‘Every Brilliant Thing’ Engages with Warmth and Empathy

‘Every Brilliant Thing’ Engages with Warmth and Empathy

By Lynn Venhaus
With his childlike wonder, boundless energy, warm smile, and ability to never know a stranger, Will Bonfiglio uses his talent for good in the uplifting one-person show, “Every Brilliant Thing,” now playing at the New Jewish Theatre.

Running one tidy hour, this humorous and touching personal reflection on life and loss can be interpreted many ways.

What started as a performance piece and installation art project around a decade ago grew into a Facebook group where people listed their own “brilliant things,” and productions have been mounted all over the U.S.

The one-act play was first produced in England, at the 2013 Ludlum Fringe Festival, and started out as a short story called “Sleevenotes” by Duncan McMillan. For the stage, he involved comedian Jonny Donahue, who was filmed for the 2016 HBO presentation.

Bonfiglio plays Sam, the adult son of a mother whose chronic depression altered his emotional development and life perspective.

What do you do when you are six years old, and your mother is in the hospital for attempting suicide? The lead character started a list of everything beautiful and wondrous about the world. He/she left it on their mother’s pillow. And thus, began life-long list-making giving us hope about what makes life worth living.

In this production, Bonfiglio engages by relating the challenges of life. Through the identifiable list, he finds light amid depression’s darkness.

  1. Ice cream.  2. Water fights 3. Staying up past your bedtime and being allowed to watch TV.  4. The color yellow

The list is as broad as 11. Bed and 1006. Surprises, and as specific as 2390. People who can’t sing but either don’t know or don’t care, and 1654. Christopher Walken’s voice.

The list eventually grew to a million, with entries as clever as 123321. Palindromes, as funny as 7. People falling over, as adorable as 575. Piglets, as pleasurable as 9997. Being cooked for, and as nostalgic as 315. The smell of an old book.

That list turned into a lifeline during adolescence, college, marriage, and bumpy roads, eventually leading to peace and acceptance.

Bonfiglio plays Sam as vulnerable yet strong, resonating as someone who feels helpless when they can’t protect, control, or prevent family members from harm.

He has re-teamed with director Ellie Schwetye after working on “Fully Committed” in 2019, which earned him his third St. Louis Theater Circle Award for Leading Performer in a Comedy, Male or Nonbinary Role. He previously won for “Buyer and Cellar” and “Red Scare on Sunset,” both at Stray Dog Theatre.

They have both worked together in SATE (Slightly Askew Theatre Ensemble), where Schwetye is a producer, and ERA (Equally Represented Arts)., among other companies.

They are both expert collaborators. In this project, their ability to focus on joy through communal storytelling and create community reaffirms the power of theater.

 Essential elements include audience interaction and participation, which makes the show unpredictable and improvisational. Bonfiglio tells a few people what to say and where to move in a charming way, while others just are called on to read a lead entry. (If you do not want to participate, no one will force you).

Schwetye keeps Bonfiglio on the move to all corners of the stage.

The technical elements are also superb, with Bess Moynihan’s outstanding lighting design and scenery work with the list items hanging in different hand-written notes making the message simple yet profound.

Schwetye is also an award-winning sound designer, and because of her expertise selecting music, that helps make the music influential to the people in the story.

This play is more than a litany of favorite things, but a journey through turning points in life, which makes it special.

One of its life-affirming aspects is to not wait for moments, but let them in and be open to them.

Bonfiglio never feels less than real. And his kindness projects an openness to the event, for the hardest things to talk about are things we should talk about – and this play allows us to, for catharsis can come out of crushing sadness. Sam has earned this accomplishment.

There is information about mental health in the program, and this team knows of its importance. This production touches our lives in an interesting way — complex, but manifests beauty.

It is that understanding that you feel. And I am grateful.

The New Jewish Theatre presents “Every Brilliant Thing” March 16 – April 2 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, Tickets are available by phone at 314-442-3283 or online at www.newjewishtheatre.org.

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‘John Wick: Chapter 4’ Is A Stunning, Emotional Spectacle

‘John Wick: Chapter 4’ Is A Stunning, Emotional Spectacle

An action extravaganza delivering unforgettable set pieces while adding more layers to its damaged protagonist, director Chad Stahelski’s “John Wick: Chapter 4” is a masterclass in balletic bloodletting that rivals the likes of “The Raid: Redemption.”

Continuing the story from 2018’s “Parabellum,” “Chapter 4” sees our titular gun-fu master recovering after being “rescued” by the charismatic and street-smart Winston (Ian McShane), one of his comrades and manager of the iconic New York Continental hotel (a safe harbor for assassins, so long as they stay in line): that is, being shot in his bullet-proof suit by Winston, falling off a building, and tumbling to the ground with only an awning to lessen the impact. That’s life in the Wick universe, and believe me, there’s plenty more falls to be taken this go around. 

With the help of The Bowery King (Laurence Fishburne, relishing his over-the-top dialogue), an underground crime boss and ally, John sets his sights on the all-powerful “High Table” — an international network of contract killers and pompous overlords dressing up savagery in finely tailored suits. They’re governed by strict rules based around golden coins, blood oaths, and age-old traditions — ignored by traditional authorities and the general populace, possessing connections so deep that anyone could be a contract killer. Indeed, this “impossible task” is John’s most challenging yet.

Keanu Reeves as John Wick, a.k.a The Baba Yaga. Courtesy of Lionsgate.

After John executes a key figure of the High Table, they enlist the help of the Marquis Vincent de Gramont (Bill Skarsgård) — a ruthless, egotistical yet insecure enforcer with a questionable French accent. He brings Caine (Donnie Yen), a blind assassin and former friend of John, reluctantly out of retirement to kill the titular ass-kicker once and for all, or else risk his daughter’s death. A haughty tracker named Mr. Nobody (Shamier Anderson), accompanied by a trusty German Shepherd, is also on the prowl, waiting until the bounty on John’s head is high enough, creating further wrinkles for John and the Marquis to iron out. Osaka Continental manager and master swordsman Shimazu Koji (Hiroyuki Sanada), his equally capable daughter Akira (Rina Sawayama), and the aptly named Killa (Scott Adkins), a darkly funny crime boss with golden front teeth, join the party in limited but memorable appearances — as does Lance Reddick as the concierge Charon, whose presence is felt deeply throughout. Reddick passed away earlier this month.

“Chapter 4” zeroes in on the fact that John leaves a path of destruction in his wake wherever he goes, as he begins to question whether the killing will ever cease, and if he’s doomed to forever exist in its shadow. His last-ditch push for liberation has progressed beyond mere revenge for a slain canine, becoming an all-out fight against his seemingly inescapable past — a battle that, in spite of his perseverance, stubborn unwillingness to give in, and sheer force of will, destroys more than it saves. 

Notwithstanding this decidedly darker tone than previous installments, however, it’s also just a hell of a lot of fun — nearly three hours of practically unbelievable stunt work, heavily stylized worldbuilding, and cinematic bliss. Some story quibbles aside, every element comes together to solidify “Chapter 4” as not only the best of the series, but one of the genre’s greatest in recent memory.

And oh, what marvelous carnage it is. Even more so than previous “Wick” films, Stahelski consistently ups the ante from sequence to sequence — expertly pacing the mayhem so as to not overwhelm viewers and presenting new variables for John to navigate. As John shoots, stabs, kicks, punches, slices, runs over, and nun-chucks his geared-up opponents, Dan Lausten’s smooth, energetic cinematography follows the performers with precision, unafraid to creatively shake things up to jaw-dropping effect. Traveling to such locales as Osaka, Berlin, and Paris (the setting for a three-act, against-the-clock extravaganza of top-shelf badassery and mythic symbolism), “Chapter 4” never overstays its welcome. 

John prepares to pummel a poor, unsuspecting goon. Courtesy of Lionsgate.

Scenes are bathed in vivid, neon hues: enhancing the lavish backdrops with evocative lighting that dances throughout each frame to complement combat so thrilling, and often laugh-out-loud funny (Caine has some hilarious tricks up his sleeve), that it’s an art form itself. Add to that a head-banging soundtrack from Tyler Bates and Joel J. Richard blending familiar themes with violently rhythmic bass, along with pitch-perfect needle drops, and “Chapter 4” is a stylistic treat.

