers signature red carpet events, keeping fans connected to their favorite stars on pop culture’s biggest nights and the “People’s Choice Awards” celebrates the best in pop culture and is the only award show for the people, by the people. E! is part of the NBCUniversal’s Entertainment portfolio which includes NBC, Bravo, E!, Oxygen True Crime, SYFY, Universal Kids, USA Network and Peacock. For more information, visit EOnline.com.
The Brutalist.
FILM NOMINATIONS FOR THE 30TH ANNUAL CRITICS CHOICE AWARDS
BEST PICTURE A Complete Unknown Anora The Brutalist Conclave Dune: Part Two Emilia Pérez Nickel Boys Sing Sing The Substance Wicked
BEST ACTOR Adrien Brody – The Brutalist Timothée Chalamet – A Complete Unknown Daniel Craig – Queer Colman Domingo – Sing Sing Ralph Fiennes – Conclave Hugh Grant – Heretic
BEST ACTRESS Cynthia Erivo – Wicked Karla Sofía Gascón – Emilia Pérez Marianne Jean-Baptiste – Hard Truths Angelina Jolie – Maria Mikey Madison – Anora Demi Moore – The Substance
BEST SUPPORTING ACTOR Yura Borisov – Anora Kieran Culkin – A Real Pain Clarence Maclin – Sing Sing Edward Norton – A Complete Unknown Guy Pearce – The Brutalist Denzel Washington – Gladiator II
A Real Pain
BEST SUPPORTING ACTRESS Danielle Deadwyler – The Piano Lesson Aunjanue Ellis-Taylor – Nickel Boys Ariana Grande – Wicked Margaret Qualley – The Substance Isabella Rossellini – Conclave Zoe Saldaña – Emilia Pérez
BEST YOUNG ACTOR / ACTRESS Alyla Browne – Furiosa: A Mad Max Saga Elliott Heffernan – Blitz Maisy Stella – My Old Ass Izaac Wang – Didi Alisha Weir – Abigail Zoe Ziegler – Janet Planet
BEST ACTING ENSEMBLE Anora Conclave Emilia Pérez Saturday Night Sing Sing Wicked
Wicked
BEST DIRECTOR Jacques Audiard – Emilia Pérez Sean Baker – Anora Edward Berger – Conclave Brady Corbet – The Brutalist Jon M. Chu – Wicked Coralie Fargeat – The Substance RaMell Ross – Nickel Boys Denis Villeneuve – Dune: Part Two
BEST ORIGINAL SCREENPLAY Sean Baker – Anora Moritz Binder, Tim Fehlbaum, Alex David – September 5 Brady Corbet, Mona Fastvold – The Brutalist Jesse Eisenberg – A Real Pain Coralie Fargeat – The Substance Justin Kuritzkes – Challengers
BEST ADAPTED SCREENPLAY Jacques Audiard – Emilia Pérez Winnie Holzman, Dana Fox – Wicked Greg Kwedar, Clint Bentley – Sing Sing RaMell Ross & Joslyn Barnes – Nickel Boys Peter Straughan – Conclave Denis Villeneuve, Jon Spaihts – Dune: Part Two
Conclave
BEST CINEMATOGRAPHY Jarin Blaschke – Nosferatu Alice Brooks – Wicked Lol Crawley – The Brutalist Stéphane Fontaine – Conclave Greig Fraser – Dune: Part Two Jomo Fray – Nickel Boys
BEST PRODUCTION DESIGN Judy Becker, Patricia Cuccia – The Brutalist Nathan Crowley, Lee Sandales – Wicked Suzie Davies, Cynthia Sleiter – Conclave Craig Lathrop, Beatrice Brentnerova – Nosferatu Arthur Max, Jille Azis, Elli Griff – Gladiator II Patrice Vermette, Shane Vieau – Dune: Part Two
BEST EDITING Sean Baker – Anora Marco Costa – Challengers Nick Emerson – Conclave David Jancso – The Brutalist Joe Walker – Dune: Part Two Hansjörg Weißbrich – September 5
BEST COSTUME DESIGN Lisy Christl – Conclave Linda Muir – Nosferatu Massimo Cantini Parrini – Maria Paul Tazewell – Wicked Jacqueline West – Dune: Part Two Janty Yates, Dave Crossman – Gladiator II
Gladiator 2
BEST HAIR AND MAKEUP Christine Blundell, Lesa Warrener, Neal Scanlan – Beetlejuice Beetlejuice Hair and Makeup Team – Dune: Part Two Stéphanie Guillon, Frédérique Arguello, Pierre-Olivier Persin – The Substance Frances Hannon, Sarah Nuth, Laura Blount – Wicked Traci Loader, Suzanne Stokes-Munton, David White – Nosferatu Mike Marino, Sarah Graalman, Aaron Saucier – A Different Man
BEST VISUAL EFFECTS Mark Bakowski, Pietro Ponti, Nikki Penny, Neil Corbould – Gladiator II Pablo Helman, Jonathan Fawkner, Paul Corbould, David Shirk – Wicked Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer – Dune: Part Two Luke Millar, David Clayton, Keith Herft, Peter Stubbs – Better Man Bryan Jones, Chervin Shafaghi, Pierre Olivier-Persin, Jean Miel – The Substance Erik Winquist, Stephen Unterfranz, Paul Story, Rodney Burke – Kingdom of the Planet of the Apes
BEST ANIMATED FEATURE Flow Inside Out 2 Memoir of a Snail Wallace & Gromit: Vengeance Most Fowl The Wild Robot
BEST COMEDY A Real Pain Deadpool & Wolverine Hit Man My Old Ass Saturday Night Thelma
BEST FOREIGN LANGUAGE FILM All We Imagine as Light Emilia Pérez Flow I’m Still Here Kneecap The Seed of the Sacred Fig
BEST SONG “Beautiful That Way” – The Last Showgirl – Andrew Wyatt, Miley Cyrus and Lykke Li “Compress / Repress” – Challengers – Trent Reznor, Atticus Ross, Luca Guadagnino “El Mal” – Emilia Pérez – Zoe Saldaña, Karla Sofía Gascón, Camille “Harper and Will Go West” – Will & Harper – Kristen Wiig “Kiss the Sky” – The Wild Robot – Maren Morris “Mi Camino” – Emilia Pérez – Selena Gomez
