‘Strange Loop,’ ‘MJ’ and ‘Paradise Square’ Lead Tony Nominations

‘Strange Loop,’ ‘MJ’ and ‘Paradise Square’ Lead Tony Nominations

Nominations in 26 competitive categories for the American Theatre Wing’s 75th Annual Antoinette Perry “Tony” Awards® were announced May 9 by Tony Award-winner Adrienne Warren and three-time Tony Nominee Joshua Henry. The nominees were selected by an independent committee of 29 theatre professionals appointed by the Tony Awards Administration Committee. The 2022 Tony Awards are presented by The Broadway League and the American Theatre Wing. (The list of nominations follows.)

Marking 75 years of excellence on Broadway, The Tony Awards, hosted by Ariana DeBose, will take place live from the legendary Radio City Music Hall in New York City on Sunday, June 12, 2022 (8:00 – 11:00 PM, LIVE ET/5:00 – 8:00 PM, LIVE PT) on the CBS Television Network, and streaming live and on demand on Paramount+. The celebration will commence at 7:00-8:00 PM, ET/4:00-5:00 PM, PT with exclusive content streaming only on Paramount+.

Legitimate theatrical productions opening in any of the 41 eligible Broadway theatres during the current season may be considered for Tony nominations. The 2021/2022 eligibility season began August 1, 2021 and ended Wednesday, May 4, 2022. The Tony Awards will be voted in 26 competitive categories by 650 designated Tony voters within the theatre community.

As previously announced, the 2022 Tony Honors for Excellence in the Theatre will be presented to the Asian American Performers Action Coalition (AAPAC); Broadway For All; music copyist, Emily Grishman; Feinstein’s/54 Below and United Scenic Artists, Local USA 829, IATSE. The Isabelle Stevenson Tony Award will be presented to Robert E. Wankel.

A Special Tony Award will be awarded to James C. Nicola, the Artistic Director of New York Theatre Workshop since 1988. Under his guidance, NYTW has remained steadfast to its founding commitment of nurturing emerging, mid-career and established theatre artists and promoting collaboration and bold experimentation with theatrical forms. Mr. Nicola initiated an extensive series of workshop opportunities that have continued for 25 years, including summer residencies and fellowships for artists representing a broad spectrum of cultures and backgrounds.

He forged a unique community of theatre artists, the Usual Suspects, which now boasts over 600 members and whose work has shaped our very idea of what theatre can be. As Artistic Director, Mr. Nicola has been instrumental in the development of many NYTW productions, including Jonathan Larson’s Rent; Tony Kushner’s Slavs! and Homebody/Kabul; Doug Wright’s Quills; Claudia Shear’s Blown Sideways Through Life and Dirty Blonde; Paul Rudnick’s The Most Fabulous Story Ever Told and Valhalla; Martha Clarke’s Vienna: Lusthaus; Will Power’s The Seven and Fetch Clay, Make Man; Caryl Churchill’s Mad Forest, Far Away, A Number and Love and Information; Jessica Blank and Erik Jensen’s Aftermath; Rick Elice’s Peter and the Starcatcher; Glen Hansard, Markéta Irglová and Enda Walsh’s Once; David Bowie and Enda Walsh’s Lazarus; Dael Orlandersmith’s The Gimmick and Forever; Anaïs Mitchell’s Hadestown; Heidi Schreck’s What the Constitution Means to Me; Jeremy O. Harris’s Slave Play; Sam Gold’s production of Othello; and eight productions directed by Ivo van Hove.

The 2021-2022 Tony Award Nominating Committee consists of: Warren Adams, Bob Alwine, Becky Ann Baker, Pun Bandhu, Milly Barranger, Christopher Burney, Kathleen Chalfant, Eisa Davis, Jerry Dixon, Peter Jay Fernandez, Kamilah Forbes, Scott Frankel, Maija Garcia, M L Geiger, Ann Harada, Michael Kantor, Martyna Majok, John Mauceri, Jonathan McCrory, Sheila Nevins, James C. Nicola, Peter Parnell, Rosalba Rolón, Daphne Rubin-Vega, Don Scardino, Kimberly Senior, Randy Skinner, Michael Stotts and Michael Benjamin Washington.

The Antoinette Perry “Tony” Awards are bestowed annually on theatre professionals for distinguished achievement. The Tony is one of the most coveted awards in the entertainment industry and the annual telecast is considered one of the most prestigious programs on television.

The 2022 American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing. At The Broadway League, Lauren Reid is Chair and Charlotte St. Martin is President. At the American Theater Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO.

Six

Nominations for the 2022 American Theatre Wing’s Tony Awards®

Presented by The Broadway League and the American Theatre Wing

Best Book of a Musical

Girl From The North Country

Conor McPherson

MJ

Lynn Nottage

Mr. Saturday Night

Billy Crystal, Lowell Ganz & Babaloo Mandel

Paradise Square

Christina Anderson, Craig Lucas & Larry Kirwan

A Strange Loop

Michael R. Jackson

A Strange Loop

Best Original Score (Music and/or Lyrics) Written for the Theatre

Flying Over Sunset

Music: Tom Kitt
Lyrics: Michael Korie

Mr. Saturday Night

Music: Jason Robert Brown
Lyrics: Amanda Green

Paradise Square

Music: Jason Howland
Lyrics: Nathan Tysen & Masi Asare

SIX: The Musical

Music and Lyrics: Toby Marlow & Lucy Moss

A Strange Loop

Music & Lyrics: Michael R. Jackson

Best Performance by an Actor in a Leading Role in a Play

Simon Russell Beale, The Lehman Trilogy
Adam Godley, The Lehman Trilogy
Adrian Lester, The Lehman Trilogy
David Morse, How I Learned to Drive
Sam Rockwell, American Buffalo
Ruben Santiago-Hudson, Lackawanna Blues
David Threlfall, Hangmen

Best Performance by an Actress in a Leading Role in a Play

Gabby Beans, The Skin of Our Teeth
LaChanze, Trouble in Mind
Ruth Negga, Macbeth
Deirdre O’Connell, Dana H.
Mary-Louise Parker, How I Learned to Drive

2. Billy Crystal in MR. SATURDAY NIGHT. Photo by Matthew Murphy 2022

Best Performance by an Actor in a Leading Role in a Musical

Billy Crystal, Mr. Saturday Night
Myles Frost, MJ
Hugh Jackman, The Music Man
Rob McClure, Mrs. Doubtfire
Jaquel Spivey, A Strange Loop

Best Performance by an Actress in a Leading Role in a Musical

Sharon D Clarke, Caroline, or Change
Carmen Cusack, Flying Over Sunset
Sutton Foster, The Music Man
Joaquina Kalukango, Paradise Square
Mare Winningham, Girl From The North Country

Best Performance by an Actor in a Featured Role in a Play

Alfie Allen, Hangmen
Chuck Cooper, Trouble in Mind
Jesse Tyler Ferguson, Take Me Out
Ron Cephas Jones, Clyde’s
Michael Oberholtzer, Take Me Out
Jesse Williams, Take Me Out

Best Performance by an Actress in a Featured Role in a Play

Uzo Aduba, Clyde’s
Rachel Dratch, POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive
Kenita R. Miller, for colored girls who have considered suicide/when the rainbow is enuf
Phylicia Rashad, Skeleton Crew
Julie White, POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive
Kara Young, Clyde’s

Best Performance by an Actor in a Featured Role in a Musical

Matt Doyle, Company
Sidney DuPont, Paradise Square
Jared Grimes, Funny Girl
John-Andrew Morrison, A Strange Loop
A.J. Shively, Paradise Square

Patti LuPone

Best Performance by an Actress in a Featured Role in a Musical

Jeannette Bayardelle, Girl From The North Country
Shoshana Bean, Mr. Saturday Night
Jayne Houdyshell, The Music Man
L Morgan Lee, A Strange Loop
Patti LuPone, Company
Jennifer Simard, Company

Best Scenic Design of a Play

Beowulf Boritt, POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive
Michael Carnahan and Nicholas Hussong, Skeleton Crew
Es Devlin, The Lehman Trilogy
Anna Fleischle, Hangmen
Scott Pask, American Buffalo
Adam Rigg, The Skin of Our Teeth

