Fly North’s Original Musical ‘Big Machine’ Displays Captivating Music, Crowded Narrative

Fly North’s Original Musical ‘Big Machine’ Displays Captivating Music, Crowded Narrative

By Lynn Venhaus

‘Sticking it to the man’ is a familiar theme in narrative and nonfiction works, but the Fly North Theatricals’ original musical “Big Machine” is not ordinary in any way.

With its multiple moving parts, this is a dense historical story based on true events in the 1920s, and by their own findings, largely forgotten.

This tale of two “Ethyls” – Ethyl alcohol fuel and Ethyl leaded gasoline, which were touted as anti-knock fuels in the 1920s, may need a tutorial about its rise and fall, and the harm inflicted. (By all means, Google it.)

Part “Mad Men,” part revisit of the first ‘Red Scare’ of communism (not to be confused with the later hysteria fanned in the 1940s and 1950s), and overall, a shocking news-making corporate scandal of putting profits above the public’s safety.

This controversy requires utmost attention, and while trying to connect the dots, it is easy to be distracted by workplace issues that don’t seem to be a necessary component.

Fly North has been working on this project for a long time, first commissioned by COCA in 2022. With revisions over the past two years, and a staged reading this April, the company finally mounted this ambitious, mature work that is clearly a labor of love. The effort is there, but the outcome can’t surmount the overstuffed narrative issues.

Al Bastin with the Ethylettes. Photo by Ian Gilbert.

It is the star headline event in the St. Louis Fringe Festival, with performances Aug. 2-18.

Colin Healy wrote the music and lyrics, which display an intricate and intelligent knowledge of music storytelling. A devotee of Stephen Sondheim, his flair for rhyming is admirable, and his orchestrations give the score a rich, layered sound.

He has directed an impressive band: Fiona Brickey and Mo Carr on violins, Christopher Bachmann on cello (Aug. 2-4) and Marie Brown on cello (Aug. 8-18), Josh Baumgartner and Joseph Hendricks on reeds, Jacob Mreen on bass, Joe Pastor on percussion and Healy on keyboard and guitar besides conducting.

His colleague and business partner Bradley Rohlf deftly directed the deeply committed cast, which has devoted much time to this production, and it’s staged on a broad canvas.

Healy, who has written three other original musicals, including “Gringo,” “Madam,” and “Forgottonia,” founded his company in 2019, and has worked both as a musician and educator. He and Rohlf are fearless in tackling challenges and inspire a creative collaboration with new and veteran artists.

In this show, the loyalty to what Fly North is attempting is tangible, and the performers exude concern for the material they are presenting. Yet, Healy’s libretto has confusing multiple storylines that complicate the subplots, especially if viewers are unfamiliar with the historical content.

The action mostly takes place at an oil refinery in Bay of Fortune, Indiana, a division of the General Motors Chemical Company. Caleb Long’s efficient set design includes multiple parts that double as the workplace, backroom shelves, and the Olsen home.

Commanding attention is Al Bastin as an animated villain, aka “The Man Who Harmed the World the Most,” and their talents are considerable. They play Thomas Midgely Jr., who was vice president of General Motors Chemical Company and a chemical engineer who introduced a new “miracle product” that they hoped would boost declining auto sales.

A powerful vocalist, they seize control of this ethically challenged executive in an opening number, “It Works,” giving off a carnival barker vibe. Their expert salesmanship is on display in a very funny production number, “The Miracle of Corn,” in the second act, and his desperate attempt to prove the naysayers wrong in “Another Miracle.”

Photo by Ian Gilbert.

Midgely winds up a sad, pathetic figure by the time his number “Alone” closes the show. Bastin has poured their heart and soul into this role, a star-making turn.

It is unusual for a pegged ‘bad boy’ to be the lead, but not unheard of – think “Sweet Smell of Success,” “Jekyll & Hyde,” the psychotic boyfriend in “Heathers the Musical,” and even the obsessed “The Phantom of the Opera.”

But the odious character isn’t balanced by other decent characters that resonate. A widowed father, Ernest (Parker Miller), is flawed – bad employee, bad dad, alcoholic and unstable. It’s difficult to connect to him and the neglect of his sweet genius daughter, Grace (Maliah Strawbridge), is reason enough not to care.

Father and daughter sing “Can You Imagine” as an introduction to their characters. Grace, a child prodigy, has fiddled with an engine – but even that is hard to figure out.

They seem to be making excuses in his musical numbers, such as “I Never Imagined…” and “Alone, Together.” Miller’s singing voice is much stronger than his acting, for it’s hard to generate sympathy for the character because of all his bad decisions.

A romance with “Ethyl” is murky, and Mack Holtman, coyly playing this mysterious character, is clothed in black (Angel of Death?).

Parker Miller as Ernest Olsen. Photo by Ian Gilbert.

The timeline is wobbly, but here goes: Workers at the oil factory are shown as disgruntled laborers trying to get by, with Rosie (Lili Sheley) and Gilda (Corinna Redford, a spunky standout) the disrupters. They sing “The Communist Manifesto.”

A corporate ‘yes’ middleman, Methuselah (Christopher Plotts) is assured he’ll get a promotion if he rats out Communists in the work force. After the Russian Revolution of 1917, fear of anarchy and leftist radicals spread, and labor strikes were on the rise. This was framed as immigrants trying to bring down the American way of life, so corporations tried to identify workers who criticized the government.

Plotts, another character whose ‘woe is me’ attitude is ineffective, displays a soulful voice in the number “Pity the Middleman’ that further prolongs the inevitable corporate crash.

Disgruntled workers, plus labor unrest, plus corporate greed are the bulk of the action – and Ernest wasting time not working. We go back five years to a couple GM board room scenes. And a strange number “Crazy (A Brief History)” involves a bizarre Greek-chorus of a centurion (Marcus Agrippa), Queen Elizabeth I, her courtiers and reporters that add another layer of tedium.

The ensemble plays various characters – refinery workers, GM board members, dancing corn, and chorus girls: Michael Reitano, Langston Casey, Carly Fock, Dereis Lambert, Jordan Woods, Chelsie Johnston and Emma Giltner. Fight choreographer Morgan Clark handles a workers’ brawl.

Act 1 culminates in an energetic dance number, “Big Machine,” which is skillfully choreographed by Jordan Woods.

Christopher Plotts as Methuselah. Photo by Ian Gilbert.

If the first act raises many questions, the second act has too many loose ends to adequately tie everything together. In resolving how Midgely’s ambitions crashed, a parallel story is how a workplace accident involving Ernest’s daughter settles to his advantage. While we root for Midgely’s comeuppance, Ernest’s resolution is not earned.

Eileen Engel’s costume design fits the period and the characters, Kel Rohlf’s prop design includes a bathtub, and Tony Anselmo’s lighting design effectively sets the atmosphere.

Phillip Evans’ sound design is blaring, with characters trying to be louder than the performers they are interacting with, or next to on stage. This may be overcompensation because of recent issues Tesseract Theatre Company had at the Marcelle last month.

While the music score has promise, the story is unsatisfying and far too complicated to invest in, despite performers trying very hard to sell it.

Fly North Theatricals presents “Big Machine” in two acts with one 15-minute intermission, and the run time is 2 hours and 15 minutes. Performances are at 7:30 p.m. Aug. 9-11 and Aug. 13-17, with 2 p.m. matinees on Aug. 17-18, at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center. For more information or tickets, visit www.flynorthmusic.com

The ensemble. Photo by Ian Gilbert.

The Muny, New Jewish Theatre, The Rep and Stages St. Louis Lead in 11th Annual St. Louis Theater Circle Awards

The Muny, New Jewish Theatre, The Rep and Stages St. Louis Lead in 11th Annual St. Louis Theater Circle Awards

Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023

ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.

“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.

Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.

A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.

The nominees for the 11th annual St. Louis Theater Circle Awards are:

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Diana DeGarmo, “Clue,” Stages St. Louis
Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival
Christina Rios, “Broadway Bound,” The New Jewish Theatre
Zoe Vonder Haar, “Clue,” Stages St. Louis

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 
Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre
Charlie Franklin, “Clue,” Stages St. Louis
Nick Freed, “The Birthday Party,” Albion Theatre
Bryce A. Miller, “The Nerd,” Moonstone Theatre Company
Chuck Winning, “The Birthday Party,” Albion Theatre

Outstanding Performer in a Comedy, Female or Non-Binary Role 
Colleen Backer, “Outside Mullingar,” West End Players Guild
Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Sarah Burke, “Grand Horizons,” Moonstone Theatre Company
Teresa Doggett, “The Birthday Party,” Albion Theatre
Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild

Outstanding Performer in a Comedy, Male or Non-Binary Role 
Jacob Flekier, “Broadway Bound,” The New Jewish Theatre
Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company
Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company
Jason Meyers, “Outside Mullingar,” West End Players Guild
Mark Price, “Clue,” Stages St. Louis

Outstanding Lighting Design in a Play 
Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis
Jayson M. Lawshee, “Skeleton Crew,” The Black Rep
Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Sean M. Savoie, “Clue,” Stages St. Louis
Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis

Outstanding Sound Design 
G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis
Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Beef Gratz, “Clue,” Stages St. Louis
Amanda Werre, “Into the Woods,” The New Jewish Theatre

Outstanding Costume Design in a Play |
Daryl Harris, “Death of a Salesman,” The Black Rep
Liz Henning, “The Lion in Winter,” The Midnight Company
Brad Musgrove, “Clue,” Stages St. Louis
Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre
Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis

Outstanding Set Design in a Play 
Nina Ball, “Confederates,” The Repertory Theatre of St. Louis
An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival
Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Lee Savage, “Clue,” Stages St. Louis

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 
Nicole Angeli, “Mindgame,” Albion Theatre
Velma Austin, “Death of a Salesman,” The Black Rep
Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company
Kelly Howe, “See You in a Minute,” Contraband Theatre
Mindy Shaw, “The Immigrant,” The New Jewish Theatre

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 
Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater
Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio
Chauncy Thomas, “Death of a Salesman,” The Black Rep
David Wassilak, “The Immigrant,” The New Jewish Theatre
John Wolbers, “The Lion in Winter,” The Midnight Company

Outstanding Performer in a Drama, Female or Non-Binary Role 
Lavonne Byers, “The Lion in Winter,” The Midnight Company
Kate Durbin, “Doubt: A Parable,” Prism Theatre Company
Ricki Franklin, “See You in a Minute,” Contraband Theatre
Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions
Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis

Outstanding Performer in a Drama, Male or Non-Binary Role 
John Contini, “Barrymore,” St. Louis Actors’ Studio
Ron Himes, “Death of a Salesman,” The Black Rep
Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre
Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio
John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio

Outstanding New Play 
“Action,” by Colin McLaughlin, Action Art Collaborative
“In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company
“One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio
“The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts
“See You in a Minute,” by Jacob Juntunen, Contraband Theatre 

Outstanding Achievement in Opera 
Janai Brugger, “Susannah,” Opera Theatre of Saint Louis
Teresa Doggett, “Don Pasquale,” Union Avenue Opera
Gemma New, “Susannah,” Opera Theatre of Saint Louis
Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis
Patricia Racette, “Susannah,” Opera Theatre of Saint Louis

Brandie Inez Sutton as Treemonisha and the chorus of “Treemonisha” by Scott Joplin, reimagined by composer Damien Sneed and librettist Karen Chilton. Photo © Eric Woolsey

Outstanding Production of an Opera 
“Don Pasquale,” Union Avenue Opera
“Ragtime,” Union Avenue Opera
“Susannah,” Opera Theatre of Saint Louis
“Treemonisha,” Opera Theatre of Saint Louis
“The Turn of the Screw,” Union Avenue Opera

Outstanding Musical Director 
Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny
Colin Healy, “Caroline, or Change,” Fly North Theatricals
James Moore, “West Side Story,” The Muny
Larry D. Pry, “Into the Woods,” The New Jewish Theatre
David Sonneborn, “Million Dollar Quartet,” Stages St. Louis