BEST SCORE Volker Bertelmann – Conclave Daniel Blumberg – The Brutalist Kris Bowers – The Wild Robot Clément Ducol & Camille – Emilia Pérez Trent Reznor & Atticus Ross – Challengers Hans Zimmer – Dune: Part Two
Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.
Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”
This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.
After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.
He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.
Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.
Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.
He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.
In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.
Take Ten Q & A with Joel Moses
1. What is special about your latest project?
“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.
I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”
2. Why did you choose your profession/pursue the arts?
“My mom says that from an early age I was always in character. Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.
When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”
3. How would your friends describe you?
“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.
With Nicole Angeli in “Lungs.”
4. How do you like to spend your spare time?
“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”
5. What is your current obsession?
“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”
6. What would people be surprised to find out about you?
“I get anxious in social settings and can sometimes struggle with words.”
7. Can you share one of your most defining moments in life?
“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”
8. Who do you admire most?
“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”
9. What is at the top of your bucket list?
“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”
10. What is your favorite thing to do in St. Louis?
“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”
I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”
11. What’s next?
“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”
In his award-winning role in “The Christians” at West End Players Guild.
More Information on Joel Moses
Birthplace: near Kansas City, Mo. Current location: St Louis Education: BFA: Theatre Performance – University of Central Missouri – 2006. Moscow Art Theatre – Summer Acting Intensive – 2012. MFA: Acting – Northern Illinois University – 2013.
Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.
First job: Fry Cook. Dairy Queen. First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.” Favorite jobs/roles/plays or work in your medium?
It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.
• Ubu in King Ubu, Organic Theater Company
• Einstein in Picasso at the Lapin Agile, Organic Theater Company
• Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.
• Branwell in Bronte Sister House Party, SATE.
With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.
And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.
• Lungs, Albion Theatre.
• George Deever in All My Sons, New Jewish Theatre.
• Heisenberg in Copenhagen, St Louis Actors’ Studio
• Duke Frederick in As You Like It, St. Louis Shakespeare Festival.
Awards/Honors/Achievements:
St. Louis Theater Circle Awards:
• Outstanding Performance in a Drama: The Christians – West End Players
• Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE
Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner
“What is utterly absurd happens in the world.” Gogol
A song that makes you happy: “Scatman” – Scatman John
With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.
“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.
The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.
Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell photo.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Friends, family and fans are invited to take part in a Community Celebration & Memorial for Ken Page, honoring the extraordinary life and work of St. Louis’ beloved theatre legend.
The joyous evening of music and memories will be held Friday, April 11, at 7:30 p.m. at The Sheldon Concert Hall in Grand Center. This ticketed event is free and open to the public; ticket information will be available March 3.
A Bishop DuBourg High School graduate, Page made his Muny debut in 1972 in the ensemble of South Pacific. He went from St. Louis to starring roles on Broadway, in London and in film, and his work was heralded throughout.
He made his Broadway debut as Nicely-Nicely Johnson in the all-Black revival of Guys and Dolls and starred as Old Deuteronomy in the original Broadway company of Cats. Other Broadway credits include Ain’t Misbehavin’ (Ken) and The Wiz (Lion). In London’s West End, he performed in Children of Eden (Father) and My One and Only in Concert (London Palladium).
