GCPA Producing the Epic Musical ‘Ragtime’ April 19-21

GCPA Producing the Epic Musical ‘Ragtime’ April 19-21

Renowned for its innovative and impactful theatrical work in St. Louis, Gateway Center for Performing Arts is producing one of its most epic musical endeavors yet — “Ragtime.”

“This production pulls out all the stops, including aerial effects by On the Fly Productions, the functioning Model T Ford used in the national tour, and a large live orchestra,” said GCPA Executive Director Paul Pagano, who is directing the show.

“This is a very deep, emotional, and complicated story. These young artists are telling it with a wisdom that is beyond their years. They understand what it means to fight for equity far better than I did at their age. I learn a lot from them. My hope is that through their telling of
this story, you will learn from them, too,: Pagano said.

The musical will be staged for four performances at the Kirkwood Performing Arts Center April 19-21, with showtimes at 7 p.m. Friday, 2 p.m. and 7 p.m. Saturday, and 2 p.m. Sunday.

“Ragtime” intertwines the lives of three families – white, black and immigrant – navigating the vibrant and tumultuous landscape in turn-of-the-century America. The lush Tony award-winning musical score by Lynn Ahrens and Stephen Flaherty sets the backdrop for this powerful tapestry, delving into the complexities of racial tensions, social change, and the pursuit of the “American Dream.”

GCPA’s talented and passionate young cast, under the direction of a diverse powerhouse creative team, tell a story that not only revisits the struggles of the past, but also holds a mirror to the present, inviting audiences to reflect on how much has truly changed, and how much remains the same.

“My role was to research this show, but I really learned the most from the actors in this cast,” said Dramaturg Kate Schuler. “We can – and should – learn about racial injustice in school, but learning directly from the performers, having open conversations and how the story of “Ragtime” resonates with them as they bring it to life, has been so Important. We need to keep having these conversations.”

Zion Thomas, a GCPA alum now joining the creative team as Assistant Director, shared his perspective. “We see the protagonist, the passionate and adventurous Coalhouse Walker Jr., grow angry and violent as the story unfolds. His actions are a calculated response to all he has lost. They come from the mind of a man who screams for respect yet has found no other way to be heard. I do not excuse his actions, but I do understand them.”

“In my opinion, one cannot focus on Coalhouse’s violence without first dwelling upon what drove him to it: the defilement of his dignity, the inability to obtain legal justice, and the brutal murder of his love with impunity. Like all people, Coalhouse sought common decency and respect. And when it was denied him, he demanded it. I hope you fall in love with Coalhouse, but more importantly, I hope you hear his plea. It is one that many cry to this day,” he said.

Ragtime takes a hard look at the connection between the injustices of the past and the present, but it also calls audiences to action for the future. Aurora Lindsey, who plays Sarah’s friend, shared the impact of connecting with community while developing her character.

“Working alongside this gifted cast, especially in a group of gifted black friends, I have experienced such deep connection as we’ve grown together through telling this story. My character experiences a lot of pain, but she has taught me the importance of even through pain, always taking the chance to lift people up, create change, and move forward.”

Activist Emma Goldman is played by Grace Cooperstein, who reflected, “I’ve learned from my character how to speak up and use every opportunity to make change. My sword is my voice.”

And James Davis IV, who is a part of the Harlem Ensemble and plays Coalhouse’s Follower, said: “Ragtime illuminates the very real discrimination we still face today, but my takeaway is that these characters never gave up and never stopped fighting for their joy and for their dreams. We have the power. especially when we are family together, to make change. When opportunity strikes, don’t linger in the noise. Keep going.”

The choreography is by Laura Roth and Lawrence Haliburton and Lori Pagano is the music director.

Tickets are available through Metrotix or the KPAC box office for $15-26 and can be purchased through www.gcpastl.org/tickets. Student
tickets are available on Saturday night for $15. You can avoid Metrotix fees by purchasing directly from the KPAC box office.

Rock Legends Come Alive in Stages’ Rollicking ‘Million Dollar Quartet’

Rock Legends Come Alive in Stages’ Rollicking ‘Million Dollar Quartet’

By Lynn Venhaus

To see the transformative power of music first-hand, just be in an audience for Stages St. Louis’ production of “Million Dollar Quartet,” because you will watch as a crowd of adults become kids again.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at Sun Studios in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

The man who gave them their start, Sam Phillips, deservedly known as “The Father of Rock ‘n Roll,” narrates this twist-of-fate tale, a true David vs. Goliath industry narrative featuring the star power of four future legends.

As impresario Phillips, Jeff Cummings is well-suited to play the country boy mogul with savvy instincts on hit-making, conveying equal parts passion and pride.

The cast’s remarkable full-throttle energy, showmanship, and musicality turned the Kirkwood Performing Arts Center’s Ross Family Theatre into a freewheeling and fun house party where the ready-to-rock crowd blissed out to the enduring rhythm of roots rock ‘n roll. The company, all seasoned professionals, many veterans of this show, looked like they were having so much fun performing together.

