By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Toby at the disco. Photo by FF.

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

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

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

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

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

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

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

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

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

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

Photo by FF.

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

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

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

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

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

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

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

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

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

Tyson Cole is Adam and Leo. Photo by FF.

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

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

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

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

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

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

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

The Inheritance cast. Photo by FF.

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

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

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


By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

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

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

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

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

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

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

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

3. How would your friends describe you?

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

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

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

5. What is your current obsession?

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

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

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

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

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

8. Who do you admire most?

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

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

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

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

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

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


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

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

12. What’s next?

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

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

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

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

By Lynn Venhaus
Christ Memorial Productions’ presentation of the Rodgers and Hammerstein classic “Oklahoma!” won eight Best Performance Awards for choreography, music direction, lighting, costumes, acting and Best Featured Dancer while Kirkwood Theatre Guild’s production of the George and Ira Gershwin 1920s musical-screwball comedy “Nice Work If You Can Get It” won seven, including Best Large Ensemble Musical Production, Best Director and five acting awards, from Arts For Life Sunday.

It was KTG’s sixth win for musical production since 2000. Both shows had been nominated for 17 awards apiece. “A New Brain,” which was a local community theater premiere for Hawthorne Players, won Best Small Ensemble Production.

Arts For Life is a nonprofit organization that encompasses 140 communities and 8,460 square miles in St. Louis city, county and St. Charles County in Missouri and Madison, Monroe and St. Clair counties in Illinois.

Founded in 1994 by Lucinda Gyurci as a group dedicated to the healing power of the arts, AFL has honored community theater musicals for performances and achievements since 1999 (BPAs), plays since 2015 (Theatre Mask Awards) and expanded awards in youth musical theater in 2013.

Best Small Ensemble Musical “A New Brain”

But this is the first time AFL did not host a live gala. Because of the COVID-19 global pandemic, the ceremony was re-imagined as a pre-recorded virtual celebration. The 21st annual BPAs took place June 14, which was the original date, but transitioned to a streaming format broadcast on Facebook and YouTube.

AFL President Mary McCreight said the coronavirus safety measures in place and restrictions on gatherings in St. Louis County were factors in the decision to cancel the live show but still have some sort of event.

“We wanted to provide an opportunity for our local arts community to come together online and celebrate the many outstanding achievements of the previous year,” McCreight said.

Performances from nominees for large ensemble musicals, two small ensemble musicals and five youth productions premiered on AFL’s YouTube channel for 10 days leading up to the awards, and are now available there, https://www.youtube.com/channel/UCnCSL5RPbHTrhbc0mbHcWnA

There were 15 community theaters and 10 youth-only groups who participated last year. More than 60 judges in the Theatre Recognition Guild scored 46 shows — 19 large ensembles, 3 small and 24 youth, featuring 939 roles. For 2019, there were 154 individual nominations from 22 groups, with 36 percent first-time nominees and 65 percent first-time winners.

Goshen Theatre Project, which led all groups with 18 nominations, won five youth awards overall for “Les Miserables School Edition,” including Best Youth Musical Production, Supporting Actress Natalie Cochran as Eponine, costume design (Terry Pattison), lighting design (Halli Pattison and Blake Churchill) and Bennett English as Best Youth Musical Performance as Jean Valjean.

Other multiple winners in the youth categories were Riverbend Theatre, which won three for “The Drowsy Chaperone” — director (Kristi Doering), music direction (Michael Frazier/Alison Neace) and lead actor (Jayson Heil as the Man in Chair), and Young People’s Theatre, which won two for “Newsies” – best supporting actor (Will Dery as Les) and set design (Brisby Andrews and Gary Rackers).

Norbert Leo Butz

Thirty-three awards honoring excellence during 2019 were announced by past winners and members of the AFL board of directors, with two special guest presenters — Norbert Leo Butz, two-time Tony Award winner who grew up in St. Louis, and Hana S. Sharif, the Augustin Family Artistic Director of The Repertory Theatre of St. Louis.

Butz, who also announced the youth musical production winner, told the audience to believe in themselves, even when it’s hard, and follow their dreams, noting he had supportive parents and “great” teachers.

“Believe in yourself and keep on being grateful. Stick to it,” he said from his home in New Jersey. “(Performing arts) feeds our soul, our minds, our hearts.”

AFL donated to Butz’s charity, The Angel Band Project, which uses music therapy to help victims of sexual abuse and domestic violence and advocates for rights of survivors. For more information, visit www.angelbandproject.org

Jennifer Kerner

Four special honors were given out to Jennifer Kerner for her inclusion efforts, Bennett English for Best Youth Musical Performance as Jean Valjean in Goshen Theatre Project’s “Les Miserables: School Edition,” Kayla Dressman for Best Featured Dancer as Dream Laurie in  CMP’s “Oklahoma!” and Diane Hanisch, the BPA musical director/conductor for the past 20 years, who won a national Spotlight Award from the American Association of Community Theatres, presented by Quiana Clark-Roland. A Lifetime Achievement Award was not designated this year.

Kerner’s recognition was for her advocacy on inclusion and helping to make the live theater experience accessible to all individuals. Kerner, a local singer and actress, works to help place people with developmental disabilities in jobs. She has guided local theater companies in providing sensory-friendly performances and has worked to create comfortable environments for those on the autism spectrum and those with sensory processing disorders.

McCreight was thrilled about Hanisch’s national award.

Diane Hanisch

“This award is designed to help pay tribute to an individual for long or special service. It recognizes outstanding dedication, service and contribution to your organization. It is for someone who has made a significant impact on the quality of your organization. Diane has done just that with per professionalism and charm. She is a gem! Not only can she calm the nerves of a 12-year-old singing a solo, but others who are singing in front of 700 people for the first time. She arranges and writes the music, gathers her professional band, and conducts the show with aplomb. Diane cares as much about our legacy as anyone involved on the Arts for Life Board. No one is more deserving,” she said.

The annual Youth Scholarships, which are awarded to two students pursuing a degree in the arts, were announced, with Alaina Bozarth, a graduate of Metro East Lutheran High School, and Josiah Haan, a graduate of Fort Zumwalt High School, each given $500. Bozarth plans to major in musical theatre at Belmont University in Louisville, Ky., and Haan plans to major in technical theatre and design at Lindenwood University in St. Charles, Mo.

Other ensemble nominees include “Hello, Dolly!” from Wentzville Christian Church, “Oklahoma!” from Monroe Actors Stage Company and “The Bridges of Madison County” from Alpha Players of Florissant for Best Large Ensemble and “The 25th Annual Putnam County Spelling Bee” from O’Fallon TheatreWorks for Best Small Ensemble.

For Best Youth Production, in addition to “Les Miserables,” nominees include “The Drowsy Chaperone” from Riverbend Theatre, “Matilda” from Gateway Center for the Performing Arts, “Newsies” from Young People’s Theatre and “Spring Awakening” from Gateway Center for the Performing Arts.

CMP’s Oklahoma!

For the record books, Kimberly Klick won her sixth BPA for choreography for CMP’s “Oklahoma!”. She had previously won for CMP’s “Mary Poppins” and “The King and I,” plus “Dirty Rotten Scoundrels,” “Big the Musical” and “Fiddler on the Roof” for other companies. It was her 10th overall, including wins for Best Featured Dancer in “Brigadoon” in 2000, Lead Actress for Millie in “Thoroughly Modern Millie” 2006 and Jo in “Little Women” in 2008, and Cameo Actress in “Titanic” 2003.

It was three in a row for Jonathan Hartley, who won for lighting design of “Oklahoma!” and had won last year for “Joseph and the Amazing Technicolor Dreamcoat” at DaySpring Center for the Arts; he won for set design for DSA’s “Little Shop of Horrors” in 2017. Stephanie Fox won her third in four years for choreography in Gateway Center for the Performing Arts shows – “Spring Awakening” 2019, “Carrie the Musical” 2017 and “Thoroughly Modern Millie” 2016. Terry Pattison also won her third for costume design since 2017: “Peter Pan,” “The Lion King Jr.” and “Les Miz,” all for Goshen Theatre Project, and won set design for “Chitty Chitty Bang Bang” in 2018.

Joe Paule Sr. won his third for musical direction, for CMP’s “Oklahoma!”, following CMP’s “The King and I” in 2014 and Hawthorne Players’ “The Producers” in 2010. He received the Lifetime Achievement Award last year. It was the second award for Michael Frazier and Alison Neace for musical direction, this year for Riverbend Theatre’s “The Drowsy Chaperone” and for Alton Little Theatre’s “The Spitfire Grill” in 2011.

Other multiple winners included two for Alpha Players of Florissant’s “The Bridges of Madison County” for Lead Actor (Cole Guttmann) and Cameo Actress (Chelsie Johnston) and Take a Bow Showcase for “Annie” – juvenile performer (Leontine Rickert) and duo/group (Matthew Joost and Carole Ann Miller).

Winners Will Shaw and Kimmie Kidd-Booker in “Nice Work If You Can Get It”

In the acting categories, Mike Huelsmann’s award for Best Featured Actor as Jud Fry was his third, after Lead Actor as Javert in Take Two Productions’ “Les Miz” (2013) and as part of Best Duo/Group in Looking Glass Playhouse’s “Young Frankenstein” 2015. Kimmie Kidd-Booker’s award for Best Featured Actress as Estonia Dulworth in “Nice Work If You Can Get It” was her second win, after Best Featured Actress in “The Wiz” in 2014. George Doerr IV won his second, as Igor in Alfresco’s “Young Frankenstein,” after winning Best Actor in 2017 for Alfresco’s “The Rocky Horror Show.”

The virtual program included the following production team: directors Mary McCreight and David Wicks Jr., video supervisor Kim Klick, visual designers Colin Dowd and Bethany Hamilton, voice-over announcer Ken Clark and host Karen Fulks.

A list of winners is included here, below.

AFL’s Theatre Mask Awards was originally set for April 4, then moved to July 18, but now will also be a virtual celebration. The 2020 TMAs will honor excellence in community theater productions of dramas and comedies during 2019 in a live interactive viewing event at 11 a.m. Saturday, July 18, on the AFL Facebook page and YouTube Channel. The awards show will be recorded beforehand and the content will remain on social media.

On March 16, McCreight suspended all public activities of the AFL organization because of the public health crisis. The extension has been extended until further notice. Both TRG and TMA branch judges and participating groups will receive announcements on future developments. As the region re-opens, social distancing and wearing face coverings continues. At this time, all AFL performance venues remain closed.

“I am incredibly grateful to all of our constituencies – the board, judges, participating groups, audience members and donors – for their commitment to AFL and their engagement and unwavering support of our local theatre community during these uncertain times,” McCreight said.

Any company that won can have a representative pick up their trophies on July 19 from 1 to 3 p.m. in the parking lot of Clayton Community Theatre, which is located at the Washington University South Campus Theatre, 6501 Clayton Road, St. Louis, MO 63117.

Riverbend Theatre’s The Drowsy Chaperone

A souvenir program is available to download online: https://drive.google.com/file/d/1YlomcYjVNqDNqmPTCrYGSjnAtDwkn9QT/view

A limited number of copies will be available for purchase as well.

For more information, contact AFL TRG Secretary Kim Klick at afltrg@artsforlife.org

To see a list of the 2019 nominees and winners, as well as the awards history 1999-2019, visit the website: www.artsforlife.org

Follow AFL on Facebook, Twitter and Instagram.

2020 Best Performance Award Winners:

Best Musical Production Large Ensemble: “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Musical Production Small Ensemble: “A New Brain,” Hawthorne Players

Best Youth Musical Production: “Les Miserables: School Edition,” Goshen Theatre Project

Best Director: Dani Mann, “Nice Work If You Can Get It,” Kirkwood Theatre Project

Best Musical Direction: Kathy Eichelberger and Joseph Paule Jr., “Oklahoma!” Christ Memorial Productions

Best Choreography: Kimberly Klick, “Oklahoma!” Christ Memorial Productions

Best Lead Actor: Cole Guttmann, “The Bridges of Madison County, “Alpha Players of Florissant

Best Lead Actress: Jaclyn Amber, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Featured Actor: Mike Huelsmann, “Oklahoma!” Christ Memorial Productions

Best Featured Actress: Kimmie Kidd-Booker, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Supporting Actor: Caleb Long, “Oklahoma!” Christ Memorial Productions

Best Supporting Actress: Dianne M. Mueller, “Oklahoma!” Christ Memorial Productions

Best Actor in a Comedic Role: George Doerr IV, “Young Frankenstein,” Alfresco Productions

Best Actress in a Comedic Role: Margery Handy, “The Wizard of Oz,” Alton Little Theater

Best Cameo Actor: Jacob Streuter, “Jesus Christ Superstar,” Looking Glass Playhouse

Best Cameo Actress: Chelsie Johnston, “The Bridges of Madison County,” Alpha Players of Florissant

Best Actor in a Non-Singing Role: Will Shaw, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Actress in a Non-Singing Role: Maria Wilken, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Duo/Group: Matthew Joost and Carole Ann Miller, “Annie,” Take A Bow Showcase

Best Set Design: Matt Dossett, “The Little Shop of Horrors,” Monroe Actors Stage Company

Best Lighting Design: Jonathan Hartley, “Oklahoma!” Christ Memorial Productions

Best Costume Design: Krysta Wenski, “Oklahoma!” Christ Memorial Productions

Best Juvenile Performer: Leontine Rickert, “Annie,” Take a Bow Showcase

Best Youth Director: Kristi Doering, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Music Direction: Michael Frazier and Alison Neace, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Choreography: Stephanie Fox, “Spring Awakening,” Gateway Center for the Performing Arts

Best Youth Lead Actor: Jayson Heil, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Lead Actress: Alli McDonald, “Once Upon a Mattress,” St. John’s UCC Performing Arts Camp

Best Youth Supporting Actor: Will Dery, “Newsies,” Young People’s Theatre

Best Youth Supporting Actress: Natalie Cochran, “Les Miserables School Edition,” Goshen Theatre Project

Best Youth Costume Design: Terry Pattison, “Les Miserables School Edition,” Goshen Theatre Project

Best Youth Set Design: Brisby Andrews and Greg Rackers, “Newsies,” Young People’s Theatre

Best Youth Lighting Design: Halli Pattison and Blake Churchill, “Les Miserables School Edition,” Goshen Theatre Project