By Lynn Venhaus

It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.

When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.

Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.

I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.

But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”

To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.

The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.

So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.

When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.

I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)

Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.

Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.

Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.

There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.

Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.

Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.

The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”

I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…

If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.

Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).

And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!

This Year’s Awards

Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.

Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend).
Here’s my assessments on 2023 output. Gushing will ensue.

Production of the Year: “It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis

The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”

Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.

Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.

This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.

Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.

After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.

A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.

It warmed the heart. And perhaps was an omen for the future.

Companies of the Year: The Muny (large) and Albion Theatre (small)

I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.

The 105^th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.

Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.

That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.

Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.

You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.

Artist of the Year: Joe Hanrahan

Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13^th show at the City Winery last November.

He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”

A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.

Producers of the Year: Taylor Gruenloh and Rebekah Scallet

Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”

His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.

Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.

Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.

Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.

Touring Production of the Year: “To Kill a Mockingbird,” The Fox.

I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.

(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)

My Ten Favorite A&E Things of 2023
(Most of these took place in the summer. Hmmm…)

1. Barbenheimer at the movie theaters
2. The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
3. The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
4. The outstanding youth productions I saw last summer:
   “Grease” by Ignite Theatre Company
   “Sweeney Todd” by Debut Theatre Company
   “Bare: A Pop Opera” by Gateway Center for the Performing Arts

Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.

5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.

6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.

7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.

8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre

9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.

10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.

THE MVPs
(must have been in two or more shows this year, not a rookie, and whose presence made a difference)

Bridgette Bassa
Sarajane Clark
Kevin Corpuz
Rae Davis
Ricki Franklin
Joseph Garner
Marshall Jennings
Ryan Lawson-Maeske
Debby Lennon
Kevin O’Brien
Jane Paradise
Reginald Pierre
Michael James Reed
Sean Seifert
Ron Strawbridge

ONES TO WATCH

DeAnte Bryant
Hannah de Oliveira
Evann DeBose
Joey File
Nick Freed
Lindsey Grojean
Alexander Huber
Drew Mizell
Kenya Nash
TJ Staten Jr.
James Stevens
Claire Wenzel (now Coffey)

DYNAMIC DUOS and TERRIFIC TRIOS

Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries”
Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep
Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre
J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep
Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild
Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre
Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company
John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio
Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company
Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild
Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company
Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny
Vincent Klemski and Lincoln Clauss in “Rent,” The Muny
Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny
Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals
Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny
Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny

BRINGING THE HOUSE DOWN

(Best Musical Numbers)

1. De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
2. John Riddle singing “Anthem” in “Chess” at The Muny
3. Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
4. John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
5. Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
6. The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
7. Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
8. Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
9. Christian Douglas singing “Maria” in “West Side Story” at The Muny
10. The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).

BEST YOUTH PERFORMERS

1. Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
2. Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
3. Michael Hobin “Disney’s Beauty and the Beast,” The Muny
4. Cameron Hadley, “Caroline or Change,” Fly North Theatricals
5. Malachi Borum, “Caroline or Change,” Fly North Theatricals
6. Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
7. Jada Little “The Piano Lesson,” Encore! Theatre Group
8. Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
9. Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre

BEST NEW PLAYS

1. “One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
2. “Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
3. “This Palpable Gross Play,” SATE
4. “See You in a Minute,” Contraband Theatre
5. “In Bloom,” New Play Festival, Tesseract Theater Company
6. “The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
7. “Feminine Energy,” Mustard Seed Theatre
8. “From the Garden,” Wee Laddie Theatrics
   
   

BEST COMEDY PRODUCTIONS

1. Clue – Stages St. Louis
2. Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
3. The Birthday Party – Albion Theatre
4. Gruesome Playground Injuries – The Repertory Theatre of St. Louis
5. Broadway Bound – New Jewish Theatre
6. Merry Wives – St. Louis Shakespeare Festival Touring Company
7. This Palpable Gross Play – SATE
8. Outside Mullingar – West End Players Guild
9. A Midsummer Night’s Dream – St Louis Shakespeare
10. Murder on the Orient Express – The Repertory Theatre of St. Louis