Despite the extended runtime, “Chapter 4” gives viewers space to breathe, occasionally pumping the brakes to establish more pathos than other films in the series. The first hour or so, for example, largely turns the camera away from John himself — focusing on how the fallout from his vengeful actions have consequences for his friends and those unfortunate enough to be in the wrong place at the wrong time. Caine, too, is facing a moral crossroads — brought back into the fold to protect the person he cares about most, mirroring the struggle John faced with his deceased wife, Helen, brought authentically to life by Yen’s multifaceted performance. All of this combines to make “Chapter 4” a much more melancholic watch than expected — packing all the cheer-worthy mayhem viewers want and expect, while giving everything more weight, and, crucially, tangible stakes. 

Reeves continues to dominate the role, though speaking less than in previous entries (which says a lot). It’s clear the acrobatics aren’t so easy for the aging actor to pull off anymore, but in a sense, this lends each punch thrown and received additional impact. Previous films have shown John getting beat up and persisting to come out on top, and “Chapter 4” is no exception — we see his increasing frustration and self-destructiveness as he determinedly demolishes his adversaries, perpetually gearing up for the next onslaught. There’s still plenty of cheesiness in his interactions, thankfully, which brings levity to even the plot’s grimmest stretches.

Alas, “Chapter 4” has some drawbacks. Shay Hatten and Michael Finch’s screenplay crackles with dark humor and is tastefully self-referential, not overloading on quips like a Marvel production. But a bit more subtlety could have benefited “Chapter 4,” particularly in how a certain big twist is telegraphed early on, and is repetitively force-fed to us until the end. An after-credits scene is similarly unnecessary, lessening the impact of narrative decisions made earlier.

This is still an incredible watch — essential for admirers of masterful filmmaking. Amid all the bone-crushing ultraviolence, “Chapter 4” has heart and soul, giving this iconic character another action spectacular for the ages.

Courtesy of Lionsgate.

John Wick: Chapter 4 is a 2023 action film directed by Chad Stahelski and starring Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Ian McShane, Lance Reddick, Shamier Anderson, Hiroyuki Sanada, Rina Sawayama, and Scott Adkins. It is rated R for pervasive strong violence and some language. The runtime is 2 hours, 49 minutes. It opened in theaters March 24. Alex’s Grade: A-

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St Louis Theater Circle Nominations and Awards 2014

St Louis Theater Circle Nominations and Awards 2014

The Rep was nominated for 26 awards, The Muny and the St. Louis Actors’ Studio, with 18 nominations each, and The Black Rep and the New Jewish Theatre also earned double-digit nominations, 10 each.

The 2014 Circle recipients were announced when the awards are presented on March 17 at COCA.

Fifty-four shows staged by 20 different St. Louis professional theater companies received nominations from the Circle, an organization of theater critics in the area.

Waiting for Godot, St Louis Actors’ Studio

COMEDY

Outstanding Ensemble:

“Entertaining Mr. Sloane,” HotCity Theatre

“The Good Doctor,” New Jewish Theatre

“Psycho Beach Party,” Stray Dog Theatre

“Twelfth Night,” Shakespeare Festival St. Louis

“Waiting for Godot,” St. Louis Actors’ Studio

Outstanding Supporting Actress:

Emily Baker, “Boeing Boeing,” Dramatic License Productions

Betsy Bowman, “Pterodactyls,” SLAS

Teresa Doggett, “The Good Doctor,” New Jewish

Michelle Hand, “Maple and Vine,” HotCity

Anna Skidis, “Psycho Beach Party,” Stray Dog

Outstanding Supporting Actor:

Aaron Orion Baker, “The Good Doctor,” New Jewish

Aaron Orion Baker, “Waiting for Godot,” SLAS

William Grivna, “Entertaining Mr. Sloane,” HotCity

Anderson Matthews, “Twelfth Night,” Shakespeare Festival

Whit Reichert, “Pterodactyls,” SLAS

Outstanding Actress:

Glynis Bell, “Talking Heads,” SLAS

Lavonne Byers, “Entertaining Mr. Sloane,” HotCity

Rita Gardner, “4000 Miles,” Repertory Theatre of St. Louis

Judi Mann, “The Lyons,” Max & Louie Productions

Donna Weinsting, “Mrs. Mannerly,” Max & Louie

Outstanding Actor:

Gary Wayne Barker, “Waiting for Godot,” SLAS

Terry Meddows, “Waiting for Godot,” SLAS

Joshua Thomas, “Twelfth Night,” Shakespeare Festival

David Wassilak, “The Good Doctor,” New Jewish

Ben Watts, “Psycho Beach Party,” Stray Dog

Outstanding Director:

Justin Been, “Psycho Beach Party,” Stray Dog

Rick Dildine, “Twelfth Night,” Shakespeare Festival

Bobby Miller, “Waiting for Godot,” SLAS

Wayne Salomon, “The Lyons,” Max & Louie

Brad Schwartz, “Boeing Boeing,” Dramatic License

Outstanding Production:

“As You Like It,” St. Louis Shakespeare

“Maple and Vine,” HotCity

“Psycho Beach Party,” Stray Dog

“Twelfth Night,” Shakespeare Festival

“Waiting for Godot,” SLAS

“The Whipping Man,” The Black Rep

DRAMA

Outstanding Ensemble:

“Fly,” the Rep

“King Lear,” SLAS

“Our Town,” Insight Theatre Company

“The Piano Lesson,” the Black Rep

“The Whipping Man,” the Black Rep

Outstanding Supporting Actress:

Julia Crump, “Time Stands Still,” Insight

Taylor Pietz, “Our Town,” Insight

Elizabeth Townsend, “Good People,” the Rep

Donna Weinsting, “Jane Eyre,” Mustard Seed Theatre

Magan Wiles, “Diary of a Madman,” Upstream Theater

Outstanding Supporting Actor:

Aaron Orion Baker, “Good People,” the Rep

Justin Ivan Brown, “The Whipping Man,” the Black Rep

Ronald L. Conner, “The Whipping Man,” the Black Rep

Bobby Miller, “King Lear,” SLAS

Robert Mitchell, “The Piano Lesson,” the Black Rep

Outstanding Actress:

Nancy Bell, “The Goat, or Who Is Sylvia?” SLAS

Denise Cormier, “Good People,” the Rep

Shanara Gabrielle, “Hannah Senesh,” New Jewish

Sarah Godefroid-Cannon, “Jane Eyre,” Mustard Seed

Sarah Nedwek, “Venus in Fur,” the Rep

Outstanding Actor:

John Contini, “King Lear,” SLAS

Ron Himes, “The Whipping Man,” the Black Rep

Joneal Joplin, “Our Town,” Insight

Chauncy Thomas, “Topdog/Underdog,” SLAS

Jerry Vogel, “An Iliad,” Upstream

Outstanding Director:

Seth Gordon, “Venus in Fur,” the Rep

Elizabeth Helman, “Topdog/Underdog,” SLAS

Ricardo Khan, “Fly,” the Rep

Tom Martin, “Our Town,” Insight

Wayne Salomon, “The Goat, or Who Is Sylvia?” SLAS

Outstanding Production:

“Fly,” the Rep

“An Iliad,” Upstream

“Our Town,” Insight

“Venus in Fur,” the Rep

“The Whipping Man,” the Black Rep

Outstanding New Play:

Nancy Bell, “Old Hearts Fresh,” Shakespeare Festival

Daniel Damiano, “Day of the Dog,” SLAS

Ken Page, “Cafe Chanson,” Upstream

Lia Romano, “Connected,” HotCity

Margaret Stamell, “Childcare,” OnSite Theatre Company

DESIGN – COMEDY AND DRAMA

Outstanding Set Design:

Beowulf Borritt, “Fly,” the Rep

Tim Case, “The Whipping Man,” the Black Rep

John Ezell, “The Mousetrap,” the Rep

Paul Shortt, “Double Indemnity,” the Rep

Margery and Peter Spack, “Freud’s Last Session,” the Rep

Outstanding Costume Design:

Teresa Doggett, “King Lear,” SLAS

JC Krajicek, “Jane Eyre,” Mustard Seed

JC Krajicek, “Maple and Vine,” HotCity

Patricia McGourty, “Sense and Sensibility,” the Rep

David Kay Mickelsen, “Double Indemnity,” the Rep

Outstanding Lighting Design:

Maureen Berry, “The Good Doctor,” New Jewish

Rui Rita and Jake DeGroot, “Fly,” the Rep

James Sale, “Double Indemnity,” the Rep

Michael Sullivan, “Maple and Vine,” HotCity

Mark Wilson, “The Whipping Man,” the Black Rep

Outstanding Sound Design:

John Gromada, “Fly,” the Rep

Ben Marcum, “Freud’s Last Session,” the Rep

Ellie Schwetye, “The Woman in Black,” Slightly Askew Theatre Ensemble

Rusty Wandall, “The Mousetrap,” the Rep

Rusty Wandall, “Venus in Fur,” the Rep

DESIGN – MUSICALS

Outstanding Set Design:

David Blake, “Little Shop of Horrors,” Stray Dog

Robert Mark Morgan, “West Side Story,” the Muny

Michael Schweikardt, “Cabaret,” the Rep

Margery and Peter Spack, “Shlemiel the First,” New Jewish

James Wolk, “Always . . . Patsy Cline,” Stages St. Louis

Outstanding Costume Design:

Dorothy Marshall Englis, “My Fair Lady,” Stages

Alexandra Scibetta Quigley, “Little Shop of Horrors,”

Patricia McGourty, “Sense and Sensibility,” Repertory Theatre of St. Louis

James Schuette, “The Pirates of Penzance,” Opera Theatre of St. Louis

Michelle Friedman Siler, “Shlemiel the First,” New Jewish

Angela Wendt, “Cabaret,” the Rep

Outstanding Lighting Design:

John Lasiter, “Cabaret,” the Rep

Rob Lippert, “Night of the Living Dead,” New Line Theatre

Sean Savoie, “Next to Normal,” New Line

Nathan W. Scheurer, “Les Misérables,” The Muny

Michael Sullivan, “All Is Calm,” Mustard Seed

MUSICALS

Outstanding Musical Director:

Lisa Campbell-Albert, “Always . . . Patsy Cline,” Stages

Brad Haak, “South Pacific,” the Muny

James Moore, “West Side Story,” the Muny

Henry Palkes, “Shlemiel the First,” New Jewish

Joe Schoen, “All Is Calm,” Mustard Seed

Outstanding Choreographer:

Chris Bailey, “West Side Story,” the Muny

Séan Curran, “The Pirates of Penzance,” OTSL

Dana Lewis, “My Fair Lady,” Stages

Jamie Lynn Marble Eros, “Little Shop of Horrors,” Stray Dog

Cecil Slaughter, “The Wiz,” the Black Rep

Outstanding Ensemble:

“All Is Calm,” Mustard Seed

“Café Chanson,” Upstream

“Les Misérables,” the Muny

“My Fair Lady,” Stages

“West Side Story,” the Muny

Outstanding Supporting Actress:

Mary Beth Black, “Next to Normal,” New Line

Natalie Cortez, “West Side Story,” the Muny

Johanna Elkana-Hale, “Shlemiel the First,” New Jewish

Mary Gordon Murray, “Cabaret,” the Rep

Zoe Vonder Haar, “Always . . . Patsy Cline,” Stages

Outstanding Supporting Actor:

Ryan Foizey, “Next To Normal,” New Line

Marshall Jennings, “Parade,” R-S Theatrics

Edward Juvier, “My Fair Lady” Stages

Rob McClure, “Shrek,” the Muny

Antonio Rodriguez, “Café Chanson,” Upstream

Outstanding Actress:

Pamela Brumley, “My Fair Lady,” Stages

Laura Michelle Kelly, “South Pacific,” the Muny

Jacqueline Petroccia, “Always . . . Patsy Cline,” Stages

Deborah Sharn, “Gypsy,” Stray Dog

Kimi Short, “Next to Normal,” New Line

Outstanding Actor:

Ben Davis, “South Pacific,” the Muny

Zachary Alan Farmer, “Bukowsical,” New Line

Norm Lewis, “Les Misérables,” the Muny

Hugh Panaro, “Les Misérables,” the Muny

Peter Winfrey, “Parade,” R-S

Outstanding Director:

Gordon Greenberg, “West Side Story,” the Muny

Richard Jay-Alexander, “Les Misérables,” the Muny

Deanna Jent, “All Is Calm,” Mustard Seed

Scott Miller, “Next to Normal,” New Line

Ken Page, “Café Chanson,” Upstream

Outstanding Production:

“All Is Calm,” Mustard Seed

“Café Chanson,” Upstream

“Les Misérables,” the Muny

“South Pacific,” the Muny

“West Side Story,” the Muny

Special award for a body of work: Scott Miller, artistic director of New Line Theatre

Special award for a unique theatrical experience: Em Piro and St. Lou Fringe

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St Louis Theater Circle Nominations and Awards 2016

St Louis Theater Circle Nominations and Awards 2016

The St. Louis Theater Circle released its 2015 award nominees on Friday. The productions leading the nominations were Stages St. Louis’ production of “Anything Goes,” with nine nominations, and Stray Dog Theatre’s “The Mystery of Edwin Drood,” with seven nominations. The Repertory Theatre of St. Louis led all companies with 30 nominations.

In all, 21 companies were nominated in the fourth year of the awards, judged by 15 local theatre critics. All professional St. Louis productions are eligible; touring shows are not.

The awards will be announced at a gala ceremony on March 21 at the Skip Viragh Center for the Arts on the campus of Chaminade College Preparatory School. The awards will also be webcast online here.

On Friday, theater critics Judith Newmark, of the St. Louis Post-Dispatch, and Lynn Venhaus, of the Belleville News-Democrat, announced a partial list of nominees on “St. Louis on the Air” on Friday at noon.

Here’s the full list:

Outstanding Ensemble of a Comedy

  • Bad Jews, New Jewish Theatre
  • Mr. Burns: A Post-Electric Play, R-S Theatrics
  • The 39 Steps, Slightly Askew Theatre Ensemble
  • Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Wild Oats, St. Louis Shakespeare

Outstanding Supporting Actress in a Comedy:

  • Betsy Bowman, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Shinnerie Jackson, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
  • Erin Kelley, The Killing of Sister George, Max & Louie Productions
  • Shannon Nara, The Killing of Sister George, Max & Louie Productions
  • Jeanitta Perkins, The Further Adventures of Hedda Gabler, St. Louis Shakespeare

Outstanding Supporting Actor in a Comedy:

  • John Bratkowski, The World Begun, Shakespeare Festival St. Louis
  • Michael Brightman, Mr. Marmalade, West End Players Guild
  • Jeffrey C. Hawkins, Peter and the Starcatcher, Repertory Theatre of St. Louis
  • Pete Winfrey, Bad Jews, New Jewish Theatre
  • John Wolbers, Wild Oats, St. Louis Shakespeare

Outstanding Actress in a Comedy

  • Lavonne Byers, The Killing of Sister George, Max & Louie Productions
  • Kari Ely, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Suzanne Grodner, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
  • Linda Kennedy, The Gin Game, St. Louis Actors’ Studio
  • Em Piro, Bad Jews, New Jewish Theatre

Outstanding Actor in a Comedy:

  •  John Feltch, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
  • Peter Mayer, The Gin Game, St. Louis Actors’ Studio
  • Antonio Rodriguez, Bad Jews, New Jewish Theatre
  • William Roth, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Jeremy Webb, Buyer and Cellar, Repertory Theatre of St. Louis

Outstanding Director of a Comedy:

  • John Contini, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Michael Evan Haney, Vanya and Sonya and Masha and Spike, Repertory Theatre St. Louis
  • Sydnie Grosberg Ronga, Bad Jews, New Jewish Theatre
  • Jacqueline Thompson, The World Begun, Shakespeare Festival St. Louis
  • Kirsten Wylder, The 39 Steps, Slightly Askew Theatre Ensemble
“Who’s Afraid of Virginia Woolf?” St Louis Actors’ Studio
  • Outstanding Production of a Comedy