Perhaps I can speak for my fellow Boomers, as I felt we were transported back to sock hops, Teen Towns and listening to our transistor radios with earphones before bedtime. And couldn’t resist the urge to toe-tap and clap along, for the hits just kept on coming: “Hound Dog,” “Long Tall Sally,” “Great Balls of Fire,” “Who Do You Love,” “Sixteen Tons,” “Folsom Prison Blues,” and “I Walk the Line” among them.

Brady Wease as brash Jerry Lee Lewis. Photo by Phillip Hamer.

But it’s not merely a blast from the past — rather, a vivacious retelling of magical music moments in pop culture history. Music Director and Conductor David Sonneborn, who also plays the drums as session musician W.S. “Fluke” Holland, has splendidly brought out the best in everyone.

The joint was jumping, and it was a thrill to be a part of such a joyful celebration. There was a whole lotta shakin’ going on during the coda/extended curtain call, with the crowd on their feet for most of it — and singing along to “See You Later Alligator.”

Director Keith Andrews, who also choreographed Edward La Cardo as an unstoppable Elvis, marvelously captured the lightning-in-a-bottle aspect of four rock ‘n roll influencers for a perfect show, lovingly crafted and crisply performed by an ensemble who achieves synchronicity together but also stands out individually. It’s his sixth time directing this show, and his command of the material is evident.

This jukebox musical displays the heart, humor and overflowing talent of these scrappy guys who came from humble Southern beginnings, carved a place in history for themselves and put Sun Studios on the map.

Carl Perkins, who hadn’t been able to follow up “Blue Suede Shoes” with another hit, has a simmering resentment towards Elvis, for his performance on “The Ed Sullivan Show” and other grievances. He has a chip on his shoulder and a festering attitude, which Jeremy Sevelovitz carefully projects.

Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.

Carl’s brother, Jay, is one of the session musicians, and Chuck Zayas knows how to slap that bass, having been a founding cast member, and has been rockin’ out for more than 30 years in bands and on stage.

The story begins with the premise that rockabilly specialist Carl Perkins is there to record some new music with a brash piano player from Louisiana – Jerry Lee Lewis, whose swagger and desire to be the center of attention rubs him the wrong way. Brady Wease’s bravado blazes the stage as a boyish “The Killer” and his prowess pounding the keys is fun to watch.

With his deep voice and confident demeanor, Scott Moreau’s ease as Johnny Cash is noteworthy. He has played this role more than 1,000 times, and that experience shows. His way with the guitar, and impressive vocals are riveting. “Ghost Riders in the Sky” is one of the standouts, and his gospel influences are emphasized.

La Cardo embodies the young energetic Elvis, now a movie star too, who would prefer solid career advice rather than a chorus of ‘yes’ men. In this show, he brings a girlfriend along, and Shelby Ringdahl fits right in as Dyanne, belting out “I Hear You Knockin” and delivering a sultry “Fever.” At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer.

Besides the smokin’ hot beats, there is drama in between songs dealing with show biz and their personal relationships, just to create conflicts and tension.

The show’s original concept by Floyd Mutrix was solid gold, and it premiered in Florida in 2006.  A regional Chicago production was mounted in 2008, starting at the Goodman, then moving over to the Apollo, where it celebrated its 2,500th performance six years later. The show closed in 2016, ranking as the third-longest running show in Chicago theater history.

Scott Moreau as Johnny Cash. Phillip Hamer Photography.

Nominated for three Tony Awards — for Best Musical, Book by Colin Escott and Mutrux, and Best Performance by a Featured Actor, which was won by Levi Kreis as Jerry Lee Lewis, the show opened on Broadway in April 2010 and closed in June 2011, after having played 489 performances and 34 previews,

I first saw this on its national tour in 2013 at the Fox Theatre, and then The Rep staged a slick, exuberant production in 2017. While both were enjoyable and executed well, the Stages one seems the most spirited, with an extra oomph of pizzazz and far more nuance.

Not only is this ensemble aces, percolating on all cylinders, but the creative team has showcased its mastery – scenic designer Adam Koch for a vintage studio interior, costume designer Brad Musgrove – of course the quartet are in colorful sequined blazers for the grand finale!, the exceptional expertise of lighting designer Sean M. Savoie, and clear sound designed by Beef Gratz.

The vibrancy of the production is unforgettable, and you surely will sing a happy tune while leaving the building.

Jeff Cummings as Sam Phillips. Phillip Hamer Photography

“Stages St. Louis presents “Million Dollar Quartet” from Sept. 8 to Oct. 8 at the Kirkwood Performing Arts Center. For more information: stagesstlouis.org.

The iconic photo of Dec. 4, 1956. It hangs on the wall of Sun Records in Memphis (worth the tour!).

Uproarious ‘Clue’ Is Winning Comedy Caper at Stages St. Louis

Uproarious ‘Clue’ Is Winning Comedy Caper at Stages St. Louis

By Lynn Venhaus

Noteworthy for its fleet-footed cast and flawless execution, the rip-roaring romp “Clue” is a winning combination at Stages St. Louis.

In its first non-musical presentation since 1989, the company strikes comedic gold with a farcical whip-smart whodunit patterned after the classic murder mystery board game and based on the 1985 movie that has blackmail on the menu. I haven’t laughed this hard at live theater in a long time.