BEST DRAMA PRODUCTIONS

1. It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
2. The Immigrant – New Jewish Theatre
3. The Lion in Winter – The Midnight Company
4. Uncle Vanya – St Louis Actors’ Studio
5. The Lehman Trilogy – The Repertory Theatre of St. Louis
6. Skeleton Crew – The Black Repertory Theatre of St Louis
7. What the Constitution Means to Me – Max and Louie Productions
8. Mindgame – Albion Theatre
9. Doubt: A Parable – Prism Theatre Company
10. Gloria: A Life – New Jewish Theatre

BEST MUSICAL PRODUCTIONS

1. Caroline, or Change – Fly North Theatricals
2. West Side Story – The Muny
3. Into the Woods – New Jewish Theatre
4. Eubie! – The Black Rep
5. Million Dollar Quartet – Stages St. Louis
6. Disney’s The Beauty and the Beast – The Muny
7. Beautiful: The Carole King Musical– The Muny
8. Chess – The Muny
9. Q Brothers A Christmas Carol – St Louis Shakespeare Festival
10. Kinky Boots – Tesseract Theatre Company

BEST SUPPORTING ACTRESS IN A COMEDY

1. Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
2. Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
3. Zoe Vonder Haar, Clue, Stages St. Louis
4. Annalise Webb, Absent Friends, Albion Theatre
5. Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
6. Anna Langdon, Absent Friends, Albion Theatre
7. Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
8. Diana DeGarmo, “Clue,” Stages St. Louis
9. Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
10. Kristen Strom, “This Palpable Gross Play,” SATE

BEST SUPPORTING ACTOR IN A COMEDY

1. Chuck Winning, The Birthday Party, Albion Theatre
2. Nick Freed, The Birthday Party, Albion Theatre
3. Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
4. Bryce A Miller, The Nerd, Moonstone Theatre Company
5. Chuck Brinkley, Broadway Bound, New Jewish Theatre
6. Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
7. Charlie Franklin, Clue, Stages St. Louis
8. Bob Harvey, Broadway Bound, New Jewish Theatre

BEST ACTRESS IN A COMEDY

1. Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
2. Colleen Backer, Outside Mullingar, West End Players Guild
3. Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
4. Teresa Doggett, The Birthday Party, Albion Theatre
5. Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
6. Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
7. Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
8. Nicole Angeli, Absent Friends, Albion Theatre
9. Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio

BEST ACTOR IN A COMEDY

1. Mark Price, Clue, Stages St. Louis
2. Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
3. Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
4. Brian Slaten, Gruesome Playground Injuries, The Rep
5. Jacob Flekier, Broadway Bound, New Jewish Theatre
6. Jason Meyers, Outside Mullingar, West End Players Guild
7. Armando Duran, Murder on the Orient Express, The Rep
8. Joneal Joplin, Grand Horizons, Moonstone Theatre Company
9. Ted Drury, The Birthday Party, Albion Theatre
10. Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio

BEST SUPPORTING ACTRESS IN A DRAMA

1. Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
2. Rae Davis, Feminine Energy, Mustard Seed Theatre
3. Mindy Shaw, The Immigrant, New Jewish Theatre
4. Rhiannon Creighton, Doubt, Prism Theatre Company
5. Ashley Bauman, The Years, The Midnight Company
6. Nicole Angeli, Mindgame, Albion Theatre Company
7. Kelly Howe, See You in a Minute, Contraband Theatre Company

BEST SUPPORTING ACTOR IN A DRAMA

1. Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
2. David Wassilak, The Immigrant, New Jewish Theatre
3. Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
4. Joey File, The Years, Midnight Company
5. John Wolbers, The Lion in Winter, The Midnight Company
6. Joel Moses, The Lion in Winter, The Midnight Company
7. Joseph Garner, See You in a Minute, Contraband Theatre
8. Brian McKinley, Skeleton Crew, The Black Rep