    The Gin Game, St. Louis Actors’ Studio
  • The Killing of Sister George, Max & Louie Productions
  • The 39 Steps, Slightly Askew Theatre Ensemble
  • Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
  • Wild Oats, St. Louis Shakespeare
  • Outstanding Ensemble of a Drama
  • All the Way, Repertory Theatre of St. Louis
  • Antony and Cleopatra, Shakespeare Festival St. Louis
  • One Flea Spare, Slightly Askew Theatre Ensemble
  • Safe House, Repertory Theatre of St. Louis
  • The Winslow Boy, Repertory Theatre of St. Louis

Outstanding Supporting Actress in a Drama

  • Em Piro, Sight Unseen, New Jewish Theatre
  • Kelly Taffe, Safe House, Repertory Theatre of St. Louis
  • Jennifer Theby-Quinn, Afflicted: Daughters of Salem, Metro Theater Company
  • Cassia Thompson, Safe House, Repertory Theatre of St. Louis
  • Elizabeth Van Pelt, Rapture, Blister, Burn, West End Players Guild
  • Outstanding Supporting Actor in a Drama

    Will Cobbs, Safe House, Repertory Theatre of St. Louis
  • John Flack, Sublime Intimacy, Max & Louie Productions
  • Andrew Kuhlman, One Flea Spare, Slightly Askew Theatre Ensemble
  • Michael James Reed, All the Way, Repertory Theatre of St. Louis
  • Chris Tipp, Dog Sees God: Confessions of a Teenage Blockhead, Stray Dog Theatre

Outstanding Actress in a Drama

  • Shirine Babb, Antony and Cleopatra, Shakespeare Festival St. Louis
  • Emily Baker, Sight Unseen, New Jewish Theatre
  • Danielle Carlacci, I and You, Repertory Theatre of St. Louis
  • Amy Loui, The Amish Project, Mustard Seed Theatre
  • Lisa Tejero, The Kiss, Upstream Theatre

Outstanding Actor in a Drama

  •  J. Samuel Davis, BashirLazhar, Upstream Theater
  • Brian Dykstra, All the Way, Repertory Theatre of St. Louis
  • Daniel Morgan Shelley, Safe House, Repertory Theatre of St. Louis
  • Jerry Vogel, The Rime of the Ancient Mariner, Upstream Theater
  • Eric Dean White, The Kiss, Upstream Theater

Outstanding Director of a Drama

  • Deanna Jent, The Amish Project, Mustard Seed Theatre
  • Jane Page, I and You, Repertory Theatre of St. Louis
  • Ellie Schwetye, One Flea Spare, Slightly Askew Theatre Ensemble
  • Patrick Siler, The Rime of the Ancient Mariner, Upstream Theater
  • Steven Woolf, All the Way, Repertory Theatre of St. Louis
“All the Way,” The Repertory Theatre of St Louis
  • Outstanding Production of a Drama
  • All the Way, Repertory Theatre of St. Louis
  • I and You, Repertory Theatre of St. Louis
  • One Flea Spare, Slightly Askew Theatre Ensemble
  • The Rime of the Ancient Mariner, Upstream Theater
  • The Winslow Boy, Repertory Theatre of St. Louis

Outstanding Set Design – Play

  • Wilson Chin, Angel Street, Repertory Theatre of St. Louis
  • Scott C. Neale, Antony and Cleopatra, Shakespeare Festival St. Louis
  • Paul Shortt, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
  • Peter and Margery Spack, Safe House, Repertory Theatre of St. Louis
  • Mark Wilson, An Invitation Out, Mustard Seed Theatre

Outstanding Costume Design – Play

  • Beth Ashby, An Invitation Out, Mustard Seed Theatre
  • Dorothy Marshall Englis, The Winslow Boy, Repertory Theatre of St. Louis
  • JC Krajicek, The Further Adventures of Hedda Gabler, St. Louis Shakespeare
  • Cyndi Lohrmann, The Killing of Sister George, Max & Louie Productions
  • David Toser, Angel Street, Repertory Theatre of St. Louis
  • Outstanding Lighting Design – Play
  • Joseph Clapper, The Rime of the Ancient Mariner, Upstream Theater
  • Patrick Huber, Sublime Intimacy, Max & Louie Productions
  • Bess Moynihan, One Flea Spare, Slightly Askew Theatre Ensemble
  • Peter E. Sargent, Angel Street, Repertory Theatre of St. Louis
  • Nathan Schroeder, Mr. Burns: A Post-Electric Play, R-S Theatrics
  • Outstanding Sound Design – Play
  • Paige Brubeck and Evan Suit, The Rime of the Ancient Mariner, Upstream Theater
  • Fitz Patton, All the Way, Repertory Theatre of St. Louis
  • Greg Mackender and Rusty Wandall, Antony and Cleopatra, Shakespeare Festival St. Louis
  • Rusty Wandall, Angel Street, Repertory Theatre of St. Louis
  • Rusty Wandall, I and You, Repertory Theatre of St. Louis
  •  Outstanding Set Design – Musical

    Shoko Kambara, The Barber of Seville, Opera Theatre of Saint Louis
  • Rob Lippert, Dogfight, Stray Dog Theatre
  • Rob Lippert, Heathers, New Line Theatre
  • Rob Lippert, The Mystery of Edwin Drood, Stray Dog Theatre
  • James Wolk, Anything Goes, Stages St. Louis
  •  Outstanding Costume Design – Musical
  • Eileen Engel, The Mystery of Edwin Drood, Stray Dog Theatre
  • Andrea Lauer, Into the Woods, The Muny
  • Brad Musgrove, Anything Goes, Stages St. Louis
  • Sarah Porter, The Threepenny Opera, New Line Theatre
  • Alejo Vietti, Holiday Inn, The Muny

Outstanding Lighting Design – Musical

  •   ​Christoper Akerlind, Emmeline, Opera Theatre of Saint Louis
  • Tyler Duenow, Dogfight, Stray Dog Theatre
  • John Lasiter, Oklahoma!, The Muny
  • Sean M. Savoie, Once on This Island, The Black Rep
  • Sean M. Savoie, Anything Goes, Stages St. Louis

Outstanding Music Director

  •   Jeffrey Richard Carter, The Threepenny Opera, New Line Theatre
  • Charles Creath, Once on This Island, The Black Rep
  • Michael Horsley, Buddy: The Buddy Holly Story, The Muny
  • George Manahan, Emmeline, Opera Theatre of Saint Louis
  • Chris Petersen, Dogfight, Stray Dog Theatre

​​Outstanding Choreographer

Stephen Bourneuf, Anything Goes, Stages St. Louis

  • Denis Jones, Holiday Inn, The Muny
  • Dan Knechtges and Jessica Hartman, Hairspray, The Muny
  • Susan Stroman and Ginger Thatcher, Oklahoma!, The Muny
  • Keith Tyrone Williams, Once on This Island, The Black Rep
“Anything Goes,” Stages St Louis
  • Outstanding Ensemble in a Musical
  • Anything Goes, Stages St. Louis
  • Dogfight, Stray Dog Theatre
  • Into the Woods, The Muny
  • Heathers, New Line Theatre
  • The Mystery of Edwin Drood, Stages St. Louis
  • Outstanding Supporting Actress – Musical
  • Eileen Engel, The Mystery of Edwin Drood, Stray Dog Theatre
  • Heather Headley, Into the Woods, The Muny
  • Sydney Mancasola, La rondine, Opera Theatre of Saint Louis
  • Sarah Porter, The Threepenny Opera, New Line Theatre
  • Zoe Vonder Haar, The Full Monty, Stages St. Louis
  •  Outstanding Supporting Actor – Musical
  • Dan Fenaughty, Anything Goes, Stages St. Louis
  • Joneal Joplin, The Fantasticks, Insight Theatre Company
  • Rob McClure, Beauty and the Beast, The Muny
  • Milton Craig Nealy, The Full Monty, Stages St. Louis
  • Sam Weber, Buddy: The Buddy Holly Story, The Muny
  • Oustanding Actress in a Musical
  • Julie Cardia, Anything Goes, Stages St. Louis
  • Shannon Cothran, Dogfight, Stray Dog Theatre
  • Erin Dilly, Into the Woods, The Muny
  • Joyce El-Khoury, Emmeline, Opera Theatre of St. Louis
  • Anna Skidis, Heathers, New Line Theatre
  • Outstanding Actor in a Musical
    Andy Christopher, Buddy: The Buddy Holly Story, The Muny
  • Ben Davis, Oklahoma!, The Muny
  • Evan Fornachon, Heathers, New Line Theatre
  • Gerry Love, The Mystery of Edwin Drood, Stray Dog Theatre
  • Jordan Shanahan, Rigoletto, Union Avenue Opera
  • Outstanding Director of a Musical
  • Justin Been, The Mystery of Edwin Drood, Stray Dog Theatre
  • Michael Hamilton, Anything Goes, Stages St. Louis
  • Scott Miller, The Threepenny Opera, New Line Theatre
  • Scott Miller and Mike Dowdy, Heathers, New Line Theatre
  • Rob Ruggiero, Oklahoma!, The Muny
  • Outstanding Production of a Musical
  • Anything Goes, Stages St. Louis
  • Dogfight, Stray Dog Theatre
  • Heathers, New Line Theatre
  • The Mystery of Edwin Drood, Stray Dog Theatre
  • The Threepenny Opera, New Line Theatre
  • Outstanding New Play

