Cirque du Soleil Breathes Inspired Life into ‘Corteo’ for Arenas

Cirque du Soleil Breathes Inspired Life into ‘Corteo’ for Arenas

By Lynn Venhaus Managing Editor Ethereal, graceful and beautiful – those were my initial impressions of Cirque du Soleil’s latest arena tour, “Corteo,” which is actually a 2015 show they have resurrected and reformatted.

Not ever having seen them live before, I was struck by both
their artistry and their athleticism in a carnival atmosphere. Super-fit
acrobats inside rings, on the bars, tumbling on bed trampolines and all sorts
of physical feats were quite entertaining to watch.

But the troupe’s palpable joy in performing, and how
accomplished they were at creating magic shined through.

In one stunning segment, the tiny clowness floated through
the air of Chaifetz Arena holding four gigantic helium balloons – the largest I
had ever seen. She involved the audience in propelling her through the air, her
sweet little giggle infectious.

All the elements to create a crowd-pleasing experience came together – lush music, pulsating drum rhythms, energetic flights of fancy – three women hanging from chandeliers to start it off! – and funny characters.

The tight technical design enhanced the show and created an intimate setting in the arena.

The set design looked more like the opulent Parisian opera
house in “The Phantom of the Opera” and the accents created a 19th
century European feel. The lighting design enhance the elegant feel of the
show, and the costumes were both beautiful and functional period-appropriate.

Corteo means “cortege” in Italian, a procession, and
this show is a festive parade imagined by a clown, Mauro, who has passed. His
spirit was still with us, so the dream-like fantasy was meant to capture the
mysterious space between heaven and earth.

The funeral cortege celebrates with exuberance, rather than
mourn. He wanted to show that he had a life well-lived.

While I didn’t necessarily follow the story literally, its
inspired earthly and fantasy segments were merry moments to enjoy for their
exquisite beauty and talented detour into pure imagination.

I would recommend this for older children, as wee ones,
used to bombastic action, may not be familiar with such old-fashioned
storytelling and can get squirmy and bored easily.

Cirque du Soleil, in all endeavors, is indeed a work of
art.

Cirque du Soleil presents “Corteo” at the Chaifetz Arena in St. Louis April 24-28. For more information, visit www.cirquedusoleil.com.

Shepard’s Brilliant ‘True West’ Blazes in Gritty St. Louis Actors’ Studio Production

Shepard’s Brilliant ‘True West’ Blazes in Gritty St. Louis Actors’ Studio Production

By Lynn Venhaus Managing Editor Menace is in the air as a tempestuous sibling rivalry escalates in the late great Sam Shepard’s muscular masculine opus, “True West.”

Clearly, their mother did not heed music outlaws Waylon Jennings and Willie Nelson’s warning: “Mammas, don’t let your babies grow up to be cowboys.” The two grown-up brothers can’t be fenced in, especially gonzo Lee, and now it appears unlikely that Austin will ride off into the sunset, despite once playing by the rules.

In the intimate space of the Gaslight Theatre, we’re in for
a splendid guns a-blazing exploration of the after-effects of growing up with a
raging alcoholic dad, with dutiful sons sparing over birthrights, and a splash
of the showbiz industry dreams machinery in California.
The impressive St. Louis Actors’ Studio production allows Shepard’s unconventional
genius to shine and vividly brings out the dark absurdist humor. The
centerpiece is Isaiah Di Lorenzo’s brilliant, blistering performance as Lee, a
swaggering beer-swilling slob.

In keeping with STLAS’ season theme, “Blood is Thicker Than
Water,” director William Whitaker heightens the bravado and tightens the
tension, all the better for the outrageous, twisty surprises.

As the black-sheep oddball Lee, Di Lorenzo sets the tone when he shows up at his mother’s neat suburban home where his writer brother is housesitting.  William Humphrey establishes their differences quickly as the tall and tidy Austin. In body language and inflection, both men tell you all you need to know about who they are and their adversarial relationship. One can surmise this isn’t their first rodeo — the brothers have agitated and needled each other their entire lives. Lee circles, like an animal, trying to mark his territory for dominance. Those animal characteristics will become more prominent in the brothers’ face-off.

In the suburban silence of their mother’s kitchen, 40 miles outside Los Angeles, Ivy League graduate Austin attempts to work on his screenplay because he has a development deal with a hot-shot Hollywood producer. His wife and child did not accompany him. Disheveled Lee hasn’t seen him in five years because he’s been living in the desert. Does he want to stir up trouble? After all, he is a cunning thief and loves drama.

William Humphrey, William Roth in “True West.” Photo by Patrick Huber. Producer Saul Kimmel arrives for a meeting, and William Roth embodies those smarmy back-slapping, old-school wheeler-dealers. In an improbable move, he likes Lee’s pitch for a modern western better than Austin’s period-piece love story, and switches allegiance midstream. Whoa! The news turns their worlds upside down. Austin is angry that his ne’er-do-well brother has co-opted his dream. Tables are turned and the gauntlet is thrown. Soon, the brothers are making a pigsty of their mother’s home, destroying any decorum or convention. When Austin steals toasters, toast will be made and offered, a meaningful gesture. Real working toasters are plugged in on the set. Bravo.

As the brothers’ resort to their animal instincts, it’s
certainly not pretty when Mom arrives home from her Alaska trip. She can’t deal
with her trashed house and soon flees. Hmmm…

The unrepentant alcoholic dad lives in the desert. The kids have issues because of the family alcoholism and dysfunction, of course. But mom (Susan Kopp) is ineffectual and somewhat ditzy. Because Shepard’s career was shaped by his alcoholic upbringing, it also frames this work, for there are no happy trails.

Di Lorenzo and Humphrey display all the resentment,
jealousy and one-upmanship that the play calls for, carefully crafting their
individual behaviors. They’re well-rehearsed at getting under the skin of the
other one. 

Shepard wrote “True West” in 1980, when he was a resident
playwright in San Francisco. It was the third in a troubled family tragedy
trilogy, preceded by “Curse of the Starving Class” and “Buried Child.”

While he would go on to a lengthy acclaimed career as both a playwright and an Oscar-nominated actor, Shepard obviously had experience with the whims and phoniness of the screen trade, which he also skewers with glee.

This bold and brisk story has been malleable enough to be
relevant in multiple decades, maintaining its bite nearly 40 years later.

The play gained notoriety in 1982 when then-unknown actors
John Malkovich and Gary Sinise moved their Steppenwolf Theatre Company
production to off-Broadway and it was named a finalist for the Pulitzer Prize
for Drama in 1983. An acclaimed revival on Broadway in 2000 starred John C.
Reilly and Philip Seymour Hoffman, and recently, a limited engagement starred
Ethan Hawke and Paul Dano.

The savagery is real and intense, and scenic designer Patrick
Huber’s well-appointed set is a marvelous playground for the family sparring.

Whitaker has secured a safe space for DiLorenzo to create a
rhythm for the off-the-wall loose cannon, and he is mesmerizing. Humphrey is
steady, on guard for Lee’s ability to suck all the air out of the room. You
feel his frustration.

The unpredictability of Lee is what keeps the audience
engaged. But nobody is safe. Could they be parts of the same person?

Lighting design by Steve Miller accentuates the sunny days
while the outstanding sound design by Whitaker and Jeff Roberts provides the
cacophony of crickets and howls of coyotes.

One of the show’s aural treats is the use of old-timey
country-and-western music to lead in and out of scenes.
This dynamic, rugged production has true grit and an affection for the dueling
brothers, but never gives in to predictability, excelling in its edginess.

St.
Louis Actors’ Studio presents Sam Shepard’s “True West” April 12 to 28 at The
Gaslight Theatre in the Central West End, 358 N. Boyle Ave. Performances are
Thursday through Saturday at 8 p.m. and Sunday at 3 p.m. For tickets or more
information, visit www.stlas.org. Phone is 314-458.2978. The West End
Grill and Pub is now open for dinner, snacks and drinks.

World Premiere Among West End Players Guild’s 109th Season

World Premiere Among West End Players Guild’s 109th Season

For 2019-2020, West End Players Guild offers an exciting menu of plays never or rarely seen in St. Louis, including a world premiere commissioned exclusively for WEPG. 

            September 27-October 6, 2019:  Bill Cain’s Equivocation is a Shakespearean tale of intrigue starring the Bard himself.  The King offers Shakespeare a commission he can’t refuse, to write a play about the Gunpowder Plot to blow up Parliament.  Shakespeare discovers it is a perilous assignment, as he learns that the King’s version of the story does not quite square with the facts.  Shakespeare is torn between the between the truth and the Crown.  Can he walk this tightrope without losing his head (literally)?  Tom Kopp directs. 