Is Professor Plum the guilty one with the candlestick in the Library or Miss Scarlet with the rope in the Ballroom? We will find out what really happened in this briskly paced 90-minute escapade that connects the charades, deceptions, and secret passageways during an unusual dinner party.

The hilarious hijinks kick off on a dark and stormy night in 1954, in a well-appointed Boddy Manor, located in a remote area of New England.

As the oddball characters cavort through the mansion’s rooms and corridors, this exceptional quick-witted ensemble shows why each performer is at the top of their game, deftly demonstrating skills in slapstick and impeccable comic timing. Together, they are a finely tuned troupe, zany like the original Monty Python’s Flying Circus in movement and delivery. Let the silly walks begin!

Photo by Phillip Hamer.

The six suspects are named according to the familiar game designed by Anthony E. Pratt and first manufactured by Waddington’s in England in 1949. Updated over the years, the current American edition, labeled “classic detective game,” is published by Hasbro, which bought the franchise from Parker Brothers in 1992.

The players’ task is to determine who murdered the game’s victim, in what room the crime took place, and which weapon was used, with cards and miniature props divvied up. Each player, representing a token color, takes on the role of either Colonel Mustard, Mr. Green, Mrs. Peacock, Professor Plum, Miss Scarlett, or Mrs. White, rolls the dice to move around the nine rooms, and collects clues to deduce the correct answer (which are secretly placed in a special solution envelope).

This stage play version, first performed in 2019, was written by Sandy Rustin, whose “The Cottage” opened on Broadway this summer. She adapted the screenplay by Jonathan Lynn (“My Cousin Vinny”), who also directed the movie.

The 1985 film, with Tim Curry playing the butler, was marketed with the gimmick of three different endings, and this version seems to jumble the endings’ best parts – wisely keeping the robustly delivered last line. New material was added by Hunter Foster and Eric Price.

As part of the merry menagerie, Mr. Boddy is the host who has been blackmailing the other dinner guests for years. Jeff Cummings is appropriately condescending and threatening, handing out gift-wrapped weapons to each, spelling out the dangers ahead. When he winds up dead, they become suspects. Their color-coded names are aliases, assigned to prevent real identities being exposed. It doesn’t appear that they are that innocent, and the plot thickens (insert menacing laugh here).

Whodunit? Photo by Phillip Hamer

In a virtuoso performance, Mark Price tickles the funny bone as the butler Wadsworth, a master manipulator who seems to be putting the puzzle together, but whose antics question everything we’ve seen and heard. With his rapid back-and-forth delivery and devil-may-care spirit dialed to 11, he is physically reminiscent of a younger Robin Williams in “Mork and Mindy.” He nimbly seizes control of every scene in the second act, earning breakout applause, and has the audience howling with laughter.

A Broadway veteran, Price is reprising his role from the Paper Mill Playhouse in New Jersey production in January 2022, postponed from a planned bow in ’20, delayed by the pandemic. The original direction by Casey Hushion is noted in the program, and this production is directed with tremendous zeal by Steve Bebout.

Bebout highlights each character’s eccentricities and keeps us guessing as to whodunit. The story structure isn’t as dependent on the characters as it is on the performances, and this cast is a marvel of perpetual motion and goofy quirks to keep us interested.

Could it be the self-important Mrs. Peacock, married to a U.S. senator accused of taking bribes? Flamboyant in blue, Zoe Vonder Haar struts around in fine fashion, exaggerating slurping soup and putting on airs.

Or is it the vampy Miss Scarlett, a smooth operator who runs an underground brothel in Washington D.C.? Diana DeGarmo, who has already impressed at Stages in “Always… Patsy Cline” and “Aida,” continues her hot streak, sashaying in a satiny red gown, sultry attitude to match.

Or the third suspicious woman, Tari Kelly as dramatic Mrs. White, who claims she is innocent in the death of her nuclear physicist husband. However, this international woman of mystery is hiding other secrets and motives, giving off a black widow vibe.

The men project peculiarities and appear not to be very smart, even Professor Plum, whose fall from grace includes a patient’s death. Looking all stuffed-shirt with purple bowtie, Graham Stevens is the annoying agitator.

Colonel Mustard, David Hess, on right. Photo by Phillip Hamer.

As Colonel Mustard, in his medal-detailed military jacket, David Hess seems clueless and not in sync with anyone else, evoking laughs through his obvious befuddlement.
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Mr. Green, who seems rather strait-laced and buttoned-up, has a terrific reveal sequence that is not worth spoiling, for Charlie Franklin brings the house down as this clever chameleon.

The help is mischievous and mystifying, with Lari White sassy and sexy in a skimpy French maid outfit, affecting a spot-on accent, too, and Leah Berry funny as the demanding, no-nonsense cook who doesn’t suffer fools and knows knife skills.

Cameron Jamarr Davis conveys authority and reliability as “The Cop” among other roles, and Cummings re-appears in minor parts as well.

As outstanding as the cast is, the production’s artisans have matched their vigor. Lee Savage’s production design creates rooms Agatha Christie and Sherlock Holmes would have been comfortable in, while lighting designer Sean M. Savoie’s expert shades of illumination provide key shadows and moods. Costume designer Brad Musgrove has captured each character’s personality through a color palette that defines their attire and accessories. Sound designer Beef Gratz’s superb atmospheric contributions make sounds ranging from thunderstorms to creaking doors an integral part of the story.