    Nancy Bell, The World Begun, Shakespeare Festival St. Louis
  • Shualee Cook, An Invitation Out, Mustard Seed Theatre
  • Neil LaBute, Kandahar, St. Louis Actors’ Studio
  • Ken Page, Sublime Intimacy, Max & Louie Productions
  • Alec Wild, Off the Record, OnSite Theatre

What: St. Louis Theater Circle Awards

When: Monday, March 21, 2016

  • Red carpet, 6:30 p.m.
  • Gala, 7 p.m.

Where: Viragh Center for the Arts on the campus of Chaminade College Preparatory School, 425 South Lindbergh Blvd.

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Fabulous Fox Announces 2023-2024 Spectacular Broadway Season

Fabulous Fox Announces 2023-2024 Spectacular Broadway Season

(St. Louis, MO) – The Fabulous Fox Theatre is thrilled to announce its spectacular 2023-2024 Broadway season featuring a mix of Broadway’s biggest hits and St. Louis favorites. Made up entirely of Fabulous Fox premieres, the 2023-2024 Broadway Subscription will include the Broadway smash-hit BEETLEJUICE, the electrifying TINA – The Tina Turner Musical, the heartfelt MRS. DOUBTFIRE, the dazzling musical comedy FUNNY GIRL, thegroundbreaking COMPANY, the spectacular MOULIN ROUGE! THE MUSICAL, and the most Tony Award®-winning musical of the season MJ. An eight show package is also available to subscribers with the addition of the magical ‘TWAS THE NIGHT BEFORE… by Cirque du Soleil®. Off-Series specials include the anticipated St. Louis returns of COME FROM AWAY, Disney’s ALADDIN, RUDOLPH THE RED-NOSED REINDEER: The Musical, MAMMA MIA! and the nine-time Tony Award®-winning Best Musical, THE BOOK OF MORMON, as well as the St. Louis premiere of JAGGED LITTLE PILL.

BEETLEJUICE | October 10-22, 2023

He earned his stripes on Broadway… now the ghost-with-the-most is coming to St. Louis. Based on Tim Burton’s dearly beloved film, this hilarious musical tells the story of Lydia Deetz, a strange and unusual teenager whose whole life changes when she meets a recently deceased couple and a demon with a thing for stripes. With an irreverent book, an astonishing set, and a score that’s out of this Netherworld, BEETLEJUICE is “Screamingly good fun!” (Variety). And under its uproarious surface (six feet under, to be exact), it’s a remarkably touching show about family, love, and making the most of every Day-O!


TINA – The Tina Turner Musical | November 14-26, 2023

There is only one. Her voice is undeniable. Her fire is unstoppable. Her triumph is unlike any other. An uplifting comeback story like no other, TINA – The Tina Turner Musical is the inspiring journey of a woman who broke barriers and became the Queen of Rock n’ Roll. Set to the pulse-pounding soundtrack of her most beloved hits, this electrifying sensation will send you soaring to the rafters. One of the world’s best-selling artists of all time, Tina Turner has won 12 Grammy Awards® and her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history. Featuring her much loved songs, TINA – The Tina Turner Musical is written by Pulitzer Prize-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd.

MRS. DOUBTFIRE | December 26, 2023 – January 7, 2024

Everyone’s favorite Scottish nanny is headed to St. Louis in an internationally acclaimed new hit musical critics call “wonderful, heart-warming, and laugh-out-loud funny” (Manchester Evening News) and “a feel-good, family-friendly comedy that delivers” (The Hollywood Reporter). Based on the beloved film and directed by four-time Tony Award® winner Jerry Zaks, MRS. DOUBTFIRE tells the hysterical and heartfelt story of an out-of-work actor who will do anything for his kids. It’s “the lovable, big-hearted musical comedy we need right now,” raves the Chicago Tribune – one that proves we’re better together.

FUNNY GIRL | January 23 – February 4, 2024

Welcome to musical comedy heaven! Featuring one of the most iconic scores of all time by Jule Styne and Bob Merrill, an updated book from Harvey Fierstein based on the original classic by Isobel Lennart, tap choreography by Ayodele Casel, choreography by Ellenore Scott, and direction from Michael Mayer, this love letter to the theatre has the whole shebang! The sensational Broadway revival dazzles with celebrated classic songs, including “Don’t Rain On My Parade,” “I’m the Greatest Star,” and “People.” This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.

COMPANY | February 27 – March 10, 2024

Winner of 5 Tony Awards® including Best Revival of a Musical, COMPANY “strikes like a lightning bolt. It’s brilliantly conceived and funny as hell” (Variety).  Helmed by three-time Tony Award®-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America), this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy is boldly sophisticated, deeply insightful and downright hilarious. It’s Bobbie’s 35th birthday party, and all her friends keep asking, Why isn’t she married? Why can’t she find the right man and isn’t it time to settle down and start a family? As Bobbie searches for answers, she discovers why being single, being married, and being alive in the 21st-century could drive a person crazy. COMPANY features Sondheim’s award-winning songs You Could Drive a Person Crazy, The Ladies Who Lunch, Side by Side by Side and the iconic Being Alive. Let’s all drink to that!

MOULIN ROUGE! THE MUSICAL | April 30 – May 12, 2024

Pop the champagne, MOULIN ROUGE! THE MUSICAL is the winner of 10 Tony Awards® — including Best Musical! Enter a world of splendor and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Welcome to MOULIN ROUGE! THE MUSICAL! Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical mash-up extravaganza. Directed by Tony Award® winner Alex Timbers, MOULIN ROUGE! THE MUSICAL is a theatrical celebration of Truth, Beauty, Freedom, and — above all — Love. With a book by Tony Award® winner John Logan; music supervision, orchestrations, and arrangements by Tony Award® winner Justin Levine; and choreography by Tony Award® winner Sonya Tayeh, MOULIN ROUGE! THE MUSICAL is more than a musical — it is a state of mind.

NEW YORK, NEW YORK – OCTOBER 31: (EXCLUSIVE COVERAGE) (L-R) Tavon Olds-Sample, Myles Frost and Christian Wilson during the one-time only special “Thriller” curtain call at the 2022 Halloween performance of the hit Michael Jackson musical “MJ” on Broadway at The Neil Simon Theater on October 31, 2022 in New York City. (Photo by Bruce Glikas/WireImage) Photo credit: Bruce Glikas social media credit is @bruglikas /@broadwaybruce_ @mjthemusical

MJ | May 28 – June 9, 2024

The music. The moves. The icon. Now, the unparalleled artistry of the greatest entertainer of all time comes to St. Louis as MJ, the multi-Tony Award®-winning new musical centered around the making of the 1992 Dangerous World Tour, begins a tour of its own. Created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status. MJ is “startin’ somethin’” as it makes its St. Louis premiere at the Fabulous Fox Theatre in May of 2024.