            December 6-15, 2019:  It’s the world premiere of Vladimir Zelevinsky’s The Cricket on the Hearth, an adaptation of the Charles Dickens story, commissioned and written especially for WEPG.  Steve Callahan directs this tale of unlikely but undying love, a holiday heart-warmer that will both entertain and move you. 

            February 21-March 1:  Sharon’s husband and son are gone and her big Iowa house feels very lonely.  Maybe a roommate will help.  Enter Robyn, who turns out to be someone quite different than she appears to be.  Sean Belt directs Jen Silverman’s The Roommate, a very funny show about standing up to life and daring to do something totally new.  It’s a lesson in life and a quirky “buddy comedy” all rolled up in one.     

            April 17-26, 2020:  What if you could go back in time and change the one moment that reshaped your life forever?  What if you could see a lost love of 40 years ago just one more time, to learn how her life turned out?  Would you?  Steven Dietz’s bittersweet Bloomsday poses the questions – the answers are for you to discover. Jessa Knust makes her WEPG directing debut.     

            Season tickets for the upcoming season go on sale May 1st online at www.WestEndPlayers.org/tickets. Individual show tickets will go on sale in August.  All shows are at the theatre in the Union Avenue Christian Church, 733 Union Boulevard in the Central West End.  Actors, take note:  Auditions for Season 109 will begin in June. Watch for further announcements and check for more information at www.WestEndPlayers.org/auditions. 

            West End Players Guild is the region’s oldest continuously-operated theatre company, presenting “big theatre in a small space” since 1911. 

Jennifer Theby-Quinn Radiant in ‘Daddy Long Legs’ musical at Insight

Jennifer Theby-Quinn Radiant in ‘Daddy Long Legs’ musical at Insight

By Lynn Venhaus
Managing Editor
Jennifer Theby-Quinn, one of the most radiant life forces in local theater, joyfully
slips into a vivacious literary heroine with energy, enthusiasm and ease in
“Daddy Long Legs.”

The charming musical romance opened Insight Theatre
Company’s 12th season, whose theme is “A Riot of the Heart!”

Based on Jean Webster’s 1912 novel, which is a written as a
series of letters between pen pals, “Daddy Long Legs” enthralled me as a youth.
I naturally identified with orphan Jerusha Abbott, a very smart young woman who
longs for adventure.

Because she is a bookworm who shows much promise as a
writer, Jerusha is given an opportunity to attend college by an anonymous
benefactor, whom she nicknames “Daddy Long Legs” after she spies this
tall trustee leaving the John Grier Home one day, from a distance. The sole
request is that she correspond once a month.

In a plot twist, he befriends her using his real identity,
as the bachelor uncle of one of her affluent roommates. The family is of
considerable social status, and Jerusha is enamored of their wealth and advantages.

Internationally renowned countertenor Terry Barber plays the
mysterious Jervis Pendleton whose zest for life grows as his affection for the
wide-eyed innocent coed does. Her lively observations, spoken as her written
prose, have enchanted him.

Barber’s vocals are exquisite, and with music direction by
Scott Schoonover, the lush score soars. Leading a three-person combo on
keyboard, Schoonover benefits from Tracy Andreotti on cello and Vincent Varvel
on guitar, guiding each number with expert skill. 

While Barber’s acting is less effective here, the show is
really is Jennifer’s to own, for it is truly a remarkable role for a leading
lady. In Jerusha’s journey of self-discovery, Theby-Quinn shines brightly,
lighting up every corner of The Marcelle.

The story takes place in turn-of-the-century New England,
and through Theby-Quinn’s animated performance, Jerusha reveals herself as a
woman of substance, an outspoken suffragette who champions social justice. As
she blossoms, her joie de vivre is palpable and infectious.

Julian King’s vintage costume design is quite fetching,
except the wig choice for Jervis.

Jennifer Theby-Quinn as Jerusha Abbott

Director Maggie Ryan keeps the characters moving, and with
Quinn’s ebullience, there is no static at all. Rob Lippert’s ingenious set
design, rich in detail and smart function, serves the action well.

Nevertheless, the second act seems much longer than
necessary, and tests the goodwill of the first one as the two-person show seems
in no rush to arrive at the inevitable.

The book is by John Caird, Tony nominee for directing “Les
Miserables,” and the music and lyrics are by Paul Gordon, the Tony
Award-nominated composer of “Jane Eyre.” The production debuted off-Broadway in
2015, but before that, received an engaging tryout at The Repertory Theatre of
St. Louis in 2012.

For any girl who know what it’s like to dream, this musical
marvelously captures the yearning to see the world and the excitement to be
introduced to new things in life.

It’s also a quaint portrait of the social mores in the
early 20th century, and the evolution of contemporary women.

“Daddy
Long Legs” is presented by Insight Theatre Company March 29-April 14 at The
Marcelle Theatre. For more information, visit www.insighttheatrecompany.com

Silly Shenanigans Ensue in Two-Man Tour De Force ‘Popcorn Falls’

Silly Shenanigans Ensue in Two-Man Tour De Force ‘Popcorn Falls’

By Lynn Venhaus
Managing Editor
Spry actors Joe Hanrahan and Shane Signorino slip into 21 different characters
to play the denizens of “Popcorn Falls,” a daffy mix of vignettes designed to
showcase performers’ strengths while paying tribute to small-town personalities
– and the power of theater.

This average American town, whose residents prefer to be
called ‘kernels,’ has seen better days, and is in danger of bankruptcy because
their waterfall has dried up, no thanks to a new dam. Without their claim to
fame, tourists and commerce has vanished. But a greedy corporation is ready to
pounce, with plans to demolish the town and turn it into a sewage treatment
center. Can the town be saved?

Because of an old arts grant, they can get enough money –
but writing and producing the play must be done in a week — despite the lack
of a theater and experienced thespians. Shades of Blaine, Missouri, the center
of “Waiting for Guffman.” Or Mickey Rooney and Judy Garland practicing in a
barn – “Hey kids! Let’s put on a show!”

Can this absurd solution work?

Sure, if our dynamic duo of intrepid mayor (Hanrahan) and loyal
custodian (Signorino) be the heroes and rally the town with the grant money
dangling before them. But in the bigger picture, can art save the world?

You can clearly figure out playwright James Hindman’s
thought process. While the optimism is unwavering in this 2017 off-Broadway comedy,
the farcical material isn’t as amusing as the portrayals.

I don’t think it’s a coincidence that Popcorn Falls
resembles other quirky fictional settings that evoke warm and humorous memories
– Stars Hollow, Mayberry, Greater Tuna, Bedford Falls – heck, even “Frostbite
Falls” from “The Adventures of Rocky and Bullwinkle.” It provides the basis for
wacky characters and nutty situations, even if it’s derivative.

The pairing of Hanrahan and Signorino is inspired, with their
skills and talent enough to convincingly conjure up a cadre of zany townsfolk.

Hanrahan’s Ted Trundle, the beleaguered new mayor on the
verge of divorce, shares quite an interesting backstory. He is counting on the
neighboring county’s budget committee to bail them out, and enthusiastically
gathers folks at the library to cobble together the plot. Well, this turns into
a free-for-all what-did-I-get-myself-into scenario.

Signorino’s main man is head custodian Joe, who is shown at
work and at home. He frets about supporting his growing family if the town goes
belly-up. He also transforms into the majority of characters – including a
female bartender at The Sudsy Mug (as does Hanrahan), her precocious young
daughter, the dramatic cat-lady librarian who fancies herself an actress, the
snaky corrupt county official, dim but well-meaning sheriff, the one-armed owner
of the lumber yard, and a chain-smoking middle-school teacher with a vivid
imagination. Hanrahan portrays the local mortician who wants to act in the
show.

Both stalwarts of the local theater community, Hanrahan and
Signorino work together in the manner of classic comedy duos, manic improv
pairs and old-timey vaudeville/variety acts. They know how to work a crowd, with
Hanrahan basically the straight man to Signorino’s goofy multitudes, and can easily
switch into various roles.

In an impressive turn, Signorino rises to the demand of
performing all his characters during the original play’s dress rehearsal.

Instead of costume changes, the characters are
distinguished by vocal adjustments, attitudes, posture, and perhaps a hat or
accessory or prop.

This is the kind of show The Midnight Company excels at, usually
one-acts with little frills but ambitious and often unique and interesting
material, realized by a strong but small cast. Director Sarah Whitney has deftly
guided the pair for maximum madcap effect.

If at any time it is confusing, that’s the fault of the thin
script and not the nimble actors. Hanrahan is nearly in view the entire time
while Signorino rushes about to accommodate the others. The pair seemed to be
having fun — but the parts are a challenge because of the fast pace.

The simple staging in the Kranzberg Center’s black box gives
the men a small space to fill with their clever characterizations in the
well-worn “play within a play” format.