The zest evident in presentation is this show’s most attractive quality, the sheer thrill of watching a high-wire act without a net. Stages St. Louis leaves us smiling on a summer night, and I’m still chuckling reminiscing about what I saw.

“Clue” at Stages St. Louis. Photo by Phillip Hamer.

Stages St. Louis presents “Clue” from July 21 (previews) through Aug. 20 in the Ross Family Theatre at the Kirkwood Performing Arts Center, 210 E. Monroe St., in Kirkwood, Mo. For more information, visit: https://stagesstlouis.org.

Photo by Phillip Hamer.

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Daffy Doings In ‘The Nerd’: The One With the Houseguest from Hell

Daffy Doings In ‘The Nerd’: The One With the Houseguest from Hell

By Lynn Venhaus
The laughs come in waves as wackiness ensues in “The Nerd,” a fizzy farce that showcases a nimble seven-member cast at their best.

Set in architect Willum Cubbert’s bachelor apartment in Terre Haute, Ind., in November 1981, what starts out as a typical drawing room two-act play soon turns into an outrageous comedy of manners that’s at once timeless and old-fashioned — but in a charming early ‘80s way. (Answering machine messages are a part of the humor).

Now on stage at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center, the Moonstone Theatre Company’s fleet production accents the laugh-out-loud circumstances and plays up the absurd character traits in playwright Larry Shue’s clever classic.

As played by Oliver Bacus, Cubbert is an anxious people-pleaser. His two best buds are a snobby theater critic named Axel and an ambitious ‘weather girl’ named Tansy (also former girlfriend), who are moving along with their careers while he’s, well, ‘stuck in second gear’ to use The Rembrandts’ lyric to “I’ll Be There for You” (aka the “Friends” theme song).

And like that ensemble that just clicked together, Bacus, Bryce Miller and Bridgette Bassa are a tight trio, effortlessly conveying a realistic friendship and establishing their distinct personalities as the unusually named Willum, Axel, and Tansy.

Oliver Bacus, Bridgette Bassa, Bryce Miller. Photo by Jon Gitchoff

Miller adds the sour and Bassa brings the sweet to the mix. Miller superbly lobs sarcastic one-liners and keeps the disdain brewing as he demonstrates his adroit comedic skills.

Bassa, who has been memorable in such dramatic roles as the rebellious niece Jean in “August: Osage County” and as Billy’s girlfriend Sylvia in “Tribes,” both at St. Louis Actors’ Studio, shows her comedic chops again after appearing in “Grand Horizons” at Moonstone in March.

Noteworthy is her agility during back-and-forth trips between the kitchen and the living room while carrying food, keeping the show’s fast pace on track. And she is stylish encapsulating the typical early ‘80s chic career woman look by costume designer Michele Siler, along with the requisite big hair.

Willum’s concerned friends think he is too nice of a guy, and they encourage him to have more of a backbone because those habits have affected his decision-making. Nevertheless, he is trying to advance his career and persuade Tansy to resume their relationship and not move for a job elsewhere.

Ever loyal, Willum, a Vietnam War veteran, has talked about what he owes fellow soldier Rick Steadman for saving his life. During his ‘Nam service, he was seriously wounded, and while he never met the good Samaritan Rick, he feels indebted to him. In a letter, he wrote that as long as he was alive, Rick “will have somebody on Earth who will do anything for you.”

Ryan Lawson-Maeske, Photo by Jon Gitchoff.

Eager to collect the favor, Rick shows up one night, in the middle of a rather uncomfortable dinner party as Willum is trying to impress his hotel-owner client, who brought his wife, clearly ill at ease, and their rambunctious, spoiled son.

Weird timing, but Willum rolls with it, until he discovers just how peculiar Rick is and how disruptive he can be while staying as his houseguest. Pre-technology boom, the “nerd” definition was slightly different 42 years ago, and Ryan Lawson-Maeske embodies the socially inept, tone-deaf, unrefined guy in a full-throttle performance.

Accentuating the character’s oafishness, Lawson-Maeske affects a nasal, sing-song voice delivering goofy lines in a tactless way, and creating an awkward walk, so that his cadence and gait are funny no matter what he’s saying.

Bacus capably assumes the blander ‘straight’ man role because the eccentric people surrounding him need to standout. As an increasingly frustrated Willum, he feels put-upon, because this is a circus thrust upon him and people around him are demanding action in this escalating tug of war.

His exasperation and agitation grow as The Thing That Wouldn’t Leave wreaks havoc on his life. It all comes to a head when his friends concoct a ridiculous ‘foolproof’ scheme to send Rick on his merry way, and his domineering client is demanding immediate changes to his blueprints.

Kieran Thompson, Leslie Wobbe, Greg Johnston and Oliver Bacus. Photo by Jon Gitchoff.

It’s a tour-de-force comedic portrayal by the versatile Lawson-Maeske, who can easily move between comedy and drama on St. Louis stages. He fully commits to the madness, finding the sweet spot so that the growing animosity towards Rick’s obnoxious behaviors isn’t perceived as cruel, being hurtful to a hopeless cause.