‘TWAS THE NIGHT BEFORE… by Cirque du Soleil® I November 29-December 10, 2023

‘TWAS THE NIGHT BEFORE… is Cirque du Soleil’s first Christmas show, based on the classic poem “A Visit from Saint Nicolas” by Clement Clarke Moore. Memorable lines from this cherished classic inspired Cirque’s story about a jaded young girl who rediscovers the magic of Christmas. A festive flurry of love and cheer created especially for families, ‘TWAS THE NIGHT BEFORE…features thrilling acrobatics, lovable characters – and a soundtrack including Christmas favorites re-invented by Cirque du Soleil. The show was conceived and is directed by Cirque du Soleil Senior Artistic Director James Hadley, a 25-year veteran of circus productions and live theater.

Come From Away

Series Specials

Six additional Broadway shows will be offered as specials to 2023–2024 season ticket holders for priority seating before their public on-sale dates. The breathtaking musical COME FROM AWAY will bring back the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them to the Fox stage November 3-5, 2023. Discover a whole new world of unforgettable magic, comedy and breathtaking spectacle at Disney’s ALADDIN December 12-17, 2023. The longest-running and highest-rated holiday television special, RUDOLPH THE RED-NOSED REINDEER: The Musical, will fly into St. Louis December 23, 2023 for three performances only. Based on Alanis Morissette’s world-changing music, JAGGED LITTLE PILL will rock the Fox stage January 18-21, 2024. Beautifully told through the timeless hits of ABBA, MAMMA MIA!  will be a trip down the aisle you’ll never forget February 13-18, 2024. Back by popular demand, the nine-time Tony Award®-winning Best Musical THE BOOK OF MORMON will play the Fox April 9-14, 2024!

New seven and eight-show season ticket packages will go on sale Wednesday, June 21. Current Broadway season ticket holders will receive their renewal information in the coming weeks. On-sale dates for individual shows will be announced later. For more information, please visit FabulousFox.com or for production photos, 

Jagged Little Pill

2023 – 2024 U.S. Bank Broadway Series Shows and Specials:

(The Season Ticket Package shows are in bold)

BEETLEJUICE * October 10-22, 2023

COME FROM AWAY * November 3-5, 2023

TINA – The Tina Turner Musical * November 14-26, 2023

‘TWAS THE NIGHT BEFORE… by Cirque du Soleil® * November 29-December 10, 2023

Disney’s ALADDIN * December 12-17, 2023

RUDOLPH THE RED-NOSED REINDEER: The Musical * December 23, 2023

MRS. DOUBTFIRE * December 26, 2023 – January 7, 2024

JAGGED LITTLE PILL * January 18-21, 2024

FUNNY GIRL * January 23 – February 4, 2024

MAMMA MIA! * February 13-18, 2024

COMPANY * February 27 – March 10, 2024

THE BOOK OF MORMON * April 9-14, 2024

MOULIN ROUGE! THE MUSICAL * April 30 – May 12, 2024
MJ * May 28 – June 9, 2024

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Captivating Cast in Albion’s Inspired Pinter Classic ‘The Birthday Party’

Captivating Cast in Albion’s Inspired Pinter Classic ‘The Birthday Party’

By Lynn Venhaus

An absurd comedy with heightened drama is an aural treat in Albion Theatre’s tension-filled, cryptic Harold Pinter classic, “The Birthday Party.”

In a small boarding house – “it’s on the list!” – at the English seaside, longtime lodger Stanley is tormented by a secret. When two mysterious strangers arrive, nothing seems to be what it appears to be.

Pinter’s unusual combination of humor and menace crystalizes the chaos at a bizarre birthday party, and lives will change that night and in the aftermath.

They talk to each other, but do they really listen?

A skilled and sharp ensemble is crisply directed by Suki Peters in the Kranzberg Black Box Theatre. Creating this odd world, they never skip a beat, measuring their pauses and growing a sense of dread while supplying both irrational behavior and their usual routines.

Nick Freed, Ted Drury, Chuck Winning. Photo by John Lamb


When they focus on the humor, they draw out nervous laughter from the audience. Playwright Pinter’s first work, from 1959, is seen through this creative team’s fresh eyes, and while edgy and powerful, is a model of restraint.

Pinter’s trademarks of confusing time and space, as well as making isolated characters ambiguous are noted here.

The extraordinary work of this cast in shaping their enigmatic portrayals elevates this experience. Instead of confusion about its peculiarities, we grasp their rhythms.

Robert Ashton is Petey, an amiable senior with a menial beach job who seems to tolerate his wife Meg’s daffiness. Teresa Doggett is delightfully flaky and giggly as an eccentric Meg, flitting about her domestic duties.

As the charming Boles’, Ashton and Doggett add authenticity with their native tongues amplifying their characters, and the remaining cast members, Midwesterners all, are flawless in delivering their United Kingdom dialects.

This sets the mood splendidly. Danger is looming, but what and why?

The couple’s boarder seems harmless, but then reveals a temper. In a flash, Ted Drury complicates Stanley’s erratic behavior. He says he was a piano player, which impresses Meg – but leaves things open for interpretation. He’s concealing his past, which is murky. Drury conveys simmering tension until he boils over.

Winning, Summer Baer. Photo by John Lamb

An imposing Chuck Winning is a marvel when his threatening blowhard character Goldberg waltzes down memory lane or philosophizes about life, in a dominating, disturbing way.

His associate McCann, well-played by newcomer Nick Freed, isn’t as intimidating as Goldberg, but is frightening, nonetheless. A mob enforcer? Hitman? He has the look and the sinister tone, but also projects a world-weariness.

Ryan Lawson-Maeske has capably choreographed significant fight scenes, and one is an especially scary encounter.

A sunny Summer Baer has a small but pivotal role as Lulu, a light-hearted local girl who enjoys socializing. She’s an innocent who becomes targeted in untoward behavior.

Baer looks terrific in vintage outfits fashioned by costume designer Tracey Newcomb, who has captured the characters’ well in apparel. A special shout-out for Meg’s shiny party gown.

Set designer Brad Slavik’s shabby living and dining rooms accurately reflect the Boles’ economic status, with Majorie Williamson’s scenic design contributions, while Tony Anselmo’s lighting design punctuates the atmosphere perfectly.

Gwyneth Rausch has found appropriate props – that toy drum – to reflect the period, and sound designer Michael Musgrave-Perkins has enhanced the atmosphere with his choices.

“The Birthday Party” is meant to often seem illogical, but Albion’s inspired production is actually quite cohesive, benefitting from outstanding ensemble work and Peters’ distinct direction.

Teresa Doggett, Ted Drury, Nick Freed. Photo by John Lamb

Albion Theatre presents “The Birthday Party” Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. from March 10 through March 26 at the Kranzberg Arts Center, 501 N. Grand in Grand Center. For more information: albiontheatrestl.org.

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Tony Winner Matt Doyle Makes St. Louis Solo Debut on April 1 at Sheldon

Tony Winner Matt Doyle Makes St. Louis Solo Debut on April 1 at Sheldon

Broadway star headlines The Cabaret Project of St. Louis’ Gala

Annual Gala Raises Funds to support our public performances and arts education programs

“The Cabaret Project of St. Louis is thrilled to bring Matt Doyle to St. Louis – in his St. Louis solo debut! Matt is one Broadway’s top talents.”, said Executive Director Tim Schall. “As anyone who witnessed his Tony winning showstopping performance in last Broadway season’s revival of Company knows, Doyle is young, he’s current, his achievements are already impressive and his star is still rising! We are so fortunate to be able to present him to St. Louis audiences for a very personal evening at the beautiful Sheldon Concert Hall.”

Matt Doyle won the 2022 Tony Award for ‘Best Featured Actor in a Musical’ for his work in the Tony-winning Broadway revival of Stephen Sondheim’s Company. For his showstopping performance as ‘Jamie’, he also won Drama Desk and Outer Critics Circle Awards and received a Drama League Award nomination.

His Broadway credits also include Tony-winning Musicals The Book of Mormon (in the lead role of ‘Elder Price’) and the Original Broadway Cast of Spring Awakening; ‘Best Play’ winner War Horse; and the revival of the beloved musical comedy Bye Bye Birdie.

Regionally, he most recently starred in the world premiere of the Huey Lewis musical The Heart of Rock & Roll at the Old Globe Theater in San Diego; and played ‘Melchoir’ in the national tour of Spring Awakening.