Best Scenic Design of a Musical

Beowulf Boritt and 59 Productions, Flying Over Sunset
Bunny Christie, Company
Arnulfo Maldonado, A Strange Loop
Derek McLane and Peter Nigrini, MJ
Allen Moyer, Paradise Square

Best Costume Design of a Play

Montana Levi Blanco, The Skin of Our Teeth
Sarafina Bush, for colored girls who have considered suicide/when the rainbow is enuf
Emilio Sosa, Trouble in Mind
Jane Greenwood, Neil Simon’s Plaza Suite
Jennifer Moeller, Clyde’s

Diana The Musical

Best Costume Design of a Musical

Fly Davis, Caroline, or Change
Toni-Leslie James, Paradise Square
William Ivey Long, Diana, The Musical
Santo Loquasto, The Music Man
Gabriella Slade, SIX: The Musical
Paul Tazewell, MJ

Best Lighting Design of a Play

Joshua Carr, Hangmen
Jiyoun Chang, for colored girls who have considered suicide/when the rainbow is enuf
Jon Clark, The Lehman Trilogy
Jane Cox, Macbeth
Yi Zhao, The Skin of Our Teeth

Best Lighting Design of a Musical

Neil Austin, Company
Tim Deiling, SIX: The Musical
Donald Holder, Paradise Square
Natasha Katz, MJ
Bradley King, Flying Over Sunset
Jen Schriever, A Strange Loop

Best Sound Design of a Play

Justin Ellington, for colored girls who have considered suicide/when the rainbow is enuf
Mikhail Fiksel, Dana H.
Palmer Hefferan, The Skin of Our Teeth
Nick Powell and Dominic Bilkey, The Lehman Trilogy
Mikaal Sulaiman, Macbeth

Best Sound Design of a Musical

Simon Baker, Girl From The North Country
Paul Gatehouse, SIX: The Musical
Ian Dickinson for Autograph, Company
Drew Levy, A Strange Loop
Gareth Owen, MJ

Best Direction of a Play

Lileana Blain-Cruz, The Skin of Our Teeth
Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Sam Mendes, The Lehman Trilogy
Neil Pepe, American Buffalo
Les Waters, Dana H.

Best Direction of a Musical

Stephen Brackett, A Strange Loop
Marianne Elliott, Company
Conor McPherson, Girl From The North Country
Lucy Moss & Jamie Armitage, SIX: The Musical
Christopher Wheeldon, MJ

Paradise Square

Best Choreography

Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Warren Carlyle, The Music Man
Carrie-Anne Ingrouille, SIX: The Musical
Bill T. Jones, Paradise Square
Christopher Wheeldon, MJ

Best Orchestrations

David Cullen, Company
Tom Curran, SIX: The Musical
Simon Hale, Girl From The North Country
Jason Michael Webb and David Holcenberg, MJ
Charlie Rosen, A Strange Loop

The Lehman Trilogy

Best Play

Clyde’s

Author: Lynn Nottage
Producers: Second Stage Theater, Carole Rothman, Khady Kamara

Hangmen

Author: Martin McDonagh
Producers: Robert Fox, Jean Doumanian, Elizabeth I. McCann, Craig Balsam, Atlantic Theater Company, Jon B. Platt, Len Blavatnik, Richard Fishman, John Gore Organization, Stephanie P. McClelland, David Mirvish, The Shubert Organization, Jamie deRoy/Sandy Robertson, Patrick Myles/Alexander ‘Sandy’ Marshall, M. Kilburg Reedy/Excelsior Entertainment, Playful Productions, The Royal Court Theatre

The Lehman Trilogy

Author: Stefano Massini, Ben Power
Producers: National Theatre, Neal Street Productions, Barry Diller, David Geffen, Kash Bennett, Lisa Burger, Caro Newling, Ambassador Theatre Group, Stephanie P. McClelland, Annapurna Theatre, Delman Whitney, Craig Balsam/Heni Koenigsberg/John Yonover, Fiery Angel/Seth A. Goldstein, Starry Night Entertainment, Gavin Kalin Productions, Paul & Selina Burdell/Bill Damaschke, 42nd.club/Phil & Claire Kenny, CatWenJam Productions, Amanda Dubois, Glass Half Full Productions, Dede Harris/Linda B. Rubin, Kallish Weinstein Creative, Kors Le Pere Theatricals LLC, James L. Nederlander, No Guarantees, Mark Pigott KBE, KStJ, Playing Field, Catherine Schreiber/Adam Zell, Tulchin Bartner Productions, Richard Winkler/Alan Shorr/Dawn Smalberg, The Shubert Organization, Independent Presenters Network, John Gore Organization, Sue Wagner, John Johnson, Jillian Robbins

The Minutes

Author: Tracy Letts
Producers: Jeffrey Richards, Rebecca Gold, Carl Moellenberg, Spencer Ross, Louise Gund, Elizabeth Armstrong, Blakeman Entertainment, HornosBerger, Across the River Productions, Stewart F. Lane/Bonnie Comley/Leah Lane, Jayne Baron Sherman, Kathleen K. Johnson, Emily Dobbs, Robert Flicker, Jacob Soroken Porter, The Shubert Organization, Steppenwolf Theatre Company

Skeleton Crew

Author: Dominique Morisseau
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove

MJ

Best Musical

Girl From The North Country

Producers: Tristan Baker & Charlie Parsons for Runaway Entertainment, Steven Lappin, Sony Music Entertainment/Sony ATV, David Mirvish, Len Blavatnik, The Dodgers, Eric & Marsi Gardiner, Dianne Roberts, John Gore Organization, Nederlander Presentations, Inc., Tommy Mottola, Independent Presenters Network, Rod Kaats, Diana DiMenna, Mary Beth O’Connor, Barbara H. Freitag, Patrick Catullo, Aaron Lustbader, The Old Vic, Matthew Warchus, Kate Varah, Georgia Gatti, The Public Theater, Oskar Eustis, Patrick Willingham, Mandy Hackett

MJ

Producers: Lia Vollack, John Branca, John McClain, Sony Pictures Entertainment, Sony Music Entertaiment, Roy Furman, Cue to Cue Productions, James L. Nederlander, Kumiko Yoshii, Naoya Kinoshita, Latitude Link, Candy Spelling, Stephen C. Byrd, John Gore Organization, Sandy Robertson, Ed Walson, Peter W. May, CJ ENM, Martin Bandier, Michael Cassel Group, Albert Nocciolino, Playful Productions, Ken Schur, Willette & Manny Klausner, Doug Morris, Michael David, Estate of Michael Jackson

Mr. Saturday Night

Producers: James L. Nederlander, Face Productions, Inc., Hunter Arnold, Michael Cohl, TEG Dainty, Candy Spelling, Steve Traxler, Marc David Levine, Caiola Productions, Crossroads Live, Jamie deRoy, Roy Furman, Arny Granat, Grove Entertainment, John Gore Organization, Wolf Gutterman, Van Kaplan, Larry Magid, Peter May, Carl Moellenberg, Beth W. Newburger, Albert Nocciolino, Eva Price, Iris Smith, The Shubert Organization, Howard Tenenbaum, Barry and Fran Weissler

Paradise Square

Producers: Garth H. Drabinsky, Peter LeDonne, Jeffrey A. Sine, Matthew C. Blank, Joe Crowley, RSR Finance LLC, Hunter & Mariana Milborne, Len Blavatnik, Joseph Coffey, Sherry Wright & Craig Haffner, Bernard Abrams, James Scrivanich, Rick Chad, Arthur M. Kraus, Broadway & Beyond Theatricals, Brian Luborsky, Gilbert & Elisa Palter, The Shubert Organization, Terry Schnuck, Urban One, Inc., Robert Wolf, Richard Stursberg, Mark W. Everson, Sanjay Govil, Jeremiah J. Harris, Amabel James, Sheila C. Johnson, Dennis Mehiel, Louise H. & John G. Beard, Henry R. Muñoz, III & Kyle Ferari Muñoz, Walter Swett, Zachary Florence, Berkeley Repertory Theatre

SIX: The Musical

Producers: Kenny Wax, Wendy & Andy Barnes, George Stiles, Kevin McCollum, Chicago Shakespeare Theater