Page provided the voice for Mr. Oogie Boogie in the Disney/Tim Burton animated film The Nightmare Before Christmas and performed the score live around the world. His other film credits include Dreamgirls, Torch Song Trilogy and All Dogs Go to Heaven.
The Muny was Page’s artistic home, and he graced the stage in more than 45 shows, most recently as the Bishop of Digne in Les Misérables (2024). Since 2013, Page served as “the voice of The Muny,” his singular baritone welcoming audience members before each performance. He also voiced the theatre’s TV and radio advertisements.
Page received lifetime achievement awards from the Manhattan Association of Cabaret Artists, Project One Voice/Black Theatre, and the St. Louis Arts and Education Council.
The Community Celebration & Memorial for Ken Page, produced by The Muny, is organized by a friends committee that includes Carrie Houk, Mike Isaacson, Lana Pepper, Laura Peters, Greg Schweizer, Mary Strauss and Pat Vogelsang.
About The Muny
Now entering its 107th season in St. Louis, The Muny is a 501(c)(3) nonprofit dedicated to enriching lives by producing exceptional musical theatre, accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org.
A trio of ragtag revolutionaries cling to their cause and their rules as they hide from an authoritarian regime in the very quirky and vague-on-purpose “Pictures from a Revolution” (Quadri di una rivoluzione) by Sicilian playwright Tino Caspanello.
Strange but intriguing because of the agile skills of the acting quartet, this U.S. premiere is uneven in tone, perhaps because of the English translation by Haun Saussy, but then again, Caspanello is committed to keeping us guessing and in the esoteric structure with the sketchiest details.
While the men – called by numbers, initially act like the Three Stooges, they are in a serious battle to maintain their resistance against totalitarian forces in an unidentified country.
While living inside the walls of a stadium, they take turns being on guard, convinced enemies are lurking outside, waiting to capture the rebels. They make grand gestures and believe there is a purpose to their righteous anger. After all, they are following their rules.
What do they stand for, and why are they still fighting? They’re hungry, tired and cranky, debating actions to take. J. Samuel Davis, in a wonderfully comic role, is the sage 584, the oldest of the group. He decides to journey outside their encampment in hopes of lassoing a cow – for milk and eventually meat. His slapstick is a delight.
Isaiah DiLorenzo and Andre Eslamian. Photo by ProPhotoSTL
Instead, he has captured an unnamed woman (Lizi Watt), who ferociously fights him like a caged animal on the attack. They are confused by her then eventually won over by her charms. She changes her story but begs them to believe her. She must stay or they may be found out.
Watts is impressive in this fierce and fearless role that she tackles with robust physicality. Should they trust her or is she dangerous? She throws off the dynamic of the trio – Isaiah DeLorenzo is at his idiosyncratic best as 892, the chief. He likes to pontificate about ideals and how important their mission is. We don’t really know who the enemy is.
As the youngest rebel 137, Andre Eslamian has another fine turn after strong work in Lize Lewy’s “Longing” last summer and in SATE’s “The Palpable Gross Play: A Midsummer adaptation” the year before. His character seems the most pragmatic and tends to a garden.
Director Philip Boehm has added a performance art quality to the production by his artful staging, and using dance-like movements for all characters, which become more pronounced as the 90-minute play unfolds. Cecil Slaughter was the movement coordinator, and the ensemble is elegantly in sync.
Another unusual aspect of this play is its inclusion of 11 works of art by some of the world’s most famous painters – shown as slides, with Boehm narrating as if he’s teaching an art history class. Among them: “The Night Watch” by Rembrandt, “Leda Atomica” by Salvador Dali, “The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, “Ballet Rehearsal on Stage” by Edgar Degas and “Cornfield with Crows” by Vincent Van Gogh.
Lizi Watt as The Woman. Photo by ProPhotoSTL.
The scenes often echo the themes of the famous painting being shown before it, which is interesting. Patrick Huber’s projection work is fluid in presenting the paintings. He also worked on the scenic design, fashioning an enclave for the squatters that has a lived-in feel, aided by propmaster Rachel Seabaugh.
Because the dialogue is fanciful, and the situation almost surreal like, there is little emotional connection, and the conflicts are both petty and daunting. Much bickering wears down one’s goodwill — but the funny situations do elicit laughs.
The technical work is uniformly first-rate, with Michele Friedman Siler’s costume design giving each man a distinctive look and outfitting The Woman in a slinky dress, an evening bag and nice heels, so that questions are raised by her appearance.
Boehm and Huber also handled the intricate sound design while Steve Carmichael took care of the lighting design, reflecting the different times of day. Joe Schoen worked as a vocal consultant.