Chuck Winning has designed a functional bare-bones set, replicating
a budget-strapped town hall meeting room. Scene changes are announced on a small
blackboard, and it would help to clean the board every night, for the layers of
chalk dust make it difficult to read the later scenes.

Tony Anselmo created a straightforward lighting design that
works well within the small confines.

Even though the material is lightweight, Hanrahan and
Signorino do considerable heavy-lifting, and they muster enough charm to sell
it, along with their sincerity and veteran work ethic. Now, if only the squirrels
wouldn’t chomp on the town hall wires because Popcorn Falls can’t afford traps.

The
Midnight Company presents “Popcorn Falls” Thursday through Saturday at 8 p.m., March
28 – April 13, in the Kranzberg Arts Center blackbox theater. Tickets are
available through MetroTix.com. For more information, visit www.midnightcompany.com
The play is performed without an intermission and is 85 minutes long.

Strong Women Productions Dominate St. Louis Theater Circle Awards

Strong Women Productions Dominate St. Louis Theater Circle Awards

By Lynn Venhaus
Managing Editor
Plays with substantial women roles were spotlighted at the seventh annual St.
Louis Theater Circle Awards March 25, with The Repertory Theatre of St. Louis’
musical production of “Evita” and a homegrown “A Streetcar Named Desire” from
the third annual Tennessee Williams Festival each receiving seven awards.

Both iconic female-lead shows had received the most
nominations, 11 apiece, when the Circle announced them in January. The awards
recognized outstanding work locally produced by regional professional companies
during the calendar year 2018.

Nominees Kari Ely and Michelle Hand in “Into the Breeches!”The comedy “Into the Breeches!”, the first play in Shakespeare
Festival St. Louis’ new program, “In the Works,” won four awards. The world
premiere was in January 2018, with its first St. Louis performances in
September. The comedy from Chicago playwright George Brant is about a
fictitious theater group in 1942, and with the men away at war, the director’s
wife sets out to produce an all-female version of “Henry V.” It had roles for
six women and two men. In addition to awards for ensemble, director Nancy Bell
and best production, Michelle Hand won best actress.

The Circle, which includes veteran area theater critics, annually recognizes outstanding work in comedies, dramas and musicals, and with two opera categories.

Each of the 33 categories featured five nominees, with 23 local companies cited for 54 shows, and 120 artists receiving nods, including 10 with two apiece.

This year, there were three ties: sound design in a play, costume design in a musical and musical ensemble.

Evita won seven awards from the Circle“Evita,” the vibrant Tony Award-winning Andrew Lloyd Webber-Tim Rice musical, earned awards for musical direction (Charlie Alterman), choreography (Gustavo Zajac and Mariana Parma), set design (Luke Canterella), lighting (John Lasiter), director (Rob Ruggiero, his third), ensemble and production of a musical.

The landmark “A Streetcar Named Desire,” written in 1947 by the great American playwright Tennessee Williams, who spent his formative years in St. Louis, earned honors for Sophia Brown as Outstanding Actress – for her heart-wrenching portrayal of the emotionally needy and mental fragile faded beauty Blanche Dubois, sound design (original music by Henry Palkes and sound by Amanda Werre), lighting design (Sean M. Savoie), set design (James Wolk), direction (Tim Ocel), ensemble and production of a drama.

The 18 other awards went to separate shows, with both The
Black Rep and The Muny winning three apiece, and The Rep adding two more for earning
the most, nine.

Jeff Cummings and Katy Keating in “Life Sucks.” Photo by ProPhotoSTLIn comedy, Katy Keating won for Supporting Actress as feisty but unrequited lovesick Sonia in New Jewish Theatre’s “Life Sucks,” a ‘sort of’ adaptation of Chekhov’s “Uncle Vanya” by Aaron Posner. She was also part of the award-winning ensemble of “Into the Breeches!”.

Isaiah Di Lorenzo in “Rosencrantz and Guildenstern Are Dead.” Photo by Ron James.Isaiah Di Lorenzo won Supporting Actor as The Player, the leader of the Tragedians, in St. Louis Shakespeare’s production of Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead.” He also was in the award-winning ensemble of “A Streetcar Named Desire.”

Will Bonfiglio as Mary Dale in “Red Scare on Sunset.” Photo by Justin Been. Will Bonfiglio won his second Outstanding Actor Award, as film star Mary Dale in Stray Dog Theatre’s “Red Scare on Sunset.” He was honored in 2017 for the one-man show, “Buyer & Cellar,” also at Stray Dog.

For costume designs, Lou Bird won for The Rep’s “Born Yesterday” vintage wardrobe in the play category and there was a tie in the musical category between Leon Dobkowski, who won for The Muny’s colorful “The Wiz,” and Darryl Harris for the elegant “Crowns: A Gospel Musical” at The Black Rep.

There was another tie in sound design in a play – besides “Streetcar,” Rusty Wandall won for Lucas Hnath’s contemporary “The Humans” at The Rep.

Laurie McConnell, left, as Birdie Hubbard in “The Little Foxes.” Photo by Patrick HuberIn drama, Laurie McConnell won Supporting Actress as forlorn
Birdie Hubbard in St. Louis Actors’ Studio’s production of Lillian Hellman’s “The
Little Foxes.” She won in 2017 for Supporting Actress in a Musical, for her portrayal
of Joanne in “Company” at Insight Theatre Company.

Eric Dean White as Satan and Chris Ware as Judas. Photo by Ann AuerbachEric Dean White, a previous nominee, won Supporting Actor for playing the slick, smooth, haughty and conniving Satan in “The Last Days of Judas Iscariot” at Mustard Seed Theatre.

Ron Himes in “Fences”

Another previous nominee and winner, Ron Himes won Outstanding Actor as bitter garbage collector Troy in August Wilson’s “Fences at The Black Rep last winter. In 2014, The Black Rep won best ensemble and production for “The Whipping Man.”

The Black Rep’s “Torn Asunder” best new playThe Black Rep also won Best New Play for Nikkole Salter’s “Torn
Asunder,” which dramatized true stories of newly emancipated African Americans
trying to overcome the vestiges of slavery so they could reconnect with their
families.

Joy Boland won Outstanding Supporting Actress in a Musical for her portrayal of the imposing villainess sea witch in Variety Theater’s “Disney’s The Little Mermaid.”

Beth Leavel as Mama Rose in “Gypsy.” Photo by Philip Hamer.For their powerhouse musical performances, Corbin Bleu won Outstanding Actor as the fleet-footed matinee idol Don Lockwood in “Singin’ in the Rain” and Beth Leavel was honored as the controlling stage parent Mama Rose in “Gypsy,” both at The Muny.

Corbin Bleu in “Singin’ in the Rain” at The Muny. Photo by Phil Hamer.Leavel had been nominated three times before (“Hello Dolly!” “Oklahoma!” and “Thoroughly Modern Millie,” all at the Muny. She is currently performing on Broadway in a St. Louis-produced original musical, “The Prom.”

Stephanie Merritt and Kent Coffel in “The Light in the Piazza” Kent Coffel won Outstanding Supporting Actor in a Musical for his performance as well-meaning haberdasher Signor Naccarelli, Fabrizio’s father, in “The Light in the Piazza,” presented by R-S Theatrics in its St. Louis regional premiere.

Anything Goes at New Line Theatre. Photo by Jill Ritter LindbergTying with “Evita” for musical ensemble was New Line Theatre’s vivacious “Anything Goes.”

It was a three-peat for Ruggiero, who won for directing “Evita,” and had previously been honored for The Rep’s productions of “Follies” and “Sunday in the Park with George.”

“Regina” at OTSL was Outstanding Opera ProductionIn the opera categories, Opera Theatre of St. Louis was honored
for both Outstanding Achievement in Opera, which was given to director Patricia
Racette for “La Traviata,” and the Mark Blitzstein adaptation of “The Little Foxes”
— “Regina,” as Outstanding Production of an Opera.
Three special awards were bestowed:  To the
Muny for a century of performances celebrated during its centennial season of
2018; to Kathleen Sitzer, founder and long-time artistic director of the New
Jewish Theatre, for lifetime achievement; and to Steven Woolf, Augustin
artistic director of The Rep for more than 30 years, also for lifetime
achievement.

Sitzer retired after New Jewish Theatre’s 2017-18 season, while Woolf will retire after The Rep’s 2018-19 season this spring. Organized in 2012, the St. Louis Theater Circle includes founding members Steve Allen of stagedoorstl.com, Mark Bretz of the Ladue News, Robert A. Cohn of the St. Louis Jewish Light, Chris Gibson of Broadway World, Gerry Kowarsky of HEC-TV’s “Two on the Aisle,” Chuck Lavazzi of KDHX, Judith Newmark, now of judyacttwo.com, Ann Pollack of stlouiseats.typepad.com, Lynn Venhaus, now of St. Louis Limelight magazine, Bob Wilcox of HEC-TV’s Two on the Aisle, and Calvin Wilson of the St. Louis Post-Dispatch, Tina Farmer of KDHX and Michelle Kenyon of snoopstheatrethoughts.com. Eleanor Mullin is the administrator.