Presenting the ‘work’ part of the dilemma is the irritating Waldgrave family, utilizing the synergy of veterans Greg Johnston as the blustery hotel magnate and Leslie Wobbe as his fretful wife, with Kieran Thompson displaying youthful energy as their bratty kid Thor.

Shue wrote two highly regarded comedies before his untimely death at age 39 in a commuter plane crash in 1985 — “The Nerd,” produced first in 1981, and “The Foreigner,” in 1984.

At first glance, the plays seem like tailor-made laugh fests with clever turns of phrase. Shue was gifted with remarkable verbal dexterity, and adds idiosyncratic touches – not just the odd names, but Rick is a factory chalk inspector? Tansy, playing hostess, brings out heaping bowls of three-bean salad and macaroni salad — quirky choices.

But Shue also underlined the human condition in such a way that we can relate. How many times do we need a push in life, that we must get out of our way to move forward?

With this ace cast under the shrewd and sharp-witted direction of Gary Wayne Barker, you expect a madcap romp but may be surprised by the heart the players have mustered, and what it has to say about work-life balance.

The ensemble moves easily around the nondescript apartment set designed by Dunsi Dai, with recognizable retro touches. While that is static, this cast is anything but, and their proficiency in making jokes land is admirable. Their timing is so crisp it doesn’t tip off any twists, either.

 And I doubt anyone in the audience will be wanting cottage cheese any time soon.

Greg Johnston, Bridgette Bassa, Leslie Wobbe, Oliver Bacus and Bryce Miller. Photo by Jon Gitchoff.

Moonstone Theatre Company presents “The Nerd” July 6 – July 23 on Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m. in the Strauss Black Box Theatre at KPAC, 210 E. Monroe. General admission tickets are $40, with seniors $35 and students $15. For more information, visit moonstonetheatrecompany.com or call MetroTix at 314-534-1111.

Ryan Lawson-Maeske. Photo by Jon Gitchoff.

Mesmerizing Performances in The Rep’s Heartfelt ‘Gruesome Playground Injuries’

Mesmerizing Performances in The Rep’s Heartfelt ‘Gruesome Playground Injuries’

By Lynn Venhaus

Funny, sad, poignant and personal, “Gruesome Playground Injuries” is the Repertory Theatre of St. Louis’ impressive return to the Steve Woolf Studio series, renowned for its adventurous programming for years.

It’s an accomplished production of Rajiv Joseph’s 2009 two-character drama featuring raw and affecting performances from Brian Slaten and Jessika D. Williams, who will break your heart as damaged souls Doug and Kayleen.

The year is 1983 and they meet as eight-year-olds in their parochial school infirmary. He’s a daredevil prone to accidents that get more series as time goes by and she’s waylaid by a sensitive stomach – her mother blames it on “bad thoughts” – and her internal wounds progress to self-harm and substance abuse.

Both outsiders, their lives intersect for the next 30 years, while they wrestle with their feelings.

With his keen wit and sharp emotional insight into the human condition, Joseph brings the friends back together – even with long stretches apart. It’s complicated – and compelling. They may be a lifeline, but they exasperate each other, push people away in a cruel world, and from their perspective, connecting isn’t so easy.

Adulting is hard, we know. Life happens. Friends move, get different jobs, start and end other relationships, raise families. But the ones we maintain ties with become a special part of the fabric of our lives. And the ones we reconnect with, after drifting part, that opportunity is a great tonic – and we know that feeling. It’s universal.

“Gruesome Playground Injuries” evokes those friendship memories. It’s obviously more complex with Doug and Kayleen, who learn they can’t heal each other, but they can provide sustenance.

A finalist for the Pulitzer Prize for Drama for his outstanding 2009 play “Bengal Tiger at the Baghdad Zoo,” Joseph crafts fully dimensional characters, flaws and all.

Jessika D Williams, Brian Slaten Photo by Philip Hamer

In this nonlinear narrative, the pals’ encounters are rather unusual, through early teens, 20s and 30s, with the actors revealing more emotional depth each time. Every rueful scene deals with pain, both physical and psychological. They ask each other: “Does it hurt?”

Slaten inhabits the hyper and impulsive Doug with an appealing goofball energy while Williams unmasks a guarded person concealing internal scars but can’t hide the darkness within.  Director Becks Redman emphasizes the characters’ vulnerability.

The pair is on stage the entire time, never out of sight, and they change clothes on opposite sides. The simple outfits selected by costume designer Carolyn Mazuca reflect the various time periods in their lives.

The production’s technical design work is also superb, with an interesting monochromatic set of multi-purpose shapes by scenic designer Diggle. The actors move pieces around to create their settings – efficient and functional spaces doubling for interiors and outside. Lighting designer Anshuman Bhatia also gives the characters a sense of place and enhances the mood.

David Gomez’ soulful instrumental composition adds a mournful tone, reflecting on missed opportunities and regrets. Sound designer Kareem Deanes’ crisp work excels in the black box space.

Post-pandemic, this play resonates even more than in the before times. We have acutely felt the isolation of social distancing and loss of human connection through time and distance. We have fought similar battles separately and together the past three years.