Outstanding Choreographer 
Denis Jones, “Sister Act,” The Muny
Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company
Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny
Josh Rhodes, “Chess,” The Muny
Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 
Jackie Burns, “Beautiful: The Carole King Musical,” The Muny
Jerusha Cavazos, “West Side Story,” The Muny
Diana DeGarmo, “Aida,” Stages St. Louis
Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre
Taylor Louderman, “Chess,” The Muny

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 
Jonathan Hey, “Into the Woods,” Stray Dog Theatre
Phil Leveling, “Into the Woods,” The New Jewish Theatre
Ken Page, “West Side Story,” The Muny
Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis
Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny

Outstanding Lighting Design in a Musical 
Herrick Goldman, “Aida,” Stages St. Louis
Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre
Jason Lyons, “Disney’s Beauty and the Beast,” The Muny
Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis

Outstanding Set Design in a Musical 
Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny
Edward E. Haynes, Jr., “Chess,” The Muny
Rob Lippert, “Godspell,” Stray Dog Theatre
Kristen Robinson, “Little Shop of Horrors,” The Muny
C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre

Outstanding Costume Design in a Musical 
Leon Dobkowski, “Little Shop of Horrors,” The Muny
Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre
Robin McGee, “Disney’s Beauty and the Beast,” The Muny
Brad Musgrove, “Aida,” Stages St. Louis
Marc. W. Vital III, “Eubie!,” The Black Rep

Outstanding Performer in a Musical, Female or Non-Binary Role 
De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals
Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company
Bryonha Marie, “Sister Act,” The Muny
Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny
Molly Wennstrom, “Into the Woods,” The New Jewish Theatre

Outstanding Performer in a Musical, Male or Non-Binary Role 
Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company
Ben Crawford, “Disney’s Beauty and the Beast,” The Muny
Robin de Jesus, “Little Shop of Horrors,” The Muny
Kevin O’Brien, “Into the Woods,” The New Jewish Theatre
John Riddle, “Chess,” The Muny

Outstanding Ensemble in a Comedy 
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“The Brechtfast Club,” ERA
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis

Outstanding Ensemble in a Drama 
“Death of a Salesman,” The Black Rep
“The Immigrant,” The New Jewish Theatre
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“The Lion in Winter,” The Midnight Company

Outstanding Ensemble in a Musical 
“Caroline, or Change,” Fly North Theatricals
“Disney’s Beauty and the Beast,” The Muny
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“Q Brothers Christmas Carol,” St. Louis Shakespeare Festival

Outstanding Director of a Comedy 
Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company
Steve Bebout, “Clue,” Stages St. Louis
Alan Knoll, “Broadway Bound,” The New Jewish Theatre
Suki Peters, “The Birthday Party,” Albion Theatre
Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis

Outstanding Director of a Drama 
Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis
Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio
Rebekah Scallet, “The Immigrant,” The New Jewish Theatre
Jacqueline Thompson, “Death of a Salesman,” The Black Rep

Outstanding Director of a Musical 
Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny
Brian McKinley, “Caroline, or Change,” Fly North Theatricals
Robert Quinlan, “Into the Woods,” The New Jewish Theatre
Josh Rhodes, “Chess,” The Muny
John Tartaglia, “Disney’s Beauty and the Beast,” The Muny

Outstanding Production of a Comedy 

“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
“The Birthday Party,” Albion Theatre
“Broadway Bound,” The New Jewish Theatre
“Clue,” Stages St. Louis
“Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre

Outstanding Production of a Drama 
“Death of a Salesman” The Black Rep
“It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
“The Immigrant,” The New Jewish Theatre
“The Lehman Trilogy,” The Repertory Theatre of St. Louis
“Uncle Vanya,” St. Louis Actors’ Studio

Outstanding Production of a Musical 
“Aida,” Stages St. Louis
“Caroline, or Change,” Fly North Theatricals
“Into the Woods,” The New Jewish Theatre
“Million Dollar Quartet,” Stages St. Louis
“West Side Story,” The Muny

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com);  Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

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.

The Lehman Trilogy at The Rep

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.

Spencer Kruse and Jacob Flekier in “Broadway Bound”

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.

The 145s

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!

Into the Woods at New Jewish Theatre

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.

It’s A Wonderful Life: Live Radio Play at The Rep

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.

“The Birthday Party” at Albion Theatre

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 105th 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.

“Disney’s Beauty and the Beast” at The Muny

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.

Joe Hanrahan of The Midnight Company

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 13th 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.

“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch

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.

Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis

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.

TJ Staten Jr. in “It’s a Wonderful Life’

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)

J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep

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

De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals

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).
Meredith Aleigha Wells in “Sister Act” at The Muny


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
“Feminine Energy” by Myra L. Gary at Mustard Seed 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

“Clue” at Stages St Louis

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
“The Immigrant” at New Jewish Theatare

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
“Million Dollar Quartet” at Stages St Louis

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
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival

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
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre

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
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild

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
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions

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
Alicia Reve Like and Eric J. Conners in “The Light” at 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
Will Bonfiglio in “Every Brilliant Thing” at New Jewish 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
Kimmie Kidd-Booker in “9” at New Line Theatre

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
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio

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
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”

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
The Brechtfast Club at ERA

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
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep

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
“Chess” at The Muny

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
“Murder on the Orient Express” at The Rep


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

“Eubie!” at The Black Rep

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
“Kinky Boots” at Tesseract Theatre Company

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
“Skeleton Crew” at The Black Rep

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
“Saturday Night Fever” at Stray Dog Theatre

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
“Uncle Vanya” at St Louis Actors’ Studio

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.

“Little Shop of Horrors” at The Muny
“West Side Story” at The Muny

Pop du Jour: The September Issue

Pop du Jour: The September Issue

By Lynn Venhaus

After a brief hiatus, we’re back with our round-up of people, places, and events in the St. Louis region, a tad behind in posting our September/summer swan song.

IN COMES COMPANY: Stephen Sondheim’s groundbreaking musical “Company” – the female-led revival that won the Tony in 2022, kicks off its 25-city national tour on Oct. 8 in Schenectady, N.Y., with the St. Louis stop Feb. 27-March 10 at the Fox Theatre.

Belleville native Ann Beyersdorfer, associate set designer for the Broadway revival, worked with production designer Bunny Christie, who won her fourth Olivier Award for the London production design. And she’s on the team that has been preparing the hilarious and sophisticated show for the road.

(Three-time Tony Award winner Jack Lane, co-founder and executive producer emeritus of Stages St. Louis, was one of the Broadway show’s co-producers.)

Ann was back in town this summer, as scenic designer for “Disney’s Beauty and the Beast” and “West Side Story” at The Muny, and I was fortunate to interview her then for the Belleville News-Democrat.

https://news.yahoo.com/belleville-native-designs-sets-broadway-120000176.html

For a deeper dive into the mechanics of getting a Broadway show transferred to the road, read about her journey here on PopLifeSTL.com:

A winner of best set design of a play for “Afterglow” at the Los Angeles Drama Critics Circle Awards, she’ll be part of the team taking the production to London Oct. 17–Nov. 24, with an official opening Oct. 22.

And as an art director on the visual shorts for “Saturday Night Live,” hopefully you will be able to see more of her work when the show resumes on Oct. 14. You may have seen the elaborate “HBO Mario Kart Trailer” she worked on when Emmy-nominated Pedro Pascal hosted.

Cheers to Ann and the tour launch! (We’ll drink to that!). For more information, visit: https://companymusical.com/

Nichelle Lewis, Wayne Brady

BRAND NEW DAY: “The Wiz,” the 1974 super-soul musical adaptation of L. Frank Baum’s beloved children’s novel “The Wizard of Oz,” which was given a reworking for The Muny’s 2018 season, is Broadway-bound in 2024, with St. Louis-connected producers, but this new revival is touring first. Opening night was Sept. 23 at the Hippodrome Theatre in Baltimore, and the reviews were raves.

“The audience and the whole evening was full of joy and energy, extended applause, and standing ovations,” stated the Maryland Theatre Guide on Sept. 29. “Powerhouse performances and stunning choreography,” enthused the Baltimore Sun.

The first-ever revival will be easing down the road to 12 other cities, including Chicago (Nov. 28 – Dec. 10). For more information, visit: https://wizmusical.com/

The producing team of Kristin Caskey and Mike Isaacson (Muny artistic director and executive producer) and a long list of others, including Terry Schnuck, is behind this show. Caskey, now of the Ambassador Theatre Group, spent 20 years with Fox Theatricals. She and Isaacson produced the Tony-winning “Fun Home” in 2015 and this year’s Best Revival winner “Parade.”

Isaacson said they have been working on a revival for eight years, and plans are to mount another national tour after the Broadway limited engagement. In preparation for The Muny, he received permission from the original creators to make some changes. Amber Ruffin, recent Tony nominee for “Some Like It Hot,” wrote additional material – and had worked on the Muny script – from William F. Brown’s original book. You may know her as a writer on “Late Night with Seth Meyers,” as she frequently appears.

Isaacson revealed that in a terrific Broadway World interview with James Lindhorst, who also talked with producers Jack Lane, Mike Bosner and Terry Schnuck – heavy-hitters at this year’s Tonys (“& Juliet,” “Shucked” and “Parade”).

https://www.broadwayworld.com/st-louis/article/Interview-St-Louis-Area-Producers-Mike-Bosner-Mike-Isaacson-Jack-Lane-and-Terry-Schnuck-Nominated-for-Tony-Awards-20230512

Schele Williams is helming this show, with Wayne Brady as The Wiz from Jan. 16 to Broadway engagement, and Alan Mingo Jr. in the title role Sept. 23 – Jan. 14, 2024, and newcomer Nichelle Lewis as Dorothy.

The original 1974 production, directed by Geoffrey Holder and choreographed by George Faison, won seven Tony Awards including Best Musical, and was adapted into a movie in 1978 starring Diana Ross, Richard Pryor, and Michael Jackson. NBC broadcast a live version in 2015, but a planned revival then did not materialize.

Colin, Jeanine

BRUSH WITH GREATNESS: Speaking of the musical “Fun Home,” composer Jeanine Tesori — the most honored and most prolific female theatrical composer in history, was in St. Louis this summer, and stopped in to visit with the local cast rehearing “Caroline, or Change,” produced by Fly North Theatricals.

To get the opportunity to talk with Tesori, who has written five Broadway musicals and received six Tony Award nominations, winning for “Fun Home” and the recent “Kimberly Akimbo,” was one of the best moments ever, according to music director Colin Healy.

Healy summed it up this way on Facebook: “She and Mike Isaacson (producer) offered such wonderful insight into the process of writing, building, and producing ‘Caroline, Or Change,’ validating what is already apparent when hearing the score: how much a labor of love and Herculean creative endeavor ‘Caroline’ was and continues to be… She spoke to us for over an hour and took questions from everyone.”

(Photo: Colin Healy and Jeanine Tesori)

NEW HORIZONS: All good wishes for theater and media folks moving on, changing directions and making the most of opportunities.

Bravo to Taylor Gruenloh, whose new musical “Cascade’s Fire,” a modern Antigone story co-written by Kyle Wernkel, will premiere Oct. 12 and run 13-15 and 19-21 in the Black Box Theatre at Missouri Science and Technology in Rolla, where he is on the Arts, Languages and Philosophy faculty. Taylor wrote the book and lyrics while Wernkel wrote the music.

Taylor recently stepped down as Creative Director at The Tesseract Theatre Company at the end of August, after their successful run of “Kinky Boots.” One of the most prolific and creative folks in town, I can’t wait to see what else he will accomplish.

Congratulations to Joe Gfaller, who has been managing director of Metro Theater Company since 2019, on becoming managing director of Clear Space Theatre Company, a 20-year-old regional theater in Rehoboth Beach, Delaware. He’ll be leaving in mid-October. Jessie Youngblood, the current development director, will serve as interim managing director beginning Oct. 9. Always enjoyed working with Joe, starting with the Opera Theater of St. Louis in 2014. Joe has served Metro, St. Louis’s premiere professional theater for youth and families, well.