Those who helped produce the show at the Loretto-Hilton Center on the campus of Webster University included Andrea Torrence and Peggy Holly, who put together the slide show; awards assistance Hannah Daines, stage manager Alycia Martin and assistant stage manager Delaney Dunster, voice-over announcer Colin Nichols and box office assistants Kimberly Sansone and Harry Ginsburg.

Renowned local musician Joe Dreyer was the accompanist and Deborah Sharn performed an opening number.

Special thanks to Volunteer Lawyers and Accountants for the Arts, Price Waterhouse Cooper LLC, who tabulate the Circle ballots, and to the awards certificate calligrapher Susan Zenner.

Contact the Circle by email: stltheatercircle@sbcglobal.net and like us on Facebook.

Evita at The RepInto the Breeches! at Shakespeare Festival St. Louis

“La Traviata” at Opera Theatre of St. Louis

Bright Lights Column: Walking on Sunshine

Bright Lights Column: Walking on Sunshine

By Lynn Venhaus Managing EditorGreetings! Spring has sprung after a miserable, dreary winter of 24 inches of snow and long stretches of gray days. We bring to you a long catch-up column, a winter wrap-up with lots o’ news about our wonderful theater talents in our metro area. It’s always sunny when we’re talking bright lights.

AWARDS SEASON: Spring means theater awards in St. Louis! For regional professional theater, the seventh annual St. Louis Theater Circle Awards will be presented on Monday, March 25, at the Loretto-Hilton Center on the campus of Webster University.

For general admission tickets ($15), visit: www.brownpapertickets.com You
can purchase tickets the night of the ceremony by cash or check. Our Circle
Facebook page is updated with information. We are not having pre-festivities
food, but Llewyn’s Catering will have drinks, desserts and snack boxes
available throughout the night.

If you missed who’s nominated, here is our Limelight link: https://stllimelight.com/2019/01/25/evita-streetcar-lead-st-louis-theater-circle-nominations/

See you at Theater Prom Monday!

For local community theater, Arts For Life will present the fourth annual Theatre Mask Awards, honoring comedies and dramas, on Saturday, April 6, at a.m. at The Atrium Banquet Center, Paul F. Detrick Building, on the campus of Christian Hospital, beginning at 10:30 a.m. Doors open at 10 a.m. Radio personality Vic Porcelli is the host.

A brunch buffet is served and awards in 18 categories are given out. Tables of 8 are available, and you can select what theater group or person you want to sit with – just tell afltrg@artsforlife.org or mark it at checkout. Tickets are $25 and must be purchased by March 22. Visit www.artsforlife.org.

For a Power Point Presentation of the TMA Nominations, here
is the link: http://nebula.wsimg.com/60b66319ddb8e5ebbac7b8ba7019e6dd?AccessKeyId=901C1079C3BABD637603&disposition=0&alloworigin=1

AFL will present the 20th annual Best Performance Awards, for musicals, on Sunday, June 9, at 2 p.m. at the Skip Viragh Center for the Performing Arts, 425 Lindbergh Blvd. (Chaminade). Actor Ryan Cooper is the emcee.

From a pool of 1,302 community theater artists, 48 shows
produced by 26 community theater groups in the Metro-St. Louis area have been
reviewed for consideration for this year’s Best Performance Awards. Trophies
will be awarded in 33 categories.

The event will include performances from the 13 musicals
nominated in the three Best Musical Production categories and a special
presentation to Lifetime Achievement Award winner. Formal attire is
requested. 

All tickets are reserved seating. Group seating will not be
guaranteed on orders received after May 10. All ticket orders will be held at
the box office unless a self-addressed stamped envelope is included with ticket
order. Please let us know if you require any special needs.

Early Bird Tickets are $20 and available until May 10, and
regular tickets are $25 ($26/credit card at the door).
A special rate of $40 for a combined BPA/TMA ticket for both, which is $10 off,
is available until March 22.  Visit the
website for more information, www.artsforlife.org.

For a PDF of the BPA Nominations, here is the link: http://nebula.wsimg.com/b255dc30a55d222d652ab689930da965?AccessKeyId=901C1079C3BABD637603&disposition=0&alloworigin=1 *** ARTS LIVES: This year’s AFL Lifetime Achievements Awards are being bestowed on Joseph Paule Sr. at the Best Performance Awards June and Alton Little Theatre’s Kevin Frakes at the Theatre Mask Awards April 6.

Kevin Frakes

Frakes, current president of the Alton Little Theatre, will
be honored for his lifelong devotion and involvement in community theater, and
for helping with ALT’s growth and expansion. He began 40 years ago and has
directed and/or acted in more than 100 shows.

Joseph Paule Sr. has been involved with several community theater groups over the years, including Christ Memorial Productions and Hawthorne Players.

Caroline Santiago Turner

*** YOUTH PHENOMS: Special Awards recognition is going to two talented teens this year at AFL’s Best Performance Awards. Sean Harvey will receive Best Youth Featured Dancer for his fleet footwork as Bobby in “Crazy for You” produced by the Gateway Center for the Performing Arts and Caroline Santiago Turner will receive Best Youth Musical Performance for her exquisite vocals as Violet in “Violet,” also produced by the Gateway Center for the Performing Arts.

These awards are not giving annually, only when the Theatre
Recognition Guild judges deem performances so outstanding that they deserve
special recognition.

Sean Harvey in “Crazy for You”

Sean, who graduated from high school in Wentzville last
year, studies musical theatre at Chicago College of Performing Arts. Caroline,
who graduated from Visitation Academy in 2018, is working on her BFA in musical
theater at Indiana University.

They will be in good company. Past youth winners Zach Erhardt, Troyer Coultas and Yvette Lu toured nationally in ‘The Book of Mormon,” “The Wizard of Oz” and “Hamilton” respectively last year.

***BROADWAY BUZZ: The Tony Awards are Sunday, June, at 7 p.m. on CBS, and nominations will be announced on April 30. The local folks involved in producing the original musical “The Prom” are hoping for good news that day. The original musical comedy was among the best reviewed shows in 2018, after opening Nov. 15 on Broadway.  

The PromThe show has multiple local connections – Centralia, Ill., native Chad Beguelin is the co-book writer, with Bob Martin (co-creator of “The Drowsy Chaperone”) and lyricist, with music by Matthew Sklar. A number of cast members have performed at The Muny: St. Louisans Drew Reddington and Jack Sippel, and stars Beth Leavel and Christopher Sieber.

Some local producers include Jack Lane, executive director of Stages St. Louis; Ken and Nancy Kranzberg, Patty Gregory of Belleville, Terry Schnuck, Andrew S. Kuhlman of St. Louis and Fairview Heights native Joe Grandy.

Casey Nicholaw, Tony winner for “The Book of Mormon,”
directed and choreographed the show.

“The Prom” is about a canceled high school dance – a
student is barred from bringing her girlfriend to the prom — and four fading
Broadway stars who seize the opportunity to fight for justice — and a piece of
the spotlight.

As one of four musical acts in the 92nd annual Macy’s
Thanksgiving Day Parade, they made parade history with the first same-sex kiss
televised live.

Here is that performance: https://youtu.be/VDZDLJjzJBI

And the cast also performed live on “Late Night with Seth
Meyers.”

***VIVE LA VISIONARIES: More local arts awards for women! The St. Louis Visionary Awards will honor established working arts professionals, arts educators, emerging artists and community impact artists on Monday, April 22, at 6 p.m. at the Sun Theatre.

The Saint Louis Visionary Awards celebrates the numerous
contributions and achievements of women who work in or support the arts in the
greater St. Louis region. The awards are presented by an independent committee
of women dedicated to promoting the arts here.

Brava! To the 2019 Saint Louis Visionary Awards honorees, who  are, from left: Standing: Carmen Dence; Susan Barrett; Kathie Winter; and Kari Ely. Seated: Brea McAnally; Jacqueline Thompson. Photo by Diane Anderson ***COMMUNITY RECOGNITION: Congratulations to the Alton Little Theater will receive a prestigious national award for excellence in innovation, dedication to community and organizational development ensuring the future of live theater. The Twink Lynch Organizational Development Award will be presented to Kevin Frakes and Lee Cox at the AACT  (American Association of Community Theaters) National Convention in Gettysburg, Pa.,  in June.