With mesmerizing performances and a director desiring to bring out parallel lines we can relate to, this production aims straight for the heart and achieves a bulls-eye. It makes us think and feel about how people make their marks on our lives.

Photo by Philip Hamer.

The Repertory Theatre of St. Louis is presenting “Gruesome Playground Injuries” in the return of Steve Woolf Studio series from April 14 through May 13 at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center, 210 E Monroe Ave, Kirkwood, Mo.

The show runs 80 minutes without intermission. House doors will open 30 minutes before the show starts to begin seating. Please plan to arrive accordingly as this show is general admission. Concessions will be available to purchase before the show. They are only able to accept debit/credit cards.  There is a free lot for parking directly behind the theatre on W Monroe Ave. and S Fillmore Ave. Additional free parking is available on adjacent streets.

For tickets or for more information, visit www.repstl.org

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

By Lynn Venhaus

A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.

This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.

The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.

From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.

This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.

As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).

Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.

Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”

Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”

However, Salgado isn’t the only original connection involved at Stages.

Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.

This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.

Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.

Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.

The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.

Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.

Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.

His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”

Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.

Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.

Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.

Robles, Alvarado, Garcia. Photo by Phillip Hamer.

While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”

The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.

Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.

Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).

 Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.

Leoni and Hipps. Photo by Phillip Hamer.

The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”

Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.

As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).

Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).

Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.

And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.

The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.

Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.

As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.

Hagans and Juvier. Photo by Phillip Hamer.

Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.

Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries. 

Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.

This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”

Amanda Robles as Vanessa. Photo by Phillip Hamer.

Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org

Photo by Phillip Hamer

‘The Karate Kid – The Musical’ Wins Over Audience With Heart of Gold

‘The Karate Kid – The Musical’ Wins Over Audience With Heart of Gold

By Lynn Venhaus

A stand-up-and-cheer musical that makes the most of its moves and moments, “The Karate Kid The Musical” is a triumph for Stages St. Louis.

With its inspirational underdog storyline and a multi-generational, universal appeal that transcends a formula 1984 movie script, the musical version takes those familiar beats and capitalizes on the warm glow of nostalgia.

Perhaps against all odds, this slick production genuinely connects to an audience, wearing its heart of gold on its gi.

With its impeccable technical elements and a captivating East meets West aura, director Amon Miyamoto has polished this big-deal show to dazzle with crisp movements, stunning scenic and lighting designs, and a seamless flow – despite a long first act.

For those who haven’t seen “The Karate Kid” film from 1984, which garnered an Oscar nomination for Noriyuki “Pat” Morita as Mr. Miyagi and made such catch phrases as “Wax on, wax off” and “You trust the quality of what you know, not quantity” popular, viewing it isn’t a prerequisite.

The message of using your head and heart, not fists, to win in life, is evergreen.

This world premiere, with its winsome Miyagi-verse a major factor, runs through June 26 at the Kirkwood Performing Arts Center. 

Where it lands after that depends on what’s referred to as “a pre-Broadway tryout,” which means it is a work in progress. For now, it is in a first-reaction phase, and what we see here might not be the completed licensed material.

The simple premise is thus: Widowed mom and her teenage son move from New Jersey to Southern California, and while she has a good job, the Italian kid with the Jersey accent doesn’t fit in with the surfer crowd. 

Daniel LoRusso becomes a target of elitist punks who train at the same high-intensive karate school – the Cobra Kai dojo. Mr. Miyagi, the Okinawa-born maintenance man-gardener, happens to be a martial arts master and trains him to fight in an all-valley tournament a few months away.

While the movie has a distinctively ‘80s signature, not unlike “Footloose,” “The Breakfast Club,” “Fast Times at Ridgemont High,” “Fame” and “Risky Business” back in the day, it has become a pop culture classic, as much known for Mr. Miyagi’s words of wisdom as the iconic “crane’ move. (And that big moment prompts more cheers).

The movie is credited with launching renewed interest in martial arts from American youth, sparking a franchise with two more sequels (1986 and 1989, a 1994 reboot “The New Karate Kid” and the television series, “Cobra Kai,” now on Netflix and about to start its fifth season on Sept. 9.

The musical’s book is adapted by screenwriter Robert Mark Kamen, who based the original film in part on his own experiences. 

In broad strokes, Kamen capitalizes on the key pieces – mother and son starting a new life, teenage boy not fitting into the California coastal milieu, the maintenance man who becomes a father figure, and the David vs. Goliath battle royale.

What is new is that the musical is framed as Mr. Miyagi’s memory, thus we return to the 1980s, and the journey of how he and Daniel developed a deep bond. 

Musical composer and lyricist Drew Gasparini obliges with numbers that fit into the framework, stripping the action down to basics: “California Dream,” “Square One,” “I Want to Know What You Know,” and the finale sentiment, “Stronger Than Before.”

The unorthodox training is captured in “Method to His Madness” and the epiphany breakthrough “Balance.”

A striking sense of rhythm is noteworthy throughout every ensemble number, with vibrant, precise choreography by Keone and Mari Madrid that uniquely stands out. A mix of modern hip-hop and traditional, cultural Far East dance, it is extraordinary in execution. 

