Tesseract’s High-Spirited ‘My Heart Says Go’ Has Terrific Vocals, And A Few Challenges

Tesseract’s High-Spirited ‘My Heart Says Go’ Has Terrific Vocals, And A Few Challenges

By Lynn Venhaus

Supple vocal work stands out in Tesseract’s latest premiere, “My Heart Says Go,” a hip-hop-meets-pop musical well-suited for the company’s enthusiasm in mounting energetic ensembles.

But inconsistent sound quality, a louder-decibel pre-recorded music track overpowering the singers, and a cliché-riddled script hampered its impact.

Always dynamic Kevin Corpuz anchors this one-act musical as Indigo, a conflicted first-generation college student who quits to pursue his dream of making music. He is often a ball of fire on stage, i.e. “The Who’s Tommy,” “Godspell,” “Be More Chill,” “Urinetown,” “In the Heights,” and “Altar Boyz,” and this role is tailor-made to his strengths.

Indigo’s hard-working immigrant father (Kelvin Urday) thinks he’s made a grievous error. Despite that friction, Indigo moves to L.A., and meets a couple of people whom he thinks will help him reach his singer-songwriter goals.

Indigo quickly connects with Clara (Sarah Wilkinson), a struggling talented fashion designer who has a troubled relationship with her alcoholic mother (Loren Boudreau).

Sarah Wilkinson matches Corpuz in spirit and inner light. Their buoyancy, particularly in their emphatic movements, is tangible.

Clayton Humburg, Kevin Corpuz, Sarah Wilkinson. Photo by Florence Flick.

Bright spots are “What Does My Heart Say?” and “The Place Where Dreams Come True”; “Don’t Give Up” is a rousing finale.

Another vibrant portrayal is by Clayton Humburg as a lively rapper named Timmy, a guy brimming with positivity who assumes the role as Indigo’s biggest cheerleader.

While he doesn’t look that much older than Corpuz, Urday is touching as the concerned single father Eliseo, and the two bring out the emotions of a close dad-son bond in several heartfelt scenes and vocals (“Father vs. Son,” “Heat of the Moment” and “Foot Down”). Urday’s musical numbers are beautifully delivered, as is customary.

Victoria Pines is a soulful vocalist as a train conductor, and some sort of conduit to the characters. Her part, however, is underdeveloped and unclear how she connects to these people long after they rode the train. She shines in “Find Your Voice.”

The book is the weakest element of this show, and really drags down the overall experience. The characters are merely archetypes, and if the main characters weren’t live-wire performers, this would be painfully humdrum.

The book, written by Matthew Hawkins, overflows with triteness. How many times are aspiring artists used in hopes-and-dreams scenarios? This isn’t all that original, and nothing we haven’t seen before. Follow your passion, overcome obstacles, believe in yourself, blah blah blah. Must be compelling to sustain interest and empathy, and because of the cast’s talent, it is..

Dreams are such a theatrical staple that the brilliant satire “The Musical of Musicals” has a song called – what else? — “Follow Your Dream.”

Hey, having dreams fuels our fires, and any chance to remind people to persist following their heart is well-intentioned. But freshness is the key for endearment.

Wilkinson, Loren Goudreau. Photo by Florence Flick.

For an example, the addict mom is an unnecessary subplot, and you can predict her story arc the minute she enters. Both Pines’ conductor and Kevin Hester’s grungy recording studio engineer seem like they are characters in another show. Hester’s a fine vocalist, but he mumbled his speaking lines and barely spoke above a whisper, so his dialogue was hard to hear.

While everyone is earnest, the ensemble doesn’t seem to be well-defined either. They are a bouncy group, nevertheless – Khristian Duncan, David Gregory, Laura Schulze, and Goudreau are spry in song and dance.

Milo Garlich was out because of illness Sunday, so choreographer Maggie Nold stepped in, and didn’t miss a beat.

Grace Langford aces a brief role as a heart doctor supervising Indigo in med school.

The performers’ passion carries this show across the 90-minute finish line, as well as the music direction by Larry D. Pry and Nold’s choreography.

The sunny coupling of Wilkinson and Corpuz is natural, as they were last seen together as Rapunzel and Rapunzel’s Prince in New Jewish Theatre’s award-winning “Into the Woods” in November, and so was Pines as Jack’s Mom. Pry was the musical director of that show. Obviously, that’s a winning combination.