A Strange Loop

Producers: Barbara Whitman, Pasek, Paul & Stafford, Hunter Arnold, Marcia Goldberg, Alex Levy & James Achilles, Osh Ashruf, A Choir Full Productions, Don Cheadle & Bridgid Coulter Cheadle, Paul Oakley Stovall, Jimmy Wilson, Annapurna Theatre, Robyn Coles, Creative Partners Productions, Robyn Gottesdiener, Kayla Greenspan, Grove Entertainment, Kuhn, Lewis & Scott, Frank Marshall, Maximum Effort Productions Inc., Joey Monda, Richard Mumby, Phenomenal Media & Meena Harris, Marc Platt & Debra Martin Chase, Laurie Tisch, Yonge Street Theatricals, Dodge Hall Productions/JJ Malley, Cody Renard Richard, John Gore Organization, James L. Nederlander, The Shubert Organization, RuPaul Charles, Alan Cumming, Ilana Glazer, Jennifer Hudson, Mindy Kaling, Billy Porter, Page 73 Productions, Woolly Mammoth Theatre Company, Playwrights Horizons

The Girl from North Country

Best Revival of a Play

American Buffalo

Producers: Jeffrey Richards, Steve Traxler, Stephanie P. McClelland, GFour Productions, Spencer Ross, Gemini Theatrical, Chris and Ashlee Clarke, Suna Said Maslin, Ted & Richard Liebowitz/Cue to Cue Productions, Patty Baker/Good Productions, Brad Blume, Caiola Productions, Joanna Carson, Arthur Kern, Willette Klausner, Jeremiah J. Harris and Darren P. Deverna, Van Kaplan, Patrick Myles/David Luff, Alexander Marshall, Ambassador Theatre Group, Kathleen K. Johnson, Diego Kolankowsky, Steve and Jacob Levy, Morwin Schmookler, Brian Moreland, Jacob Soroken Porter, The Shubert Organization

for colored girls who have considered suicide/when the rainbow is enuf

Producers: Nelle Nugent, Ron Simons, Kenneth Teaton, Ellen Ferguson and Vivian Phillips, Willette and Manny Klausner, Hunter Arnold, Dale Franzen, Valencia Yearwood, One Community, Audible, Dennis Grimaldi, Terry Nardozzi and Tracey Knight Narang, Grace Nordhoff/Mickalene Thomas, Angelina Fiordellisi/Caiola Productions, The Public Theater, Oskar Eustis, Patrick Willingham, Mandy Hackett

How I Learned to Drive

Author: Paula Vogel
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove, Daryl Roth, Cody Lassen, Vineyard Theatre

Take Me Out

Producers: Second Stage Theater, Carole Rothman, Khady Kamara

Trouble in Mind

Producers: Roundabout Theatre Company, Todd Haimes, Julia C. Levy, Sydney Beers, Steve Dow

Best Revival of a Musical

Caroline, or Change

Producers: Roundabout Theatre Company, Todd Haimes, Julia C. Levy, Sydney Beers, Steve Dow, Lot’s Wife, Hunter Arnold, Caiola Productions/Willette & Manny Klausner, Chambers -D’Angora/Joseph & Alyson Graci

Company

Producers: Elliott & Harper Productions, The Shubert Organization, Catherine Schreiber, Nederlander Presentations, Inc., Crossroads Live, Anapurna Theatre, Hunter Arnold, No Guarantees, Jon B. Platt, Michael Watt, John Gore Organization, Tim Levy, Grove – REG, Hornos – Mollenberg, Levine – Federman – Adler, Beard – Merrie – Robbins, LD Entertainment/Madison Wells Live, Benjamin Lowy/Roben Alive, Daryl Roth/Tom Tuft, Salmira Productions/Caiola Productions, Aged in Wood/Lee – Sachs, Berinstein – Lane/42nd.club, Boyett – Miller/Hodges – Kukieiski, Finn – DeVito/Independent Presenters Network, Armstrong – Ross/Gilad – Rogowsky, Boardman – Koenigsberg/Zell – Seriff, Concord Theatricals – Scott Sanders Productions/Abrams – May, deRoy – Brunish/Jenen – Rubin, Fakston Productions/Sabi – Lerner – Ketner, Maggio – Abrams/Hopkins – Tackel, Levy & Chauviere, Jujamcyn Theaters

The Music Man

Producers: Barry Diller, David Geffen, Kate Horton, Fictionhouse

The Music Man

Tony Nominations by Production

A Strange Loop – 11

MJ – 10

Paradise Square – 10

Company – 9

The Lehman Trilogy – 8

SIX: The Musical – 8

for colored girls who have considered suicide/when the rainbow is enuf – 7

Girl From The North Country – 7

The Music Man – 6

The Skin of Our Teeth – 6

Clyde’s – 5

Hangmen – 5

Mr. Saturday Night – 5

American Buffalo – 4

Flying Over Sunset – 4

Take Me Out – 4

Trouble in Mind – 4

Caroline, or Change – 3

Dana H. – 3

How I Learned to Drive – 3

Macbeth – 3

POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive – 3

Skeleton Crew – 3

Diana, The Musical – 1

Funny Girl – 1

Lackawanna Blues – 1

The Minutes – 1

Mrs. Doubtfire – 1

Neil Simon’s Plaza Suite – 1

Caroline, or Change

www.TonyAwards.com

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‘Hit the Road’ Is a Road Trip Film For the Ages

‘Hit the Road’ Is a Road Trip Film For the Ages

By Alex McPherson

A tender drama with plenty of gallows humor throughout, director Panah Panahi’s debut feature, “Hit the Road,” speaks to universal fears while slyly critiquing an oppressive political system.

The film centers around a family of four embarking on a road trip across the Iranian countryside. Farid (Amin Simiar), a withdrawn, soft-spoken 20-something, needs to leave the country for mostly ambiguous reasons. His grizzled father (Hassan Madjooni) has a broken leg and wry wit, occupying the backseat of their cramped van with Farid’s wildly energetic younger brother (Rayan Sarlak).

The little chap remains equal parts annoying and sweet — a shining beacon of optimism amidst the impending gloom of Farid’s separation. Farid’s brave, deeply worried mother (Pantea Panahiha) can barely contain her anxiety. Her momentary slides into hopelessness are alleviated by the strength of her familial bonds. There’s also a dying dog in the back of the van that the parents are trying to abandon, without telling the kid the truth about her condition. 

As the family members bicker, laugh, argue, and cry together, “Hit the Road” cements itself as one of 2022’s most confident, multifaceted, and tonally ingenious works thus far. Panahi, the son of legendary Iranian director Jafar Panahi (currently forbidden from leaving Iran himself), depicts a lovable group of characters navigating a situation which none of them are fully prepared for, illuminating complex human dynamics that are easy to relate to, no matter one’s culture.  

It’s striking how much nuanced character work Panahi packs into a 93-minute runtime. Dialogue, acting, cinematography, editing, and score combine to lend each interaction metaphysical weight. Indeed, the heaviness of their destination is counterbalanced by moments of often humorous connection — an equally powerful force that fights against the controlling hand of authority they’re quietly rebelling against.

With the parents providing deadpan commentary, music blaring on the speakers, and the youngest causing mischief, “Hit the Road” captures the group’s infectious energy to entertaining effect. Sardonic dialogue, particularly from the father, pokes fun at the absurdity of their circumstances yet never undermines the tragedy at the core of it all, even as viewers are left in the dark on the specifics. 

It’s also clear, however, that these moments of shared levity mask the adults’ grief. Panahi brilliantly illustrates this tension — the film can shift from hectic to profoundly melancholic in the blink of an eye, especially when characters are (briefly) alone with their thoughts. They frequently stare directly into the camera, a type of existential void, until jolted back into the present. 

Each of the central actors are astounding, with not a weak link among them. Simiar convincingly conveys Farid’s heightening fear and quiet suffering, his stoic facial expressions belying barely repressed sadness. Similarly, Panahiha is absolutely heartbreaking as his mother — vividly portraying her inner battle to maintain positivity while preparing to say goodbye to her eldest son.

Madjooni embodies his aging paternal figure with layered complexity, as his character struggles to disguise his concern through a veneer of gruff, amusingly deadpan masculinity. The real star of the show is Sarlak, whose imaginative personality and innocence becomes a grounding presence for the adults as they each gradually slide into depressed emptiness. Still, they can only shield him so long from the horrors of the world, and from changes that will permanently affect his life going forward.