BEST ACTRESS IN A DRAMA

1. Alicia Reve Like, The Light, The Black Rep
2. Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
3. Lavonne Byers, The Lion in Winter, The Midnight Company
4. Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
5. Kate Durbin, Doubt, Prism Theatre Company
6. Ricki Franklin, See You in a Minute, Contraband Theatre Company
7. Velma Austin, Skeleton Crew, The Black Rep
8. Jenni Ryan, Gloria: A Life, New Jewish Theatre
9. Tiffany Oglesby, Confederates, The Rep
10. Erin Rene Roberts, Feminine Energy, Mustard Seed Theatre

BEST ACTOR IN A DRAMA

1. Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
2. John Contini, Barrymore, St. Louis Actors’ Studio
3. John Pierson, Uncle Vanya, St Louis Actors’ Studio
4. Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
5. Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
6. Nick Freed, Mindgame, Albion Theatre
7. Chuck Winning, Mindgame, Albion Theatre
8. Kelvin Roston Jr, Twisted Melodies, The Rep
9. Olajuwon Davis, Skeleton Crew, The Black Rep
10. Xavier Scott Evans, Confederates, The Rep

BEST SUPPORTING ACTRESS IN A MUSICAL

1. Diana DeGarmo, Aida, Stages St. Louis
2. Taylor Louderman, Chess, The Muny
3. Kimmie Kidd-Booker, 9, New Line Theatre
4. Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
5. Jerusha Cavazos, West Side Story, The Muny
6. Katie Geraghty, Sister Act, The Muny
7. Jackie Burns, Beautiful The Carole King Musical, The Muny
8. Sarah Gene Dowling, Into the Woods, New Jewish Theatre
9. Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
10. Jenny Mollet, Aida, Stages St. Louis
11. Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
12. Grace Langford, Into the Woods, Stray Dog Theatre

BEST SUPPORTING ACTOR IN A MUSICAL

1. Jarrod Spector, Beautiful The Carole King Musical, The Muny
2. Phil Leveling, Into the Woods, New Jewish Theatre
3. Duane Foster, Caroline or Change, Fly North Theatricals
4. Ken Page, West Side Story, The Muny
5. Jon Hey, Into the Woods, Stray Dog Theatre
6. Ryan Vasquez, Little Shop of Horrors, The Muny
7. Albert Jennings, Aida, Stages St Louis
8. Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
9. Adrian Villegas, Rent, The Muny
10. Drew Mizell, Into the Woods, Stray Dog Theatre
11. James T. Lane, Sister Act, The Muny
12. Claybourne Elder, Disney’s Beauty and the Beast, The Muny

BEST ACTRESS IN A MUSICAL

1. De-Rance Blaylock, Caroline or Change, Fly North Theatricals
2. Sara Sheperd, Beautiful The Carole King Musical, The Muny
3. Molly Wennstrom, Into the Woods, New Jewish Theatre
4. Bryonha Marie, Sister Act, The Muny
5. Melissa Felps, The Mad Ones, Tesseract Theatre Company
6. Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
7. Guinevere Govea, Spells of the Sea, Metro Theatre Company
8. Jessica Vosk, Chess, The Muny

BEST ACTOR IN A MUSICAL (Male or NonBinary)

1. John Riddle, Chess, The Muny
2. Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
3. Ben Crawford, Disney’s Beauty and the Beast, The Muny
4. Robin De Jesus, Little Shop of Horrors, The Muny
5. Drew Mizell, Saturday Night Fever, Stray Dog Theatre
6. Kevin O’Brien, Into the Woods, New Jewish Theatre
7. Christian Douglas, West Side Story, The Muny
8. Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
9. Cole Guttman, 9, New Line Theatre

BEST ENSEMBLE IN A COMEDY

1. Clue, Stages St. Louis
2. The Birthday Party, Albion Theatre
3. Who’s Afraid of Virginia Woolf? Stray Dog Theatre
4. Broadway Bound, New Jewish Theatre
5. The Brechtfast Club, ERA
6. A Midsummer Night’s Dream, St Louis Shakespeare
7. This Palpable Gross Play, SATE
8. Absent Friends, Albion
9. Murder on the Orient Express, The Rep
10. Vampire Lesbians of Sodom, Stray Dog Theatre