A Raisin in the Sun

The Hawthorne Players give out “Duckies” at the year’s end, as voted on by the members and season ticket holders. The awards are named after the late veteran Hawthorne actress and director, Duckie DeMere. “A Raisin in the Sun” was the most lauded production, with , including Best Show, Best Director (Nancy Crouse), Best Actor (Erick Lindsey), Best Actress (Kimmie Kidd-Booker), Best Supporting Actor (Moses Weathers), Best Cameo Actress (Rhonda Cropp), Best Set Design (Nancy Crouse) and a Special Award (Archie Coleman).Elizabeth Breed Penny won Best Supporting Actress, for her role as Pauline in “Legally Blonde” and John Robertson won Best Cameo Actor in “The Fantasticks.” Eric Wennlund won two — Best Lighting and Best Sound for “The Fantasticks” Special Awards went to Connie Mulch of “The Fantasticks” and Michele Paladin, “Legally Blonde.”

*** NAME-DROPPING: Did you know the musical “Beautiful – The Carole King Musical” has a local connection? Producers are Paul Blake, former executive director at the Muny for 22 seasons, and Mike Bosner, Burroughs grad and Muny front office alum. The second national tour recently stopped at the Fox Theatre in St. Louis for a limited 5-day engagement. The musical celebrated its fifth season on Broadway in January. They tell me a movie is in the works! Here is my article ICYMI: https://stllimelight.com/2019/03/12/local-producers-found-beautiful-success-with-carole-king-musical/

There is another big-news local connection. Perhaps you’ve
heard about the college admissions scandal. Well, turns out Joe Buck’s daughter
is the roommate of Lori Laughlin’s daughter, the clueless and vapid video blogger
Olivia Jade, at University of Southern California. Ms. Buck is attending the
prestigious USC Film School. (Thanks, J.C. Corcoran for this tidbit).

Meadow Nguy

Meadow Nguy of O’Fallon, Ill., appeared in a new musical “Arrowhead” in concert at Feinstein’s/54 Below. The new Jackson Teeley and Sarah Galante work takes you inside the cozy and tuneful world of Arrowhead Café — from the heartache of love unrequited to the bliss of love that’s true, uncover all the ups, downs, and inevitable complications of modern love over a simple cup of coffee. The concert was directed by Dan Barron and music directed by Michael Pacifico, and featured a cast of 14.

Lisa Ramey, who performed at The Muny, Stages St. Louis and The Black Rep, was picked by John Legend for his team on Season 16 of “The Voice,” now finished with the Blind Auditions. Ramey currently lives in New York City and fronts a band called Superbad. She auditioned last year but did not get a chair turn, talked to the coaches about what she should do to improve, and returned this year.

Beau Willimon, third from left, speaks to the cast, while one of his mentors, director Wayne Salomon stands next to him. (Photo provided)Playwright Beau Willimon attended the preview night of his first Broadway play, “Farragut North,” which was produced at St. Louis Actors’ Studio last month. Willimon grew up in St. Louis and is a graduate of John Burroughs. He is most known for developing the American version of “House of Cards” for Netflix and was show runner for four years. His recent screenplay was the 2018 film “Mary, Queen of Scots.”

St. Louis’ sunny Jenna Fischer can now be seen with Ted Danson in a commercial for Smirnoff Vodka.

***

AND THEN THERE WERE 15: A harpist, juggler, dancers, acrobats, musicians and singers will be competing in Fox Performing Arts Charitable Foundation’s 9th Annual St. Louis Teen Talent Competition, which takes place Saturday, April 13, at the Fox Theatre in St. Louis. The public is invited to attend for free, but general admission tickets must be reserved at Metrotix.com or 314-534-1111. You can vote for the Audience Award.

The youths will have an opportunity to win scholarships and prizes. They were selected from a process that began with 140 acts auditioning in the preliminary round, and a semifinal round on March 9 that featured 45 acts who were then whittled down to the 15 finalists. More than 50 high schools, homeschoolers and performing arts schools were represented.

Congratulations to those who advanced — quite a lot of variety: Modern Dancers: Arielle Adams, Senior DessaRae Lampkins, Senior Brooke Reese, Senior De’Jai Walker, Senior Hazelwood Central High School. Musical Theatre Act: Kaley Bender, Sophomore, Nerinx Hall Nathaniel Mahone, Sophomore, Lafayette High School. Consecrated: pianist and drummer Emmanuel Morgan, Junior Thaddaeus Morgan, Sophomore Kirkwood High School.Expressions Academy of Dance: Emma Bilzing, Sophomore; Mackenzie Branson, Freshman; Kaele Kidwell, Senior; Ja’la Stancil, Sophomore Belleville East High School Ukulele/Vocalist/Sonwriter Afiya Faatuono, Sophomore McKinley Classical Leadership Academy Pop Vocalist Jameson Falconer, Sophomore Ladue Horton Watkins High School Modern Dancer Ashley Gardner, Junior Trinity Catholic High School Pop Vocalist Madelynn Gartland, Sophomore Kirkwood High School Partner Acrobatics K.O. Duo, Oliver Layher, Senior, Vianney High School Kyran Walton, Senior, Metro Academic and Classical High School Bharatnatyam Dancer Samanvita Kasthuri, Junior Parkway South High School Ballet Dancer Anne Oberman, Junior Cor Jesu Academy Juggler Sean Petric, Sophomore Oakville High School Harpist Mereya Riopedre, Junior MICDS Guitarist and Vocalist Joanna Serenko, Senior Kirkwood High School Musical Theatre Vocalist Troy Staten, Sophomore McCluer High School These talented teens are the entertainers of tomorrow.

For more information about the competition, visit: http://www.foxpacf.org/programs/teen-talent-competition/ for more information. ***SCHOLARSHIP OPPORTUNITY:  Since 2012, Arts For Life has awarded a scholarship to a student who is pursuing an education in the arts. The deadline for applicants is April 12. Applicant must be enrolled in an arts undergraduate program at an accredited college or university. Arts programs include, but are not exclusive to: performing arts (music, dance, theatre) and visual arts (painting, sculpture, architecture, film,photography, etc). Arts programs not defined as Fine Arts but related to the arts may be considered if superior work has been demonstrated in this area. Applicant must have participated in a Metro St. Louis community theater production or event in the past two years (1/1/2016-12/31/2018). Metro St. Louis defined as any location within 35 miles from Clayton. Here is the link: http://www.artsforlife.org/scholarship.html***

Taylor Louderman

THE POWER OF THEATRE: Tony Award nominee Taylor Louderman will host a one-night-only cabaret to celebrate performing arts education and support rural Missouri’s Ozark Actors Theatre.

It’s set for May 20 at 7:30 p.m. at the Sheldon Concert Hall.

Louderman, proud native of Bourbon, Mo., will take part in “The Power of Theatre,” bringing together the voices of some of St. Louis’s best performers as they share the power of theater education.

Currently starring on Broadway as Regina George in “Mean
Girls,” she is well-known on local stages. Her career began at Ozark Actors
Theater in 2001, when she played the title role of ‘Annie.”

Since then, she appeared on Broadway in “Bring It On: The
Musical” and “Kinky Boots,” as well as NBC’s “Peter Pan Live.” She spent
summers performing at the Muny, last seen in “Aida.” She voices the character
Blair on Nickelodeon’s “Sunny Day” and can be seen in “The Good Fight” and HBO’s
“High Maintenance.”

She likes to give back to the community where she started
and grateful to be a part of the OAT board.

Evening also includes silent and live auctions, and a special introduction by News 4’s Paige Hulsey.

All proceeds from this event will benefit Ozark Actors
Theatre’s education programming.

Tickets are available in person at the Fox Theatre box office without a handling fee. For more information: https://www.thesheldon.org/concert-detail.php?id=768

***

Wendy Renee Greenwood as war photographer in “Time Stands Still”GO SEE A PLAY POLL: Modern relationships are certainly complicated, aren’t they? But they sure make compelling dramas. We’re giving away two tickets to New Jewish Theatre’s upcoming production of “Time Stands Still” that runs March 28 – April 15. All you have to do is enter our drawing and select your favorite play on modern relationships for our poll (see below).

“Time Stands Still” revolves around Sarah, a photojournalist who has returned from covering the Iraq war after being injured by a roadside bomb, and her reporter boyfriend James who is swamped by guilt after having left Sarah alone in Iraq. The two are trying to find happiness in a world that seems to have gone crazy. Theirs is a partnership based on telling the toughest stories, and together, making a difference. But when their own story takes a sudden turn, the adventurous couple confronts the prospect of a more conventional life. Can they stay together amidst unspoken betrayals and conflicting ideals? Playwright Donald Margulies answers these questions, while leaving unanswered qualms regarding the way America deals with war and tragedy coverage.