Amin Jafari’s cinematography does a brilliant job at visualizing their descent into the unknown. The initially claustrophobic, tightly framed compositions take on additional meaning when the camera eventually zooms out during climactic moments — often framing subjects against expansive, fog-drenched mountain ranges that render them tiny specks in an intimidating environment; tiny specks, though, that are forever connected in the vast cosmos.

Although “Hit the Road” is occasionally too blunt in its symbolism, Panahi’s film expertly examines the psychological impacts of change, of leaving loved ones for an uncertain future, of the power of family bonds to keep us whole when others want to tear us apart. This is a story that needs to be told, and a directorial debut that bears the marks of a true master.

“Hit the Road” is a 2021 Iranian drama directed by Panah Panahi and starring Hassan Madjooni, Pantea Panahiha, Rayan Sarlak and
Amin Simiar. It runs 1 hour, 33 minutes and is in Persian with English subtitles, and is not rated. It opened in select theatres on April 22 and will be released on streaming July 19. Alex’s Grade: A.

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Sightlines: This Epidemic is a Call to Action

Sightlines: This Epidemic is a Call to Action

May 10 is National Fentanyl Awareness Day – Let’s Do Something Before More People Die

By Lynn Venhaus
Today, May 10, is National Fentanyl Awareness Day. The use of illegally-made fentanyl is fueling a national health crisis — it is an epidemic affecting all Americans, and we need to do more.

Sunday, many mothers were unable to mark their special day with their dear sons and daughters who lost their lives because of fentanyl. This is personal to so many of your friends, relatives and neighbors. It is a tragedy for families, ripped apart, ruined, broken.
More than 500,000 Americans have died from overdoses the past 20 years. Fentanyl is a factor in more half of overdose deaths. Less than 0.007% of an ounce of fentanyl causes certain death. Statistics indicate 42,700 fentanyl overdose deaths occurred in 2020.

Start with education — it is key. Fentanyl is a potent lab-made opioid, and a cheap and addictive filler getting added to illegally-made drugs at alarming rates.

People are using it unintentionally and dying from overdoses as a result. Even if you don’t use non-prescribed drugs, chances are that you know someone who has been impacted by the current crisis.

On this #NationalFentanylAwarenessDay, please learn more about the risks associated with fentanyl, and what you can do to prevent, recognize, and reverse overdoses.

From US Senator Maggie Hassan from New Hampshire:
“Granite Staters know all too well the devastating effects of the substance misuse epidemic, and as fentanyl continues to harm families and communities, we must keep raising awareness about this deadly substance. We are increasingly seeing fentanyl-laced drugs disguised as prescription drugs, which means that many Americans are unknowingly ingesting fentanyl with dire health consequences. Fentanyl Awareness Day is crucial to keeping people informed about these types of risks, and also to reduce the stigma to seeking help.

“I am heartened that addressing this crisis is not a partisan issue: I’ve worked with colleagues on both sides of the aisle to crack down on illegal drug trafficking of fentanyl and support those struggling with substance misuses. I will continue to work across the aisle to help communities stay safe in the face of this serious threat.”

Senator Hassan has led efforts to target illicit fentanyl trafficking, and the most recent annual defense bill included Senator Hassan’s bipartisan bill with Senator Pat Toomey (R-PA) to hold accountable countries such as China that are facilitating America’s fentanyl-fueled opioid crisis. The Senator recently joined a bipartisan group of colleagues in introducing legislation to implement new penalties for counterfeit pill production.

Write to DEA Administrator Anne Milgram to combat the rise of dangerous drugs such as fentanyl and methamphetamine disguised as prescription drugs.

We need to do more. We need to pressure lawmakers to do something. We must crack down on international drug trafficking and provide more resources to law enforcement to help stop the flow of illegal drugs into communities.

And if you need a Call to Action, watch the documentary “The Crime of the Century,” which is in two parts. First one is oxycontin, second one is fentanyl. Trailer:https://youtu.be/SkU75sBdjdU

More lives will be lost if people continue to look the other way.

Here are signs of overdoses:
Loss of consciousness
Unresponsive to outside stimulus
Awake, but unable to talk
Breathing is very slow and shallow, erratic, or has stopped
For lighter skinned people, the skin tone turns bluish purple, for darker skinned people, it turns grayish or ashen
Choking sounds, or a snore-like gurgling noise (sometimes called the “death rattle”)
Vomiting
Body is very limp
Face is very pale or clammy
Fingernails and lips turn blue or purplish black
Pulse (heartbeat) is slow, erratic, or not there at all

National help is also available at findtreatment.gov
Partnership to End Addiction: https://drugfree.org/get-support/
More information: https://www.hhs.gov/opioids/about-the-epidemic/index.html

Let’s help each other save some lives.

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Push Comes to Shove in WEPG’s ‘The Lonesome West’ Acting Showcase

Push Comes to Shove in WEPG’s ‘The Lonesome West’ Acting Showcase

By Lynn Venhaus

Two oil-and-water grown brothers, Valene and Coleman Connor, constantly bicker and fight like two Rock ‘em, Sock ‘em Robots – but real physical and psychological damage takes place in “The Lonesome West.”

That’s a calling card of Irish playwright Martin McDonagh, whose works, often involving dysfunction, are mostly bleak, dark, and if a pitch-black comedy, outrageously funny.

Such is the case in West End Players Guild’s hardscrabble production, running through May 8, of McDonagh’s 1997 play, part of his Connemara trilogy (Tony winner “The Beauty Queen of Leenane” and “A Skull in Connemara” being the others). It was Tony nominated for Best Play in 1999, when it transferred to Broadway.

The middle-aged brothers escalate violence over the most mundane things – such as bags of Taytos’ ‘crisps’ (chips). Think “The Odd Couple,” only more gruesome and foul-mouthed.

While McDonagh’s contemporary play is not as well-constructed as Sam Shepard’s “True West” about two battling brothers that at times, resembles a Looney Tunes’ roadrunner and coyote cartoon, the material is suitable for an acting showcase.

And WEPG rises to the challenges, with strong production values and outstanding performances.

It’s just that hurling insults gets tedious, and the story has no where to go after two and a half hours.

The amount of physicality required of Jeff Kargus as Valene and Jason Meyers as Coleman is enormous, and they are ferocious onstage, with a toughness and single-mindedness that is stunning.

Their agility in movement is matched by their full immersion into the Irish dialect, which is superb all throughout the two-act drama-comedy.

The remarkable dexterity Kargus and Meyers display as these difficult characters indicates much dedication to getting all aspects right. One must note the superb work of fight director and weapons supervisor Michael Monsey for his intense choreography.

Kargus, never better, has long passages of dialogue to deliver as the more sympathetic and dutiful brother, as Meyers’s Coleman is maniacal, likely a psychopath, has shot his father and will likely kill again – and no one would be surprised if Valene was his target.

Shades of Cain and Abel, and that is not a joke. Both are examples of arrested development, but Connor is a one-note character compared to Valene. As the hot-head, Meyers outbursts of rage quickly build in a matter of seconds, but he is not always convincing in depicting menace. He’s downright cruel about his brother’s religious figurines – and you’ll find out about the dog soon enough.

Valene isn’t entirely innocent, for they have antagonized and done horrible things to each other over the years. Kargus does a fine job conveying his character’s peculiarities perfectly, including a fascination with the old ABC western “Alias Smith and Jones,” which ran for three seasons from 1971-73, patterned after the wildly popular film “Butch Cassidy and the Sundance Kid.” Apparently, it made a huge impact on Valene as a youth (or maybe home video).

The reason it is brought up in conversation is part of a bigger discussion on suicide, and whether the individual goes to heaven or hell. The Catholic Church believes those who kill themselves do not ascend to heaven, although there is some debate.

When a rash of suicides in the small town take place, people talk. Which leads to the old TV show discussion, because actor Peter Duel, 31, died of a self-inflicted gunshot after the first season.

That’s only one of the stream-of-conscience discussions in the shabby abode where the brothers live in the rural town of Leenane, in County Galway, where there is a shocking underbelly of mayhem and far too many strange-circumstances fatalities.

Scenic designer Brad Slavik has fashioned a very specific kitchen-living room combo with splendid detail while Frank Goudsmit’s props establish how the brothers live in an old farmhouse.

Tony Anselmo’s lighting design reflects the different moods and a more unsettling nighttime, while Jenn Ciaverella manages a sharp sound design – the Chieftains’s folk music is a good choice to play before the show and during intermission.