BEST ENSEMBLE IN A DRAMA

1. It’s A Wonderful Life: Live Radio Play, The Rep
2. The Immigrant, New Jewish Theatre
3. Uncle Vanya, St. Louis Actors’ Studio
4. The Lion in Winter, The Midnight Company
5. The Lehman Trilogy, The Rep
6. Skeleton Crew, The Black Rep
7. Wrens, Prism Theatre Company
8. Doubt: A Parable, Prism Theatre Company
9. Feminine Energy, Mustard Seed Theatre

BEST ENSEMBLE IN A MUSICAL

1. Caroline, or Change, Fly North Theatricals
2. Eubie! The Black Rep
3. Disney’s Beauty and the Beast, The Muny
4. Million Dollar Quartet, Stages St Louis
5. Q Brothers Christmas Carol, St Louis Shakespeare Festival
6. West Side Story, The Muny
7. Into the Woods, New Jewish Theatre
8. Into the Woods, Stray Dog Theatre
9. Spells of the Sea, Metro Theatre Company
10. Rent, The Muny
    (tie) Sister Act, The Muny

BEST LIGHTING DESIGN IN A COMEDY

1. Sean M. Savoie, Clue, Stages St. Louis
2. Anshuman Bhatia, Gruesome Playground Injuries, The Rep
3. Jason Lynch, Murder on the Orient Express, The Rep
4. John Wylie, Twelfth Night, St Louis Shakespeare Festival
5. Erik Kuhn, This Palpable Gross Play, SATE

BEST LIGHTING DESIGN IN A DRAMA

1. Christina Watanabe, It’s a Wonderful Life, The Rep
2. Xavier Pierce, Twisted Melodies, The Rep
3. Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
4. Jayson M. Lawshee, Skeleton Crew, The Black Rep
5. Eric Wennlund, Mindgame, Albion Theatre

BEST LIGHTING DESIGN IN A MUSICAL

1. Rob Denton, Chess, The Muny
2. Sean M Savoie, Million Dollar Quartet, Stages St. Louis
3. Herrick Goldman, Aida, Stages St. Louis
4. Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
5. Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
6. Jasmine Williams, Eubie!, The Black Rep
7. Heather Gilbert, Rent, The Muny

BEST VISUAL PROJECTIONS

1. Alex Bosco Koch, Chess, The Muny
2. Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
3. Kylee Loera, Beautiful The Carol King Musical, The Muny

BEST SOUND DESIGN IN A COMEDY

1. Beef Gratz, Clue, Stages St. Louis
2. Kareem Deames, Broadway Bound, New Jewish Theatre

BEST SOUND DESIGN IN A DRAMA

1. Michael Costagliola, It’s a Wonderful Life, The Rep
2. Kareem Deames, The Immigrant, New Jewish Theatre
3. G Glausen, Twisted Melodies, The Rep
4. Jacob Baxley, Mindgame, Albion Theatre

SPECIAL MENTIONS
Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre
Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre
Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID
Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets

BEST COSTUME DESIGN IN A COMEDY

1. Brad Musgrove, Clue, Stages St. Louis
2. Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
3. Fabio Toblini, Murder on the Orient Express, The Rep
4. Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
5. Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre

BEST COSTUME DESIGN IN A DRAMA

1. Liz Henning, The Lion in Winter, The Midnight Company
2. Michelle Friedman Siler, The Immigrant, New Jewish Theatre
3. An-Lin Dauber, It’s a Wonderful Life, The Rep
4. Sam Hayes, Wrens, Prism Theatre Company
5. Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio

BEST COSTUME DESIGN IN A MUSICAL

1. Robin McGee, Disney’s Beauty and the Beast, The Muny
2. Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
3. Brad Musgrove, Aida, Stages St Louis
4. Marc W. Vital III, Eubie!, The Black Rep
5. Michelle Friedman Siler, Into the Woods, New Jewish Theatre
6. Zachary Phelps, Kinky Boots, Tesseract Theatre
7. Leon Dobkowski, Sister Act, The Muny

BEST SCENIC DESIGN IN A DRAMA

1. An-Lin Dauber, It’s a Wonderful Life, The Rep
2. Sara Brown, The Lehman Trilogy, The Rep
3. Nina Ball, Confederates, The Rep
4. Margery and Peter Spack, Skeleton Crew, The Black Rep
5. Matt Stuckel, Doubt, Prism Theatre Company
6. (tie) James Wolk, Suddenly Last Summer

BEST SCENIC DESIGN IN A COMEDY

1. Tim Macabee, Murder on the Orient Express, The Rep
2. Lee Savage, Clue, Stages St Louis
3. Dunsi Dai, Grand Horizons, Moonstone Theatre Company
4. Margery and Peter Spack, Broadway Bound, New Jewish Theatre
5. Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
6. Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival

BEST SCENIC DESIGN IN A MUSICAL

1. Edward E Haynes Jr., Chess, The Muny
2. Rob Lippert, Godspell, Stray Dog Theatre
3. Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
4. C. Otis Sweezey, Into the Woods, New Jewish Theatre
5. Adam Koch, Million Dollar Quartet, Stages St Louis
6. Kristen Robinson, Little Shop of Horrors, The Muny
7. Tim Jones, Eubie! The Black Rep
8. Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
9. Ryan Douglass, Beautiful The Carole King Musical, The Muny

BEST CHOREOGRAPHY

1. Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
2. Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
3. Mike Hodges, Saturday Night Fever, Stray Dog Theatre
4. Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
5. Maggie Nold, Kinky Boots, Tesseract Theatre Company
6. Parker Esse, West Side Story, The Muny (original choreography reproduced)
7. Denis Jones, Sister Act, The Muny
8. Luis Salgado, Aida, Stages St. Louis
9. Patricia Wilcox, Beautiful, The Muny
10. Tyler White, Go, Dog, Go!, Metro Theater Company

BEST MUSICAL DIRECTOR

1. Colin Healy, Caroline or Change, Fly North Theatricals
2. James Moore, West Side Story, The Muny
3. Larry D. Pry, Into the Woods, New Jewish Theatre
4. Charlie Alterman, Beautiful the Carole King Musical, The Muny
5. Leah Schultz, Saturday Night Fever, Stray Dog Theatre
6. David Sonneborn, Million Dollar Quartet, Stages St. Louis
7. Jason DeBord and Michael Horsley, Chess, The Muny
8. Leah Schultz, Into the Woods, Stray Dog Theatre

BEST DIRECTOR OF A COMEDY

1. Steve Bebout, Clue. Stages
2. Alan Knoll, Broadway Bound, New Jewish
3. Suki Peters, The Birthday Party, Albion
4. Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
5. Lucy Cashion, The Brechtfast Club, ERA
6. Becks Redman, Gruesome Playground Injuries, The Rep
7. Gary Wayne Barker, The Nerd, Moonstone Theatre Company

BEST DIRECTOR OF A DRAMA

1. Kate Bergstrom, It’s a Wonderful Life, The Rep
2. Carey Perloff, The Lehman Trilogy, The Rep
3. Rebeka Scallet, The Immigrant, New Jewish Theatre
4. Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
5. Tom Kopp, The Lion in Winter, The Midnight Company
6. Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre

BEST DIRECTOR OF A MUSICAL

1. John Tartaglia, Disney’s Beauty and the Beast. The Muny
2. Robert Quinlan, Into the Woods, New Jewish Theatre
3. Josh Rhodes, Chess, The Muny
4. Brian McKinley, Caroline or Change, Fly North Theatricals
5. Justin Been, Into the Woods, Stray Dog Theatre
6. Rob Ruggiero, West Side Story, The Muny

Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.