Best wishes to Julia Flood, Metro artistic director for the past 10 years, who has announced her retirement after the 51st season. Of Joe’s departure, she said: “Joe has had boundless energy and enthusiasm for the mission and work of Metro Theater Company. I feel lucky to have had the benefit of his partnership through the complexities of the pandemic times and wish him much success and happiness in his new venture.”  (They both can be very proud of their endeavors).
 A free Fall Family Festival to celebrate MTC’s 50 years of service to the community will be held on Oct. 21 and 22. A toast in Gfaller’s honor will be held at that event on Sunday, Oct. 22 at 1 p.m. 

Carol Daniel

Carol Daniel may have retired from one prominent longtime gig, but she is embarking on a fantastic journey. The award-winning St. Louis journalist, reporter, host, columnist, and author has joined Nine PBS as a Senior Producer and Host. 

Daniel said she looks forward to telling the stories of her community in a new way — with a podcast about people making an impact here, and also produce interviews and stories that celebrate and showcase underrepresented voices for Nine PBS’s content flagship, Living St. Louis. Yes to this! I look forward to seeing her next chapter.

Daniel has more than 40 years of experience as a host on KMOX Radio, as well as work on Great Day St. Louis on KMOV/Channel 4, and a columnist for the St. Louis American. She’s been honored as a Living Legend by the National Association of Black Journalists–St. Louis, was recently inducted into the Lincoln University Alumni Hall of Fame, and was a 2022 inductee into the St. Louis Media Hall of Fame.  

Longtime public relations and marketing maestros Eric Pugh and Dylan Stanley have departed our fair river city for beachier pastures. Last at the Muny, Eric is now promoting The Asolo Repertory Theatre in Sarasota, Fla., the largest Equity theatre in Florida, and the largest Repertory theatre in Southeastern U.S. Just wonderful to work with both, and I’m glad we had time together.

Dylan, who has moved to Los Angeles with his fiancé, Nicolas Valdez, who is embarking on a fellowship at USC, will keep us posted on his next challenge after giving us his all at Stifel Theatre and Enterprise Center (and performing in Tesseract Theatre Company’s triumphant “Kinky Boots.”

Best wishes to Lee Anne Mathews in her new role as Education and Artistic Director for the Fox Performing Arts Charitable Foundation!  Before May, she was making things happen at Westport Playhouse.

Congratulations to Brian McKinley on his new role as Director of Education and Community Program at the Black Repertory Theatre of St. Louis.

HOMETOWNERS: Comedian-actor Cedric the Entertainer’s new book, crime caper “Flipping Boxcars,” fictionalizes his grandfather, Floyd “Babe” Boyce.

Jon Hamm is in two, not one, television series this fall. He joined the cast of “The Morning Show” for season 3, now streaming on Apple TV+, and will be in “Fargo,” season 5, which starts Nov. 21 on FX and Hulu.

Nicholas “Sifu” Alsup.
Photo: Robert Voets/CBS

Best wishes to Nicholas “Sifu” Alsup of O’Fallon, Ill., who was chosen as one of 18 contestants on the 45th season of CBS’ “Survivor” that started Sept. 27.He is a larger-than-life personality, and I was able to interview him through permission with CBS. https://news.yahoo.com/o-fallon-gym-owner-one-120000863.html

CHEERS: Congratulations to New Jewish Theatre on their 25th anniversary as a regional professional theatre in St. Louis; and Gateway Center for Performing Arts school, and youth theater company, on their 10th anniversary in Webster Groves. A feature article by me will be in the Webster-Kirkwood Times soon.

OUT AND ABOUT: Two Colins in the ‘Lou news!
Co-owners Colin Healy and Bradley Rohlf of Fly North Theatricals, have opened their new home and social hangout, The Greenfinch Theater and Dive, at 2525 South Jefferson Avenue (the old Way Out Club).. The bar is open every night from 5 p.m. to 1 a.m. You won’t want to miss Stool Pigeon Open Mic Comedy Night on Mondays and Drunk Voice Lessons karaoke with live piano accompaniment (and critiques) by Colin Healy on Wednesdays, plus Burlesque Bingo’s in the rotation too. They are also accepting reservations for their black box theater.

Colin Jost

SNL Head Writer Colin Jost was the Celebrity Guest Host at the Foundation for Barnes-Jewish Hospital’s Illumination Gala on June 3 at The Ritz-Carlton, a major fundraising event for the Siteman Cancer Center. Not sure what he said about “The Square Beyond Compare” but Imo’s posted his photo.
Since 2007, the event has raised more than $42 million to support research funds

MEMORY LANE: Last month in pop culture history.

Sept. 26, 1975: “The Rocky Horror Picture Show” opened in Westwood, Calif., and tanked at the box office, but later would become the definition of a cult classic, inspiring interactive screenings with toast, toilet paper and more.

If you attended midnight screenings in the late ‘70s at the Varsity Theatre in St. Louis (where Vintage Vinyl is now), you might have run in to a teenage Michael Stipe, future alt-rock band REM frontman, who is dressed as Frank-n-Furter here in this vintage newsclip on KSDK’s “Newsbeat.” He told the reporter: “We’re all normal, really.”

Why on earth was Stipe, now 63, in St. Louis then? His dad was in the Army, and they moved to several states during his childhood. In the late ‘70s, he lived in Collinsville, Ill., and attended high school there and went on to Southern Illinois University in Edwardsville.. Later, he would move to Athens, Ga., for college, and met record store clerk Peter Buck, which led to forming a band with Mike Mills and Bill Berry…and the rest is history..

Rocky Horror played midnights at the Varsity Theatre from April 1976 until Jan. 3, 1988 when it closed for good. It was one of the first 30 theatres in the U.S. to do so.

I was fortunate to interview Barry Bostwick (Brad in the movie) when he had been scheduled to appear at Wizard World in St. Louis, but had to cancel, and he graciously talked about making the movie by phone. True delight to talk with and write about — here’s my BND feature from 2017.

https://www.bnd.com/entertainment/article142667129.html

Anne Meara, Alan Arkin

IN MEMORIAM: Frequent visitor to Gaslight Square with the infamous Compass players, RIP Alan Arkin (March 26, 1934 – June 29, 2023). Archival photo is at Crystal Palace with Anne Meara.

From William Roth, the founder and artistic director of St. Louis Actors’ Studio, who renovated The Gaslight Theatre in the Central West End, on Arkin:

“He made his off-Broadway debut in the late 1950s and joined the St Louis improvisational group the Compass Players in 1959. This led to a stint with the Chicago improv troupe Second City and his Broadway debut, in 1961, in the company’s show ‘From the Second City, which he co-wrote.’

Tony-winning actor Michael McGrath, whose last show was at the Muny this summer – he did a fine job as Mr. Mushnik in “Little Shop of Horrors,” passed away in his sleep Sept. 14 at his home in Bloomfield, N.J. He was 65. That wasn’t his first show in St. Louis – in 1990, he played John Adams in Theater Factory’s “1776.” He was first nominated for a Tony in “Spamalot,” and won for “Nice Work If You Can Get It,” playing a bootlegger, in 2012. https://www.nytimes.com/2023/09/15/theater/michael-mcgrath-dead.html

Maggie Ryan, founder of Insight Theatre and inspiration to many, who spent 36 years as an English teacher and director of theater at Nerinx Hall, died Sept. 10, at age 80, after a short battle with leukemia. She was a lovely woman to interact with and cared passionately about theater. Insight operated for 12 years, won several St. Louis Theater Circle Awards including a legendary “Death of a Salesman” directed by Wayne Loui and starring father-son duo John and Jason Contini. Unfortunately, Insight closed in 2020.
https://www.legacy.com/us/obituaries/stltoday/name/margaret-ryan-obituary?id=53065958

Calvin Wilson, St. Louis Post-Dispatch movie and theater critic, died Aug. 29, from an undisclosed illness. He was 70. I worked with Calvin, both in the St. Louis Film Critics Association, and with the St. Louis Theater Circle, and much admired his writing skill. His insight and passion for the arts will be missed.

https://www.stltoday.com/life-entertainment/local/art-theater/post-dispatch-writer-calvin-wilson-a-passionate-advocate-for-the-arts-dies-at-70/article_8fc9b7bc-46b5-11ee-a3a5-0bdd24dc5828.html

CALENDAR NOTES: John Cusack’s screening of “Say Anything,” originally scheduled for October 28 at Stifel Theatre, has been rescheduled for Saturday, March 30. All tickets for the Oct. 28 performance will be honored at the rescheduled date. The popular actor will follow the screening with a conversation regarding his career and the making of the film. Fans will get the opportunity to experience a moderated discussion, with John answering audience questions as well.

Me and Greta, Oct 1, 2022

SHAMELESS NAME-DROPPING: Before she had the biggest movie of the summer (“Barbie”!) and her second son in February, Greta Gerwig was pleasantly accommodating us press troops at the New York Film Festival 2022 (for “White Noise”). The accomplished actress-writer-director is exactly as she seems, a lovely person in person. I had to compliment her on the 2019 “Little Women,” and she said she had a great time working with the cast of that movie. Hopefully, we will be seeing her during the upcoming awards season. On Aug. 6, the film crossed the $1 billion mark worldwide, making her the first woman with sole director credit to have a movie make more than $1 billion.

(My film review: https://poplifestl.com/unexpected-unpredictable-barbie-is-an-irresistible-pop-o-culture/)

Our coda has been added for this issue:

RANDOM THOUGHTS: As you can probably tell, I enjoy waltzing down memory lane, and yes, I was one of the early attendees of “The Rocky Horror Picture Show” midnight showings at the Varsity Theatre in 1977, which was so much fun. If you are a lover of cosplay, I have spied folks in Barbie and Ken outfits at “Barbie” — my prediction for hottest Halloween costumes — and I hear from Abe Goldfarb, hilarious as Otho in the touring company of “Beetlejuice,” who was on the weekly PopLifeSTL.com podcast co-hosted by Carl “The Intern” Middleman and myself on Oct. 4, that there’s many folks dressing up at the shows. He’s excited that they’re here Oct. 13.

The St. Louis Blues open at home Oct. 12. Just once I’d like to buy a team T-shirt where the player I selected isn’t traded. (I bought an Alexander Pietrangelo one — with a C — before the playoffs in ’19 and a Ryan O’Reilly in 2022.)

Are we having the Daylight Savings Time ‘fall back’ happen this year or is it over? Anyone? I’m so confused.

Where in the world is Lynn this weekend? Judging the costume contest at the sensational annual Witches and Wizards Festival in O’Fallon, Ill., a really fun event

Fly North’s ‘Caroline, or Change’ Soul-Stirring, Extraordinary

Fly North’s ‘Caroline, or Change’ Soul-Stirring, Extraordinary

By Lynn Venhaus

The powerhouse cast of the musical “Caroline, or Change” features so many gifted vocalists that they raise the roof off The Marcelle Theatre every performance. To hear the soul-stirring solos and harmonies blended by this virtuosic ensemble is a scintillating experience.

It doesn’t matter if you are unfamiliar with the emotional rollercoaster of a score by composer Jeanine Tesori and lyricist Tony Kushner that creates a unique stamp of time and place in Lake Charles, Louisiana in 1963, just go and be in awe of the power and performances.

It’s easy to gush about this uncommon show, and as a longtime reviewer who tries to mix up the superlatives, so I don’t overuse them, it is hard to come up with new words that aptly describe this level of talent involved.

Yes, it’s unforgettable. Yes, I can’t believe the singers held nothing back and still had something in the tank. And yes, I want to learn more, listen again, and sing its praises. Most of all, the performers express their truth from varied perspectives. In the framework of an intense domestic drama, the characters focus on their own needs, but must see the value in others.

Three years in the making, Fly North Theatricals patiently waited out the pandemic, and some of those originally cast in 2020 have returned while others are new. Director Brian McKinley, an accomplished multi-hyphenate who wasn’t present at those early auditions, has said he has been blessed with talent. Indeed, the proficient ensemble is world-class in quality, and McKinley deftly stations them around an intimate space to spotlight highly personal interactions, which are aided by Bradley Rohlf’s artful lighting design.

De-Rance Blaylock as Caroline. Photo by Julie A. Merkel

Music Director Colin Healy, the group’s founder, has masterfully conducted an orchestra that seamlessly blends blues, gospel, spirituals, traditional Jewish klezmer melodies, Motown, folk and classical music.

The versatile top-shelf musicians include Steve Frisbee and Kate Denson on violins, Chuck Evans and Alyssa Przygoda Gove alternating on viola, Marie Brown on cello, Mary Wiley, Brandon Thompson and Dave Metzger on reeds, Blake Mickens on bass, Des Jones on percussion, and Healy on keyboards.

This is crucial because it’s an all-sung show. The first act features 24 songs in an hour, and after a 15-minute intermission, the second act has 25 songs in 70 minutes. The demanding nature requires every single person on stage and off to be in peak form, and they meet the challenge.

The story takes place mostly in the basement of a Southern home where Caroline Thibodeaux works as a maid for $30 a month. It starts on a hot day, and she laments having to do laundry “16 Feet Beneath the Sea.” Second act will transition to the December holidays, but it’s still oppressive conditions.

Caroline reveals her world-weary and cynical attitude, and you’ll discover an unusual protagonist because she is not a sitcom-y warm and fuzzy housekeeper. She has been beaten down by life. It’s 100 years after slavery, but segregation and inequality haven’t subsided. In a tour de force performance, De-Rance Blaylock commands the stage, making us feel her pain and anger.

She’s caught in-between being marginalized and believing she deserves more, living on the cusp of change. You root for her, hoping her life will get better, but as we soon find out, it will be up to her children to help make the world see them. Blaylock, who was in the groundbreaking “Antigone in Ferguson” at the Harlem Stage in 2018, is a consummate performer, and fiercely announces her presence.

The kids. Photo by Julie A. Merkel

Resigned to her fate, Caroline has been working hard at these tasks for 22 years, without much to show for it. She is turned down for a raise, among other indignities throughout the show. She is, however, allowed to keep the loose change found in the dirty clothes. Her adoring 8-year-old charge Noah knows his pocket change is beneficial, acts absent-minded about it, but knows what he’s doing. The plot escalates when an errant $20 bill is the cause of much handwringing. She could really use it for a child’s dental work and better food for their nutrition. But it is a gift from his maternal grandfather.

Caroline is a single mother to Emmie, 16, (Kenya Nash), Jackie (Cameron Headley), 10, and Joe (Malachi Borum), 8. The needy kids dig at a traditional Christmas in “I Saw Three Ships” and they express their financial situation in the jaunty “Roosevelt Petrucius Coleslaw.”

In one of the more dynamic relationships, Caroline and rebellious Emmie butt heads about how to talk to white people, navigate changing times, and even dare to dream and hope. Nash is strong in “’Night Mamma” and “I Hate the Bus,” among other numbers.

There is an authenticity to their emotionally charged interactions, and things really get testy in “Kitchen Fight.”

Caroline has had a lifetime of disappointments, including a failed marriage. She slumps in a chair, taking a break in her white uniform, and allows Noah to light her cigarette.

Duane Foster. Photo by Julie A. Merkel

This is a secret because he lost his mother, a heavy cigarette smoker, to lung cancer, and his father has remarried. The little boy clings to his anchor, Caroline, although she never reciprocates caring. In a stunning debut, Zoe Klevorn demonstrates remarkable poise and vocal ability as Noah. (The only thing out of place is a wig too big for her delicate features).

As his widowed father Stuart, Jordan Wolk subtly conveys a distracted, conflicted parent in mourning. He has lost his faith, “There Is No God, Noah.” In his complicated relationship with his son (“Stuart and Noah”), he seems overwhelmed.

A professional musician, Stuart is now married to Rose, a typical cookie-cutter ‘60s housewife and a well-meaning stepmother. However, she really is clueless, exudes privilege, and is without compassion when dealing with Caroline and her hardships. The Gellmans aren’t racists, but lack forward-thinking, and appear to be products of their time, living in the South.

Avery Lux embodies that post-war Stepford Wife- pretty blonde (ancient advertising reference, a ‘Breck girl’) type. Noah doesn’t like her, and she confesses to her father, Mr. Stopnick (Kent Coffel) her dismay (“Long Distance”). Eventually, the relationship kinks start to soften with the boy (“Why Does Our House Have a Basement?”) But yet, the smugness (catch her mispronouncing “Caroline.”)

Lux looks chic in customary fashions of the day, but her pale-yellow frock needed ironing. With other period costumes designed by Vanessa Tabourne, some of the shoe choices aren’t accurate. For instance, if a character mentions their saddle shoes, she should have a pair on, but nope. (I saw a youth production of “Grease” last week and they had them on Rydell High Schoolers, so they can be found.)

Avery Lux as stepmom Rose. Photo by Julie A. Merkel

While Caroline is washing/drying clothes in the first act and ironing in the second, she imagines appliances as people – including the washing machine (a spunky Kanisha Kellum). She listens to the radio, where a robust trio of singers, not unlike the popular girl groups of the day, springs forth.

Kimmie Kidd-Booker, who is also the Moon in a gorgeous white gown, impresses as a glamorous Diana Ross look-a-like, and merry pair Ebony Easter and Adrienne Spann are the spirited singers in sync with each other, all three replicating the sounds on the airwaves, such as “Ooh Child” and “Salty Teardrops” while they wear fashionable cocktail dresses.

Caroline is so cranky that those close to her try to be helpful but nearly give up, especially Dotty (Kellum again, outstanding in a dual role).

A major occurrence is the assassination of President John F. Kennedy on Nov. 22, 1963, and this is not merely a time marker. Kushner smartly addresses that as a significant bellwether in turning tides..

Both families express their admiration for the fallen leader in “Inside/Outside” and “JFK,” although Emmie is more mesmerized by Martin Luther King Jr.’s messages. The Gellman family includes Jewish grandparents, played by Maria Bollini and Ken Haller, who guide Noah spiritually.

The Radio. Photo by Julie A. Merkel

Act Two starts out with the Radio singing “Santa Comin’ Caroline” and “Little Reward” while the household gets ready for a Hanukkah Party. Caroline also reminisces about her ex-husband in “1943.”

With his richly textured baritone, Duane Foster sings the roles of The Dryer, The Bus, and portrays the wayward ex. He regularly appears at the Muny, was recently in the “Beauty and the Beast” ensemble. On Broadway, he was a part of the original cast of “Ragtime” in 1998 and understudied the lead Coalhouse Walker (role originated by Brian Stokes Mitchell).

Church-going Caroline comes to a reckoning about the dust-up caused by the $20, and Blaylock brings the house down with a mesmerizing “Lot’s Wife”: …”Ain’t never been no good, findin’ joy the way you should…murder my dreams so I stop wantin,…strangle the pride that make me crazy!” Gut-wrenching.

Mr. Stopnick and The Gellmans. Photo by Julie A. Merkel

This sly, simmering show is rarely done, mainly because of its difficulty level, and this is indeed a high point in a very strong theatrical season for regional professional groups. To be introduced this way to the Tesori-Kushner poetic and profound pairing is quite a treat.

First produced off-Broadway in 2003 after readings and workshops started in 1999, the show moved to Broadway in 2004, garnering six Tony nominations, including Best Musical, and a win for Anika Noni Rose for Featured Actress in a Musical as Emmie. A British National Theatre production in 2007 won an Olivier Award for Best New Musical and both a London West End revival in 2018 and Broadway revival in 2021 were heralded.

Tesori is the most honored and most prolific female theatrical composer in history, writing five Broadway musicals and receiving six Tony Award nominations. For “Caroline, or Change,” she won the 2004 Drama Desk Award for Outstanding Music.

In 2015, she made history winning Best Original Score with Lisa Kron for “Fun Home,” making them the first female writing team to win that award. And earlier this summer, she won Best Original Score for Tony Award-winning Best Musical “Kimberly Akimbo,” which she shared with David Lindsay-Abaire.

Noah and his father. Photo by Julie A. Merkel

Also known for “Thoroughly Modern Millie” and “Shrek the Musical,” you may have seen her reboot of “The Unsinkable Molly Brown” at the Muny in 2017, which went on to off-Broadway rave reviews but run cut short by global coronavirus pandemic.

Kushner is one of the few playwrights in history nominated for Emmy, Grammy, Oscar, and Tony Awards. He is most known for “Angels in America: Millennium Approaches” and “Angels in America: Perestroika,” his Broadway debut in 1993, which won a Pulitzer Prize for Drama and a Tony Award, and he won an Emmy for adapting it for the HBO miniseries. Since the 2000s, he has collaborated with Steven Spielberg on his films “Munich,” “Lincoln,” “West Side Story” and “The Fabelmans.”

This is his compelling personal semi-autobiographical story, for his father really was a clarinet player and a conductor, and his parents moved to Lake Charles, Louisiana, when he was a child.

The mindful alliance between Tesori and Kushner has produced an astounding uncompromising musical. The ‘change’ is both economical and political, at once an historical footnote and present-day conundrum. The underlying issues haven’t gone away and racial hatred for blacks and Jews has alarmingly escalated during the past 10 years.

“Caroline, or Change” gives us heartfelt snapshots that hopefully lead to more understanding. It’s a moving, meaningful musical, and this resplendent production takes flight because it resonates deeply.

The Washer. Kanisha Kellum. Photo by Julie A. Merkel

Fly North Theatricals presents “Caroline, or Change” July 28-Aug. 12, with performances at 7:30 p.m. Friday and Saturday and at 2 p.m. Sunday at The Marcelle, 3310 Samuel Shepard in Grand Center. A 2 p.m. matinee has been added for Saturday, Aug. 12. For more information, flynorthmusic.com or for tickets, go to www.metrotix.com.

Kimmie Kidd-Booker as the Moon. Photo by Julie A. Merkel

St Louis Theater Circle Awards Announces Nominations for 2022

St Louis Theater Circle Awards Announces Nominations for 2022

ST. LOUIS THEATER CIRCLE AWARDS RETURN FOR IN-PERSON GALA APRIL 3, 2023

TO HONOR OUTSTANDING WORK IN LOCAL PROFESSIONAL THEATER IN 2022

The Muny leads with 21 nominations, Stages St Louis has 19, The Black Rep 17 and Stray Dog Theatre 15

First In-Person Gala Since 2019 Due to Coronavirus Pandemic

ST. LOUIS, February 6, 2023 – After a four-year hiatus of not holding an in-person ceremony due to the coronavirus pandemic in 2020 through 2022, the St. Louis Theater Circle Awards will return April 3, 2023  in a ‘live’ ceremony beginning at 7 p.m. at the Loretto-Hilton Center on the campus of Webster University. The previous two events were streamed online by HEC Media.

Tickets at $23 apiece will soon be available at the box office of The Repertory Theatre of St. Louis at www.repstl.org or 314-968-4925, and also at the box office one hour before the ceremony.

Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar years 2022. Approximately 90 productions have been considered for nominations for this year’s event. This compares to roughly 120 productions normally considered in one year alone prior to the pandemic.

Three productions – “Chicago” at The Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre – were ineligible because the same production was presented within the last three years at the respective venues.

Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin will be honored with a special award for lifetime achievement.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.  A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021.