Under Robert Ashton’s fluid direction, the ensemble works together well, with Ted Drury as the hapless local priest Father Welsh and Hannah Geisz as Girleen Kelleher. Their comic timing is crisp, as is their ability to not break character, no matter how daffy or audacious the dialogue sounds.

Drury’s booze-swilling, advice-giving priest is hell-bent on saving the brothers’ relationship, but realizes it’s hopeless, and his despair is palpable.

Ashton has included a handy reference sheet to explain some of the Irish terms, such as poteen – meaning moonshine. You’ll see the men drinking copious amounts of the hooch, which is made from potatoes.

McDonagh, an Oscar nominee for writing “Three Billboards Outside Ebbing, Missouri,” doesn’t seem to have an endgame here, which is frustrating, but at least what WEPG does with it is impressive.

Photos by John Lamb

West End Players Guild presents Martin McDonagh’s “The Lonesome West” from April 29 through May 8 at the Union Avenue Christian Church, 733 Union in the Central West End. For more information or tickets, visit westendplayers.org

The West End Players Guild is employing touchless ticketing, socially-distanced seating and indoor masking of all patrons, front of house staff and volunteers.

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Gogh with Mom: Free Admission with Paying Family Member and Diapers

Gogh with Mom: Free Admission with Paying Family Member and Diapers

This Mother’s Day Weekend, families can take Mom to the most popular exhibition in St. Louis for free.

Just bring a standard-sized package of diapers or disposable toddler training pants to the exhibition and Mom gets in for free along with a family member’s paid admission.

The Mother’s Day Diaper Drive benefits the St. Louis Area Diaper Bank and is valid from Thursday, May 5 through Mother’s Day, Sunday, May 8, 2022.

Tickets are available now at www.vangoghstlouis.com. The exhibition will be open from noon until 7 p.m. on Thursday May 5; noon until 8 p.m. on Friday, May 6; 10 a.m. until 8 p.m. on Saturday, May 7; and 10 a.m. until 6 p.m. on Sunday, Mother’s Day, May 8.

Founded in 2014, the St. Louis Area Diaper Bank collects, stores, and distributes 250,000 free diapers per month to struggling families through a network of 56 community, nonprofit, educational and health care partners serving low-income women and children. These diapers are obtained via local diaper drives, in-kind donations, and by purchasing diapers directly with donated funds. To date more than 5.1 million diapers have been distributed in St. Louis including nearly 900,000 diapers during the height of the pandemic.

WHAT: GOGH WITH MOM: A Mother’s Day Weekend Diaper Drive at Beyond Van Gogh to benefit the St. Louis Area Diaper Bank.
WHERE: The Starry Night Pavilion on the grounds of the Saint Louis Galleria. 
TICKETS: www.vangoghstlouis.com

EXHIBITION DETAILS: During the exhibition, guests are completely immersed in more than 300 of the greatest works of post-Impressionist artist Vincent Van Gogh. The art is liberated from its two-dimensional limitations into a three-dimensional experience that exhilarates every sense and brings to life one of the most influential artists the world has known.

Beyond Van Gogh: The Immersive Experience (www.vangoghstlouis.com), has sold more than two million tickets globally ad more than 205,000 tickets in St. Louis, making it one of the most popular current traveling exhibitions.

Cinematic Van Gogh exhibitions have crossed the ocean from European cities to North America and have met with great critical acclaim and sold-out audiences in every market. Beyond Van Gogh: The Immersive Experience continues to amaze audiences and will continue its extended run in St. Louis before moving across North America. Art lovers near and far will have the opportunity to live this truly unique and unforgettable experience.

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MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

By Lynn Venhaus
“Doctor Strange in the Multiverse of Madness” should be titled “The Madness of the Multiverse” instead, for expect a mélange of the mystical, the mind-bending, the mysterious – and the messy — in the long-awaited Marvel Cinematic Universe sequel.

Dense Marvel superhero lore is its imprint, for where the Marvel Cinematic Universe has been and where it wants to go is factored into each of their movies, tying things together (but these days, keeping up is getting to be a bigger chore in a very crowded field).

This latest entry picks up where the superior smash-hit “Spider-Man: No Way Home” left off, and it helps if you saw it – and the innovative 2021 limited series “WandaVision” on Disney+ .Dr. Stephen Strange cast a forbidden spell that opens the doorway to the multiverse, including alternate versions of himself, and pushes the boundaries in “Doctor Strange in the Multiverse of Madness.”  

“Doctor Strange 2” is very inside for Marvel fanatics, who delight with every surprise and cameo, but for the casual viewers, it’s a struggle to sustain interest when things aren’t exploding or moving fast through different realities (or fantasies, take your pick).

The commanding Benedict Cumberbatch reprises his role as smart, sophisticated, sardonic surgeon Stephen Strange, whose origin story in 2016 was one of the best surprises of that year.

The medical marvel turned weird wizard has gone on to appear in the final two “Avengers” films – was among those lost in the ‘blip’ – and then played a major role in the third Tom Holland-led Spidey, where he messed with reality (“I did what I had to do”) and caused cataclysmic events.

This next MCU chapter connects other comic-book characters, those we’ve seen before and new to the screen, as well as presenting alternate versions of themselves, as the multiverse gets more of a workout. Cumberbatch gets to have three looks, including a grotesque zombie-like creature, but usually struts or flies around in his double-duty red cape looking powerful.

Elisabeth Olsen as Wanda

This sequel cuts to the chase right away, but then eventually breaks down in logic because the trippy visuals overtake the storytelling. This results in just another computer-generated spectacle overstuffed with electrical currents, disgusting monsters with gigantic tentacles, flying chunks of concrete and portals leading to other universes and dimensions.

Directed by the inventive Sam Raimi, a horror film auteur mostly known for the creepy and campy “Evil Dead” movies, he puts the dark in‘the dark hold,” heaps more fire and brimstone on, and adds more blood and gore to his Marvel canvas.

This is his first superhero movie since the Spider-Man trilogy he did with Tobey Maguire as Peter Parker in 2002, 2004 and 2007, and his first movie since the disappointing “Oz the Great and Powerful” in 2013.

The cast is fine — stalwart Benedict Wong returns as “Sorcerer Supreme” Wong, Rachel McAdams plays the good doctor’s ex-girlfriend Christine with a new role in one of the parallel universes, and newcomer Xochitl Gomez is the plucky America Chavez who can traverse between the universes. They also walk in and out of dreams.

The Illuminati is mentioned – which used to mean a secret society supposedly masterminding current events and conspiring to control world affairs, but now has other superheroes in the mix (?).

Besides battling big ugly demons, Strange’s main nemesis is The Scarlet Witch, aka Wanda Maximoff, who yearns to be a mother to two little boys in an alternate reality, but can’t because the good doctor won’t let her upset the universe further. Chaos ensues, but what is the end game exactly? Wanda has been good before, but now she is bad. Elisabeth Olsen is compelling showing both sides of the conflicted character.

The very name “science fiction” implies that it will bend time and space and logic as we know it, but it must make some sort of sense for people to be able to follow it.

Michael Waldron’s script is cumbersome in translating the comic book characters created by Stan Lee and Steve Ditko for the big green screen treatment. And while the visuals get high marks, the emotional connections needed to elevate the film aren’t there. And what is the “Book of Vishanti” anyway?

Waldron, who created “Loki,” tries to juggle too many characters, realities, magic mumbo-jumbo and constant leaping through time and space to have any kind of linear cohesiveness. While it’s fun to journey to a few different worlds in this genre, this is an overload that ardent fans will embrace — but others not so much.

I can’t tell where this genre adventure is going, but I’m caring less and less. Initially intrigued by the Doctor Strange character six years ago, have we come to the end of the road, or can he stand out enough moving forward?

“Doctor Strange in the Multiverse of Madness” is a 2022 action-adventure superhero sequel directed by Sam Raimi and starring Benedict Cumberbatch, Elisabeth Olsen, Benedict Wong, Rachel McAdams and Xochitl Gomez. Rated: PG-13 for intense sequences of violence and action, frightening images and some language, it runs 2 hours, 6 minutes. Opens in theatres May 6. Lynn’s Grade: C.

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Gerry and Kay Love to Co-Host AFL’s Best Performance Awards June 12

Gerry and Kay Love to Co-Host AFL’s Best Performance Awards June 12

Early Bird Ticket Price Good Through May 12

Two versatile professional performers well-known in community theater circles and support for the arts community, Gerry and Kay Love, have been named co-hosts of this year’s Best Performance Awards.