Directed by Doug Finlayson, the cast includes Wendy Renee Greenwood as Sarah, Ben Nordstrom as James, Jerry Vogel as Robin and Eileen Engel as Mandy.

To enter our drawing, please send your email address and
phone number to Lynn Venhaus, lynnvenhaus@gmail.com, by Friday,
March 22, before 5 p.m., with your choice for your favorite contemporary play
on modern relationships.

What would yours be? Here’s our list from which to select:August: Osage County God of Carnage The Humans Proof Rabbit Hole Stop Kiss Venus in Fur

Thanks for entering. Our last drawing for tickets to “Avenue Q” at the Playhouse @Westport Playhouse was won by Jennelle Gilreath. *** BEST WISHES: Kelly Hummert, founder and artistic director of Rebel and Misfits Productions, has decided to move on to other projects, and will no longer be producing shows in St. Louis.

Kelly Hummert

We will miss seeing what innovative and immersive plays she
put her heart and soul into, and the outstanding ensembles she brought together
during the past three years.

Rebel and Misfits’ “The Realistic Joneses” and “Macbeth: Come Like Shadows” have been nominated for Best Ensemble in this year’s St. Louis Theater Circle Awards, and last year, both Andrew Michael Niemann and Jim Butz won acting awards for “Uncle Vanya: Valiantly Accepting Next Year’s Agony.”

Break a leg, Kelly! The best is yet to come!

*** AUTHOR! AUTHOR!: Don Miller, an expert on media literacy and a local playwright, actor and professor, wrote a reference book, “Coming of Age in Popular Culture: Teenagers, Adolescence, and the Art of Growing Up,” that is getting good reviews. He is being lauded for his thoughtful work and providing insight into popular culture.

“And the beat goes on! What a wonderful tribute to the
decades. A entertaining explanation of our influences of the decades that
brought back so many memories,” said bestselling author Wade Rouse.

“This text is a tremendous boost to the media literacy
education field at a time when both the media communicator as well as the media
consumer hold great sway on many platforms in our digital communications
environment and understanding these processes can help both be better. And, the
timing couldn’t be better to have this definitive, well researched and
well-documented textbook regarding an age-old relationship about teens and
their media,” said Jessica Z. Brown, founder of Gateway Media Literacy
Partners.

Miller documented the evolution of teens and media from the
1950s through 2010, this book examines the films, books, television shows, and
musical artists that impacted American culture and shaped the “coming of
age” experience for each generation.

He will speak to the Mid Rivers Ethical Society in July.

***

“The Lusty Month of May” from the movie “Camelot” 1967TRIVIA TIME-OUT: We flip seasons to spring! Yay! Happy Dance. What a cold, dreary, gray winter. Here are some questions about productions focused on a spring.

In “The Producers,” what is the name of the musical
that Max Bialistock and Leo Bloom are mounting?Who sings “The Lusty Month of May” on the
original cast recording of “Camelot”? In the movie?What original cast member won a Tony Award in
the musical “Spring Awakening”?What musical features the song “Younger Than
Springtime”?ANSWERS 1. “Springtime for Hitler” 2. Julie Andrews; Vanessa Redgrave (Guinnevere)3. John Gallagher Jr.4. “South Pacific”

***

Richard Beymer and Natalie Wood in “West Side Story”MOVIE MUSICAL MAKEOVER: “Angels in America” playwright Tony Kushner is writing the script for Steven Spielberg’s new version of “West Side Story,” which is expected to be released in 2020. The announced movie cast includes Ansel Elgort as Tony, Rachel Zegler as Maria, Tony Award nominee Ariana DeBose (Donna Summer) as Anita, Tony Award winner David Alvarez (Billy Elliot) as Bernardo, Josh Andres Rivera as Chino, Brian d’Arcy James as Sergeant Krupke and Corey Stoll as Lieutenant Schrank.

The sole returning cast member of the original is EGOT
winner Rita Moreno, who will play a new character, Valentina. She won an Oscar playing
Anita.

This will be Spielberg’s first musical. He had a casting
call for Latinx performers and received 30,000 submissions. Seventeen-year-old
high school newcomer Rachel Zegler won the part of Maria.

The 1961 landmark film is the most-award winning movie musical
of all-time, nominated for 11 Academy Awards and winning 10. With choreography
by Jerome Robbins, music by Leonard Bernstein and lyrics by Stephen Sondheim,
the movie adaptation was directed by Robert Wise (“The Sound of Music”) and
Robbins.

Fun Fact: Natalie Wood played Maria but her singing was
dubbed by Marni Nixon, who also subbed for Audrey Hepburn in “My Fair Lady.”

***

Jared Sanz-Agero

IN MEMORIAM: Friends, family and colleague are remembering the wonderful talent that Jared Sanz-Agero was. The actor died Feb. 19, from injuries suffered in a horrific automobile accident two weeks earlier, on Feb 5.

Twice-nominated for St. Louis Theater Circle Awards for “Stones
in My Pocket” and “The Liar,” he was a passionate presence on many regional
group’s stages. You might have chatted with him at the .Zack, working at the
bar and concessions. He attended Southwest Missouri State University.

Jared, 47, was traveling to Kansas City for a commercial
shoot when his 2004 Toyota Matrix slid off the ice-covered roadway. He was
taken to the Centerpoint Hospital ICU in Independence, Mo., according to the
police report.
Official cause of death was internal bleeding and loss of blood, and is being
investigated by his family, from what’s on the Go Fund Me page.

A memorial service is being planned for a later date. If
you would like to contribute to a Go Fund Me account set up by his brother
Gentry after the accident to help with his medical expenses, and now, costs
related to his death investigation, and services, here is the link to the Jared
Sanz-Agero Memorial Fund: https://www.gofundme.com/help-jared-heal-fund

***WORD: To quote Jonathan Larson, who wrote “Rent” and died on opening day from an aneurysm:

“It’s not how many years you live, but how you fulfill the time you spend here.”

Tender and Touching ‘Nonsense and Beauty’ Is Superbly Acted and Directed in The Rep’s Studio

Tender and Touching ‘Nonsense and Beauty’ Is Superbly Acted and Directed in The Rep’s Studio

By Lynn Venhaus
Managing Editor
“Nonsense and beauty have close connections,” Edward Morgan Forster once wrote.
Playwright Scott Sickles took that phrase as the title of his splendid play,
which the Repertory Theatre of St. Louis helped develop. And oh, what a
starting place it is.

“Nonsense and Beauty,” Sickles’ timeless tale of love and
forgiveness, is set in a very different era where same-sex relationships were mostly
hidden, and famous British author E. M. Forster is caught up in the nonsense
and beauty of a long affair with a man 23 years his junior – who will marry a
woman during this conflicted period.

Not your garden-variety real-life love story, as it
unfolds, we discover a believable love triangle with likable people – no
villains, wrapped in a very complicated forbidden relationship between two complex
men, while on the sidelines, there’s the unrequited love of a dear friend who desires
more. Additionally, there’s the unconditional love of a mother, although a prickly
and miserable woman.

In lesser hands, this would be a turgid soap opera with
starched collars. And while the poignant play unleashes an emotional
rollercoaster, it’s contained in an elegantly rendered production that is
exquisitely acted and sharply directed.
Staged crisply by Seth Gordon downstairs in the Studio Theatre, that intimate
space and the in-the-round format suits the play well. My fondness for the
characters grew with each scene, as their connections with each other were
conveyed so well.

Forster, known to his close friends as Morgan and gay, was
the celebrated novelist (“Howards End,” “A Room with a View,” “Where Angels
Fear to Tread,” “A Passage to India”), a prolific essayist and 16-time nominee
for the Nobel Prize for Literature.

Considered a humanist, the stuffy conventions of the
upper-class British society he lived and worked in were a source of material
for him, as he could not live life out loud in such a universal state of
repression. After all, homosexuality was illegal in the United Kingdom until
1967.

He was an intelligent man of impeccable manners, and
Jeffrey Hayenga excels as showing us his wordly refined side, but also his
yearnings and longing for a life he could only imagine. Hayenga’s absorbing
performance is tender and touching.

After he met London policeman Bob Buckingham, a jolly old
chap of no discernable stature, at the Cambridge-Oxford boat race in 1930, they
began a risky on-and-off relationship that would span 40 years.

TUESDAY, MARCH 5, 2019 – This is the Repertory Theatre of St. Louis’ production of “Nonsense and Beauty” as the Loretto-Hilton Center. ©Photo by Jerry Naunheim Jr.Their friendship was tested when Bob courted and married smart
and feisty May, a no-nonsense nurse who did not follow up any possible
suspicions about the men spending ‘alone’ time together. She stayed in the
dark, whether it was of her own choosing or she just didn’t go there in her
mind.