His Off Broadway and regional credits also include Sweeney Todd, West Side Story, A Clockwork Orange, Brooklynite, Giant, and Jasper in Deadland. Onscreen, he has appeared on CBS’s The Code, recurred on the original Gossip Girl, and starred in the indie feature Private Romeo.

Matt has performed at Carnegie Hall with the New York Pops, at symphonies across the country, and continues to headline a sold-out solo show throughout New York City. 

Praise for Matt Doyle in Company:  “Doyle seizes ownership… the revival’s standout comic showstopper.”- Hollywood Reporter
  “ ‘Getting Married Today’… so well sung (and so terrifically acted) by Matt Doyle that Company seems to have found its high point.” –Deadline   “..the priceless Doyle.. ” – The Washington Post

Tony winner Matt Doyle

Details and Ticket information

Matt Doyle presented by The Cabaret Project of St. Louis  

Dates:  Saturday April 1, 2023   Performance at 8:30 p.m. (please note time)

Location: The Sheldon Concert Hall, 3648 Washington Blvd, St. Louis, MO, 63108

Tickets:  $60 tickets at www.metrotix.com or 314-534-1111 includes Show Only

$250 Gala Tickets at www.thecabaretproject.org or 314-359-0786 Includes valet parking, cocktail hour, 3 course dinner, VIP performance seating, post show dessert reception with Matt Doyle. $100 tax deduction.

The Cabaret Project of St. Louis is a non-profit 501-C3 organization with a mission to support, develop and sustain the art of cabaret and song performance in the St. Louis region.  We receive support from The Missouri Arts Council, Regional Arts Commission, individuals, and businesses.       www.thecabaretproject.org

Matt Doyle as Seymour in “Little Shop of Horrors” Photo by Evan Zimmerman for MurphyMade
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Heart-Tugging ‘The Quiet Girl’ Is a Beautiful Irish Film of Light and Love

Heart-Tugging ‘The Quiet Girl’ Is a Beautiful Irish Film of Light and Love

By Lynn Venhaus

Heart-wrenching yet hopeful, “The Quiet Girl” is the first-ever Irish film to make the shortlist for the Academy Awards’ Best International Feature.

Tightly constructed, with emotions that swell significantly in non-showy ways, writer-director Colm Bairead’s first feature film showcases understated performances in an unforgettable story of humanity.

Catherine Clinch is remarkable as shy nine-year-old Cait, already an outcast in her family and at school. She’s growing up poor in a dysfunctional, overcrowded family in County Meath. Her wretched father, too busy gambling and drinking, calls her “The Wanderer.” Her mother has more children than she can handle, and neglects this sensitive, inquisitive daughter.

Sent away to distant relatives in County Waterford for the summer of 1981, she learns about love and kindness. While living on a farm with her mother’s cousin, Eibhlin (Carrie Crowley) and her husband Sean (Andrew Bennett), she blossoms. The middle-aged couple live alone in a nice, neatly-kept home.

It’s not an easy situation, but Eibhlin is nurturing and Sean, gruff at first, lets his guard down. Cait will eventually learn about their lives and a secret from a chatty neighbor, Una, played by Joan Sheehy.

The film’s pace is measured and there is simplicity in its storytelling. What Bairead indicates with a glance or shows with a compassionate gesture tugs hard at your heart.

As the preoccupied parents, Kate Nic Chonaonaigh is an overwhelmed Mam while Michael Patric is a selfish Da. The other siblings are of minimal focus here.

Based on the novella, “Foster” by Claire Keegan, “The Quiet Girl” says so much with a minimum amount of words – making the performances stand out even more. The native tongue is Gaelic, so there are English subtitles.

Ireland’s lush landscape is an affecting setting for daily rural life, and cinematographer Kate McCullough adds a poignancy, John Murphy’s editing strengthens how well constructed it is, and production designer Emma Lowney recreates a magical summer of childhood.

With its ability to touch people, “The Quiet Girl” has become the highest grossing film ever in Ireland.

Recently, it won Best Foreign Language Film from AARP’s Movies for Grownups Awards.

It is indeed a winner, no matter if it loses to “All Quiet on the Western Front” on this year’s Oscar night.

This is the kind of story that will linger, for its literate and lyrical. Out of darkness comes light, and that’s a beautiful thing.

“The Quiet Girl” is a 2022 drama, in Gaelic with English subtitles. Written and directed by Colm Bairead, it stars Catherine Clinch, Carrie Crowley, Andrew Bennett, Joan Sheehy, Michael Patric and Kate Nic Chonaonaigh. It is Rated PG-13 for some strong language and smoking and runtime is 95 minutes. It opened in St. Louis at Plaza Frontenac on March 10 and will be at the Hi-Pointe Theatre on March17. You can also buy or rent on VUDU. Lynn’s Grade: A

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‘Scream VI’ Delivers Thrills and Kills in Clever Sequel to the Requel

‘Scream VI’ Delivers Thrills and Kills in Clever Sequel to the Requel

By Lynn Venhaus

What’s your favorite scary movie? Horror film nerds, this “Scream VI” is for you.

If you have followed the California teenagers through the slasher series since 1996, this sixth chapter — the ‘sequel to the requel,’ keeps the scary meta movie-verse chugging along with all the tricks of the trade.

Shocking killings. Innocent victims. Flipping formula. Characters self-aware of horror movie conventions. Twisting those rules and structures to keep viewers guessing. Subverting expectations. Make it bigger, elevated and raise the body count. Bring it on – and there are still surprises to be seen, along with more blood and gore.

Following the last Ghostface killings in 2022’s “Scream,” the four survivors leave Woodsboro behind and start a fresh chapter in New York City.

No doubt “VI” is set up for co-directors Matt Bettinelli-Olpin and Tyler Gillett to finish their trilogy, with a seventh –and possible final one, but time will tell. This chapter is a satisfying conclusion, if it is, but they also leave the door open. (But please, bring back Neve Campbell!).

Their set pieces are impressive – even for the most jaded moviegoer. An intensive scene involving crowded subway cars filled with Halloween revelers in classic scary masks ramps up the tension as only this franchise can. Touche! And then there is the ‘meta’ shrine to “Scream” and the “Stab” movies based on the real-life murders.

While at 2 hours and 3 minutes, this chapter gets to be a tad tedious as we lurch to the big reveal. But the fact that they keep coming up with fresh ways to surprise us, kudos to how smart and clever not only the directors are, but also screenwriters James Vanderbilt and Guy Busick.

Building on what creator Kevin Williamson started 27 years ago, and horrormeister director Wes Craven did for the first four films, “VI” features a great deal of terror, brutality, and anxiety as it continues the saga with an appealing cast of characters.

Williamson, who wrote the original, sequel and chapter four, was an executive producer of the fifth and this sixth film.Since the beginning, he was able to capture youth behavior and culture so well. Craven died in 2015.

The creative team provides fan service and homage to the “OG” duo. With the growing market for the horror genre, these “More Four” – Bettinelli-Olpin, Gillett, Vanderbilt and Busick, had to up their game, and they have, for the most part, succeeded – they make us care about the “Core Four.”

Melissa Barrera and Jenna Ortega

The Carpenter sisters have returned to be the revenge targets — Sam (Melissa Barrera) and Tara (Jenna Ortega), along with their hometown pals, twins Mindy and Chad Meeks-Martin (Mason Gooding, Cuba Jr.’s son, and Jasmin Savoy Brown), now that they’ve escaped to New York City. Their uncle was film-geek Randy Meeks (Jamie Kennedy) and Sam’s dad was the first Ghostface Billy Loomis (Skeet Ulrich),

Because of their notoriety associated with the brutal serial killings, they are no longer considered poor victims, but social media has fanned the flames that Sam orchestrated the killings herself. Barrera, who evokes sympathy from the get-go, has a fragile psyche and will need to build her strength as she attempts to avoid danger. But she shows her mettle splendidly.

Apparently, someone with intimate details of all the murder and mayhem in Woodsboro wants to wreak havoc into their lives and inflict great harm. Jealousy has been a theme – along with twisted psyches — since the first film in 1996.

That bold launch, featuring Drew Barrymore as the first high profile victim Casey Becker, which introduced Neve Campbell as Sidney Prescott, Courtney Cox as tabloid reporter Gale Weathers, and David Arquette as Dewey Riley as a local policeman, became the highest grossing slasher film ever until the David Gordon Green “Halloween” reboot in 2018.