After a two-year absence, Arts For Life will return to a live and in-person awards ceremony June 12, and tickets are now available for the formal afternoon event at the Frontenac Hilton.

Through AFL, the BPAs have honored musical theater in community and youth productions in the St. Louis and metro-east Illinois area since 2000, after the nonprofit organization was founded a year earlier.

Kay Love has won nine BPAs, all in the acting categories, the third most overall in the organization’s history, and has been nominated 29 times, a record for actresses.

Gerry Love has been nominated 12 times and won as the Narrator in Kirkwood Theatre Guild’s production of “Into the Woods” in 2000, for best performance in a non-singing role.

Kay Love in Stray Dog Theatre’s ” Ragtime”

They both have been nominated for St. Louis Theater Circle Awards, which recognizes excellence in regional professional theater.

“We are thrilled to be the hosts of the 2022 BPA’s.  We were involved with Arts For Life at its inception and are so happy to see how it has grown over the years. After two years of sitting on our couch, we will be ecstatic to spend the afternoon with so many dear friends!” Kay Love said.

AFL President Mary McCreight praised the Loves’ fervent support of the local arts community as well as their talent.

“They are definitely in the cream of the crop in St. Louis,” McCreight said. “They have a rich history in musicals, plays, concerts, and benefits.”

Plans For This Year’s Event

The 22nd Best Performance Awards will be at 2 p.m. on Sunday, June 12, at the Frontenac Hilton, Clayton Ballroom, 1335 S Lindbergh Blvd., St. Louis 63131.

This year’s BPAs include nominees from the shortened 2020 and 2021 theater seasons. Songs from musicals nominated for large ensemble, small ensemble and youth productions will be performed, with Diane Hanisch returning as music director.

Kimmie Kidd-Booker

Kimmie Kidd-Booker, a past BPA winner, current AFL board member, and professional entertainer, will perform “Show People” from the musical “Curtains” as the opening number.

“So happy to see the enthusiasm among theater groups for recognizing excellence among their peers and cheering each other on. It was a tough year to get out there, rehearse, and be among crowds. But through their diligence and willpower, the magic happened. Let’s celebrate!” McCreight said.

The Theatre Mask Awards, which have honored drama and comedy plays since 2015, were held April 9 at a brunch ceremony.

Because of the coronavirus public health crisis, AFL held its BPAs and TMAs ceremonies virtually in 2020, while BPAs were not held in 2021, but TMAs were virtually, and in a smaller capacity.

Prior to the pandemic, 15 theater groups and 10 youth-only groups participated in the BPAs while 11 were involved in the TMAs. As the region’s mitigations efforts were ongoing the past two years, only four youth-only groups and nine community theater organizations produced BPA-eligible musicals while seven participated in TMAs in 2021.

BPA Nominations

Thirteen groups received nominations for 16 musical productions in 2020 and 2021.

The Gateway Center for the Performing Arts led all groups with 25 nominations in total for their youth musicals “Annie” and “Cabaret”– 14 for “Annie” and 11 for Kander-Ebb’s “Cabaret.”

Goshen Theatre Project in Collinsville, Ill., earned 16 nominations –with 11 for “Disney’s The Beauty and the Beast” and five for “Nunsense.”

The Kirkwood Theatre Guild in Kirkwood, Mo., has 12 for the musical adaptation of the animated fairy tale “Shrek,” while Take Two Productions earned 10 for their regional premiere of the Tony Award-winning musical “Fun Home.”

Hawthorne Players received eight for the jukebox musical comedy “The Marvelous Wonderettes” and Monroe Actors Stage Company has seven for the Mel Brooks’ musical adaptation “Young Frankenstein.”

Looking Glass Players garnered a total of seven – The Tony Award 2014 winner for best musical, “A Gentleman’s Guide to Love & Murder” received four and the jukebox musical comedy “Rock of Ages” has three.

A complete list of nominees is available at: https://nebula.wsimg.com/5ec987b8d5580ca0c11ed016e97ce1a6?AccessKeyId=901C1079C3BABD637603&disposition=0&alloworigin=1

Tickets $20 Through May 12 or $25 After

Formal attire is requested, and the event will be general admission theater-style seating. A cash bar will be available.

BPA tickets are either $20 as an early bird pricing before May 12, or $25 after that until June 12. They are available online with a service fee of $2 added: https://arts-for-life-2.square.site/.

Reservations can be arranged through the mail and tickets can be picked up at the venues on event day. Please make check payable to ARTS FOR LIFE and mail to PO Box 16426, St. Louis, MO 63125.

All BPA ticket orders will be held at the box office unless a self-addressed stamped envelope is included with ticket order. If ordering for a group, please attach a list of individual names for box office pick-up.

Please contact afltrg@artsforlife.org if you have any special seating needs or COVID-19 related concerns. Handicapped seating is available

Community theater organizations who produced shows and were eligible for BPA Awards consideration during the specified time period include Christ Memorial Productions, Dayspring Arts and Education, Gateway Center for the Performing Arts, Goshen Theatre Project, Hawthorne Players, Kirkwood Theatre Guild, KTK Productions, Looking Glass Playhouse, Monroe Actors Stage Company, O’Fallon Theatre Works, Over Due Theatre, Spotlight Productions and Take Two Productions.

For more information or to see a list of nominees, visit the website at www.artsforlife.org

Kay Love

The Loves

The Loves, who live in Sunset Hills, met onstage at the Florissant Civic Center in 1994 and have been married for 25 years.

“We both have been singing all of our lives,” Kay said.

Gerry began acting in high school in Norman, Okla., in the dancing chorus of “Oklahoma” in 1969 and appeared in four more shows during those school days. After a 12-year hiatus, he returned to stages in Dallas, Texas, between 1982 and 1986. His first St. Louis production was in “42nd Street” at Hawthorne Players in 1988, and he was involved in their shows for 20 years. He also performed at other local venues, amateur and professional. Besides performing, he directed four shows, one for Alpha Players and three for Hawthorne.

Kay, a St. Louis native, has been in shows since seventh grade (“You’re A Good Man, Charlie Brown”), graduated from Lindbergh High School, and attended Southern Illinois University Edwardsville and Texas Christian University.

She performed on the Muny stage in 1985 and 1987, including four shows as an Equity actress – “My Fair Lady,” “Peter Pan,” “Around the World in 80 Days” and “Fiddler on the Roof.” She was also in two later concert versions of “The Desert Song” and “The Merry Widow.”

Kay has created and performed three solo cabaret shows. For many years, she has sung with The Jeweltones and Caroling St. Louis.

An avid photographer since 2007, Gerry has shot photos of 50 community theater and university productions, plus dance concerts and actor headshots, and produced videos. He is currently the primary photographer for Webster University’s Department of Dance. He also served on the boards for Kirkwood Theatre Guild and Hawthorne during his time in St Louis.

The Loves have sung at Carnegie Hall and have appeared with the St. Louis Symphony Chorus during multiple seasons.  

Gerry Love in “The Mystery of Edwin Drood” at Stray Dog Theatre

Making a Dramatic Difference

Arts For Life is dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.

Nominations were announced Jan. 22 at AFL’s annual Trivia Night, which was a virtual event during heightened COVID-19 cases earlier this winter. They are listed on the website, www.artsforlife.org.

Starting in mid-March 2020, productions were postponed and canceled during the coronavirus pandemic, and safety precautions have been a priority for performers and performances because of the coronavirus public health crisis. Now that vaccines and COVID-19 tests are available, stage work has returned, and theaters are no longer dark.

“While we did about half the usual number of shows in 2021, it did not diminish Arts for Life’s vision for a community recognition program,” McCreight said

“These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” she said.

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Union Avenue Opera Returns to Its Home Stage for 28th Festival Season

Union Avenue Opera Returns to Its Home Stage for 28th Festival Season

.Union Avenue Opera announces three new garden concerts taking place this spring.

This summer, Union Avenue Opera will make its highly anticipated return to its home stage within the historic Union Avenue Christian Church at 733 N. Union Blvd, just north of the intersection of Union and Delmar Boulevards.