Forster was a major presence in their family’s lives.
Nobody meant to hurt each other, but oh, what aching and pain endured.

An engaging pair together, Robbie Simpson as Bob and Lori Vega as May displayed genuine sparks as their relationship grows into matrimony and parenthood. Nevertheless, how confusing for all — neither Bob nor Morgan could quit each other, so therefore, their friendship survived through the ups and downs of their lives.

TUESDAY, MARCH 5, 2019 – This is the Repertory Theatre of St. Louis’ production of “Nonsense and Beauty” as the Loretto-Hilton Center. ©Photo by Jerry Naunheim Jr.Another constant was longtime friend, the distinguished
writer J.R. Ackerley, wondrously portrayed by John Feltch. He brings more to
the urbane and glib character than tossing off bon mots and smirking about the
confines of society. He pined for more with Morgan, but that was not to be. He
befriends May, something neither expected, and his wit well-serves the
production.

Feltch, so good in “Vanya and Sonia and Masha and Spike” in
2015 (and St. Louis Theater Circle nominee), has a regal stature and is an
erudite sounding board throughout the show. In the movie, his character would
have been played by Clifton Webb or Vincent Price – or even James Mason.

As E.M. Forster’s battle-ax of a widowed mother, Lily, Donna
Weinsting astutely captures the grand dame’s controlling and cantankerous ways.

The entire ensemble is finely calibrated to show the fragility,
disappointment and deep love between the characters. The play’s bittersweet
nature is imparted in multiple ways.

Brian Sidney Bembridge’s minimal set, enhanced by his eloquent lighting design, allows smooth flow of the characters in conversation. Bembridge won the St. Louis Theater Circle Award for “The Royale.” Felia K. Davenport’s costumes defined the periods succinctly, and Rusty Wandall’s sound design provided nifty vintage touches. Leiber and Stoller’s “Is That All There Is?” was a wise choice to open and close the show.

Gordon, The Rep’s Associate Artistic Director, had nurtured
this project even before he further developed it as part of The Rep’s 2018
Ignite! Festival of New Plays, which he started after coming to the Rep. He
directed its first major public reading in 1996 at the Carnegie Mellon Showcase
of New Plays.

This is the sixth play from “Ignite!” to become a full-fledged
production, and this world premiere is a dandy – a lovingly crafted work of
substance, that means something, where the attention to detail is strong, and
the approach thoughtful.

The
Repertory Theatre of St. Louis presents “Nonsense and Beauty” March 8 – 24 in
the Emerson Studio Theatre, 130 Edgar Road. For tickets or more information,
visit www.repstl.org. Box Office phone is
314-968-4925.

Carole King’s Joyous ‘Beautiful’ Is Voice of Generation

Carole King’s Joyous ‘Beautiful’ Is Voice of Generation

s

By Lynn Venhaus
Managing Editor
Legendary singer-songwriter Carole King’s joyous and wistful music is the sound
of a generation and her remarkable life story parallels the evolution of women
in the 1960s and 1970s.

How she found her voice is chronicled in the wildly popular long-running show, “Beautiful: The Carole King Musical,” now on tour at the Fox Theatre in St. Louis for a limited engagement March 12 – 17. The show celebrated its fifth anniversary on Broadway in January.

It’s easy to love this smartly constructed show –
compelling rise to stardom story and a glorious score bursting with catchy pop
songs. Carole’s character goes through a tremendous amount of growth (and hairstyle
changes), so she’s relatable and sympathetic.

Sarah Bockel immerses herself in the role, making a believable transformation from insecure but talented teen into a strong independent woman. The smooth and crisp production is just as much about the beginnings of rock ‘n roll – the tunes that had a good beat and we could dance to it, as a young Carole was part of the hit machine at the Brill Building, hired by producer Don Kirshner. Her husband, Gerry Goffin, was the lyricist while she wrote the melodies, and the string of hits kept coming.

A wonderful nostalgia is evoked when The Drifters, The Shirelles, Little Eva and other recording artists perform their hit songs, a vivacious blast from the past that strikes a chord: “Up on the Roof,” “One Fine Day,” “The Locomotion,” and “Will You Still Love Me Tomorrow” among them. John Michael Dias, who was on the first tour at the Fox, and Paul Scanlan as The Righteous Brothers delivered a rousing, soulful “You’ve Lost That Lovin’ Feeling.”

The recognition factor to those chart-toppers is high, and
the emotional connection to the story is immediate.

Douglas McGrath’s witty and warm book showcases plenty of
heart and humor. In addition to Bockel’s affability and
believability, Dylan S. Wallach conveys the hard-working early years as well as
the pressures of the business that overtook the talented but troubled Gerry.

A supportive sisterhood was in full force opening night, as
whoops, hollers and cheers met every “Attagirl!” woman empowerment line in the
second act, when Carole emerges from divorce as a solo artist.

Her landmark 1971 album, “Tapestry,” which sold over 25 million copies, won Grammys for Best Record, Song and Album of the Year. It is still one of the bestselling albums of all-time, and the longest Billboard run by a female artist.

My generation knows every single word — still, and showed
appreciation Tuesday night, for it was a true lovefest, along with a
sentimental flashback to our youth, and a delightful walk down memory lane.

It’s a thrilling, magical moment when Carole decides to
sing her own material and tries out ‘It’s Too Late” at the Bitter End.

Another key to this show’s success is because it isn’t just about Carole. Songwriting partners Cynthia Weil (Alison Whitehurst) and Barry Mann (hilarious Jacob Heimer), who were also at work, literally next door, are an integral part of the story. The foursome’s good-natured competitiveness resulted in many standards that defined the rock era, and it’s a sweet reflection on good friendships as well.

The strong cast embodies well-drawn characters. James Clow plays a significant mentor — producer Don Kirshner as both a boss and as a caring friend. Suzanne Grodner reprised her role as Carole’s supportive but nagging mom,

Director Marc Bruni, who has worked at The Muny eight times, kept the focus on the relationships and the work, as the couples go through the changing times of the 1960s. He made sure the show flowed well, with an up-tempo for the most part.

The production team captured the era well. The show isn’t only for Baby Boomers, it is for anyone who loves music and can identify with Carole’s progression. The musical celebrates the music that played in her head with style, rhythm and passion.

“Beautiful: The Carole King Musical” is on national tour, and playing at the Fox Theatre in St. Louis March 12-17. For more information, visit www.fabulousfox.com. For tickets, visit www.MetroTix.com or call 1-314-534-1111.

Local Producers Found ‘Beautiful’ Success With Carole King Musical

Local Producers Found ‘Beautiful’ Success With Carole King Musical

Former Muny Executive Director Paul Blake and Associate Producer Mike Bosner Left St. Louis for New York and Have a Tony-winning Show still running on Broadway

By Lynn Venhaus
Managing Editor
After Paul Blake listed “Carole King Musical” on a Muny survey one summer and
it received only a few votes, he worried if the in-the-works “Beautiful” would draw
an audience. His fretting was all for naught, as the musical recently
celebrated its fifth anniversary on Broadway and is currently on its second
national tour.

The Tony and Grammy Award-winning “Beautiful – the Carole
King Musical” returns to the Fox Theatre for a limited engagement March 12-17.

Sarah Bockel stars as Carole King in national tour of “Beautiful” now playing at the Fox Theatre in St. Louis “I am thrilled that ‘Beautiful’ continues to delight and entertain audiences around the globe, in England, Japan and Australia. We are entering our fourth amazing year of touring the U.S.,” Producer Paul Blake said. “We are so grateful that over five million audience members have been entertained by our celebration of Carole’s story and her timeless music.”

Being the head producer on “Beautiful” has been a dream-come-true experience, he said. Blake took a leap of faith when a record executive contacted him with the idea. And the rest, as they say, is history.

From their New York office, Blake and his co-producer Mike
Bosner, a St. Louis native, recently talked about the show’s success, their
producing partnership, and what they have in the works.

Blake was the executive director of The Muny for 22
seasons, stepping down in 2011. While at the Muny, he created two Broadway
musicals from popular movies, “White Christmas” and “Roman Holiday,” so setting
up shop in New York after his years here was a natural progress.

Bosner was an associate producer at the Muny for five
seasons. Before he graduated fom John Burroughs high school, Wayne Salomon, his
theater director, told him about a Saint Louis University internship at the
Muny in the production office. Working in the business world of theater was
where he wanted to be, and now, he’s an official Tony-nominated Broadway
producer.

They are two motivated guys.
“We really love what we do. When you love what you do, it doesn’t seem like
work,” Bosner said.

They are currently working on a couple of new shows, not at
liberty to say what, but will always have a special place in their heart for “Beautiful.”
“This was something special,” Bosner said.

“We are very lucky it has delighted audiences for over five
years – around the world,” Black said.