“Pictures from a Revolution” continues Upstream Theater’s commitment to exploring thought-provoking works from around the globe that are universal in its themes. At times, it seems like theater of the absurd, while other moments are dark comedy.
And the cast’s commitment to bringing different elements of humanity to their roles is admirable, which is why their performances stand out, not only individually, but as a quartet.
Upstream Theater presents “Pictures from a Revolution” from Jan. 24-26, Jan. 30-31, Feb. 1-2, and 6-8, at The Marcelle Theater, 3310 Samuel Shepard Drive, St. Louis. There is a 2 p.m. matinee and an 8 p.m. performance on Saturday, Feb. 8. The play runs for 1 hour, 30 minutes without intermission. This play contains language that some may find offensive and well as discussion of mature themes. For tickets, contact metrotix.com. For more information, visit www.upstreamtheater.org.
A silly but harmless light-hearted comedy, “You’re Cordially Invited” is a low expectation streaming movie that turns out to be a welcome diversion for the winter doldrums.
If I consistently laugh out loud during a predictable rom-com, then I consider it a victory. Because this is a personality-driven project, Will Ferrell and Reese Witherspoon are in their comfort zone – he plays the doofus helicopter widower dad Jim who is well-meaning and she’s Margot, an uptight high-strung career woman who is estranged from her family. Sound familiar?
His only daughter, Jenni (Geraldine Viswanathan) is getting married, and so is Margot’s sister Neve (Meredith Hagner), and they have both booked a charming small inn on an idyllic island for the same weekend. Naturally, chaos ensues.
In wanting to throw unforgettable celebrations for their loved ones, the pair go head-to-head as they stop at nothing to make that happen. Both are tightly wound and kick it into high gear with their competing egos.
On the other hand, their relatives are horrified at their acting out, which makes for more awkward situations. But the families try to make the best of sharing the venue.
The venue is picture-perfect gorgeous, which is the real resort Lake Oconee, about 75 miles east of Atlanta, subbing for the fictional Palmetto House.
Of course, the story is goofy, featuring some good slapstick bits, but also stretched thin (and goes a tad too long – 110 minutes), but it’s fun to watch this ensemble.
Ferrell and Witherspoon have never worked together before, but they both have that Def-Con 5 tendency to go over-the-top, which suits their roles. They display their customary crisp comic timing, which makes their skirmishes funny.
Witherspoon’s job as a reality TV producer also provides some laughs, including a Bobby Moynihan-hosted show called “Is It Dead?”
The two brides-to-be are charming and sweet, unfortunately caught in the middle of the shenanigans.
The supporting players include Jack McBrayer, who was a hoot as Kenneth the page on “30 Rock,” as the inn proprietor; hilarious Tennessee comedienne Leanne Morgan who dryly delivers some of the best lines as Margot’s lonely sister Gwyneth; comedian Rory Scovel as her brother Colton; and Jimmy Tatro and Stony Blyden as the two grooms, Dixon and Oliver. Dixon works as a Chippendales dancer, so you know what will happen there.
Character actress Celia Weston hits the right notes as the judgmental Southern family matriarch Flora and Keyla Monterroso Mejia is loud as the excitable party-girl Heather, Jenni’s maid of honor. The bridesmaids, while not in many scenes, are their own comedy troupe.
There are also a couple surprise cameos that add to the fun. And the music soundtrack is an important element of the film. You’ll never quite hear the Dolly Parton-Kenny Rogers duet “Islands in the Stream” the same way again.
Nicholas Stoller, who wrote and directed “You’re Cordially Invited,” has made some crowd-pleasing hits including “Forgetting Sarah Marshall,” “Neighbors” and “The Five-Year Engagement.” He also wrote “The Muppets” and its sequel.
The story gets a tad schmaltzy wrapping up all the families’ turmoil. Turns out Jim and Margot have more in common in their fear of being alone and not needed. The family connections add some warmth and sincerity.
Weddings are often fertile ground for wacky comedies, among them: “The Wedding Planner,” “Wedding Crashers,” “Shotgun Wedding,” “My Best Friend’s Wedding,” “Father of the Bride,” and “Bridesmaids.” This falls somewhere in the middle of the road. But at this time of year, it fits the bill for something amusing and mindless.
“You’re Cordially Invited” is a 2025 romantic comedy written and directed by Nicholas Stoller and starring Will Ferrell, Reese Witherspoon, Celia Weston, Leanne Morgan, Meredith Hagner, Geraldine Viswanathan, Rory Scovel, Jack McBrayer, Jimmy Tatro and Stony Blyden. Its runtime is 1 hr. 50 minutes and is rated R for language throughout and some sexual references. It began streaming on Amazon Prime Jan. 30. Lynn’s Grade: B-.