It’s rare that a big, splashy musical number receives a standing ovation midway through the first act, but the bravado of “Strike First. Strike Hard. No Mercy” was a showstopper that prompted many in the opening night crowd to leap from their seats in enthusiastic applause.

Alan H. Green, who plays the brutal taskmaster John Kreese, had the crowd at his first snarl and it’s a fierce performance as the unsavory ‘win at all costs’ sensei.

By the time his ruthlessness is revealed, “The Whole World Will Be Watching,” to end act one, hints at danger ahead in Act 2, fueling anticipation for the big showdown.

Credit goes to the engaging ensemble – a mix of seasoned pros and energetic young performers, for their contributions to Stages meeting this moment.

Cardoza is the lynchpin here – charming and earnest, and all the relationships hinge on his likability as Daniel. He develops a palpable bond with Mr. Miyagi – Jovanni Sy in an unforgettable heart-tugging performance.

And that connection burrows into our hearts. 

Daniel and his mother, Lucille, played by the wondrous Kate Baldwin, a two-time Tony nominee, are at different crossroads, which they express clearly in songs. 

Baldwin showcases a sweet, well-trained soprano in “Doing Something Right” and a soulful “If I Could Take Away His Pain.”

No stranger to St. Louis, she won a St Louis Kevin Kline Award for her performance as Maria in The Muny’s 2005 staging of “The Sound of Music.”

The standard love triangle between Ali, her ex Johnny Lawrence and Daniel sets up the bigger issues with the bully (Jake Bentley Young fine in the thankless one-note role). 

As a girl with gumption, Jetta Juriansz puts some oomph into the stock love interest part, and her songs “Who I’m Supposed to Be” and “What Comes Next.”

As Daniel’s new pal Freddy, Luis-Pablo Garcia is a real charmer, and capably leads “Dreams Come True.”

Music Director Andrew Resnick’s strong arrangements are another noteworthy element, as is John Clancy’s orchestrations. 

It is evident that all the technical parts came together in such a high level, indelible way as to mesmerize. The black and red imagery is bold and impressive.

With its angles and moving doors, windows and walls, the stunning set design by Tony winner Derek McLane is one of the finest ever executed here – and another reason to wax rhapsodic. So is Tony winner Bradley King’s exceptional lighting design. 

With its snappy pace and mostly upbeat score, “The Karate Kid – the Musical” turns into a fun time meant to be shared with a pumped-up crowd, not unlike other classic feel-good sports stories “Rocky,” “Rudy” and “American Underdog.”

Obviously, this is a production with an unabashed gooey center, and say what you will, delivered as promised, bringing much comfort and joy to a wildly enthusiastic audience. 

After all, “Man who catch fly with chopstick, accomplish anything.”

Stages St Louis presents “The Karate Kid – The Musical” from May 25 to June 26 at the Kirkwood Performing Arts Center. For more information, visit www. StagesSTL.org. 

Portions of this review appeared in the June 17 issue of the Webster-Kirkwood Times.

Emerson Teams with Stages St Louis to Offer Discount Student Tickets

Emerson Teams with Stages St Louis to Offer Discount Student Tickets

STAGES St. Louis is thrilled to announce a new partnership with Emerson, STAGES 2021 Season Education Sponsor, titled Emerson Educates. The new program, exclusively for students, will offer special priced tickets to all 2021 Season STAGES’ productions in an effort to promote arts education and access throughout the region.

“With Emerson’s generous support, we will offer the most affordable student rush ticket price in STAGES history at just $10 per ticket” Mosbacher Family Executive Producer Jack Lane said. “Thanks to Emerson, this offer has the potential to benefit and provide arts access to more than 700 students each year.”

The special $10 tickets will be available throughout the 2021 Season to all students with valid student ID. Up to two tickets can be sold per transaction with ten tickets available at every performance. In addition to special priced tickets, Emerson Educates will offer a one-of-a-kind educational experience in conjunction with the upcoming STAGES Premiere of JERSEY BOYS. Underserved schools will be offered specially designed programming and lessons plans tied directly to the themes featured in the production as well as complimentary tickets and talk backs with members of the JERSEY BOYS creative team and cast.

“Arts education and access are vitally important to students of all ages,” said Crissy Nordin, Director of Education & Outreach at STAGES. “Emerson Educates will not only help in providing teachers with the proper tools to bring this to the classroom, but it will also directly connect that to the stage with unique in person opportunities for learning.”

Emerson Educates tickets are available throughout the 2021 Season for productions of ALWAYS… PATSY CLINE (August 6-September 5) and JERSEY BOYS (September 24-October 24). Tickets can be purchased on the day of performance by calling the STAGES Box Office at 314.821.2407 or visiting their locations in both Chesterfield and Kirkwood.

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of their new home, the $25 Million Ross Family Theatre at The Kirkwood Performing Arts Center.


Stages St. Louis Announces ‘In the Heights’ To Be Part of 2022 Season

Stages St. Louis Announces ‘In the Heights’ To Be Part of 2022 Season

In celebration of the reopening of live theatre in St. Louis and their 35th Anniversary Season,
STAGES St. Louis has announced their 2022 Season will feature the regional premiere of the Tony-Award
Winning IN THE HEIGHTS, music and lyrics by Lin-Manuel Miranda and book by Quiara Alegría Hudes.