They work hard putting together shows – ‘So many things to
do!” Blake said, but they wouldn’t have it any other way. “It’s very fulfilling
what we’ve chosen to do.”

He credits the Muny experience for keeping them on their
toes.

“If I wouldn’t have done the Muny, I couldn’t get these shows together. It all comes together because we have that experience,” he said. “We learned how to put the best people together at the Muny.”

Since the tour’s launch in September 2015, “Beautiful” has
played 1,130 performances in 82 cities over 142 weeks to nearly 2.5 million
patrons.

Tony Winner Jessie Mueller as Carole King.Singer-songwriter Carole King’s true-life rise to stardom
is a tailor-made follow-your-dreams story. The chart-topping music legend grew
up in Brooklyn and then fought her way into the record business as a teenager.
By the time she was in her 20s, she was married to college classmate Gerry
Goffin and was flourishing as a songwriter in the fabled Brill Building,
churning out hits for the biggest rock ‘n roll acts.

It wasn’t until her personal life unraveled that she
finally managed to find her true voice, culminating in her landmark solo
“Tapestry” album in 1971, which won four Grammys – including Record, Song and
Album of the Year — and went on to be one of the greatest selling albums of
all-time.

One of the most successful acts in music history, Carole
wrote the soundtrack to a generation. The “Beautiful” music includes “I Feel the
Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me
Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” the title
song and many more.

So, Blake was surprised when there wasn’t much love for it
on the end-of-season “What Shows Would You Like to See at the Muny?” survey.

“I was shocked. There was no recognition. I used to put on the
survey shows that didn’t exist, like “White Christmas” – it got six votes and “Roman
Holiday,” which got eight,” he said.

Blake made his debut as a Broadway producer with “Irving
Berlin’s White Christmas,” which opened in 2009. The musical adaptation of the
holiday movie classic had premiered at the Muny in 2000. The show had a second
Broadway run, and has turned into a popular seasonal show at theaters around
the country.

“It endures because it’s terrifically entertaining,” he
said. “It’s one of the most requested musicals.”

“Paramount Pictures had hired me to create musicals from
their film catalogue. I picked two – White Christmas and Roman Holiday,” Blake
said.

He and Bosner have re-worked “Roman Holiday,” which will be
coming to Broadway. It had a successful tryout in San Francisco last year. But
before that, it was at the Muny about 12 years ago.

“These things don’t happen overnight,” Blake said. “We feel
we have it right now – it needed some work. It has songs by Cole Porter. We
have always thought it felt like a stage musical,” he said.

“Roman Holiday” is an Oscar-winning movie starring Audrey
Hepburn as a Princess who escapes her confines and explores Rome with
journalist Gregory Peck. Hepburn won Best Actress, Dalton Trumbo won Best Story
and Edith Head won Best Costumes.

It’s on to the next project, but Blake recalls all the
effort that went into making “Beautiful” sparkle.

Bosner said they began working on it in 2009.

“It took five years of talking and trying to get the
contracts settled,” Blake said.

“So, after it got 6 votes, I wondered if there was an
audience for it, but when making ‘Beautiful,’ everyone seemed to know how to do
it. Let’s hope it works, I thought,” Blake said.

“At our very first reading, I asked Disney Theatrical Group
president Thomas Schumacher to come and give us his thoughts. He told me: ‘You
have made a ‘Jersey Boys’ for women.’”

Carole King and Gerry GoffinCarole King was reluctant to see her life played out
publicly, but she gave permission.

“She saw what we were trying to do. She said, ‘I trust you,’
I see where you’re going,’ but she did not want to be involved. She went away.
It was hard for her,” Blake said.

“Four months after we opened, we heard from her. We had
sent her the script. Carole is all about the truth. She went to see the show.
She was stunned. She’s been great.  She
let us know she supports us totally and fully,” Blake said.

“She performed at The Tonys. She came to New York City for
the fifth anniversary (Jan. 12). No one knew she was going to be there. They
were filming for CBS and we wanted to have the surprise moment be on camera, so
we didn’t tell the cast. It was sensational,” Blake said.

Carole KingIt wouldn’t be the only time he’s heard that. For women of
a certain age, the music is a walk down memory lane that has them on their feet
at the curtain call, singing loudly to “I Feel the Earth Move.”

First and foremost was the music – beloved songs written by
the husband-and-wife hit machine teams of Gerry Goffin and Carole King, and
Barry Mann and Cynthia Weil.

“It had a bunch of great songs, catchy pop tunes,” Blake
said. “We got the rights, and then Douglas McGrath (a Tony and Academy Award
nominee) put the Brill Building in the book, and that makes it a story. Doug’s
book is so under-appreciated. It is a great book.”

Director Marc Bruni, who has directed at the Muny eight
times, “Singin’ in the Rain,” “My Fair Lady,” “Thoroughly Modern Millie,” “The
Music Man” and “The Sound of Music,” made his Broadway debut with “Beautiful.” He
has since helmed the new production of ‘Roman Holiday.”

The show opened Jan. 12, 2014, on Broadway at the Stephen
Sondheim Theatre, 125 West 43 Street, where it is still playing. It broke all
box office records there and recently became the theatre’s highest grossing
production in its history.

“Beautiful” was nominated for seven Tony Awards in 2014,
including Best Musical, and won two – for Best Lead Actress in a Musical
(Jessie Mueller) and Best Sound Design.

“We were so proud of the show as is, so the nominations
were the icing on the cake,” Bosner said.
The Original Broadway Cast Recording of “Beautiful – The Carole King Musical”
(Ghostlight Records) won the 2015 Grammy Award for Best Musical Theater Album
and is available on CD, digitally, and on vinyl. 

“When asked about the show, nobody says they like it.
Everyone says they love it. There’s a lot of love there, and that’s powerful,”
Blake had said after the Tony nominations.

In addition to the current Broadway and North American
Touring productions, “Beautiful” is also playing internationally, with
productions in Japan, Australia and touring the UK.  An award-winning production recently
concluded its run in London’s West End after opening on Feb. 25, 2015.

“We saw it in Japan. It was wonderful,” Blake said.

The producers are now working on a movie version of the
musical.

“It’s in pre-production, might be one and half, two years.
We have a draft of a screenplay. The contract is drying as we speak,” Blake
said.

The cast of the Sony/ATV Music Publishing-sponsored North
American tour includes Sarah Bockel as Carole King, Dylan S. Wallach as Gerry
Goffin, Alison Whitehurst as Cynthia Weil, Jacob Heimer as Barry Mann, Muny
alum James Clow as Don Kirshner and Suzanne Grodner as Genie Klein.

The ensemble includes Ben Biggers, Darius Delk, John
Michael Dias, Leandra Ellis-Gaston, Kaylee Harwood, Willie Hill, Alia Hodge,
James Michael Lambert, Harper Miles, Dimitri Joseph Moïse, Ashley Morgan, Deon
Releford-Lee, Nathan Andrew Riley, Paul Scanlan, DeAnne Stewart, Danielle J.
Summons, Alexis Tidwell and Elise Vannerson.

The creative team includes Derek McLane (Set Design), Alejo
Vietti (Costume Design), Peter Kaczorowski (Lighting Design), Brian Ronan
(Sound Design), Charles G. LaPointe (Wig and Hair Design), Steve Sidwell
(Orchestrations and Music Arrangements), Jason Howland (Music Supervision) and
John Miller (Music Coordination). Vietti’s credits include The Repertory
Theatre of St. Louis – “Evita” and

Besides Blake, Bosner and Sony, producers included Jeffrey
A. Sine, Richard A. Smith, Mike Bosner, Harriet N. Leve/Elaine Krauss, Terry
Schnuck, Orin Wolf, Patty Baker/Good Productions, Roger Faxon, Larry Magid, Kit
Seidel, Lawrence S. Toppall, Fakston Productions/Mary Solomon, William Court
Cohen, John Gore, BarLor Productions, Matthew C. Blank, Tim Hogue, Joel Hyatt,
Marianne Mills, Michael J. Moritz, Jr., StylesFour Productions,
Brunish/Trinchero and Jeremiah J. Harris.

Performances Tuesday, March 12, through Sunday, March 17,
are 7:30 p.m. Tuesday through Saturday, and matinees at 2 p.m. Saturday, 1 p.m.
Sunday and 1 p.m. Thursday, March 14.

“Beautiful” is part of the U.S. Bank Broadway series.
Tickets are available through MetroTix.com, by calling 314-534-1111 or in
person at the Fabulous Fox Box Office. For more information, visit
www.FabulousFox.com

For more information and video, visit
www.BeautifulOnBroadway.com.

Paul Blake and Mike Bosner attend Beautiful – The Carole King Musical at The Aldwych Theatre, The Aldwych, London on Tuesday 24 February 2015 February 2015