The holiday dress-up aspect of Halloween plays an intriguing factor here as well, after all the “Core Four” are in college and Tara wants to party while Sam is super-protective of her half-sister. They have a complicated relationship, but their bond is as important as their conflicts.

And what’s a “Scream” movie without a party? Both Barrera and Ortega are seasoned pros and capably carry the convincing horror movie tropes along. They work well with the twins, as they all are attending Blackmore College.

The new cast members include Chad’s nerdy roommate Ethan, played well by Jack Champion, most recently seen in the “Avatar” sequel, and the sisters’ trampy roomie Quinn (Liana Liberato), whose dad is a NYPD detective (Dermot Mulroney).

The directors made the horror film “Ready or Not” in 2020, and two of its stars, Samara Weaving and Henry Czerny, figure significantly here.

Cox returns as a legacy character. Last seen in “Scream 4,” Hayden Panettiere reprises Kirby Reed, now an FBI agent. The women aren’t used a lot, but they are effective.

Roger L. Jackson, who has supplied the creepy altered voice of Ghostface, which sends shivers down spines, is up for round 5.

To me, the disclosure of the killer isn’t ever as strong as one would like, and here is no exception.

Yet, in this latest chapter, the Easter Eggs are plentiful, the nostalgia factor duly noted and the snarky humor still lands.

“Scream VI” is a 2023 horror film directed by Matt Bettinelli-Olpin and Tyler Gillett. It stars Melissa Barrera, Jenna Ortega, Jasmin Savoy Brown, Mason Gooding, Hayden Panettiere, Courtney Cox, Dermot Mulroney, Tony Revolori and Samara Weaving. It is rated R for strong bloody violence and language throughout, and brief drug use and the run time is 2 hours and 3 minutes. It opened in theaters March 10. Lynn’s Grade: B

A Ghostface on the subway on Halloween
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‘Creed III’ Is Back for Another (Passable) Round

‘Creed III’ Is Back for Another (Passable) Round

By Alex McPherson

Ambitious but held back by genre conventions, Michael B. Jordan’s directorial debut “Creed III” features great performances and viscerally engaging boxing sequences, while sidelining its more thoughtful ideas to a fault.

Continuing the story of Adonis “Donnie” Creed (Jordan), the son of Rocky Balboa’s rival-turned-friend Apollo, “Creed III” sees our hero encountering ghosts from his past entering the literal and figurative arena. We begin with a flashback to 15-year-old Adonis (Thaddeus J. Mixson) sneaking out of his mother’s house to watch his best pal Damian Anderson (Spence Moore II) compete in a local Golden Gloves competition.

Damian, a boxing prodigy, dreams of one day becoming the world heavyweight champion. His hopes come to a screeching halt as Adonis starts an altercation with someone outside a liquor store. Damian is arrested in the ensuing scuffle, spending 20 grueling years behind bars, and Adonis gets away.

Seven years after the events of “Creed II,” Adonis announces his retirement from boxing to spend time with his wife, Bianca (Tessa Thompson), who’s now a music producer; his deaf daughter Amara (Mila Davis-Kent); and his adoptive mother, Mary-Anne (Phylicia Rashad).

A few years later, Adonis runs a boxing academy, training his new protégé, Felix Chavez (Jose Benavidez), for a title shot against Viktor Drago (Florian Munteanu), with the help of the gruff, wise Tony “Little Duke” Burton (Wood Harris). Sylvester Stallone’s Rocky, such a pivotal presence in the previous “Creed” films, is nowhere to be found.

Everything seems to be working out quite nicely for Adonis. He’s rich, with a happy family, and has secured his place among the boxing legends. What he isn’t ready for, regardless, is a reckoning with his past. Damian (a scene-stealing Jonathan Majors) shows up outside his gym unexpectedly, looking to make up for lost time. Adonis and Damian’s interactions are awkward, mixing flashes of their former camaraderie with creeping unease and resentment. Damian, as it turns out, isn’t so thrilled about Adonis’ success, and wants to finally realize his goals through whatever means necessary.

Adonis — bottling up feelings of guilt, trauma, and diminishing self-worth — must confront this symbol of his past and make peace with it for good. This involves an eventual heart-to-heart (or, rather, fist-to-face) in the place most conducive to resolving conflict: the boxing ring, in front of boatloads of rabid fans.

Indeed, for all of Jordan’s high-minded aspirations, “Creed III” ultimately plays it safe, pitting Adonis against a frustratingly limited antagonist reverting back to a predictable formula, and using its layered themes as window-dressing for seen-it-before spectacle. It’s still entertaining, though — delivering the bruising set-pieces, extravagant training montages, and reliably solid performances we expect, albeit not breaking free of tradition to deliver a KO.

As a directorial debut, “Creed III” is impressive, with Jordan competently helming the action and giving actors plenty of room to flex their chops. The boxing scenes themselves remain the highlight; cinematographer Kramer Morgenthau puts viewers right in the thick of it, giving each punch a tactile sting. Jordan also uses slow-motion to emphasize their raw impact and the considerations behind each jab, while being unafraid to take a more “artistic” approach in visualizing the boxers’ inner thoughts during climactic showdowns. The film gets quite brutal at times, leaving viewers with both feelings of cathartic excitement and, perhaps, a bit of exhaustion. 

Outside the ring, “Creed III” is far less stylish, with muted color grading and conventional framing of dialogue-heavy scenes, interspersing flashbacks to that fateful day in Adonis and Damian’s history. Joe Shirley’s score is chock-full of memorable tunes and recurring motifs, which help propel the proceedings along and lend even the less successful moments a distinct identity.

Jordan continues to shine as Adonis — depicting his range as a loving father, devoted husband, yet someone whose ego and sense of “masculinity” affects his willingness to be vulnerable. Despite his lavish home and outward appearance of strength and happiness, Adonis is battling self-doubt regarding his accomplishments, exacerbated by Damian’s re-emergence and subsequent manipulation.

Having already watched Adonis ascend through the boxing ranks and manage his father’s legacy (a central theme of the previous films), it’s interesting, in theory, to watch him grapple with his fame, and recognize just how easily it could have gone the other way — although this introspection leads (unsurprisingly) back to the blunt boxing ring, the ultimate mediator. Majors proves a worthy foil in Damian, bringing a jumpy, volatile energy ensuring him and Jordan are always engaging to watch interact onscreen, ignoring the script’s clunkiness.

Thompson gives characteristic gravitas to Bianca, who plays an ancillary role to Adonis’ arc but faces her own challenges; having progressive hearing loss, she’s had to stop her singing career. Davis-Kent (who’s deaf in real life) holds her own alongside Jordan, Thompson, and Majors — making the most out of a role that’s ultimately setting the stage for a “Creed” spinoff down the road.

The bulk of the film’s issues stem from the framing of Damian as an over-the-top adversary. Damian’s a damaged man, looking for retribution against his childhood friend: they grew up together, but he took a vastly different life path, largely due to chance. With this backstory, Damian should be easy to sympathize with, but “Creed III” too often sways to extremes — depicting Damian as a taunting and merciless individual who, at times, seems less like a flesh-and-blood human being than a “big bad” for our (flawed) lead to vanquish.

By the end, “Creed III” largely eschews the moral ambiguity that was initially so interesting to deliver the usual thrills and avoid deeper insight into both Damian and Adonis’ psyches; in the end, it lacks the emotion that might take it to another level. This isn’t necessarily a bad thing, but considering the talent involved and a premise begging for more depth, the cast deserves better — especially Majors, whose versatility as a performer isn’t fully capitalized on.

For most viewers, however, “Creed III” will suffice, if not exceed expectations. The fundamentals are all there, but this story could have used another bout of training.

“Creed III” is a 2023 sports action-drama directed by Michael B. Jordan and starring Jordan, Jonathan Majors, Tessa Thompson, Mila Kent-Davis and Wood Harris. It is Rated PG-13 for intense sports action, violence and some strong language and runtime 1 hour, 54 minutes. It opened in theaters March 3. Alex’s Grade: B-.


Michael B. Jordan as Adonis Creed
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