Known for its commitment to presenting operas in their original language, Union Avenue Opera will offer a three opera festival season opening with Tchaikovsky’s masterpiece, Eugene Onegin (July 8, 9, 15, 16) which last appeared on the UAO stage in 2003 to great critical acclaim. The season will also see the return of Verdi’s riotous Italian romp Falstaff (July 29, 30, August 5, 6) which the company last produced in 2005. Rounding out the 2022 season will be the UAO debut of Stephen Sondheim and Hugh Wheeler’s charming A Little Night Music (August 19, 20, 26, 27).

“Moving back to our home stage after these harrowing two years away is a joyful outcome to the uncertainty we have faced during this pandemic” said UAO Founder and Artistic Director Scott Schoonover. “Our first two productions are personal and audience favorites from our 28 years of producing opera – Tchaikovsky’s Eugene Onegin and Verdi’s Falstaff. These new, vivacious productions welcome back to our stage many returning artists and several debut singers. Director Octavio Cardenas will make his UAO debut with Eugene Onegin bringing his own special brand of visceral, physical directing to the UAO stage. Jon Truitt returns to direct Falstaff (Jon’s favorite
opera) with his proven comedic style, and Maestro Stephen Hargreaves will return to the UAO pit.”

“Our third production is a company and composer debut with Stephen Sondheim’s A Little Night Music. I’ve wanted to bring this show to UAO for many years and am so thrilled it is finally happening!” said Schoonover. “Annamaria Pileggi will return to direct this stellar cast headlined by St. Louis’ own Debby Lennon as Desirée. It is a wonderful story with so much memorable music which finishes up a season that certainly offers something for everyone! I know we say often, but this one is truly a season not to be missed – it is chock-full of amazing voices, actors, orchestra and stage technicians eager to get back to great storytelling on the intimate UAO stage.”
Single tickets range from $35 to $55 and are available at unionavenueopera.org or by calling 314-361-2881. Discounts are available for Seniors (65+), Military/Educator, and Young Audiences (under 18). All performances start at 8:00PM and free parking is available in the lots behind the venue and overflow parking is available on the street. 

Pytor Ilyich Tchaikovsky’s: EUGENE ONEGIN

July 8, 9, 15, 16 at 8:00PM
Presented in Russian with projected English supertitles
Conducted by Scott Schoonover
Directed by Octavio Cardenas
Libretto by Konstantin Shilovsky and Pytor Ilyich Tchaikovsky

A cautionary tale of what was, what was not, and what could have been.
Tatyana, a lovesick girl from the countryside, declares her love for Onegin and finds herself spurned by the disenchanted aristocrat. Onegin, indifferent to the feelings of others, disregards Tatyana’s advances to pursue Olga, his friend Lensky’s betrothed. A duel commences and Onegin finds himself victorious albeit deeply tormented. He returns years later to find Tatyana happily married to Prince Gremin. Struck by her beauty, Onegin declares his love
for her only to find himself face to face with the folly of his naïveté. Eugene Onegin is a sophisticated and melancholy masterpiece by one of classical music’s most universally beloved composers. Tchaikovsky’s lush melodies are enhanced by the opera’s unique folk tunes, infectious waltzes, and passion-soaked arias bringing to
life Alexander Pushkin’s verse novel like never before.

Under the baton of Artistic Director Scott Schoonover, Robert Garner (Nabucco, Nabucco) and William Davenport (Hoffmann, Les contes d’Hoffmann) will return to UAO in their role debuts as Onegin and Lensky respectively. No stranger to the role of Tatyana, Zoya Gramagin will make her UAO debut alongside Andrew W. Potter as Prince Gremin. Melody Wilson (Fenena, Nabucco and Mrs. Miller, Doubt) will return as Olga along with local artists Debbie Stinson as Madama Larina, Victoria Carmichael as Filippyevna, Marc Schapman as Triquet, and Benjamin Worley as Zaretsky. This will be acclaimed stage director Octavio Carendas’ UAO directorial debut. Patrick Huber will provide scenic and lighting design with costume design by Teresa Doggett.

Eugene Onegin – Robert Garner
Tatyana – Zoya Gramagin*
Lensky – William Davenport
Olga – Melody Wilson
Filippyevna – Victoria Carmichael
Madame Larina – Debbie Stinson
Prince Gremin – Andrew W. Potter*
Monsieur Triquet – Marc Schapman
Zaretsky – Benjamin Worley

Giuseppe Verdi’s: FALSTAFF

July 29, 30, August 5, 6 at 8:00PM
Presented in Italian with projected English supertitles
Conducted by Stephen Hargreaves
Directed by Jon Truitt
Libretto by Arrigo Boito

Drink. Cheat. Scheme. Repeat. Just don’t get caught unaware…
Old, lecherous, and down on his luck, Sir John Falstaff can’t resist the ladies. The fool hatches a plan to reverse his ill-fortune and sets his sights on not one, but two married women. Sharper than they look, Alice and Meg discover the odious Falstaff’s plan to unceremoniously seduce them and trick them out of their fortunes. The women band together and with the help of Nannetta and Dame Quickly, they concoct a scheme to teach him a lesson he’ll never forget and to put him in his place once and for all. Add in a jealous husband, a pair of young lovers, and a touch of the supernatural and what ensues is a sophisticated comedy filled with failed plans and botched disguises. Verdi’s riotous romp Falstaff bubbles with irrepressible wit and charm in this adaptation of Shakespeare’s The Merry Wives of Windsor.

On the heels of last summer’s company debut, Robert Mellon (Figaro, Il barbiere di Siviglia) will lead the cast of returning artists as Sir John Falstaff. No stranger to the UAO stage Brooklyn Snow (the Heroines, Les contes d’Hoffmann, and Cunegonde, Candide) will be reunited with her Candide co-star, Jesse Darden (Candide) as the two young lovers, Nannetta and Fenton. St. Louis-based husband and wife duo Jacob Lassetter and Karen Kanakis will portray Ford and his wife Alice for the production as Janara Kellerman (Rosina, Il barbiere di Siviglia) returns as Dame Quickly, and Melody Wilson will again be seen on the UAO stage, this time in her role debut as Meg Page. A trio of St. Louis based artists round out the cast with Clark Sturdevant as Bardolfo, Mark Freiman as Pistola, and Anthony Heinemann as Dr. Caius. Stephen Hargreaves conducts while Jon Truitt directs. Lex Van Bloomestein’s set designs and Teresa Doggett’s costume designs will be enhanced by Patrick Huber’s lighting design.

Sir John Falstaff – Robert Mellon
Alice Ford – Karen Kanakis
Ford – Jacob Lassetter
Nanetta – Brooklyn Snow
Fenton – Jesse Darden
Dame Quickly – Janara Kellerman
Meg Page – Melody Wilson
Bardolfo – Clark Sturdevant
Pistola – Mark Freiman
Dr. Caius – Anthony Heinemann

Stephen Sondheim’s: A LITTLE NIGHT MUSIC

August 19, 20, 26, 27 at 8:00PM
Presented in English with projected English supertitles
Conducted by Scott Schoonover
Directed by Annamaria Pileggi
Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Orchestrations by Jonathan Tunick
Suggested by a Film by Ingmar Bergman
Originally Produced and Directed on Broadway by Harold Prince

Lovers reunite, passions reignite, and new romance blossoms in the magic of music on a mid-summer’s night.

A Little Night Music explores the tangled web of affairs centered around the glamorous actress Desirée Armfeldt and the two married men who love her: a lawyer by the name of Frederik Egerman and Count Carl-Magnus Malcom.

Both men—as well as their jealous wives—agree to join Desirée at her family’s estate for a scandalous “Weekend in the Country” under the watchful eyes of the wry family matriarch and harmonizing Greek chorus. With music and lyrics by Stephen Sondheim and book by Hugh Wheeler, it is no wonder A Little Night Music won the Tony Award for Best Musical. From the romance of the night waltzes to the hauntingly beautiful “Send in the Clowns,” Sondheim’s sweeping score is infused with humor and warmth weaving together musical theatre and operetta seamlessly in this tantalizing tale.