The nominees for the 10th annual St. Louis Theater Circle Awards are:

Bronte Sister House Party, SATE. Photo by Joey Rumpell

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 

Cassidy Flynn, “Brontë Sister House Party,” SATE 
Hannah Geisz, “The Lonesome West,” West End Players Guild 
Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company 
Bess Moynihan, “Brontë Sister House Party,” SATE 
Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 

Ted Drury, “The Lonesome West,” West End Players Guild 
Joel Moses, “Brontë Sister House Party,” SATE 
Bradley Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Chauncy Thomas, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Eric Dean White, “Hand to God,” St. Louis Actors’ Studio 

Molly Burris, Dear Jack Dear Louise

Outstanding Performer in a Comedy, Female or Non-Binary Role 

Colleen Backer, “Hand to God,” St. Louis Actors’ Studio 
Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre 
Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Claire Karpen, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Rachel Tibbetts, “Brontë Sister House Party,” SATE

Jeff Kargus, Jason Meyers, “The Lonesome West” Photo by John Lamb

Outstanding Performer in a Comedy, Male or Non-Binary Role 

Mitchell Henry-Eagles, “Hand to God,” St. Louis Actors’ Studio 
Jeff Kargus, “The Lonesome West,” West End Players Guild 
Ryan Lawson-Maeske, “Dear Jack, Dear Louise,” New Jewish Theatre 
Jason Meyers, “The Lonesome West,” West End Players Guild 
Stanton Nash, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Joe Clapper, Behind the Sheet, Photo by Philip Hamer

Outstanding Lighting Design in a Play 

Amina Alexander, “Stick Fly,” Repertory Theatre of St. Louis 
Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Joe Clapper, “Behind the Sheet,” The Black Rep 
Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep 
John Wylie, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Outstanding Sound Design 

Lamar Harris, “Behind the Sheet,” The Black Rep 
Pornchanok (Nok) Kanchanabanca, “House of Joy,” Repertory Theatre of St. Louis 
Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep 
Rusty Wandall, Kareem Deanes, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Amanda Werre, “Dear Jack, Dear Louise,” New Jewish Theatre

Joel Moses in “Laughter on the 23rd Floor,” New Jewish Theatre, Photo by Jon Gitchoff

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Liz Henning, “Brontë Sister House Party,” SATE 
Liz Henning, “Rodney’s Wife,” The Midnight Company 
Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis 
Michele Friedman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre

Outstanding Set Design in a Play 

Dahlia Al-Habieli, “House of Joy,” Repertory Theatre of St. Louis 
Dunsi Dai, “Dear Jack, Dear Louise,” New Jewish Theatre 
Bess Moynihan, “Rodney’s Wife,” The Midnight Company 
Kyu Shin, “Stick Fly,” Repertory Theatre of St. Louis 
Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival 

Riley Carter Adams, right, The Bee Play, New Jewish Theatre. Photo by Jon Gitchoff.

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 

Riley Carter Adams, “The Bee Play,” New Jewish Theatre 
Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre 
Rachel Hanks, “The Christians,” West End Players Guild 
Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company 
Sumi Yu, “House of Joy,” Repertory Theatre of St. Louis 

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 

Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep 
Joseph Garner, “The Christians,” West End Players Guild 
Michael James Reed, “Proof,” Moonstone Theatre Company 
Joey Saunders, “The Normal Heart,” Stray Dog Theatre 
Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre

Summer Baer, Michael James Reed “Proof,” Moonstone Theatre Company.

Outstanding Performer in a Drama, Female or Non-Binary Role 

Summer Baer, “Proof,” Moonstone Theatre Company 
Lavonne Byers, “Good People,” Stray Dog Theatre 
Kelly Howe, “Rodney’s Wife,” The Midnight Company 
Chinna Palmer, “Behind the Sheet,” The Black Rep 
Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater

Outstanding Performer in a Drama, Male or Non-Binary Role 

Kevin Brown, “Jitney,” The Black Rep 
Jeff Cummings, “Behind the Sheet,” The Black Rep 
Olajuwon Davis, “Jitney,” The Black Rep 
Joel Moses, “The Christians,” West End Players Guild 
Stephen Peirick, “The Normal Heart,” Stray Dog Theatre 

“Jitney,” The Black Rep, Phillip Hamer photo

Outstanding New Play 

“Bandera, Texas,” by Lisa Dellagiarino Feriend, Prism Theatre Company 
“Brontë Sister House Party,” by Courtney Bailey, SATE 
“The Good Ship St. Louis,” by Philip Boehm, Upstream Theater 
“Roll With It!” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre Company 
“Winds of Change,” by Deanna Jent, St. Louis Shakespeare Festival

Outstanding Achievement in Opera 

Daniela Candillari, “Carmen,” Opera Theatre of Saint Louis 
Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis 
Karen Kanakis, “La Rondine,” Winter Opera Saint Louis 
Robert Mellon, “Falstaff,” Union Avenue Opera 
Sarah Mesko, “Carmen,” Opera Theatre of Saint Louis

Union Avenue Opera’s production of A Little Night Music on August 17, 2022.

Outstanding Production of an Opera 

“Awakenings,” Opera Theatre of Saint Louis 
“Falstaff,” Union Avenue Opera 
“The Gondoliers,” Winter Opera Saint Louis 
“Harvey Milk,” Opera Theatre of Saint Louis 
“A Little Night Music,” Union Avenue Opera

Outstanding Musical Director 

Cullen Curth, “Jerry’s Girls,” New Jewish Theatre 
Jermaine Hill, “The Color Purple,” The Muny 
Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis 
James Moore, “Sweeney Todd,” The Muny 
Andrew Resnick, “The Karate Kid – The Musical,” Stages St. Louis 

The Karate Kid – The Musical, Phillip Hamer photo.

Outstanding Choreographer 

Dena DiGiacinto, “A Chorus Line,” Stages St. Louis 
Keone and Mari Madrid, “The Karate Kid – The Musical,” Stages St. Louis 
Patrick O’Neill, “Mary Poppins,” The Muny 
Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 

Tami Dahbura, “In the Heights,” Stages St. Louis 
Melissa Felps, “Something Rotten!” New Line Theatre 
Nicole Michelle Haskins, “The Color Purple,” The Muny 
Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre

Marshall Jennings, Melissa Felps “Something Rotten!” New Line Theatre

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 

Luis-Pablo Garcia, “In the Heights,” Stages St. Louis 
Clayton Humburg, “Something Rotten!” New Line Theatre 
Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre 
Marshall Jennings, “Something Rotten!” New Line Theatre 
Jordan Wolk, “Assassins,” Fly North Theatricals

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre 
Bradley King, “The Karate Kid – The Musical,” Stages St. Louis 
John Lasiter, “Sweeney Todd,” The Muny 
Sean M. Savoie, “A Chorus Line,” Stages St. Louis 
Sean M. Savoie, “In the Heights,” Stages St. Louis

“In the Heights,” Stages St. Louis, Photo by Phillip Hamer.

Outstanding Set Design in a Musical 

Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Anna Louizos, “In the Heights,” Stages St. Louis 
Derek McLane, “The Karate Kid – The Musical,” Stages St. Louis 
Michael Schweikardt, “Sweeney Todd,” The Muny 
Josh Smith, “Ride the Cyclone,” Stray Dog Theatre

Outstanding Costume Design in a Musical 

Eileen Engel, “A Little Night Music,” Stray Dog Theatre 
Eileen Engel, “Assassins,” Fly North Theatricals 
Samantha C. Jones, “The Color Purple,” The Muny 
Brad Musgrove, “In the Heights,” Stages St. Louis 
Alejo Vietti, “Sweeney Todd,” The Muny 

Anastacia McCleskey, “The Color Purple,” Phillip Hamer photo.

Outstanding Performer in a Musical, Female or Non-Binary Role 

Carmen Cusack, “Sweeney Todd,” The Muny 
Jeanna De Waal, “Mary Poppins,” The Muny 
Eileen Engel, “Ride the Cyclone,” Stray Dog Theatre 
Melissa Felps, “Urinetown,” New Line Theatre 
Anastacia McCleskey, “The Color Purple,” The Muny 

Outstanding Performer in a Musical, Male or Non-Binary Role 

Ryan Alvarado, “In the Heights,” Stages St. Louis
Corbin Bleu, “Mary Poppins,” The Muny 
Ben Davis, “Sweeney Todd,” The Muny 
Stephen Henley, “Assassins,” Fly North Theatricals 
Jovanni Sy, “The Karate Kid – The Musical,” Stages St. Louis

Stephen Henley, The Balladeer, Fly North Theatricals.

Outstanding Ensemble in a Comedy 

“Brontë Sister House Party,” SATE 
“Heroes,” Albion Theatre 
“Laughter on the 23rd Floor,” New Jewish Theatre 
“A Midsummer Night’s Dream,” St. Louis Shakespeare Festival 
“Much Ado About Nothing,” St. Louis Shakespeare Festival 

Outstanding Ensemble in a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“The Christians,” West End Players Guild 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

The Christians, West End Players Guild, Photo by John Lamb

Outstanding Ensemble in a Musical 

“The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
“A Chorus Line,” Stages St. Louis 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Sweeney Todd,” The Muny

Outstanding Director of a Comedy 

Robert Ashton, “The Lonesome West,” West End Players Guild 
Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre 
David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Keating, “Brontë Sister House Party,” SATE 
Bruce Longworth, “Much Ado About Nothing,” St. Louis Shakespeare Festival

“Rodney’s Wife,” The Midnight Company, Photo by Joey Rumpell

Outstanding Director of a Drama 

Gary F. Bell, “The Normal Heart,” Stray Dog Theatre 
Joe Hanrahan, “Rodney’s Wife,” The Midnight Company 
Ron Himes, “The African Company Presents Richard III,” The Black Rep 
Ron Himes, “Behind the Sheet,” The Black Rep 
Ellie Schwetye, “The Christians,” West End Players Guild 

Outstanding Director of a Musical 

Lili-Anne Brown, “The Color Purple,” The Muny 
Scott Miller, “Something Rotten!” New Line Theatre 
Bradley Rohlf, “Assassins,” Fly North Theatricals 
Rob Ruggiero, “Sweeney Todd,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

“Much Ado About Nothing,” St Louis Shakespeare Festival

Outstanding Production of a Comedy 

“Brontë Sister House Party,” SATE 
“Dear Jack, Dear Louise,” New Jewish Theatre 
“The Lonesome West,” West End Players Guild                   
“Much Ado About Nothing,” St. Louis Shakespeare Festival 
“The Rose Tattoo,” Tennessee Williams Festival St. Louis

“The African Company Presents Richard III,” The Black Rep, Photo by Phillip Hamer

Outstanding Production of a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“Good People,” Stray Dog Theatre 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

Outstanding Production of a Musical 

“Assassins,” Fly North Theatricals 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Ride the Cyclone,” Stray Dog Theatre 
“Sweeney Todd,” The Muny

“Ride the Cyclone,” Stray Dog Theatre, Photo by John Lamb

Special Award 

Joan Lipkin, for lifetime achievement 

Joan Lipkin

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Bob Cohn (St. Louis Jewish Light); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on the Aisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

Fly North’s ‘Assassins’ Takes Sharp Aim at the American Dream

Fly North’s ‘Assassins’ Takes Sharp Aim at the American Dream

By Lynn Venhaus

“Attention must be paid.”

In Fly North Theatrical’s hard-hitting “Assassins,” as the vainglorious actor John Wilkes Booth, a mesmerizing Jordan Wolk reminds us of those words, which were written by Arthur Miller in “Death of a Salesman” in 1949. With that, he connects these two commentaries on the American Dream.

This show, bending time and space, plunges us into a nightmare that we vividly recall but one, as the company makes clear, is no longer in the far-distant past.

Such is the unnerving grip of Stephen Sondheim’s 1990 musical, with book by John Weidman, based on a concept by Charles Gilbert Jr., as it delves into the twisted minds and violent motives of infamous criminals – four murderers and five would-be killers of U.S. presidents.

Weidman’s loose narrative features these footnotes in American history meeting, interacting, and inspiring each other in set pieces. He acknowledges the strange brew of celebrity culture colliding with deranged misfits, and Far North presents it with a raw, painful intimacy in the .Zack space.

This is Fly North’s first foray into presenting a classic landmark after offering original works in St Louis since 2017 (“The Gringo,” “Madam,” “Forgottonia.”)

The collaborative duo, music director and founder Colin Healy and director Bradley Rohlf, are at the helm, leading a creative team and cast that zealously dives into the deep end, uncompromising on the musical’s dark and disturbing nature. Its perspective is fresh, voices virtuoso and focus laser-like with minimal staging.