IN THE HEIGHTS is a vital and thrilling musical about the American Dream set in the vibrant NYC
neighborhood of Washington Heights. Exploring the hopes and dreams of family, community, and more,
the production is a perfect fit for the STAGES mission and audience.

Before there was HAMILTON, Lin-Manuel Miranda’s IN THE HEIGHTS took Broadway by storm, winning the
Tony Award for Best Musical, as well as the Grammy Award for Best Musical Show Album. An acclaimed film
adaptation, directed by Jon M. Chu and starring Anthony Ramos, was released this past weekend.

“We are beyond excited about presenting IN THE HEIGHTS at STAGES in 2022. I can’t think of a better
show to be a part of our first full season at the Kirkwood Performing Arts Center. Everything about this
beautiful and melodic musical speaks to the stories that STAGES so loves to tell,” said Mosbacher Family
Executive Producer Jack Lane.

On its Broadway opening in 2008, The New York Times raved, “When this musical erupts in one of its
expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year
or two.” That energy will no doubt be alive and thriving on The Ross Family Theatre stage at the Kirkwood
Performing Arts Center in 2022.

STAGES St. Louis will announce the remainder of their 2022 Season later this summer. In the meantime,
tickets for STAGES 35th Anniversary Season, featuring the fan-favorite production of ALWAYS… PATSY
CLINE (August 6 – September 5) and the STAGES premiere of JERSEY BOYS (September 24 – October 24)
are on sale now. You can purchase two-show subscriptions or single tickets by visiting their website at
StagesStLouis.org or by calling the Box Office at 314.821.2407.

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website.
STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing
the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES
celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new
home, the $25 Million Kirkwood Performing Arts Center.

STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs
that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the
only such program in the St. Louis region to be connected to a professional theatre company.


For more information on the Academy or to register today please call 636.449.5775 or visit us online at
www.StagesStLouis.org.Two-show subscription and single tickets for the 2021 Season are on sale now. For more information,
please call 314.821.2407 or visit www.StagesStLouis.or

Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

STAGES St. Louis Artistic Director and co-founder, Michael Hamilton, has announced that he will be retiring at the end of the 2021 Season.

“From our opening season in 1987 to our launch into the stunning new Kirkwood Performing Arts Center, every moment at STAGES has been an extraordinary one for me. As I explore and embrace the next chapter in my life, my heart will always remain at STAGES,” said Artistic Director Michael Hamilton. “It is truly a life legacy that I am incredibly proud of. But I am particularly proud and grateful of all the
extraordinary people that I met and worked with in my 35 years at STAGES. That is something I will be able
to keep in my heart for the rest of my life.”

A co-founder of STAGES St. Louis, Michael has directed over 100 productions in his 35-year STAGES history and has been the creative force behind the company’s most iconic productions that patrons have come to know and love. For his work at STAGES, Michael has been honored with multiple awards including the Art & Education Council’s 2019 Lifetime Achievement Award (with Jack Lane) and both Kevin Kline and St. Louis Theatre Circle Awards for Outstanding Director of a Musical. Michael’s list of award-winning productions
include FOOTLOOSE (2005); THE FULLY MONTY (2007); PROMISES, PROMISES (2010); ANYTHING GOES
(2015); and MAN OF LA MANCHA (2019).

Additionally, Michael’s acclaimed production of ALWAYS…PATSY CLINE (2013) was not only transferred to the Alabama Shakespeare Festival, but also played a record-breaking eight-month run at the Playhouse at Westport Plaza.

“When Michael and Jack asked me in my role as Kirkwood’s Director of Parks and Recreation to rent the Robert G. Reim Theatre for the first STAGES Season in 1987, I don’t think any of us imagined what would come of that meeting,” said STAGES Board President Dave White. “But Michael had a vision and knew what he could do with that stage at the Reim. Seeing the growth of the organization from that point is one of the proudest parts of my career. Under Michael’s direction, STAGES has absolutely raised the bar for
what theatre looks like in St. Louis.”

“As the saying goes, there will be very big shoes to fill with the departure of Michael Hamilton,” said Mosbacher Family Executive Producer Jack Lane. “But, I have no doubt that there is a future artistic leader of STAGES out there waiting for us. As we enter our new phase in the Kirkwood Performing Arts Center, STAGES is setting sail onto a national platform that no doubt will unfold in dynamic new ways and be embraced by both our loyal patrons and newcomers alike.”

Jack added, “We are also pleased to announce that we are establishing The Michael Hamilton Artistic Fund, where contributions will support the advancement of artistic needs at STAGES.”

The entire STAGES family wishes Michael the best in his well-deserved retirement and thanks him for his steadfast leadership and dedication to the mission of STAGES for 35 years. A national search has begun for the new Artistic Director role.

The organization looks forward to the curtain rising again with the return of Michael’s critically-acclaimed and audience-loved production of ALWAYS… PATSY CLINE (August 6-September 5) this upcoming season, followed by the STAGES premiere of JERSEY BOYS (September 24-October 24).

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

Michael Hamilton

In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new
home, the Kirkwood Performing Arts Center. STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the
only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences.

For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.
Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.