Debby Lennon (Mrs. Mullin, Carousel) returns to the UAO stage to lead this stunning cast as Desirée Armfeldt under the direction of Annamaria Pileggi, and Scott Schoonover conducts. Also returning to the UAO stage are Peter Kendall Clark (Older Thompson, Glory Denied) and Brooklyn Snow, who makes her second appearances of the season, as the newly married Frederick and Anne Egerman. Eric J. McConnell makes his UAO stage debut as Count Carl-Magnus Malcolm and Leann Schuering (Josephine, H.M.S. Pinafore) as his wife Charlotte. Local actor Teresa Doggett, best known for her work as UAO’s costume designer for the past fifteen seasons, makes her UAO stage debut as the matriarch Madame Armfeldt alongside Amy Maude Helfer as the restless maid Petra and Arielle Pedersen as the young Fredrika. A bevy of St. Louis talent round out the cast including James Stevens as Henrik Egerman, Jordan Wolk as the butler Frid, and Grace Yukiko Fisher, Gina Malone, Sarah Price, Joel Rogier, and Philip Touchette as the “Liebeslieders”. C. Otis Sweezey will provide scenic design for A Little Night Music along with costume design by Teresa Doggett and lighting design by Patrick Huber.

Desirée Armfeldt – Debby Lennon
Frederick Egerman – Peter Kendall Clark
Count Carl-Magnus Malcolm – Eric J. McConnell*
Charlotte Malcolm – Leann Schuering
Madame Armfeldt – Teresa Doggett*
Anne Egerman – Brooklyn Snow
Henrik Egerman – James Stevens
Petra – Amy Maude Helfer*
Fredrika – Arielle Pedersen*
Mrs. Nordstrom – Gina Malone
Mrs. Anderssen – Grace Yukiko Fisher
Mrs. Segstrom – Sarah Price*
Mr. Erlanson – Philip Touchette
Mr. Lindquist – Joel Rogier
Frid – Jordan Wolk

A Little Night Music is presented through special arrangement with Music Theatre International (MTI). All authorized
performance materials are also supplied by MTI. www.mtishows.com
*UAO stage debut

Opera in the Garden
In anticipation of the season, UAO will bring classic opera front and center in its 2022 Opera in the Garden – Garden Concert Series Fundraiser this spring. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor in the fall of 2020 for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic. Each concert will feature two UAO artists from the upcoming season performing an eclectic and entertaining selection of arias, art songs and musical theatre favorites, and will showcase a scholarship winner from UAO’s 2022 CRESCENDO! program along with a guest instrumentalist from UAO’s talented opera orchestra.

Sunday, May 8 at 5:00PM
Our opening concert will take place on Mother’s Day and headlined by two singing moms – Gina Malone and Danielle Yilmaz – celebrating the day with us with some wonderful music and fun. Guest artists Raven Brooks, soprano, from Blackburn College and UAO principal flutist, Ann Dolan will join pianist Sandra Geary for this perfect Mother’s Day afternoon. The backdrop for our first concert is the beautiful lawn of the 1959 home of CK Siu and Shannon Hart which sits on what used to be the Krause farm in Ladue.

Sunday, May 22 at 5:00PM
Our second concert takes us to the grounds of the former Rand Mansion, now the home of University City mayor, Terry Crow. Artists Sarah Price, Mark Freiman and Nancy Mayo will lead this concert, along with guest soprano, Erica Ancell from Webster University and UAO principal horn player, Nancy Schick, who will team up with Ms. Price and Ms. Mayo for a not-to-be-missed special performance of Schubert’s Auf dem Strom D. 943.

Sunday, June 5 at 5:00PM
The 2022 Garden Concert Series concludes with a return to the beautiful flower-filled garden of the University City home of Richard and Mary Ann Shaw. Grace Yukiko Fisher, Philip Touchette and Nancy Mayo will entertain us with opera and musical theatre fun, and guest artists Madalyn Tomkins, soprano, from Webster University, and Carolina Neves, violinist will round out this beautiful afternoon.

Fundraiser tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales).

About Union Avenue Opera

UAO was founded in 1994 to bring affordable, professional, original-language opera t St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in
Missouri.

Financial assistance for the 2022 Festival Season has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission

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Romantic Comedy ‘Dear Jack, Dear Louise’ at New Jewish Theatre

Romantic Comedy ‘Dear Jack, Dear Louise’ at New Jewish Theatre

The J’s New Jewish Theatre will continue its 24th season in June with the romantic comedy, Dear Jack, Dear Louise from June 9 – 26, 2022. The show follows the tremendous success of the season’s last show, Laughter on the 23rd floor.

“I am so pleased to present the regional premier of Ken Ludwig’s sweet and earnest love story,” said artistic director Eddie Coffield.

Molly Burris

The production will be directed by Sharon Hunter, artistic director of Moonstone Theatre Company and is making her NJT directorial debut.

The show will feature a talented two-person cast, NJT veteran Ryan Lawson Maeske as Jack and Molly Burris, who will be making her NJT debut, as Louise.

The creative team is comprised of Dunsi Dai on scenery, David LaRose on lighting, Amanda Were on sound and Michele Siler on costumes.

Ryan Lawson-Maeske

“I am thrilled to be making my NJT directing debut, “said Sharon Hunter. “I am honored to help tell the real-life story of two people who fall in love while corresponding during WWII. My family worked for the USO for over 15 years and both my mother and grandmother corresponded with loved ones serving in the military during WWII and Vietnam. This play is very close to my heart,” she said.

Dear Jack, Dear Louise is inspired by the playwright’s parents romance as pen pals during World War II.

The play chronicles the romance that spans the duration of World War II between a young military doctor, stationed in Medford, Oregon, and other places, and a budding young actress whose career hopes have taken her all the way from Brooklyn to Manhattan. Given the distance between them, the only way they can conduct, let alone evolve, their relationship is through letters, exchanged at times at breakneck pace and at other times with frustrating, worrisome slowness.

The show will premiere at The J’s Wool Studio Theatre at 2 Millstone Campus Drive in St. Louis. Individual tickets for the show are $47-$54. Season tickets and flex passes, which feature a five-ticket package customized to the ticket holder’s preference are available through the Box Office, by phone 314-442-3283 or online at newjewishtheatre.org. Masks must always be worn properly covering the nose and mouth during all New Jewish Theatre productions.

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4 Hands Brewery Celebrates Free Comic Book Day With Special Label

4 Hands Brewery Celebrates Free Comic Book Day With Special Label

 In celebration of Free Comic Book Day and as an homage to the superheroes in our community, 4 Hands Brewery has created a new comic-themed label for their popular State Wide hazy pale ale. A percentage of sales will be donated to the St. Louis Public Library on behalf of this project. Expect to see the limited edition can launching Saturday, May 7 for Free Comic Book Day.

“We’re so excited to partner with 4 Hands on this year’s State Wide fundraising effort,” says Martin Casas, owner of Apotheosis Comics & Lounge. “Raising money for library systems in the state helps true heroes in our community – librarians who provide a vital role of giving families access to education and a world beyond their imagination. As comic book shops, we’re in the same business.” 

“Martin approached us with this idea of creating a label to highlight the fun we could have in bringing one of our can’s art to life thru an inspired label,” said Kevin Lemp, CEO of 4 Hands Brewing Co. “We reached out to Jason Spencer with Killer Napkins to take our State Wide art label and use his creativity to create a story on our can. We cannot wait to share what he created with the community!”

Free Comic Book Day (FCBD) has been a tradition in the comic book community for the last 20 years. Each year, hundreds of customers show up to shops and are offered a selection of free comics as a way to bring in new customers young and old. “It’s fitting we are helping raise money for libraries in our state because like FCBD, libraries are often the first place readers discover comics,” said Casas. “Since the pandemic started in 2020, this will be the first year we’ve been able to hold a proper FCBD so this partnership is a great way to bring in a new element and introduce customers to comics.” 

The limited edition can will be available at 4  Hands Brewing Co., local retailers and at Apotheosis Comics & Lounge located at 3206 S. Grand Blvd. and 3359 S. Jefferson Ave. For more information, visit www.apotheosiscomicsstl.com. 

4 Hands Brewing Co. is located at 1220 S. 8th Street in the heart of downtown St. Louis. 4 Hands provides the craft beer enthusiast a handcrafted portfolio inspired by the American craft movement as well as traditional Belgian and French style Farmhouse ales. The use of wine and spirit barrels containing an array of fruit, herbs and spices in conjunction with wild yeast strains enhances the flavors to produce a one-of-a-kind beer. Visit the tasting room, take a tour, and enjoy creative pub fare seven days a week. For more information about the brewery visit www.4handsbrewery.com.  

Photo by Heidi Drexler

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