Lighting Designer Tony Anselmo’s work is outstanding, establishing an eerie mood through shadows and light. Costume designer Eileen Engel outfitted each character with period appropriate outfits, Healy created the sound design to add historical texture and Rohlf handled the projection design to enhance the visuals. Brian McKinley is the assistant director.

The .Zack has had some sound/microphone issues since it opened, and continues, in various degrees with an array of productions, but usually it affects musicals more than straight plays. In “Assassins,” some of the more intricate vocals are difficult to discern, but the singers project and enunciate with a lot of effort to overcome those moments, but it still happens. There is always this feeling, when you attend a show there, of “let’s hope the sound is OK.”

Thirty-two years after its off-Broadway premiere, this bold, ambitious, and revolutionary musical continues to haunt in a different way. It is one of those seminal works of the American theater, although at the time considered one of Sondheim’s least accessible. Interpretations change through the years, uniquely tapping into current political climates and realities.

The ensemble includes the mentally unstable killers of Presidents Abraham Lincoln, James Garfield, William McKinley, and John F. Kennedy, and would-be murderers of Franklin D. Roosevelt, Richard Nixon, Gerald Ford (two!) and Ronald Reagan.

Basically, mostly losers who wanted desperately to be winners, these are the little guys tired of being oppressed by the rich and powerful, railing against injustice. Or they’re just extremists on the fringe, American psychos craving attention.

In the jaundiced group number, “There’s Another National Anthem,” Sondheim wrote “For those who never win” — The ensemble sings: “No one listens.” and “Where’s my prize?”

As the Proprietor entices the group to fame and glory, sweet-voiced Eileen Engel sells the devastating “Everybody’s Got the Right” like a QVC barker — but no doubt would administer death penalty lethal injections or place a hangman’s noose with a big smile.

The seeds are planted for disaffected and alienated souls, and their insatiable need to be someone. The song, also used in the finale, is almost sinister in context by the end of the 100-minute one-act.

“Look at me!” “Attention must be paid!” (see also @prescon2022, which prepares future leaders, because #EverybodysGotTheRight to be president).

Healy and Rohlf were forced to delay their plans for this musical several times because of the coronavirus pandemic. But perhaps it couldn’t be a timelier presentation.

With razor-sharp cynicism, the clever, whip-smart creative team has produced a fully immersed take, transforming the .Zack into Prescon 2022 – you must get there early (half-hour before) to take part in “Tinfoil Hat Origami,” “Q, no A, with Marjorie Taylor Greene,” “White Collar Crime and How to Get Away With It” and “Tips and Tricks For a Perfect Rose Garden,” sponsored by Four Seasons Total Landscaping.

The run started during the Independence Day holiday weekend, at an unsettling time when political divisions are at a fever-pitch with nasty midterm campaigns heating up a summer of primaries, hearings, and mass shootings.

Of course, the musical was ahead of its time when the original off-Broadway production premiered at the Playwrights Horizons, and while still controversial, the acclaimed 2004 Roundabout revival on Broadway won five Tony Awards and a stripped down version was mounted off-Broadway by John Doyle in late 2021.

Rohlf’s re-imagining of the original carnival framing, a fairground shooting gallery, is a bull’s eye with the convention panel and recreation of vignettes, as narrated by The Balladeer, a riveting Stephen Henley, projecting melancholy and despair in a measured tone. He is the play’s soul.

As in other productions, The Balladeer performer transitions to play a conflicted Lee Harvey Oswald, and Henley imbues JFK’s assassin with a soul-crushing sadness. He is goaded into the deed by Booth, cunning in his persuasion while Oswald wrestles with his demons.

Sensitive to the issues of gun violence, Fly North uses mostly toy guns, but gunfire is used for the Kennedy assassination.

And it is jarring, and powerful, most effective in that one use, and leads up to the evocative and moving “November 22, 1963,” and “Something Just Broke,” which features Americans’ personal accounts from that day of infamy. The impact reverberated for years, as historians tell us, and anyone alive that day can recount in universal details about hearing the news and what it meant.

Such is the indelible Dealey Plaza in Dallas. And the Ford Theatre in Washington D.C., Bayfront Park in Miami, and parades, motorcades, and wherever death changed the course of history.

 “Assassins” is not just the JFK-Oswald Special, nor is it all about Booth, but Lincoln’s assassin is a major catalyst. As written by Weidman, the Confederate sympathizer is embodied more dimensionally in Wolk’s fiery orations, starting with “The Ballad of Booth.”

On the evening of April 14, 1865, Booth entered the Ford Theatre’s presidential box, where Lincoln was watching the comedy “Our American Cousin,” in the third act, and shot him in the back of the head with a .44-caliber derringer. Lincoln died the next morning. Booth escaped with another conspirator, David Herold, and they fled to a barn in Virginia, where they were finally cornered. Herold gave himself up, but Booth refused to surrender and was fatally shot by a police officer. He died on April 26, at age 26.

The show features other characters we may not know much about beyond their names. The bizarre cases of two women, who both attempted to shoot President Gerald Ford within three weeks of each other in California in 1975, are played for laughs — only they are not in on the joke.. While dark, the ineptness and the looney-tunes perception of Charles Manson follower Lynette “Squeaky” Fromme and accountant-turned-hothead Sara Jane Moore is further enhanced by the manic performances of Avery Lux and Kimmie Kidd-Booker.

Lux portrays the brainwashed cultist believing Manson is the son of God and savior of the world as a woman not tethered to any reality while Kidd-Booker depicts easily agitated Moore as a loose cannon. Weidman has used creative liberties here in teaming up the unstable women.

Fromme was first, and the Manson Family mainstay, on Sept. 5, 1975, in Sacramento’s Capitol Park, was hoping to talk to President Ford about the redwoods. Armed with a Colt semi-automatic pistol that had four rounds, she aimed at Ford but there was no bullet in the magazine chamber and was immediately apprehended by Secret Service. She was 26 and received life imprisonment, paroled in 2009 after serving 34 years.

Moore, 45, had 113 rounds of ammunition when she fired a single bullet at President Ford, who was about 40 feet away, and uninjured, while she was in a crowd across the street from the St. Francis Hotel in San Francisco. Moore later admitted to radical political views and expressed regret. She served 32 years of a life sentence and was released on parole in 2007, at age 77.

As one of the three would-be assassins not killed, Jaymeson Hintz portrays John Hinckley Jr. as a pathetic mentally ill young man who had an unhealthy obsession with actress Jodie Foster, then a student at Yale. At age 25, in Washington D.C., he shot President Reagan . on March 30, 1981. With a .22 caliber revolver, he also  wounded police officer Thomas Delahanty and Secret Service agent Tim McCarthy. Press Secretary James Brady was left permanently disabled in the shooting.

Hinckley was found not guilty by reason of insanity and spent over three decades in psychiatric care. He is now released.

His duet with Fromme, “Unworthy of Your Love,” is one of Sondheim’s most heart-breaking ballads.

As the meeker but fixated marksman, Hintz holds his own on stage with the showier roles. He nails Hinckley’s schizoid personality disorder, among other diagnoses. Hintz also has some fun acting as bumbling President Ford.

This musical is not constructed to be a documentary, so the historical figures are shaped by their known backstory but in a more snapshot-type way than a History Channel recap.

Attorney Charles J. Guiteau is portrayed by Bradley Rolen as a delusional gasbag whose increasingly grandiose ramblings are dismissed as nonsense. He considered himself a “Stalwart,” the “Old Guard” faction of the Republican party, supporting Chester A. Arthur, then vice president. He purchased a gun he “thought would look good in a museum,” and followed President James A. Garfield several times, losing his nerve until destiny happened at a train station.

On the morning of July 2, 1881, as the 20th leader of our country departed for New Jersey, Guiteau shot him twice with a revolver. Garfield had only been president for three months when he died Sept. 19, from complications attributed to his doctors, and Guiteau was executed by hanging the next June. He was 40.

“The Ballad of Guiteau” and the chilling “The Gun Song” are part of his repertoire – “pull the trigger, change the world.”

After his second inauguration, the 25th president, William McKinley, another Ohioan, embarked on a six-week tour of the nation. Stopping in Buffalo, New York, to greet people at the Pan-American Exposition Hall’s Temple of Music on Sept. 6, 1901, disgruntled factory worker Leon Czolgosz concealed a handgun in a handkerchief.

The young laborer had become disillusioned by the country’s economic and social turmoil, later involved with a radical socialist group and influenced by anarchist Emma Goldman. Speaking with a Polish accent, Eli Borwick channels that anger and frustration in his powder-keg reactions.

When Czolgosz made it to the front of the line, he shot McKinley twice in the abdomen at close range. The president died a week later. Caught in the act, Czolgosz was quickly tried, convicted, and executed in an electric chair seven weeks later. He was 28.

Borwick’s bombast suits the character, particularly in his songs “The Gun Song” and “The Ballad of Czolgosz.”

As troubled Italian immigrant Guiseppe Zangara, Ryan Townsend conveys the bricklayer’s severe abdominal pain, which in his autopsy was attributed to adhesions on his gallbladder, but he had never received relief in life, even after an appendectomy.

Zangara attempted to kill president-elect Franklin D. Roosevelt during a night speech in Miami, 17 days before his inauguration, on Feb. 15, 1933. He shot a .32 caliber pistol five times but missed Roosevelt, striking four others.

Without remorse, when taken to the Dade County Courthouse, he said: “I kill kings and presidents first and next all capitalists.”

He was charged with their attempted murders, but when a victim, Chicago Mayor Anton Cermak, died 19 days later from peritonitis, Zangara was upgraded to a first-degree murder charge and sentenced to death. He was electrocuted in the Florida State Prison’s electric chair, nicknamed “Old Sparky,” at age 32.  

Townsend uses a thick accent that sometimes makes it hard to understand his rants. He’s part of “How I Saved Roosevelt” and group numbers, displaying a strong voice.

One of the more amusing portrayals is Sarah Lantsberger as Sam Byck, who really thought he would be a hero if he hijacked a plane and flew it into the White House in hopes of killing the much-despised Nixon. On Feb. 22, 1974, he put his plan into motion – trying to hijack a plane flying out of the Baltimore/Washington International Airport, but during the bungled incident, he killed a policeman and a pilot. He was then shot by another policeman and turned the gun on himself, death by suicide.

In two scenes, Byck is shown taping his diatribes, one to Leonard Bernstein (?!) – which can get very meta, connecting Sondheim’s contributions to “West Side Story”, and another to Nixon. Lantsberger commits to earnestly delivering his grievances. She also portrays Emma Goldman in scenes with Borwick..

Of note are Trey Marlette as a Secret Service agent and Layla Mason as Billy, Sara Jane Moore’s son that she brings along to the crime scene.

The vocals are exceptional, and the 11-piece band smoothly covers the complexities of Sondheim’s score that mixes tones and genres. Ryan Hinman, keyboards, Nicki Evans keyboards, Adam Lugo guitar, Teddy Luecke bass, Des Jones percussion, Lucille Mankovich reeds, Linda Branham Rice reeds, John Gerdes horn, Ron Foster trumpet, Joe Akers trumpet, and Adam Levin trombone, led by conductor Healy, are superb.

The ever-inventive Sondheim, whose brilliance encompassed writing lyrics of irony, emotional pain, humanity’s foibles and hunger for connection, has penned some of his most perturbing ones on our inalienable rights here. And now, after his passing in November, his words resonate from beyond the grave. “Made me wonder who we are” — “Something Just Broke.”

With the political chaos of the past decade and continued death threats against our political leaders and public servants, we have yet to fully comprehend the “Twilight Zone”-like reality that is life in 2022. After all, seditionists and malcontents tried to thwart democracy and nearly hung the vice president last year.

And after this show opened, a 22-year-old loner — who legally obtained five guns despite the ‘red flag laws,’ ripped a community apart from a rooftop as it was celebrating our 246th Independence Day.

This cogent “Assassins” certainly gives one pause about the current state of the union — If it doesn’t raise the hair on your arms, you are not paying attention.

After all, “Attention must be paid”!

Stephen Henley as The Balladeer, using his cellphone to pull up information on the assassins. Photo by John Gramlich.


Fly North Theatricals presents “Assassins” from July 1 through July 23, with a special July 4 show at 4 p.m. for $17.76. Other performances are Thursday through Saturday at 7:30 p.m. July 7-9, July 14-16 and July 21-23, with Sunday matinees at 2 p.m. July 3, 10, and 17 at the .Zack building,  It runs 100 minutes and is presented in one act without an intermission. The show contains strong language, use of a racial slur as well as the use of prop firearms in the house in proximity to audience members. For more details, refer to the content warnings – which contains spoilers. For tickets, visit www.MetroTix.com and for more information, visit the website, www.flynorththeatricals.com

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

By Lynn Venhaus
Filled with whimsy and good cheer, “A Year with Frog and Toad” is a delightful example of clever staging and accessible theater for multi-ages.

The innovative Fly North Theatricals is presenting this sweet, sentimental show about friendship for free to all who can show their vaccination card and matching ID at the door. No ticket needed but there is limited seating because of social distancing.

The musical continues this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. at The Marcelle Theatre in the Grand Center Theatre District.

Colin Healy and Bradley Rohlf, two creatives who founded Fly North Theatricals in 2019, are making sensible, affordable art and have established a Theatre for All initiative as part of their mission.

In this make-believe adventure, they are doing double-duty as the two amphibious leads. Rohlf plays the popular perky Frog while Healy is the grumpy worry-wart Toad as they journey through four seasons.

They are joined in their woodland by a Snail, Turtle, Bird, Mouse, Mole and several other frogs. The young actors playing these characters sing and dance in musical numbers that recall vaudeville and merry make-believe.

The students of Fly North, who take voice and/or dance lessons, are cast members who bring a youthful energy to the production: Claudia Taylor, Trey Perlut, Ella Penico, Aislyn Morrow, Sarah Brown, Aiden Gildehaus and Julie Harris.

Earnestly directed by Alicia Like with a young audience in mind, she keeps the 85-minute show bright and breezy. Music Director Jermaine Manor smoothly kept the focus on entertaining all ages.

Their year begins in the Spring, as they wake from hibernation. They plant gardens. They swim in the Summer, rake leaves in the Fall and go sledding in the Winter.

As the two best friends celebrate their differences that make them unique and special, they learn life lessons along the way. In a non-cloying way, they tackle anxiety and fears – blissfully free of corny cheesy jokes.

The musical, based on the beloved children’s book series by Arnold Lobel, was nominated for three Tony Awards in 2003, including Best Musical. Because of its success, it was heralded as mainstreaming a children’s production as “regular” theater.

An enchanting score by brothers Robert and Willie Real is brought to life by conductor Jeremy Jacobs, also on keyboards, who leads the four -piece band with aplomb. Luke Mankovich is on reeds, Jacob Mreen on bass and Matthew Clark handles percussion.

Choreographers Angela Brandow and Carly Niehaus used a light touch in the peppy numbers to keep the show up-tempo and fun.

Stellar work is evident from light board operator Mason Hagarty and sound board operator Matthew Garrison, with fine lighting and strong sound without any difficulty.

Lauren Perry has designed the simple set with imagination in mind while costumer Sam Hayes mixed 19th and 20th century outfits and included animal accoutrements, like turtle shells, when necessary. Old-timey hats complete Frog’s and Toad’s appearances well.

An appealing romp for those young at heart who see imagination as a wide canvas, “A Year with Frog and Toad” is a good way to ease back into bringing young people to the theater. And watching such a cheerful presentation will make you smile underneath your mask!

To support their “Theatre for All” initiative, find out more: https://www.flynorthmusic.com/theatre-for-all

And/or attend their VIP fundraising brunch on Sunday, Nov. 14. Doors open at 11 a.m., and each ticket comes with one reserved seat for the closing performance of “A Year with Frog and Toad.”

The brunch will include a Breakfast Taco Bar from The Fifth Wheel of the Bailey’s restaurant family, bottomless mimosas and coffee and performances from cast members. The Studio Open House will be at 3617 Grandel Square in St. Louis.

Tickets are available on their website and all proceeds go toward future productions and resources for FNT students. Single tickets are available for a $100 minimum donation.

Part of FNT’s mission of promoting education through performance is to involve the students of its private voice and dance studio on and off stage in every show. This production has students work alongside their teachers to produce something wacky, fun, formative, and memorable. For more information, visit www.flynorththeatricals.com

NOTE: In accordance with the Kranzberg Arts Foundation’s recent COVID policy update, all attendees of “A Year with Frog And Toad” must show proof of COVID-19 vaccination or a recent negative test conducted less than 72 hours prior for admittance.

An August Wilson Play Changed Kimmie Kidd-Booker’s Life

An August Wilson Play Changed Kimmie Kidd-Booker’s Life

Article originally appeared in Arts For Life’s Feb. 18 newsletter. Article written by Kim Klick and Lynn Venhaus

After working as a professional actor and singer for more than 30 years in Las Vegas, including performing opera at the Venetian Hotel on the Strip, Kimmie decided to move back to her hometown.

To leave her comfort zone and start over at 45 years old was daunting.

“More than a few people thought I must have been crazy!” she said.

But she knew it was time for a change and she did have support.

She was hired to work at Nordstrom Department Stores and found an apartment in Valley Park.

“I thought I’d be satisfied with all of that, but I wasn’t. Frankly, I was quite miserable. I was lonely, broke and terribly homesick! Most of all, I missed performing.”

However, things slowly fell into place. She not only found her way into the St. Louis theatre scene but reconnected with childhood friends, settled down here and married Gregg Booker. They grew up in the same neighborhood, and found each other on Facebook.

She started researching St. Louis theater companies, sending out letters and headshots, hoping to be acknowledged, but no response.

One day in 2012, she came across an audition for an upcoming production of August Wilson’s “Fences” at Hawthorne Players.

“I hadn’t even heard of August Wilson! Can you believe that? Someone like me, who has done theatre her entire life, had not heard of August Wilson?”

She showed up, prepared but “terrified.”

“A little-known fact about me is that I had never done a ‘straight play’ before! I had always done musical theatre. So, to put myself in a position where I had to just ACT, well, it was unchartered territory for me, to say the least!”

She was offered the part of Rose, the long-suffering wife who is married to the lead character, Troy.

Kimmie Kidd-Booker in “Fences” at the Hawthorne Players. Photo by Larry Marsh

“It’s one of the most important, historical, emotional, heartfelt roles to exist in American Theatre. I thought, ‘What the hell did I get myself into?’” she said.
She did not need to fret.

“This was one of the best and most fulfilling theater experiences of my career,” she said.

For the record, August Wilson was not only an African American playwright, but also was an amazingly talented award-winning playwright who died too soon at the age of 60, Kidd-Booker explained.

“Fences” is part of Wilson’s celebrated “Pittsburgh Cycle,” sometimes called “The Century Cycle,” in which he wrote 10 plays, each set in a certain decade of the 20th century.

Set in the 1957, it is the sixth play of the cycle, premiered in 1985, and like the others, explores the evolving African American experience and among other themes, examines race relations.

Troy is a Negro Baseball League player who now works as a garbageman – but can’t be a driver (yet). His bitterness is apparent and affects his family – wife Rose and sons Lyons and Cory, and disabled brother Gabriel.

“Fences” won the 1987 Pulitzer Prize for Drama and the Tony Award for Best Play.
“I am honored and privileged to say I performed in an August Wilson play! Being in an August Wilson play was both thrilling and terrifying. The context is historic and genuine and dramatic. His words are thoughtful and compelling and emotional,” she said.

 While “Fences” is her only August Wilson play to date, she said she is optimistic that moving forward, there will be more opportunities to educate, perform, explore and share the African American experience with everyone.

“Black History Month is just a drop in the bucket. But it is certainly a start. My hope moving forward is that we can continue to gain an understanding of each other and continue a dialogue and put fears to rest. We have many differences, but we must continue to be reminded that we are more alike than we’d like to think,” Kimmie said.

Before she debuted in “Fences,” after a year here, she was considering returning to Las Vegas.

But once she started rehearsals with the cast and crew, then bonding with everyone, she decided to stay.

“My love for theatre kept me here in St. Louis. As I began to meet other theatre people and make more and more theatre connections, I knew that this is where I belonged. These are my People!” she said.

As Eliza Haycraft in the original musical “Madam”

Kimmie recently became part of the AFL Board of Directors. She has won two Best Performance Awards for Best Featured Actress as Glinda in “The Wiz” at Hawthorne Players in 2014 and as Estonia Dulworth in “Nice Work If You Can Get It” at the Kirkwood Theatre Guild in 2019.

She was nominated as Best Actress in a Featured Role as Sister Mary Hubert in “Nunsense” at Hawthorne Players in 2015 and as The Witch in “Into the Woods” at Curtain’s Up Theater in 2018.

Among her roles in regional professional theater, she played Tom Robinson’s wife in “To Kill a Mockingbird” at The Repertory Theatre of St. Louis, as Lady Bird in Stray Dog Theatre’s “Spellbound: A Musical Fable”and in the ensemble of “Sweeney Todd,” as “Aunt Missy” in The Black Rep’s “Purlie” and as Evangeline Harcourt in “Anything Goes” at New Line Theatre. In January 2020, she starred as brothel owner and philanthropist Eliza Haycraft in the original musical, “Madam.”

About August Wilson

August Wilson

Wilson was born Frederick August Kittel in Pittsburgh, Penn., on April 27, 1945. His mother, Daisy Wilson, was of African American heritage. His father, Frederick Kittel, was a German immigrant.

As a child, Kittel attended St. Richard’s Parochial School. When his parents divorced, he, his mother and his siblings moved from the poor Bedford Avenue area of Pittsburgh to the mostly white neighborhood of Oakland. After facing the relentless bigotry of his classmates at Central Catholic High School, he transferred to Connelly Vocational High School, and later to Gladstone High School.

When he was 15 years old, Wilson pursued an independent education at Carnegie Library of Pittsburgh, where he would earn his high school diploma.

Following his father’s death in 1965, a 20-year-old Wilson adopted the pen name “August Wilson” — reportedly an homage to his mother — and declared himself a poet. In 1968, Wilson and a friend, Rob Penny, co-founded the Black Horizon Theater.

Wilson remained primarily focused on making it as a poet — largely to no avail — until moving to St. Paul, Minnesota, in 1978.

Wilson wrote his first notable play in 1979,” Jitney,” for which he earned a fellowship at the Minneapolis Playwright Center.

The following year, his new play, “Ma Rainey’s Black Bottom,” was accepted at the Eugene O’Neill Playwright’s Conference. The year 1982 was particularly fruitful for Wilson, as it marked his introduction to Lloyd Richards, who went on to direct Wilson’s first six Broadway plays.

“Joe Turner,” the second part of the cycle, opened on Broadway in 1988.He took home another Pulitzer Prize in 1990, this time for The Piano Lesson, following its Broadway premiere.

Wilson died of liver cancer on Oct. 2, 2005, in Seattle. His new play, “Radio Golf,” had opened in Los Angeles just a few months earlier.

Information from www.biography.com is included here.

Mrs. Harcourt in “Anything Goes” at New Line Theatre 2018

Take Ten with Colin Healy

Take Ten with Colin Healy

By Lynn Venhaus
Managing Editor
When composer and music director Colin Healy first heard the story of wealthy
brothel madam and philanthropist Eliza Haycraft, he was intrigued. On Aug. 16,
“Madam,” the musical about this infamous St. Louisan that he wrote the book,
music and lyrics for, had its world premiere at the Bluff City Theatre in
Hannibal.

Bluff City Theater commissioned the musical, where Healy has been the music director for the theater since 2017, and a branch of the Haycraft family is involved with BCT. Healy is artistic director of his own companies, Fly North Music and Fly North Theatricals.

“After one of the shows, they told me Eliza’s story. I was
fascinated ever since,” he said. “I said ‘Wow, that’s a musical.’ About a year
later, Joe Anderson, the artistic director, called me up and said in so many
words ‘Let’s make it a musical.’”

Rosemary Watts and Larissa White

Bluff City Theatre’s executive director wrote in his recent
blog: “Madam the musical is a totally new play we commissioned to end our 2019
season dedicated to the theme of The American Experience,” he said. “We follow
the story of a group of women who, for a variety of reasons found themselves
without the means to support themselves and turned to the only profession open
to women like them — prostitution. Madam Eliza Haycraft rose from obscurity to
become the richest woman in Missouri, much-loved by the general public, and a
major philanthropist with a special emphasis on Civil War widows and orphans. Yet,
despite the fact that her houses were well-frequented by the rich and powerful
men who ran the city, she was shut out of polite society.”   

“Madam introduces other characters who are historically
based on some of the remarkable women who defied the norm to claim their place
in the country at a time when they had few legitimate rights. One, an escaped
slave, disguised herself as a man to fight in the Union Army.  One is sister to Victoria Woodhull, candidate
for president in 1872,” he continued. “In addition to being a lesson in America
history, Healy’s musical is bright and lyrical. The cast is amazing. And you
can be among the first to see what is sure to be a hit.”

Healy’s score features St. Louis style jazz and blues, “Madam” is directed by Sydnie Grosberg -Ronga. The musical stars Rosemary Watts as Madam, Brett Ambler as The Benefactor, and Eileen Engel, Kimmie Kidd, Cameron Pille, Gracie Sartin and Larissa White as the ladies she protected.

There are only nine performances in Hannibal. Five are left
– Wednesday through Saturday. For tickets or more information, visit
www.eventshannibal.com or call 573-719-3226. The show is sponsored by Harold
and Kathleen Haycraft.

The first-run weekend is over, and seeing it happen has been
something special.

“Realizing work on stage is quite literally turning something practically two-dimensional — many many sheets of paper — into something truly three-dimensional,” Healy said. “In any other aspect of life, suddenly perceiving a whole new dimension would be beyond life-altering. Well, that’s what realizing a work of theatre is and it hasn’t gotten old yet.”

“I couldn’t have asked for a better cast and crew. Sydnie
Grosberg-Ronga, in addition to being an effective and incredible director, has
been an even better mentor, dramaturg, and sometimes-therapist,” he said. “Rosemary,
Lari, Cameron, Kimmie, Gracie, and Eileen have all been amazing to work with—
and as a millennial and member of the meme generation, I’d be remiss if I
didn’t say I’ve been a little starstruck getting to work with the Kazoo Kid — love
ya, Brett!”

Healy considers the musical a work in progress, but the
fact that Bluff City Theater encourages new and emerging work is music to his ears.

“What Joe Anderson is doing in Hannibal is remarkable. Bluff City Theatre is producing new and emerging work every year and filling houses with it. Go support them. They’re doing it right up there,” he said. The journey has been an interesting one, but it won’t end when the show does on Aug. 24. Plans are for his company, Fly North Theatricals, to perform “Madam” in St. Louis in 2020, from Jan. 10 to Feb. 2 at the .Zack Theater, 3224 Locust St.

Brett Ambler, Larissa White

And that is not the only plan, either.

“I’d love for it to someday reach a wider audience — whatever
that means. There are already plans for ‘Madam’ in the near future, so stay
tuned,” he said.

Not much is known about the real Eliza Haycraft, but this
much we do know. Haycraft, born in 1820, arrived in St. Louis from Callaway
County when she was 20, cast out by her parents. She had been seduced by a
lover. Destitute, she sold herself as a courtesan to support herself. When
prostitution was legal, for only a brief time, in St. Louis, she became owner
and manager of a brothel, doing well even though she couldn’t read or write. She
bought commercial and residential property and rented it back out. She was known
for helping the city’s poor, offering them help and financial aid.

In the last year of her life, the richest and most powerful men in St. Louis were hellbent on taking it all away from her, he said. She died in 1871, at age 51, leaving an estate valued at over a quarter million dollars. More than 5,000 people attended her funeral, and she was buried in Bellefontaine Cemetery.

Healy’s musical focuses on a dying Haycraft as the owner of
five brothels and the richest woman in St. Louis. She hates men. She once
empowered her employees by giving them the right to refuse service to anyone. She
had three simple rules: Respect, Consent and Pay Up Front. Then, the passage of
The Social Evils Act of 1870 made her business legitimate, but it also took
away her right to say “no.”

While based loosely on real events, the musical tells the fictionalized
story of her search for an heir to her sex empire while also taking a romp
through first-wave feminism and sexism in America at the time of
Reconstruction. It is told through the lens of Eliza’s courtesans.

“St. Louis had passed the Social Evils Ordinance, which
under the guise of legalizing prostitution actually served to deny the women
affected by it of many of the rights they had previously enjoyed. Eliza
Haycraft was a remarkable woman — a pragmatic feminist who mistrusted men,
especially those who used their positions of power to control the rights of
women, the poor and the marginalized. But she knew how to operate in a
male-dominated world. As she neared death, Eliza sought to purchase a burial
plot in Bellefontaine Cemetery, then the largest and most prestigious in the
city. The trustees of the cemetery, all clients of hers, attempted to block the
purchase until Haycraft countered by suggesting that she would take her case
directly to their wives.  They relented,”
Bluff City Theater blog said.

The poster design

Healy said he likes the show’s message.

“The show at its core is about the vulnerability of aging
and the power of ‘no’ — so for now, I just hope people like it and take away
something from it,” he said.
Bluff City Theater raved: “Audience attendance is already at a record for any
show we’ve produced here at Bluff City Theater…Don’t take our word for it — talk
to anyone who has seen the show so far. ‘Madam’ is one of the most exciting new
musicals to come along this decade.”

Healy has written five original musicals, including “The
Gringo,” which was the local headline act at the St. Louis Fringe Festival last
summer, and was the best-selling show in its history. Like “Madam,” it was
based on a real story.

Riley Dunn in “The Gringo”

He began writing “The Gringo” in 2013 after the wrongful
death of Miami teen Israel Hernandez at the hands of police. Healy had attended
high school with Hernandez, although they were not acquainted. He became
intrigued as details emerged in the fallout surrounding his death, especially
by the stark differences between their lives.

Healy moved to St. Louis during the Ferguson riots in
summer 2014. “The Gringo” then went in a different direction, instead of
confronting privilege but about fighting for your home.

“The Gringo” tells the story of art bringing together a
community facing injustice and rapid gentrification. On the morning of the
biggest art festival in Miami, a beloved local street artist is wrongfully
gunned down by police. Through the lens of a successful painter, her wannabe
lover, a drug dealer, his mule, and the white boy from out of town bearing
witness to it all, “The Gringo” is about what it means to fight for your home
in spite of it all.
Through its workshop and staged reading, a funding campaign raised enough to
record a full-length and fully orchestrated album.

“The Gringo”For the premiere of ‘The Gringo,” he also directed and was the music director. He always seems to be juggling multiple projects at once. For instance, he was contracted as the music director for “Into the Woods” this July at the Center of Creative Arts (COCA). He currently directs the Adagio Music Company at COCA and serves as the resident music director at East Central College in Union, Mo. where he has done five mainstream shows, plus his original musical “Forgottonia” last year.

Colin Healy

While living in his native South Florida, he composed
“Anthem,” which was presented in Fort Lauderdale in 2009 and 2011, and “Translation,”
which was part of the Florida Theatre Conference in 2015.

After graduating from South Broward High School in
Hollywood, Fla., he became the music director for the theater department.

Beginning at age 15, he was a touring singer/songwriter and
his work as a recording artist in the South Florida-based rock band, The
Republik, was recognized by Billboard and College Music Journal. He recorded
three full-length studio albums as a performer – Last Chance Planet, 2006; The
Unexpected Answer, 2010; and We Are the Wild Things, 2012, with the last one
recorded at the legendary Stratosphere Studios in New York and produced by
Brian Viglione of The Dresden Dolls. They received radio play nationwide.

In 2017, he established Fly North Music as a St.
Louis-based creative company that serves as the production house for his compositions.
He now has three components: Fly North Music, Fly North Studios, and Fly North
Theatricals.

In early 2018, his private vocal studio had grown,
therefore Fly North Studios was born.

Then, after “The Gringo” was successful, he and his friend Bradley Rohlf decided to establish a new theater company, Fly North Theatricals this year.

They plan to promote education through performance by utilizing both their students and a local community of actors to create new, local, accessible, high-quality works of musical theatre, Healy said. “Neat, huh?”

His five original musicals have seen production at the
educational, community, and professional levels.

“Assassins” announcementFly North Theatricals is planning to present “Assassins”
next summer, July 4 – July 26, at the .Zack Theatre, 3224 Locust St., St. Louis,
with auditions set for Sept.16 and 17.

Fly North Theatricals said it will be a new take on Sondheim and Weidman’s classic where our nations’ most notorious assassins gather on stage to violently pursue a twisted American Dream.

“While many characters represent historical figures, our
vision for this cast requires performers that visually represent our local
community, not necessarily the real people being portrayed,” the audition
notice states.

Their website states: “A multiple Tony Award-winning theatrical tour-de-force, Assassins combines Sondheim’s signature blend of intelligently stunning lyrics and beautiful music with a panoramic story of our nation’s culture of celebrity and the violent means some will use to obtain it, embodied by America’s four successful and five would-be presidential assassins. Bold, original, disturbing and alarmingly funny, “Assassins” is perhaps the most controversial musical ever written.”

For more information, visit www.flynorthmusic.comOur Questions with Colin Healy

Colin Healy on drums1. Why did you choose your profession/pursue the arts? “I’ve never really done much else. I’ve played music since I was 5 and went to performing arts schools my whole life — not really a great background to go into medicine or finance.”

2. How would your friends describe you? “I don’t know. I annoy myself a lot but at least they don’t have to around me all the time. So, there’s that.”

3. How do you like to spend your spare time? “I don’t understand the premise of this question.”

4. What is your current obsession? “I’m answering these questions from rehearsals for my new musical, ‘Madam!’ — so I guess that.”

5. What would people be surprised to find out about you? “People are always surprised to hear that I played baseball for 10 years, which I guess is playfully insulting? Like, why are you surprised?! Do I not strike you as the model of athleticism?! (OK, I get it.)”

6. Can you share one of your most defining moments in life? “My father passed away last month (July) so… that. That will certainly be informing a lot of my writing and teaching in the future (not that he didn’t when he was alive).”

7. Who do you admire most? “Angela Brandow and Bradley Rohlf and Stephen Sondheim and William Finn.”

8. What is at the top of on your bucket list? “Probably a bucket.”

9. What is your favorite thing to do in St. Louis? “Eating all the food, drinking all the beer, and riding my bike (because you have to burn the calories somehow).”

10. What’s next? Shameless plug: My new theatre company, Fly North Theatricals, kicks off its inaugural season this January at the .ZACK. Stay tuned to our social media (@flynorththeatricals) for more information.

More about Colin Healy

Colin Healy, circa 2015

Age: 29
Birthplace: Hollywood, Fla.
Current location: St. Louis
Education: Studied acting and music education, with a focus in voice, at
Florida International University.
Day job: I’m a full-time music director, composer, and voice teacher.
First job: Waiter
First role: Pharaoh in “Joseph and the Amazing Technicolor Dreamcoat”
Favorite roles/plays: “Man 1 in “Songs for a New World”
Dream role/play: George in “Sunday in the Park with George”
Awards/Honors/Achievements: Uhhh — I don’t know! I got a dog. He’s pretty
cool. Getting featured on the cover of RFT for “The Gringo” last year was
pretty neat. I make a pretty mean egg sandwich.
Favorite quote/words to live by: “Fail better.”
A song that makes you happy: Paul Simon’s “You Can Call Me Al”