Other than the disappointing script, a major problem stemmed from the technical elements. The garbled sound was challenging, with echoes and reverbs marring vocals, and most of the time the recorded music overpowered the vocalists. Sound designer Ryan Day is familiar with The Marcelle, so I am not sure why there were so many issues.

The blocking where characters had scenes far back made it even harder to engage, because the sound was such a mixed bag. The lighting overall was inconsistent and shadowy, and again, another experienced Marcelle technician, Matt Stuckel, oversaw the design. The neon lights on the back wall, however, were a nifty touch.

Director Brittanie Gunn relied on simple staging to focus on the characters’ journeys. By using the entirety of The Marcelle stage, it seemed at times too cavernous for such a small musical. Nevertheless, she maintained a zippy pace, with smooth entrances and snappy group placings.

The score of this show is based on the personal experience of Jorge “Jay” Rivera-Herrans, who switched from pre-med to the film, television and theater department as a student at University of Notre Dame. After graduation, he received a fellowship, continued pursuing his ideas, and the school served as his incubator.

No one doubts his ardor or sincerity. The musical premiered in 2023 and has become a viral sensation. I imagine that’s largely on the strength of the musical being a celebratory anthem because the story should be further workshopped, and characters more fleshed out.

Kelvin Urday, Kevin Corpuz. Photo by Florence Flick.

One of the show’s highlights is the costume design by Abby Pastorello, who either found or made embroidered denim jackets and shirts to give a unique flair to Clara’s original designs. Those outfits were a bright addition to an otherwise scruffy group wearing band T-shirts and casual attire. In contrast were fashionista Clara’s well-put together looks, especially a bedazzled black leather ensemble that Wilkinson rocked.

This show has a shaggy charm, not unlike Lin-Manuel Miranda’s early one-act endeavor “21 Chump Street,” but on the off-the-charts inspiring meter, it lags behind “tick, tick…Boom!” “Dreamgirls,” “Beautiful: the Carole King Musical,” and many others as a whole package.

Of course, this is on a much smaller scale, and targeted to tug at your heart strings. It is a labor of love for all involved.

In recent years, Tesseract has taken more risks with musical premieres, such as “The Mad Ones,” “Ordinary Days,” and the upcoming original “Cascade’s Fire,” and tackled big shoes with “Kinky Boots” and “The Last Five Years.” Their ambitious drive is refreshing.

Hopefully, the technical director Kevin Sallwasser can get the glitches worked out this week before the show returns. The production already has a first-rate cast that it showcases fervently.

(As an aside, many a show presented in the smaller Grand Center venues has been known to have sound issues, aka at The .Zack and The Grandel. If these venues encourage stage productions, doesn’t it behoove the facilities’ powers-at-be to upgrade sound technology? We critics are beginning to sound like broken records.)

Victoria Pines as the Conductor, surrounded by the ensemble. Photo by Florence Flick.

Tesseract Theatre Company presents “My Heart Says Go” July 11 – July 21, as part of its Summer Festival of New Musicals at the Marcelle Theatre in Grand Center. Performances are July 11-13 and July 20 at 8 p.m., and July 14-21 at 4 p.m. For more information, visit www.tesseracttheatre.com

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

By Lynn Venhaus

Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.

A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.

This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.

This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

 What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

Alex C Moore plays Morgan and Walter. Photo by FF.

Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.

Where to begin with this marathon of a show that defies conventions and embraces universal truths?

Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.

The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.

Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.

Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.

Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.

However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…

It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.

Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.

Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.

This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.

According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”

While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”

So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”

In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.

“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.

Toby at the disco. Photo by FF.

The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.

His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.  

They are the main couple, but the secondary pair are two older, longtime companions –
Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.

In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.

For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.

Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.

Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”

It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.

Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.

He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’

Photo by FF.

A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.

Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.

Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.

One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.

Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.

“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.

Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.

“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.

These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.

Tyson Cole is Adam and Leo. Photo by FF.

Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”

Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).

The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.

Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.

While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.

This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.

Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

The Inheritance cast. Photo by FF.

This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive. Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.

For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance

Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

2. Why did you choose your profession/pursue the arts?

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

4. How do you like to spend your spare time?

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

6. What would people be surprised to find out about you?

If I told you, it wouldn’t be a surprise.

7. Can you share one of your most defining moments in life?

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb