One of the big-bang bursts in musical theater history, “Rent” is why transformative composer Jonathan Larson endures 30 years after his masterwork spoke to the dreamer in all of us.
Therefore, it’s disappointing when people entrusted to perform his deeply emotional and vocally demanding songs fall short because of repeated off-key issues.
After producing “Rent” in 2014, New Line Theatre has brought it back 11 years later as its 100th show, a milestone achievement in its 33 years. Artistic director Scott Miller, an early Rent-head, enthusiastically co-directed, with assistance from associate artistic director Chris Moore, who also amiably played good-natured anarchist Tom Collins.
Using Puccini’s opera “La Boheme” as his template, Larson set his Gen X characters in New York City’s East Village in the 1990s as they struggled with life, love and HIV/AIDS over the course of a year.
As a struggling artist for many years, Larson knew the world he wrote about, which was based on a concept by Billy Aronson. For making their doubts, anxiety and commitments relatable, emphasizing community and connection, Larson posthumously won the Pulitzer Prize for Drama.
He won three of the show’s four Tony Awards (Musical, Book, Score and Actor in a Featured Role – Wilson Jermaine Heredia as Angel Dumott Schunard) out of 10 nominations.
Tragically, Larson did not live to see the first Off-Broadway preview performance, because he died that day — Jan. 25, 1996, after suffering an aortic dissection. He was 35.
While intentions are noble, because this treasured show resonates with so many, the noticeable aural flaws marred this production’s overall effectiveness. The rock opera’s celebrated reputation, inevitable expectations and music challenges are hard to live up to if key performers can’t stay in tune.
These shortcomings made me wonder what rehearsals were like because the band is sensational, and some of the singers’ soar, but voices allowed to make repeated mistakes didn’t adjust or correct before opening. This performance was a week later.
As is customary, the New Line band was outstanding. Musicians John Gerdes on bass, Clancy Newell on drums, Adam Rugo and Zack Kempen on guitar, and music director Randon Lane and Jason Eschoflen on keyboards were a major asset. But they couldn’t be miracle workers rescuing in-trouble vocalists every time, no matter how often they tried.
Corrinna Redford and Nathan Mecey as Mimi and Roger, with Chris Moore as Tom Collins. Photo by Jill Ritter Lindberg.
“Rent” features various musical styles. The biggest hurdle were those singers who relied on belting to convey their emotions, but unable to stay on key, wound up screeching,
Corrinna Redford, who played exotic dancer-junkie Mimi Marquez, was erratic vocally and pushed out of her range in “Out Tonight” and “Goodbye Love.” They were messy, breathy and undisciplined, as was “Your Eyes.”
Shouting less, which resulted in a softer interpretation, helped in “Without You” and “I Should Tell You.” Portraying her love interest Roger, Nathan Mecey often went flat when they sang together, thus trying to achieve their spark was difficult.
As lovestruck Collins, Moore fared the best delivery-wise — a sweetly romantic “I’ll Cover You” shared with Angel (and later his heartbreaking reprise) and a hopeful, melodic “Sante Fe.”
With Aarin Kamphoefner as Angel, they displayed the most chemistry of the couple pairings. To their credit, starting with their introduction “You OK, Honey?,” then becoming the positive and compassionate pair did not seem like a stretch.
Chris Moore singing “I’ll Cover You” reprise, with Angel in background. Photo by Jill Ritter Lindberg.
Angel, a street musician and drag queen afflicted with AIDS, is the glue that holds all her friends together. She is such a vibrant life force that when Kamphoefner didn’t go full ebullient RuPaul, you wanted more oomph because she is the life of the party, especially in “Today 4 U” and “Happy New Year.” However, Kamphoefner gave the role its necessary warmth, and was achingly vulnerable in “Will I?”
A too-large circular centerpiece restricted movement, which didn’t help when it came time for the pivotal “Contact,” because Angel’s death was less impactful staged that way, pulling focus away.
In a different choice, he remained on stage afterwards, wearing a white-cream pants ensemble. Usually, Angel’s absence is a big hole that you feel, not see.
As roommates/best friends, aspiring documentary filmmaker Mark Cohen (J. David Brooks) and struggling musician and ex-junkie Roger Davis are tasked with delivering the show’s most dynamic numbers, including “Rent,” which started fine because of the cohesive band’s skills, but veered off-key.
As written, Mark is nerdy and quirky, and Brooks showed the brainy side, if not the skepticism. Roger is complicated because of recent traumas and initially more withdrawn. It’s a tough role to nail, and if there are vocal irregularities, that’s hard to overcome.
Jazmine Kendela Wade and J David Brooks as Joanne and Mark. Photo by Jill Ritter Lindberg.
The grand statement “What You Own” could be a vibrant exclamation —although an ongoing issue of their blocking behind the oversized table/platform hampered their delivery, for in that intimate confine, they seemed farther away, especially Roger
While bouncy Sarah Lueken, as self-centered Maureen Johnson, is appealing, capitalizing on being a flirt and using her sexuality, daring and sass, her big number “Over the Moon” could have been bolder and more defiant. The cow print pants were inspired.
As Maureen’s Harvard-educated lawyer girlfriend Joanne Jefferson, Jazmine Kendela Wade was confident, but their song interpretations weren’t convincing.
Because of Brooks’ foot injury, “Tango: Maureen” couldn’t be performed as expected, a playful dance, and “Take Me or Leave Me” lacked verve as well as pitch..
Aaron Tucker played an undistinguished Benjamin Coffin III, former friend turned foe who owns Mark and Roger’s building, married well, and had a fling with Mimi. It’s a stock villain character whose purpose is to advance several conflicts.
Brittany Kohl in ensemble.
Several fine singers played multiple roles — as parents, marginalized citizens on the streets, AIDs patients, muggers, employers – and understood the complex demands of the music.
Both blending in and standing out were Rafael Da Costa, Lauren Gottreu, Chelsie Johnston, Brittany Kohl, Gabriel Scott Lawrence, Sofia McGrath, Tawaine Noah, and Rachel Parker. Lawrence and Noah were exceptional in “Will I?”
All performers projected earnestness and conviction, often giving off spirited summer camp energy in the ensemble numbers like “La Vie Boheme.”
But when it came time to express yearning, fear, and gut-wrenching sadness, it was not uniform in fervor, and supporting players brought more of the potency in those company numbers.
The signature piece “Seasons of Love” had some wobbly phrasing, but most soloists brought out its potency, especially daCosta and Noah. At first, it was hard to discern who was singing because of their placement.
The set, designed by Todd Schaefer, was a similar set-up that resident set designer Rob Lippert came up with when the first New Line “Rent” was staged at Washington University’s South Campus Theatre (the former CBC High School), which was effective. This tabletop swallowed up so much stage, it made transitions difficult.
Designers adding their personal touches to the overall effect included Zach Thompson, costumes; Ryan Day, sound; and Ryan Thorp, lighting.
The show is meant to be a celebration of life. In 2025 America, AIDS is no longer a death sentence, but because “Rent” captures a specific harrowing time and place, it can feel timeless and universal with its life-and-death themes.
Having seen Puccini’s opera twice, it was interesting to find out how the “Rent” characters closely resembled it – except in a different century and country, Paris in 1830.
Sarah Lueken as Maureen. Photo by Jill Ritter Lindberg.
As a longtime fan who has seen “Rent” at least 12 times, starting with the first national tour in 1997, and experiencing chill-inducing Adam Pascal and Anthony Rapp reprise their roles in a 2009 national tour that remains one of the greatest highlights of my theater-going life, it is distressing to hear missteps.
New Line’s shaggy, raw, imperfect production still features moments so dear and emphasizes the evergreen message of “Measure your life in love.”
The cast believed in the dignity and acceptance aspect, that I’m certain of — if only they had devoted more effort to be in tune in service of that glorious score.
The rough spots hampered reaching the heights we expect with “Rent.” Had they all found their voices, this would have been a memorable show for all the right reasons.
New Line Theatre presents “Rent” May 30 – June 21, with Thursday through Saturday performances at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive. The musical contains adult content and language and deals with explicit sexual situations. For more information, visit www.newlinetheatre.org
Corrinna Redford and Nathan Mecey as Mimi and Roger. Photo by Jill Ritter Lindberg.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!
After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).
The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.
But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).
Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.
Katie Orr as Magenta. Photo by Jill Ritter Lindberg.
He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.
The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.
New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).
For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.
Todd Schaefer as Frank. Photo by Jill Ritter Lindberg.
Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”
Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”
Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).
Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.
Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).
Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”
A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.
Brittany Kohl and Rafael Da Costa as Janet and Brad. Photo by Jill Ritter Lindberg.
Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”
I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.
The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.
In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.
The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.
Christopher Strawhun and Tori Shea Cole as Eddie and Columbia. Photo by Jill Ritter Lindbergh
Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.
It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.
“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.
Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”
The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.
People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).
For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.
Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.
It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).
Photo by Jill Ritter Lindberg.
A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.
Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.
For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.
Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.
These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.
New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only.For more information: www.newlinetheatre.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
An abundance of new voices and fresh faces mixed with familiar stories and reliable veterans to give us another compelling year of theater among regional professional groups.
Sometimes, there were so many offerings, one couldn’t get to them opening weekend, or my schedule prevented me from early viewing. I attended around 80 eligible shows and am grateful for the theater companies accommodating me. This does not include touring, school or community theatre productions.
I am enriched and in awe of the talent in our midst. And sharing what it feels like to be human in the 21st century is a very wonderful experience. That sense of belonging and community abounds. Onward to a magical year ahead.
As a local theater critic and writer about arts and entertainment, here’s my highly personal annual assessments on 2024 output – my “LOTTIES” – Lynn’s Love of Theatre Awards, as I announce every year. They are not set at five, but categories vary. If I wanted to recognize a performer or a show, I did (my rules). This is separate from the St. Louis Theater Circle, of which I am a founding member. My esteemed colleagues and I will present our annual awards at a gala ceremony, aka theater prom, on Monday, March 24, at the Loretto-Hilton Center on the Webster University campus. Nominations will be revealed soon.
“The Inheritance, Parts I and II.” Provided by Tesseract Theatre Company.
Production of the Year: “The Inheritance, Parts I and II” by Tesseract Theatre Company
A 7-hour commitment but worth every minute, riveting from start to finish, with everyone giving their all. Epic in scope and intimate in execution, Tesseract Theatre Company’s production was exhilarating.
Playwright Matthew Lopez wrote a vivid and perceptive rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love. Surprising in its wit and depth of feeling, this Tony and Olivier-Award winning play is a magnum opus on what it’s like to be gay in America.
Boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble, they each met their moments. Intertwining a sprawling cast of 13, Lopez examined healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
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.
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.
In an uncommon structure, Lopez tackled the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastic way. It is specific to the LGBTQIA+ experience, but allies could relate.
Companies of the Year: The Repertory Theatre of St. Louis (large) and Tesseract Theatre Company (small)
Danny Williams and Kate Bergstrom. Provided.
The Rep gets the honor, turning around the venerable institution in spectacular fashion after it was on the brink of not surviving in 2023. A change in direction and a rallying community – both faithful and skeptical – helped the reset. So did new Artistic Director Kate Bergstrom, a sunny collaborative charmer whose efforts have been nothing short of astounding, along with managing director Danny Williams, who came aboard in 2022. Two absolute stunners – “Moby Dick” and “August: Osage County” helped restore the luster in early 2024 while The Studio returned with “The Roommate” and a new partnership with Stages St. Louis for the crowd-pleasing “Million Dollar Quartet Christmas” followed a classic “Dial M for Murder” to deliver on its promises. Enthusiasm and goodwill is palpable at every function.
At the Tesseract Theatre Company, Kevin Corpuz and Brittanie Gunn took over operations, and continued bold moves started by founder Taylor Gruenloh in 2010. “The Inheritance, Part 1 and 2” was a landmark achievement, they shifted to musicals for the summer new play festival, and then their ambitious production of “Anastasia: The Musicals” in the fall cemented the statement that they have arrived. Can’t wait to see what is ahead.
Alan Knoll
Artist of the Year: Alan Knoll
Actor-Director Alan Knoll is such a St. Louis fixture that it would be easy to take him for granted, but we never ever do. He’s not one to phone it in, always finds an entry point for us, and continues to stretch his capabilities. Last year, he did some of his finest work yet – as flawed dads in “We All Fall Down” and “August: Osage County,” and as a loyal servant in “Life Is a Dream.”
He also directed the acclaimed drama “Red” for New Jewish Theatre, where he previously helmed “Brighton Beach Memoirs” and “Broadway Bound,” part of Neil Simon’s Eugene trilogy.
In a 40-plus year career, he estimates he has been in more than 150 productions. He has worked at the Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory in St. Louis, and at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and is about 160 miles from St. Louis.
With his name in the ensemble, you can be assured of a first-rate performance, and with him in the director’s seat, you know you are in for a thoughtful, insightful production.
Tom Ridgely. Photo by Kevin Roberts.
Producers of the Year
Tom Ridgely, Sr. Louis Shakespeare Festival
As the producing artistic director of the St. Louis Shakespeare Festival since 2018, Tom Ridgely has expanded offerings and community partnerships, and taken an innovative, collaborative approach to their mission. In 2024, he oversaw one of the freshest summer productions yet in Forest Park’s Shakespeare Glen – “As You Like It,” and their TourCo’s “The Tempest” broke attendance records in multiple city parks and outdoor venues. Their work in schools and with young artists is an important component as well. Under his leadership, the organization thrives on reinvention and keeps its audiences engaged. The Shakespeare in the Streets events are eagerly anticipated, and they always attempt new ground.
Andrew Kuhlman and Gayle Seay
Andrew Kuhlman and Gayle Seay, Stages St. Louis
Andrew Kuhlman is the homegrown element as executive producer, rose through the ranks, while Gayle Seay brings an astute experienced eye as artistic director at Stages St. Louis. With two seasons under their belt, they showed Stages St. Louis’ audiences that they were moving forward while not messing with the recipe for success that co-founders Jack Lane and the late Michael Hamilton focused on when they started the company in 1987. Andrew, who was mentored by both Jack and Michael, continues to build partnerships while Gayle, familiar with the Stages’ family as a longtime casting director, knows the right people to go to in mounting their shows. They’ve demonstrated that theirs is a strong match, and they build on recent successes. Last season’s “Steel Magnolias,” “Newsies” and “Ragtime” continued the legacy.
Touring Production of the Year: (tie) “The Cher Show,” The Broadway Series at Stifel, and “Jagged Little Pill” at The Fox.
Jacob Schmitt and Bryce Miller in “Trayf”
THE MVPs
(Must have excelled in two or more shows this year, not a rookie, and whose presence made a difference)
Rachel Bailey Ann Hier Brown Matthew Cox Jerome (J Samuel) Davis Isaiah DiLorenzo Jayson Heil Bryce Miller Drew Mizell Joel Moses Dustin Petrillo Ben Ritchie Jacob Schmidt Molly Wennstrom Eric Dean White Sarah Wilkinson
ONES TO WATCH Ashwini Aurora Cory Burke Jade Cash Tyson Cole Rafael Da Costa Dominic Di Ciccio Andre Eslamian Aaron Fischer Nadja Kapetanovich Gabriel Paul Allison Sexton
Nicole Angeli and Joel Moses in “Lungs”
DYNAMIC DUOS /TRIOS
Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
John Riddle and Jordan Donica in “Les Miserables” (The Muny)
Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
Andre Navid Eslamian and Leta DeBardeleben in “Longing”
Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
Matt Anderson, Jeremy Goldmeier, and Donna Parrone as Haunted House actors in “Ripcord” (Stray Dog Theatre)
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
Jamaal Fields-Green as Michael Jackson in the “MJ – The Musical” finale in the touring production at The Fox. Whatever that ‘surprise’ move he concocted for the 1992 “Dangerous” World Tour was. One of the most exhilarating things I’ve ever seen in a musical.
BEST YOUTH PERFORMERS
Will Schulte, “Les Miserables,” The Muny
Zoe Klevorn, “Ragtime,” Stages St Louis
Shane Rose, “All My Sons,” New Jewish Theatre
Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
Lucy Miller, “Wedding Band,” The Black Repertory Theatre
Davin Wade, “Newsies,” Stages St. Louis
Maliah Strawbridge, “Big Machine,” Fly North Theatricals
Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke) in “Fiddler on the Roof,” The Muny
BEST NEW PLAYS
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing” at the LaBute New Play Festival. Patrick Huber photo.
“Longing” by Lize Lewy
“Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
“Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
“Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
“Romanov Family Yard Sale” by Courtney Bailey, ERA
“Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
“Am I Dangerous” by e.k. doolin, Contraband Theatre
“Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
“Cash Flow,” Marjorie Williamson, First Run Theatre
“Sandra’s Son,” Cbabi Bayoc (work in progress)
As You Like It. Photo by Phillip Hamer.
BEST COMEDY PRODUCTIONS
“As You Like It,” St. Louis Shakespeare Festival
“Trayf,” New Jewish Theatre
“The Roommate,” The Repertory Theatre of St. Louis
“Woman in Mind (December Bee),” Albion Theatre
“Steel Magnolias,” Stages St. Louis
“Spirits to Enforce,” The Midnight Company
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“The Tempest,” St. Louis Shakespeare Festival, Tour Co.
“Romanov Family Yard Sale,” ERA
“Red Jasper,” Michael Madden Productions
BEST DRAMA PRODUCTIONS
“The Inheritance, Part 1 and 2,” Tesseract Theatre Company
“Moby Dick,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“August: Osage County,” The Repertory Theatre of St. Louis
“Red,” New Jewish Theatre
“The Whale,” St. Louis Actors’ Studio
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
“Life is a Dream,” Upstream Theater
“Hold On!” The Black Rep
“Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.
BEST MUSICAL PRODUCTIONS
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“Newsies,” Stages St. Louis
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Blues in the Night, “The Black Rep
“(Title of Show),” Prism Theatre
“Waitress,” The Muny
BEST SUPPORTING ACTRESS IN A COMEDY
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
Kari Ely, “Steel Magnolias,” Stages St Louis
Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Anna Blair, “The Butcher of Baraboo,” West End Players Guild
Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
Ami Loui, “Steel Magnolias,” Stages St. Louis
Emily Baker and Isaiah Di Lorenzo in “Woman in Mind (December Bee).” Albion Theatre.
BEST SUPPORTING ACTOR IN A COMEDY
Spencer Sickmann, “Trayf,” New Jewish Theatre
Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
Cassidy Flynn, “Romanov Family Yard Sale,” ERA
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
BEST ACTRESS IN A COMEDY
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Nancy Nigh, “Red Jasper,” Michael Madden Productions
Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
Jan Meyer, “Elephants’ Graveyard,” First Run Theatre 10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
(tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST ACTOR IN A COMEDY
Jacob Schmidt, “Trayf,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie “Red Jasper,” Michael Madden Productions
Alan Knoll, “We All Fall Down,” New Jewish Theatre
Joel Wilper, “Bell, Book & Candle,” Stray Dog Theatre
Denise Thimes and Alex Jay in “King Hedley II” at The Black Rep.
BEST SUPPORTING ACTRESS IN A DRAMA
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
Alex Jay, “King Hedley II,” The Black Rep
Evann De-Bose, “Hold On!” The Black Rep
Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Denise Thimes, “King Hedley II,” The Black Rep
Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
Kari Ely, “Wedding Band,” The Black Rep
BEST ACTRESS IN A DRAMA
Maggie Wininger, “Molly Sweeney,” Albion Theatre
Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
Amy Loui, “All My Sons,” New Jewish Theatre
Nicole Angeli, “Lungs,” Albion Theatre
Jacqueline Thompson, “Wedding Band,” The Black Repertory
Eileen Engel, “Dutchman,” Soul Siren Playhouse
Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater
BEST SUPPORTING ACTOR IN A DRAMA
Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
Jayson Heil, “All My Sons,” New Jewish Theatre
Dustin Petrillo, “Red,” New Jewish Theatre
Eric Dean White, “Hold On!” The Black Rep
Jerome Davis, ‘King Hedley II,” The Black Rep
Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
Joseph Garner, “Dark Matters,” West End Players Guild
Jerry Vogel, “Life is a Dream,” Upstream Theater
Gary Glasgow, “Life is a Dream,” Upstream Theater
Greg Johnston and Jayson Heil in “All My Sons.” New Jewish Theatre.
BEST ACTOR IN A DRAMA
Greg Johnston, “All My Sons,” New Jewish Theatre
Christopher Harris, “Red,” New Jewish Theatre
William Roth, “The Whale,” St. Louis Actos’ Studio
Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Joel Moses, “Lungs,” Albion Theatre
Reginald Pierre, “Life is a Dream,” Upstream Theatre
Rachel Bailey, “Title of Show,” Prism Theatre Company
Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis
Lauren Tenenbaum, “American Idiot,” New Line Theatre
Emily Bautista, “Les Miserables,” The Muny
Samantha Massell, “Fiddler on the Roof,” The Muny
Nancy Ticotin, “In the Heights,” The Muny
Adrianna Hicks “Anything Goes,” The Muny
Tamar Greene and Shereen Pimentel in “Ragtime” at Stages St. Louis. Phillip Hamer photo.
BEST SUPPORTING ACTOR IN A MUSICAL
Matthew Cox, “Ragtime,” Stages St. Louis
George Abud, “Anything Goes,” The Muny
Matthew Cox, “Newsies,” Stages St Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
James D. Gish, “Les Miserables,” The Muny
Nick Rashad Burroughs, “Dreamgirls,” The Muny
Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Will Bonfiglio, “First Date,” New Jewish Theatre
Jayson Heil, “First Date,” New Jewish Theatre
Troy Iwata, “Waitress,” The Muny
Rafael DaCosta, “Dracula,” New Line Theatre
BEST ACTRESS IN A MUSICAL
Jessica Vosk, “Waitress,” The Muny
Tiffany Mann, “Dreamgirls,” The Muny
Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
Marissa McGowan, “Ragtime,” Stages St. Louis
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Jill Abramovitz, “Fiddler on the Roof,” The Muny
Jaelyn Hawkins, “(title of show),” Prism Theatre
Taylor Quick, “Newsies,” Stages St. Louis
Katie Orr, “(title of show),” Prism Theatre
Savy Jackson, “Disney’s The Little Mermaid,” The Muny
Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
BEST ACTOR IN A MUSICAL (Male or Non-binary)
Adam Heller, “Fiddler on the Roof.” The Muny
John Riddle, “Les Miserables,” The Muny
Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Benji Santiago, “In the Heights,” The Muny
Drew Mizell, “Nevermore,” Stray Dog Theatre
Jay Armstrong Johnson, “Anything Goes,” The Muny
Al Bastin, “The Big Machine,” Fly North Theatricals
Clayton Humburg, “American Idiot,” New Line Theatre
BEST ENSEMBLE IN A COMEDY
“Romanov Family Yard Sale,” ERA
“Spirits to Enforce,” Midnight Company
“As You Like It, St. Louis,” Shakespeare Festival
“Woman in Mind (December Bee),” Albion Theare
“Red Jasper,” Michael Madden Productions
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Ripcord, “Stray Dog Theatre
“Steel Magnolias,” Stages St. Louis
BEST ENSEMBLE IN A DRAMA
“The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
“August: Osage County,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“Hold On!” The Black Rep
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
“The Whale,” St. Louis Actors’ Studio
“Moby Dick,” The Rep
Life is a Dream,” Upstream Theatre
“King Hedley II,” The Black Rep
“Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.
BEST ENSEMBLE IN A MUSICAL
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Newsies,” Stages St. Louis
“Les Miserables,” The Muny
‘(Title of Show),: Prism Theatre Company
BEST LIGHTING DESIGN IN A PLAY
Jayson M. Lawshee, “Red,” New Jewish Theatre
Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
Sean Savoie, “Hold On!” The Black Rep
William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.
BEST LIGHTING DESIGN IN A MUSICAL
John Lasiter, “Fiddler on the Roof,” The Muny
Rob Denton, “Anything Goes,” The Muny
Sean Savoie, “Ragtime,” Stages St. Louis
Jason Lyons, “Disney’s The Little Mermaid,” The Muny
Tyler Duenow, “Nevermore,” Stray Dog Theatre
Travis Richardson, “Blues in the Night,” The Black Rep
Jason Lyons, “Les Miserables,” The Muny
BEST VISUAL PROJECTIONS/DESIGN 1. Zachary Grimm, “Longing” 2. Kylee Loera, “Anything Goes,” The Muny 3. Katherine Freer, “Disney’s The Little Mermaid,” The Muny 4. Zach Cohn, “Hold On!” The Black Rep 5. Joe Taylor, “Romanov Family Yard Sale,” ERA 6. Mike Tutaj, ‘Waitress,” The Muny
BEST SOUND DESIGN IN A PLAY 1. Rick Sims, “Moby Dick,” The Repertory Theatre of St. Louis 2. Zachary Grimm, “Longing” 3. Michael Musgrave-Perkins and Philip Boehm, “Don’t Wait for the Marlboro Man,” Upstream Theater 4. Chuck Harper, “Wolf Kings,” Young Liars 5. Kareem Deanes, “The Roommate,” The Rep 6. Amanda Werre, “All My Sons,” New Jewish Theatre 7. Amanda Were, “Dial M for Murder,” The Rep
BEST COSTUME DESIGN IN A PLAY
“Romanov Family Yard Sale.” ERA.
Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
BEST COSTUME DESIGN IN A MUSICAL
Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
Brad Musgrove, “Ragtime,” Stages St. Louis
Tristan Raines, “Anything Goes,” The Muny
Brad Musgrove, “Newsies,” Stages St. Louis
Eileen Engel, “Big Machine,” Fly North Theatricals
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
BEST SCENIC DESIGN IN A COMEDY 1. Scott Neale, “As You Like It,” St. Louis Shakespeare Festival 2. Kate Rance, “Steel Magnolias,” Stages St. Louis 3. Andrea Ball, “We All Fall Down,” New Jewish Theatre 4. Gary F. Bell, “Bell, Book & Candle,” Stray Dog Theatre 5. Robert Mark Morgan, “The Roommate,” The Repertory Theatre of St. Louis
“Red” at New Jewish Theatre.
BEST SCENIC DESIGN IN A DRAMA
1, Margery Spack and Peter Spack, “Red,” New Jewish Theatre 2. Margery Spack and Peter Spack, “Dial M for Murder,” The Repertory Theatre of St. Louis 3. C. Otis Sweezey, “All My Sons,” New Jewish Theatre 4. Courtney O’Neill, “Moby Dick,” The Repertory Theatre of St. Louis 5. Rob Corbett, “Elephants’ Graveyard,” First Run Theatre 6. Timothy Jones, “King Hedley II,” The Black Rep
BEST SCENIC DESIGN IN A MUSICAL
Wilson Chin, “Waitress,” The Muny
Ann Beyersdorfer, “Newsies,” Stages St. Louis
Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
Arnel Sancianco, “In the Heights,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Jamie Bullins, “Blues in the Night,” The Black Rep
Adam Koch, “Million Dollar Quartet Christmas,” The Rep and Stages St. Louis
Alysia Velez and the company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
BEST CHOREOGRAPHY
Jared Grimes, “Anything Goes,” The Muny
Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
William Carlos Angulo, “In the Heights,” The Muny
Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
Mike Hodges, “Xanadu,” Stray Dog Theatre
Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
Lesia Kaye, “Dreamgirls,” The Muny
Chelsie Johnston, “American Idiot,” New Line Theatre
Parker Esse (original choreography by Jerome Robbins), “Fiddler on the Roof,” The Muny 10. Patrick O’Neill, “Disney’s The Little Mermaid,” The Muny
BEST MUSICAL DIRECTOR
James Moore, “Les Miserables,” The Muny
Khalid McGee, “Blues in the Night,” Black Rep
Roberto Sinha, “In the Heights,” The Muny
Darryl Archibald, “Fiddler on the Roof,” The Muny
E. Renee Gamez, “Ragtime,” Stages St. Louis
Zach Neumann, “Anastasia,” Tesseract Theatre Company
John Gerdes, “American Idiot,” New Line Theatre
Mallory Golden, “Title of Show,” Prism Theatre Company
Larry Pry, “First Date,” New Jewish Theatre
Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages
BEST DIRECTOR OF A COMEDY
Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
Aaron Sparks, “Trayf,” New Jewish Theatre
Rebekah Scallet, “The Roommate,” The Rep
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep
BEST DIRECTOR OF A DRAMA
Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Gary Wayne Barker, “All My Sons,” New Jewish Theatre
Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
Ron Himes, “Hold On!” The Black Rep
Philip Boehm, “Life is a Dream,” Upstream Theater
Ellie Schwetye, “Lungs,” Albion Theatre
Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.
BEST DIRECTOR OF A MUSICAL
Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
Marcia Milgrom Dodge, “Anything Goes,” The Muny
Rob Ruggiero, “Fiddler on the Roof,” The Muny
Sam Hayes, “(Title of Show),” Prism Theatre Company
William Carlos Angulo, “In the Heights,” The Muny
Lee Ann Mathews, “First Date,” New Jewish Theatre
Deidre Goodwin, “Ragtime,” Stages St. Louis
Lili-Anne Brown, “Waitress,” The Muny
John Tartaglia, “Disney’s The Little Mermaid,” The Muny
Justin Been, “Nevermore,” Stray Dog Theatre
From left: Cleavant Derricks, Jonah D. Winston, Nicole Michelle Haskins, Jessica Vosk and Lissa deGuzman in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
An electric cast brings to life Green Day’s turbo-charged punk rock opera “American Idiot,” accompanied by an exceptional group of eight musicians whose propulsive rhythms invigorate New Line Theatre’s 98th production.
New Line first presented this youthful alienation statement as a regional premiere in 2016, and with a fresh crop of performers, has turned The Marcelle Theatre into a scorching experience that ramps up passion and urgency. Heads will be banged.
Green Day’s 2004 Grammy-winning rock album “American Idiot,” its seventh, is combined with additional songs from their “21st Century Breakdown” album in 2009 and previously unreleased material.
For the stage adaptation, it was formatted as a coming-of-age tale that delved into disillusionment in post-9-11 America. The explosive, in-your-face 2010 Broadway show was nominated for three Tony Awards, including best musical, and won two – for scenic and lighting designs.
Frontman Billie Joe Armstrong collaborated with director Michael Mayer to write the book, which attacked George W. Bush’s presidency, corporate greed, warmongering (“the War on Terror” in Afghanistan and Iraq), hypocrisy in politics, and being submissive, paranoid and apathetic, fueled by mass media.
Clayton Humburg and Bee Mecey as Johnny and St. Jimmy. Photo by Jill Ritter Lindberg
Guided by familiar songs that are rooted in realism, the ensemble is full of energy and attitude, snarling and in pain, confused about their lives’ directions as they struggle to find meaning. They hit the ground running with the title song “American Idiot” and crank it up to 11 from there. You always feel their convictions, no matter how dark it gets.
The ensemble’s momentum is strong in the group numbers, but also in the small vignettes that presents snapshots of lives in transition. Because there is minimal dialogue, the emotions must be conveyed to fill in the blanks about their confusion and malaise.
Temptations beckon ‘in the big city,’ relationships are messy, and the women seemed destined for disillusionment – with strong vocal showings from Lauren Tenenbaum as Whatshername, Adrienne Spann as Extraordinary Girl, and Rachel Parker as Heather.
Directors Chris Moore and Scott Miller have focused on the constant motion aspect of the material, where the band’s raw punk power is maintained, and the performers’ vibrancy comes through, even when playing angsty, restless characters.
Triple threats Clayton Humburg, Rafael DaCosta and DeAnte Bryant are a tight-knit trio of friends — Johnny, Tunny and Will, who are alternately angry and apathetic young men seeking to flee the stifling conformity of suburbia.
Rafael DaCosta, Adrienne Spann as Tunny and Extraordinary Girl. Photo by Jill Ritter Lindberg
Their robust voices harmonize as they verbalize their distress in “City of the Damned” and “I Don’t Care,” and their feelings coalesce in the soulful ballad “Wake Me Up When September Ends” with the company.
They are visibly agitated in several numbers, including “Tales of a Broken Home” trying to make sense of a world that keeps spinning and not in good ways.
Rebel without a cause, Johnny aka “Jesus of Suburbia,” just wants to be anesthetized and escape in most situations, saying yes to drugs and no to hygiene: “Give Me Novacaine” but shows a hopeful side in “Last of the American Girls” and “She’s a Rebel.”
Living in squalor, wallowing in drug hazes, not being nice to his “dream girl” that gets away, and wrestling inner demons, he hooks up with bad idea drug dealer St. Jimmy.
As a hero’s journey lynchpin, Johnny isn’t a sympathetic character, but Humburg’s verve for every role he takes on comes through, so that he demands you pay attention: Will he self-destruct or get it together? And he’s a naturally compelling performer, so you hope Johnny moves beyond cynicism.
Humburg, Lauren Tenenbaum. Photo by Jill Ritter Lindberg.
Tenenbaum becomes a forceful match for Johnny. At first, seductive Whatshername is misguided, then she grows bolder and more resourceful before she’s gone. In one of the show’s best numbers, Tenenbaum is a standout in the company’s “21 Guns.” She then leads the women in a feisty “Letterbomb.”
Trouble always comes by when St. Jimmy is around, and those pesky drugs that Whatshername is a willing participant in taking. She’s in the number with St. Jimmy and Johnny “Last Night on Earth.”
Bee Mecey is full of swagger as St. Jimmy, equal parts cocky and creepy. Mecey leans into the bombastic, snarling delivery of the vocals, and is an unremorseful ‘son of a gun’ in “The Death of St. Jimmy.”
Tunny joins the military, recruited for the Army by Favorite Son (a noteworthy Jordan Ray Duncan, who bears a striking resemblance to actor Paul Dano). DaCosta and Duncan are powerful in “Are We the Waiting,” joined by others, then they discover they are in for a rude awakening.
These scenes of combat and convalescences are the most powerful. After he is severely wounded in the War on Terror, Da Costa’s torment is palpable, and he agonizes about a crazy world — “Before the Lobotomy.” He attempts to adapt with help from the compassionate Spann, whose silky voice soars in “Extraordinary Girl.”
Gabriel Anderson, Kaylin Penninger. Photo by Jill Ritter Lindberg.
Bryant displays his shock at becoming a father when his girlfriend Heather (Parker) becomes pregnant. They clash as they deal with parenthood, and Parker is moving as she wrestles with Will’s lack of interest and the demands of a baby.
Parker’s sturdy vocal work is impressive as she delivers a rollercoaster of emotion. Her “Dearly Beloved” is a cry for help, her exasperation evident, while “Too Much Too Soon” reveals her frustration and desperation, and in a defiant “Rock and Roll Boyfriend,” she clearly has moved on from Will dragging her down.
As the characters grow, the band of brothers reunite for “We’re Coming Home Again,” and Johnny is sincerely regretful in “Whatshername.”
The zealous company includes Gabriel Anderson, Kaylin “Kat” Penninger, Alex Giordano, Amora Marie, Ian McCreary, Nathan Mecey, Hannah Renee and Vanessa Simpson. They do a fine job raging at the machine.
Anderson and Penninger are impressive as graceful and skilled featured dancers, and they were also the dance captains. Choreographer Chelsie Johnston pushed a passionate intensity in the movements, which brought out the group’s fire and never let up.
The finale is effectively staged, having the cast sit or stand scattered on the floor, singing a heartfelt “Good Riddance (Time of Your Life).” It is a surprisingly emotional ending after the group has poured out their hearts and souls into this rousing material.
Alex Giordano and Rachel Parker in “Rock and Roll Boyfriend.” Photo by Jill Ritter Lindberg.
Green Day was organized by lead vocalist and guitarist Billie Joe Armstrong in the Bay Area of California in 1987, and musicians Mike Dirnt (bassist) and Tre Cool (drums) came aboard awhile later. They are best known as a rock band that brought punk out of the underground and into the mainstream, starting with breakout success in 1994.
Thirty years later, they’ve sold 75 million records worldwide, been nominated for 20 Grammy Awards, winning five, and were inducted into the Rock ‘n Roll Hall of Fame in 2015, their first year of eligibility.
Bassist John Gerdes’ pulsing power chords are a definite highlight, as are the strings that add so much – violin, viola and cello, along with the robust rock beats of the guitars and drums.
The musicians are a tight group that maintained a driving pace important to the Green Day sound, and carry out the throbbing musical arrangements and orchestrations by Broadway composer Tom Kitt
Gerdes was an outstanding music director, capably getting the best from conducting Chelsea Zak on keyboards (also assistant music director), Adam Rugo and Xander Gerdes on guitars, Jake Luebbert on drums, Steve Frisbee on violin, Mallory Golden on viola, and Marie Brown alternating with Michaela Kuba on cello.
Ensemble in “Holiday.” Photo by Jill Ritter Lindberg.
Ryan Day’s sound design is bold, Ryan Thorp’s lighting design is effective, Lauren Smith Bearden’s costume design captures the club scene and scruffy daily casual. Rob Lippert’s scenic design sets up three distinct areas for the action, with minimal set pieces.
Nathan Mecey put the pieces together as tech director, Mallory Golden mastered the props, and Ashwini Arora was the intimacy coordinator. Gabriel Scott Lawrence is listed as the directing intern.
Every generation has its seminal rock operas – like the Boomers’ “Hair” and “Tommy,” Gen X’s “Rent” and Millennials’ “Spring Awakening.” Millennials identify with Green Day, although there are shades of Gen X’ers too, so its multi-generations.
This cast shows their bond as mostly Gen Z’ers presenting a specific era. It’s hard to think of “American Idiot” as a period piece, for it remains relevant with its blistering screeds and hopeful ballads.
Johnny leads the company in “East 12th Street.” Photo by Jill Ritter Lindberg.
With a complexity that you may not have thought about while hearing the music in radio play or through sound systems, “American Idiot” shakes things awake in a rant against complacency and manipulation – and that can be heard loud and clear at any age.
New Line Theatre presents “American Idiot” from Sept. 12 to Oct. 5 on Thursdays through Saturdays at p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. There is no performance Sept. 14. This 90-minute show is presented without intermission and is the 33rd season opener.
Tickets: Metrotix: 314-534-1111 or visit the Fox Theatre box office or the MetroTix website. Discounts: for students, educators and military. For more information, visit www.newlinetheatre.com.
There are 10 free seats for every performance that are open to any college student with a valid student ID. It is valid only at the door.
There is a lighted parking lot across the street from the theatre, and there is lots of free street parking. There is no dress code and there are refreshments available in the lobby, including alcohol.
Company in “Good Riddance (Time of Your Life).” Photo by Jill Ritter Lindberg.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The children of the night are making some lusty music in the musical “Dracula,” a different take on the gothic horror classic whose folklore has become a pop culture staple.
Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhorn’s much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas.
Of the many variations of Bram Stoker’s 1897 horror fantasy novel, this very dramatic musical version combines alluring romance with an unsettling thriller narrative devoid of any humor or camp, which has been easy to slide into with vampires over the years. (Case in point: “What We Do in the Shadows.”)
However, Chris Strawhun amuses as one of the characters, a straight-talking Texan named Quincey Morris while delivering his good ol’ boy dialogue.
This tight-knit group, of both familiar and fresh faces, is committed to getting the tone and tempo right. They strive to convince in their portrayals as either under Dracula’s hypnotic spell, resisting it, or desperate vampire hunters.
Brittany Kohl, Vanessa Simpson. Photo by Jill Ritter Lindberg
Their vocal prowess is its strongest suit because this show’s intention is to have more of an emotional core, not aiming to scare or even conjure suspense, in this supernatural world.
Supporting players circle the bewildering nobleman, Count Dracula, an imposing yet enigmatic figure confidently played by Cole Gutmann.
He has summoned solicitor Jonathan Harker (Ian McCreary) to assist in the purchase of a home in England.
Despite being told not to wander around the castle in the Carpathian Mountains, Harker does just that, encountering the Weird Sisters, a trio of nubile undead, who entice him to do bad things. McCreary presents the character as a stand-up guy, but weak.
Ann Heir Brown, Chelsie Johnston and Sarah Lueken bewitch as the seductive trio, slithering around the minimalist stage. With sinful looks and slinky attire, the characters add a provocative edge. They are choreographed by co-director Tony L. Marr Jr.
They initially set the eerie mood with the opening number, “Prologue,” then join McCreary in “Jonathan’s Arrival.” All three have melodic voices, evident on “Forever Young” and joining Guttmann on “Fresh Blood.”
Well, that situation doesn’t go well for Harker, and he winds up in a hospital. His smart and lovely fiancé Mina Murray (Brittany Kohl) changes her holiday plans with best friend Lucy Westenra (Vanessa Simpson) and leaves Whitby Bay, a seaside town in England.
Kent Coffel, Ian McCreary, Kohl, J.D. Pounds. Photo by Jill Ritter Lindberg
A sense of dread surfaces in Mina and Lucy’s duet, “The Mist,” and their nightmares begin.
The women, confined to the society standard of being an adornment on the arms of successful men, keep ignoring red flags but this mysterious aristocrat has captured their fancy. Kohl and Simpson are believable as women who may want more out of life.
The fetching Lucy, wooed by three men, chooses the dullest guy to marry, Arthur Holmwood, earnestly portrayed by Alex Vito Fuegner. Another suitor is Jack Seward, a doctor specializing in psychoanalysis, who is played with authority by J.D. Pounds.
Their number, “How Do You Choose?” sets up their relationships. Despite Lucy marrying Holmwood, the guys are friends and factor into the group trying to protect everyone from sinister forces.
Seward is the gateway to his patient, the insane assistant Renfield (Rafael DaCosta), who is mind-controlled by the count.
DaCosta and the Weird Sisters collaborate on “The Master’s Song,” indicating their servitude.
DaCosta adds some verve to the proceedings, as does Kent Coffel as Professor Abraham Van Helsing, the obsessed vampire slayer. Sporting a Dutch accent and explaining how to snare a vampire, Coffel grounds the show as the iconic presence.
Rafael DaCosta as Renfield. Photo by Jill Ritter Lindberg
Coffel, an MVP in supporting roles, has more contributions musically — two solo numbers, “Nosferatu” and “Summers Come, Summers Go,” and performs “Undead One” and ‘Deep into the Darkest Night” with the suitors. Van Helsing also duets with Dracula in “It’s Over.”
This production focuses on the seriousness of the times, and the traditional roles in Victorian society. Stoker’s aggressively sexual characters were a novel idea in that era, for polite society followed rigid rules of decorum.
Flirting with forbidden eroticism has always been an appealing aspect of the mythology – and if you’ve seen Francis Ford Coppola’s “Dracula” movie in 1992, the ‘True Blood’ series on HBO, and even the ‘Twilight’ franchise, you don’t have to be Fellini to figure out the temptation metaphors.
Director Scott Miller and co-directory Marr keep it tasteful, implying the blood lust without fangs or special effects, or icky graphic stuff.
Both Mina’s and Lucy’s seductions are simply staged, and the deaths through various implements are downplayed. (Although blocking prevented me from seeing Lucy’s beheading).
This cast must build the desire and the fear into their characterizations because, unfortunately, the book by Don Black and Christopher Hampton is like a Cliff Notes version of the source material. It’s neither fascinating nor passionate, and the actors have to do the heavy lifting on their own.
Coffel, Cole Guttmann. Photo by Jill Ritter Lindberg
It’s important to be aware of the basic Dracula scenario, for this script has little world-building, assuming you’re well-versed in it.
The setting toggles back and forth between a castle in Transylvania, England, a ship, Budapest, and a mental asylum, which can be difficult to follow if you’re not plugged into the most famous vampire figure in history.
Black’s lyrics have more exposition than the book. Gutmann’s soulful voice stirringly delivers Wildhorn’s grandiose ballads, injecting a more tortured, troubled persona rather than a monstrous villain into the numbers.
And he does so admirably, from his first number “Solitary Man” to “At Last” and finale. His anguish and his power are explored in “A Perfect Life/Loving You Keeps Me Alive” with Kohl and McCreary, one of the standout numbers.
Lucy is doomed, and Simpson is impressive as the poor unfortunate soul. She and Gutmann display a palpable chemistry, and that may be chalked up to being partners in real life.
Their number, “Life After Life,” joined by the company, sets up the inevitable trajectory, and their harmonies are solid.
Kohl, Guttmann. Photo by Jill Ritter Lindberg.
When Dracula falls in love with Mina, that allows for some outstanding vocal work by Kohl and Guttmann. Kohl is capable of pathos, as exemplified in “Please Don’t Make Me Love You” and “If I Had Wings.”
I wouldn’t say sensuality is evident, but as accomplished singers, they know how to deliver poignancy.
The designers have expertly crafted a creepy atmosphere, with Matt Stuckel’s lighting design and Ryan Day’s sound design establishing an off-balance feel.
Costume designer Zach Thompson has fashioned appropriate 19th century styles and sultry outfits for the Weird Sisters, with nifty little details to make the looks interesting..
Lippert’s skills have highlighted functionality for the scenic design, making the most with a few signature pieces – a centerpiece crypt doubles as a bed and a table and there is a striking stained glass window.
Music Director Jenna Lee Moore, who helmed “Nine” last year, has a terrific group of six musicians and plays keyboard. Paul Rueschhoff is on cello, John Gerdes on brass/bass, Mary Wiley on reeds, Mallory Golden on violin, Buddy Shumaker on guitar and second keyboard, and Clancy Newell on percussion.
Wildhorn is a hit-and-miss with me. When New Line spiffed up his “Bonnie and Clyde” in 2014, it was one of my favorites that year, showcasing top-notch performances and telling a compelling story.
He is the composer of both pop songs (“Where Do Broken Hearts Go” for Whitney Houston) and musicals, including his most famous, “Jekyll & Hyde” that ran for four years on Broadway. In 1999, he made history by having three shows run simultaneously – besides Jekyll & Hyde, “The Scarlet Pimpernel” and “The Civil War” were also on Broadway.
This musical version of “Dracula” isn’t as fascinating as one expects, given our knowledge of the story, and a reference base from more than 30 films based on the world’s most famous vampire. But this is a sturdy cast whose efforts are noteworthy.
You may not leave humming a tune or consider any of the songs as memorable as Wildhorn’s “This Is the Moment,” from “Jekyll and Hyde,” but you won’t forget the music New Line’s team made.
Photo by Jill Ritter Lindberg.
New Line Theatre” presents “Dracula” May 30 – June 22, Thursdays, Fridays and Saturdays at 8 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, in the Grand Center Arts District. For more information, visit: https://www.newlinetheatre.com.
To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didn’t deserve them, “Sweet Potato Queens” sets a table for women to be proud and live out loud, no matter their lot in life.
With the exalted Boss Queen in the house, and members of the audience adorned with tiaras, sequins and neon pink feather boas, a spirited crowd – including the real inspirations behind some of the colorful characters – was in a feisty Saturday night mood to partake in the sassy and saucy Southern rock musical, “Sweet Potato Queens.”
If you are unfamiliar with the SPQ national movement, founder Jill Conner Browne and her closest friends in Jackson, Miss., have been empowering women since 1982. A New York Times’ bestselling author, she has spawned 6,200 registered Sweet Potato Queens chapters in 37 countries around the world.
New Line Theatre is producing the musical’s regional premiere, which is attracting appearances by Sweet Potato Queens and the creative people behind the musical, which debuted in 2016 in Houston and so far, has only been performed four other times.
The plucky material blends Southern prototype ‘girl power’ settings like “Designing Women” and “Mama’s Family,” and pink-collar components to “Steel Magnolias,” “Sex and the City,” and “The Divine Secrets of the Ya-Ya Sisterhood” for a frothy ‘you go, girl’ energy shot.
Talichia Noah as Jill Conner Browne. Photo by Jill Ritter Lindberg..
These are belles without a cotillion, no sorority sisters in sight, but they’ve bonded in silly and sublime ways, thanks to going through some things. Directors Scott Miller and Tony L. Marr Jr. make a point to bring out the humanity amid a carnival environs.
On March 9, the regal Browne and her entourage made grand entrances in sparkly outfits at The Marcelle, and upon introduction before the show, she regaled the crowd with the origins of her girls’ group in a very funny warm welcome. Their first appearance in a St. Patrick’s Day parade is a hoot (Google it!).
A woman who grabs life with gusto and lives by the tagline, “Be Particular,” Browne is the author of nine books, starting with “Sweet Potato Queens’ Book of Love” in 1999, then “God Save the Sweet Potato Queens” in 2001, followed by “The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner” in 2003, and including “Sweet Potato Queens’ Field Guide to Men: Every Man I Love Is Either Married, Gay, or Dead” in 2004, “The Sweet Potato Queens’ Guide to Raising Children for Fun and Profit” in 2008, and “Fat is the New 30: The Sweet Potato Queens’ Guide to Coping with (the crappy parts of) Life” in 2012.
While many fans are primarily middle-aged and middle-class women, many chapters have people from all walks of life, and all promote positive thinking and self-esteem. Browne says the SPQ movement is to inspire “all of us to do what makes our hearts sing,” and that’s the opening number of the show.
While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at – you will laugh with them because they find out who they are and are OK with that.
Jeffrey M. Wright as Tyler and Talichia Noah. Photo by Jill Ritter Lindberg.
Brown refers to her first husband as the anti-Christ, and if he’s anything resembling Jeffrey M. Wright’s woeful dirtbag Tyler, whoa.
Wright is such a polished, likeable performer that at first, it’s hard to adjust accepting him as a sleazeball, but he oozes unctuousness in his ladies-man encounters and is slick as this low-life liar that’s not smart enough to be convincing in his ruses (and he has a couple dandy ones). Yes, it’s called acting, and he showed his range.
Meanwhile, his long-suffering wife, Jill Conner Browne, played by good-natured Talichia Noah, is at her wit’s end, and finally musters enough dignity and self-determination to break free from the ‘stand by your man’ mantra.
She does so as part of a playful quartet with her three lively BFFS, all named Tammy. Of course! They introduce themselves in the cheeky “It’s Me” and spunky “SPQ-tiful,” and give Jill advice in the ballad “Make a Wish.”
A consummate pro, Ann Hier Brown is a revelation as firecracker “Too Much Tammy,” with heaping helpings of street smarts and in-your-face bravado. She dives into the amusing second act opener “Funeral Food” with abundant zest.
Another veteran, Mara Bollini, sashays with attitude as Floozie Tammy, uninhibited in “One Last Kiss” and spills the sweet tea on her sexual escapades. Brown, Bollini and Noah are a force on “The Only Thing I Know.”
Aarin Kamphoefner leads “Mad Dog Twenty Twenty.” Photo by Jill Ritter Lindberg
Victoria Pines completes the Tammy trio, as Flower Tammy, an abused wife who leans on her friends about her predicament. She displays her terrific vocal skills in the poignant ballad “Cherries in the Snow.”
The show’s standout this performance was Aarin Kamphoefner as George, going beyond the cliches as a beacon of hard-fought self-acceptance, and a caring friend to the girls – no judgment, just reassurance.
He has fun leading “Mad Dog Twenty-Twenty” as a good time song. Comfortable in his skin as a queer in the deep South, George, a good listener, has something to say, and Kamphoefner shines, tugging at our heartstrings reprising “It’s Me.”
Performing on March 9, while the real “TammyGeorge” was sitting in the front row, he deserved a standing ovation for pouring his heart out in an emotionally vulnerable solliloquy while a patron’s cell phone was audible and wasn’t immediately turned off. Kamphoefner held composure and drew everyone into his character’s truth. Bravo!
Portraying the concerned parents dispensing homespun wisdom are Bethany Barr as Mama and Kent Coffel as Daddy. Coffel also has a couple different minor roles, and always shows his versatility as a local MVP. He kindheartedly reprises “Do What Makes Your Heart Sing” several times.
The music is composed by Melissa Manchester, a longtime singer, songwriter and actress, who has been active since the 1970s. She first came to prominence as one of Bette Midler’s back-up singers, “The Harlettes.”
Noah and Kent Coffel. Photo by Jill Ritter Lindberg.
Some of her career highlights include her first smash hit “Midnight Blue” (recently a music video duet with Dolly Parton!), her Grammy-nominated performance of Peter Allen’s “Don’t Cry Out Loud,” and co-writer with Kenny Loggins on his collaboration with Stevie Nicks “Whenever I Call You Friend.” She won a Grammy in 1983 for “You Should Hear How She Talks About You.”
As an actress, she played Maddy Russo on the TV show “Blossom” 1993-95, and last year played Mrs. Brice on the first national tour of “Funny Girl.”
Fun fact: Her solo 1984 concert at the Fabulous Fox Theatre here was my first review assignment from a St Louis Globe-Democrat editor.
Lyrics are by country songwriter Sharon Vaughn, who has penned hits for Randy Travis, Reba McEntire, Patty Loveless, Kenny Rogers and others. Her big breakthrough in 1976 was with the Waylon Jennings hit “My Heroes Have Always Been Cowboys,” which Willie Nelson covered for the 1979 Robert Redford movie “The Electric Horseman.” She was inducted into the Nashville Songwriters Hall of Fame in 2018.
With two women writing the female-forward songs, the numbers flavor the characters’ arc with a range of earnest emotions, what the characters are feeling at the time. The music has a peppy ‘60s girl-group vibe, with a splash of the self-acceptance of Tracy Turnblad in “Hairspray” and the boldness to be who you are of “Kinky Boots.”
“Five” is a showstopper, detailing Brown’s list for five men you must have in your life at all times: 1. Someone who can fix things 2. Someone you can dance with 3. Someone you can talk to 4. Someone who can pay for things (so you’re not paying their share) and 5. Someone to have great sex with. That about covers it, wouldn’t you say?
The Tammys and Jill. Photo by Jill Ritter Lindberg.
The band is tight, with seasoned New Line regulars John Gerdes on electric bass, Clancy Newell on percussion and Adam Rugo on electric guitar, and they are joined by Brandon Thompson on reeds, Nikki Ervin on keyboard, and conductor Dr. Tim Amukele on keyboard as well.
The enormity of the vocal load the lead must carry is daunting, as Jill must sing solo: “Do What Makes Your Heart Sing,” “Southern Side of Jackson,” “All That Matters,” and “To Be Queen,” and duos with Mama in “Sears,” Tyler in “We Had Some Good Times,” and the others in ensemble pieces. With that much to sing, Noah struggled at times, and her voice seemed strained because of the role’s demands the farther the show progressed. Perhaps Amukele’s guidance will help on the rough spots. But even for the most accomplished vocalist, that’s a herculean effort.
The book By Rupert Holmes lovingly spotlights the characters for their strength, grace under pressure, and their willingness to be audacious. Holmes won multiple Tony Awards for the book music and lyrics, all solo acknowledgements, for “The Mystery of Edwin Drood.” He’s known for the pop song “Escape (The Pina Colada Song).”
According to press material, “The team continues to work on the show. The St. Louis production will be the fifth production of the show so far.” While entertaining, it does appear to be a work in progress, and the rough-around-the-edges effort is well-meaning and good-hearted, but some tightening up would make it zing.
Rob Lippert’s minimal set design emphasizes the vibrant spirit of the production, with the iconic pink sunglasses as a major focal point. Matt Stuckel and Ryan Day capably handled the lighting and sound.
Ann Hier Brown and Mara Bollini. Photo by Jill Ritter Lindberg.
Zachary Phelps designed the flashy and curvy baby-doll SPQ anthem costumes as well as the everyday attire of the cast. The shiny pink-and-green outfits look like a vamped-up creation crossing “Amazon Women of the Moon” with “Barbarella” and John Waters’ movies.
For anyone who has experienced dreams-deferred, “Sweet Potato Queens” is a reminder to believe in your potential and stay true to your ideals. It does so with an energetic mindset, a desire to spread goodwill, and a celebratory, humorous spirit. After all, real queens adjust each other’s crowns.
Addendum: To follow in the footsteps of other SPQs across the land, Browne recommends Revlon® “Love That Pink” lipstick, flowing red wigs, and majorette boots. They wore green hand-me-down ball gowns and tiaras for their first St. Patrick’s Day Parade, and said when she discovered she lived near Vardaman, Miss., the self-proclaimed Sweet Potato Capital of the World, that was all it took to offer herself as the queen for the farmers’ annual festival.
Bethany Barr as Mama. Photo by Jill Ritter Lindberg.
New Line Theatre presents “Sweet Potato Queens” from Feb. 29 to March 23, Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive.
Tickets are $25 for adults and $20 for students/seniors for the preview; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.
For more information about discounts, visit the website: www.newlinetheatre.com
The Queen herself, Jill Conner Browne. Lynn Venhaus Photo.Sweet Potato Queens in the audience March 9. Lynn Venhaus Photo.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus At first glance, the daffy “Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas” takes us back to the fuddy duddy ‘50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls.
But it’s far more subversive than that, and with the book, music and lyrics crafted by New Line Theatre’s Artistic Director and provocateur Scott Miller, would you expect anything different in an original stoner musical comedy with that ripe-for-parody title?
For New Line fans, this is rooted in previous shows — the world premiere of “Johnny Appleweed” in 2006, so it is a 17-years-in-the-making sequel, and the regional premiere of “Reefer Madness the Musical” in 2004.
Only now cannabis is legal in Missouri, and there are dispensaries on many corners of our fair city. Yet, we can recall a time when it wasn’t mainstream – and Cheech Marin and Tommy Chong made a fortune. So, this show is more impish than shocking.
(Although we do live in Missouri, and ‘family values’ legislators have significant agendas, so that leads to a forever “Twilight Zone” feeling. But back to our jolly neighborhood cul-de-sac with shiny, happy people).
Photo by Jill Ritter Lindberg
As a tongue-in-cheek response to the War on Drugs and the Culture Wars, Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation.
For laughs, he’s mashed together the 1936 film “Reefer Madness” that was intended to scare straight those who may be tempted by the evil weed, Charles Dickens’ “A Christmas Carol,” and 1950s musical comedies (with intentional references).
This flip side of “The Donna Reed Show,” “Father Knows Best” and “Leave It to Beaver” has a cardigan-wearing curmudgeon of a dad named Harry Goodson whose family secrets revealed on Christmas Eve 1959 will rock his world – and he’ll be visited by ghosts overnight in the second act.
The family establishes how “Heteronormative” they are in their opening number, setting up the spoof of what passed for a normal, average family 60 years ago.
Terrell Thompson plays Harry as a cross between Archie Bunker, George Jefferson, and Ebeneezer Scrooge. He finds fault with everything, and his dialogue is a series of rants. It’s a hefty, albeit one-note, role for Thompson, a veteran of local musical theater. Musically, he is well-suited for ensemble work, but as the anchor, line delivery wasn’t as polished on opening night. (However, after more performances, I am hoping the cast is just zipping along by now).
Presumably, the brazen material demands an improv troupe feel to the ensemble, with nimble performers who have an affinity for Kids in the Hall and Second City-type sketches necessary to puncture holiday traditions and ramp up the laughs. Daughter Tammy discloses she is pregnant by her black boyfriend Miles, son Chip’s secret is that he’s gay and has a boyfriend named Dick, and brother, Uncle Hugh, is a cross-dresser with an infinity for a blow-up doll.
Kay Love. Photo by Jill Ritter Lindberg
Whew! A National Enquirer panoply of scandalous behavior that could be a laugh riot if everyone’s all-in on an over-the-top satire — but not as effective if the tone is lopsided depending on performer’s slickness. Because the lyrics and lines have enough zingers to elicit plenty of snickers.
It could be that the actor who played Chip was replaced on opening night by Tony L. Marr Jr., the assistant director and choreographer. Marr assumed the role with noteworthy aplomb.
Because this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in, it should not be startling that longtime theatrical sweetheart Kay Love plays typical housewife Bess Goodson as more naughty than nice. She’s infused the Christmas cookies with pot, and lets loose in a defiant, liberating solo.
You know you’re in a bizarro world when you hear Love sing “Hoo-Hoo of Steel” without flinching or blushing. She can shimmy better than your aunt’s Jell-O salad slipping out of a decorative mold.
Love’s poise and classically trained voice, and vivacious Marlee Wenski’s silky, sultry vocals stand out in their numbers. Wenski doubles as teen movie icon Sandra Dee (the original “Gidget”), having a bawdy time in the number “Don’t Look at Me, I’m Sandra Dee,” and parodies a rebellious version of a good saddle-shoe-wearing daughter in “Miles and Miles.”
An unfazed Tawaine Noah leans in as Uncle Hugh, who leads a not-so-secret life, singing “Mary Jane and Mary Jane,” and as unborn twin Jerry, who returns as a ghost.
Can they live in comfort and joy or will their variations from the norm tear apart the family? I was reminded of the classic 1990 “Saturday Night Live” sketch called “Dysfunctional Family Christmas” about a compilation album of songs mocking less than ideal family gatherings.
Cheeky song titles include “Love Doesn’t Suck with My D**k,” “Daddy’s Talking S**t,” and “That Stick Up Your Ass.”
Here, dear old dad might need a comeuppance – his deceased twin brother, Jesus Christ, Sandra Dee and explorer and pot enthusiast Johnny Appleweed are the ghosts who visit. They force him to come to terms with recreational drug use: “Have Another Toke and Have a Merry Christmas.”
The family drama is offset by a quartet of cheery carolers who deliver “The Elves Get Stoned,” “Better Living Through Chemistry” and “Man in the Gray Flannel Life.” Stephanie Merritt, Robert Doyle, Matt Hill, and Lauren Tenenbaum merrily roll along with setting the mid-century tableau.
Mallory Golden’s music direction is breezy, with a fine-tuned machine of John Gerdes on bass, Joseph Hendricks and Alex Macke on reeds, Brad Martin on percussion, and Adam Rugo on guitar (and she’s on keyboard).
Lauren Smith Beardon has outfitted the carolers in festive attire, and the Goodsons in typical suburban family looks, complete with housewife aprons for Love. Lighting designer (and technical director) Matt Stuckel has fun inserting cannabis plant imagery in shadows – I haven’t revisited “Reefer Madness” since my college days, but I believe there was a lot of shadows to signify danger – so touché.
Photo by Jill Ritter Lindberg
As is customary, Rob Lippert’s scenic design is appropriate to the Mid-Century Modern décor of the period – and the height of sophistication with a retro artificial aluminum silver Christmas tree and the reflective color wheel, so tres chic back in the day. He has captured the tone and tenor of the show.
The vintage vibe is one of the most attractive qualities of the production. Miller has managed to include an impressive litany of every pop culture reference significant to the era – and even obscure little nuggets to prod recognition. Commendable wordplay, indeed.
Since founding New Line Theatre in 1991, he has written 11 musicals and two plays, including a rollicking “The Zombies of Penzance” in 2018. His penchant for irreverent theater and socially relevant material has served him well.
This show is basically a fun romp with some jabs on social mores, featuring stand-out performances by several spirited women. In days of yore, when Ladies’ Home Journal arrived in the mail, “The Ed Sullivan Show” was tuned in to every Sunday, and you might have had to make do with a TV dinner if mom was hosting her Bridge Club, everyone would have made a fuss over the “sassy lassies.”
A few nips and tucks, and more collaborative run-throughs, and “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” may be just the antidote to Hallmark movie marathons and wholesome holiday setlists on repeat. With Bess’s special-recipe brownies, it could be one of the hap-hap-happiest Christmas’ since Bing Crosby tap-danced with Danny Kaye.
New Line Theatre presents the world premiere musical “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” from Dec. 1 to Dec. 16, with performances Thursday, Friday, and Saturday at 8 p.m. at The Grandel Theatre, 3610 Grandel Square. For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com.
Tickets are $35 for adults and $30 for students/seniors/To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.
Discounts are available. Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.
Ten free seats for every performance, open to any college student with a valid student ID.
New Line offers all currently employed educators half-price tickets on any Thursday night, with work ID or other proof of employment.
New Line offers all active-duty military personnel half-price tickets on any Thursday night, with ID or other proof of active-duty status.
All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
New Line Theatre, “the bad boy of musical theatre,” announces its 32nd season of adult, alternative musical theatre, including the wild musical comedy JESUS & JOHNNY APPLEWEED’S HOLY ROLLIN’ FAMILY CHRISTMAS, at the Grandel Theatre, Nov. 30-Dec. 16, 2023; followed by the deliciously outrageous SWEET POTATO QUEENS, at the Marcelle Theater, Feb. 29-March 23, 2024; and the season closes with the epic Gothic romance DRACULA, at the Marcelle Theater, May 30-June 22, 2024.
Auditions for the 2023-24 season will be held June 12 and 19, 2023, at the Marcelle Theater. For more info, click here.
SEASON TICKETS
Season tickets are on sale now, and single tickets will go on sale in September. New Line’s fall show will be at the Grandel Theatre, and the other two shows will be in the company’s home, the Marcelle Theater, in Grand Center, St. Louis’ arts district.
To order season tickets for the three mainstage shows, Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas, Sweet Potato Queens, and Dracula, go to http://www.newlinetheatre.com/purchase/index.php.
There are three kinds of subscriptions. The First Look Subscription contains tickets for only the Thursday preview for each show. These tickets cannot be exchanged for other dates. Each Regular Subscription includes one ticket for each show in the season. You can use each ticket for any performance date during the run of that show. Each Flex Subscription includes three Flex tickets that you can use at any time for any show during the entire season — use all three tickets for one show or spread them out over the season, however you want! The deadline for ordering season tickets is October 30, 2023.
THE 2023-2024 SEASON
JESUS & JOHNNY APPLEWEED’S HOLY ROLLIN’ FAMILY CHRISTMAS World Premiere Nov. 30-Dec. 16, 2023 Grandel Theatre
What happens when a family’s secrets are all revealed on one outrageous, pot-fueled Christmas Eve in 1959?
Poor Harry Goodson is about to find out, as he’s visited overnight by his dead twin brother Gerald, Jesus Christ, Sandra Dee, and Johnny Appleweed, and he finally learns what his family already knows, that the answer to all his problems is marijuana!
A wacky companion piece to the unintentionally hilarious 1936 scare film Reefer Madness, this new musical is a tongue-in-cheek response to the War on Drugs, a comic look at what a little pot and a little truth can do to a normal, average, Midwestern, American family at mid-century, just as America plunges into the chaos of the 1960s.
The New Line production will be directed by Scott Miller and Chris Kernan, with music direction by Brett Kristofferson, costume design by Sarah Porter, scenic design by Rob Lippert, lighting design by Matt Stuckel, and sound design by Ryan Day.
What’s the best medicine for feeling beat up by the world?
Get ready for the outrageous, high-powered, Southern rock musical that tells the true story of “Boss Queen” Jill and her closest friends in Mississippi, and how they learn to grab life by the sequins, feathers and tiaras to live their lives out loud, on their own terms.
This new musical is based on the wildly successful Sweet Potato Queens books by New York Times bestselling author Jill Conner Browne, with music by pop icon Melissa Manchester, lyrics by hit country songwriter Sharon Vaughan, and a book by Rupert Holmes (The Mystery of Edwin Drood).
A New Line subscriber saw the show in L.A. and brought it to the attention of New Line Artistic Director Scott Miller, who decided it was a perfect fit for New Line. There are currently six thousand registered Sweet Potato Queens chapters in over twenty countries around the world.
The New Line production will be directed by Chris Kernan and Scott Miller, with choreography by Kernan, costume design by Sarah Porter, scenic design by Rob Lippert, lighting design by Matt Stuckel, and sound design by Ryan Day.
Produced by arrangement with Theatrical Rights Worldwide, New York.
DRACULA Regional Premiere May 30-June 22, 2024 Marcelle Theater
How much would you give up for love?
Broadway songwriter Frank Wildhorn (Bonnie & Clyde, Wonderland, Jekyll & Hyde) delivers his most epic score for this riveting, fast-paced, Gothic rock opera, faithful to the iconic novel but with some unexpected twists and turns.
As much a tragic love story as a thriller, this terrifying and passionate retelling of the famous story dives deep into the powerful, shattering emotions of these characters and these complicated relationships, as only musical theatre can. For Dracula, Wildhorn reunites with his Bonnie & Clyde lyricist Don Black, for one of the wildest and most emotional rides you’ve had in the theatre in a long time.
Once again, New Line will take a show that was badly served in New York and savaged by the critics, strip it down, take it seriously, and prove what a powerful piece of theatre it can be when it’s focused on human emotions instead of flashy special effects. Since its debut, the show has become an international sensation in productions around the world.
The New Line production will be directed by Scott Miller and Chris Kernan, with music direction by Dr. Jenna Lee Moore, choreography by Kernan, costume design by Sarah Porter, scenic and lighting design by Rob Lippert, and sound design by Ryan Day.
Produced by arrangement with Music Theatre International, New York.
New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country.
New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions. Altogether, New Line has produced 95 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives support from the Regional Arts Commission, the Missouri Arts Council, a state agency, the Kranzberg Arts Foundation, and the Grand Center Arts District.
New Line continues its partnership with the Webster University Department of Music and their Bachelor of Music in Music Direction for Musical Theatre degree program.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The crème de la crème of local female vocal talent displays why they have earned those reputations in a lusty version of “Nine,” an exotic Felliniesque musical being presented by New Line Theatre March 2-25.
Based on filmmaker Federico Fellini’s 1963 semi-autographical angsty-existential-fantasy masterpiece “8 ½,” Tony-winning composer-lyricist Maury Yeston has tackled the age-old conundrum about a woman’s relationship to a man in an expressive, emotional score. Ballads are rueful, company numbers are vigorous in this 1982 musical. Yeston, who started this project in college in 1973, also won a Tony for the 1997 “Titanic” musical.
New Line’s glamorous production has a cast of 13 females who are connected to celebrated director Guido Contini, a womanizer going through a midlife personal and professional crisis.
Set at a Venetian spa in the early 1960s, an exasperated Luisa Del Forno (Lisa Karpowicz) has gone there with her preoccupied husband Guido (Cole Gutmann) to save their troubled marriage. Karpowicz makes you feel her pain, and her best number is the poignant “My Husband Makes Movies.” After all her sacrifices and his infidelities, she sings a mournful “Be On Your Own.”
The cast of “Nine.” Photo by Gerry Love.
He’s a cad, the boy who never grew up, and while smart and chic, she’s more of a caretaker. He does seem to care, but obviously has commitment issues, and they really don’t have much spark left. Contini (you’ll never forget his name because they say it over and over) brought all this misery on himself and is caught in a web of his own lies.
Discovered by the paparazzi, Guido tells reporters he is there to direct his latest film. Three previous movies have flopped, and the pressure is intense. His tough film producer, Liliane La Fleur (a flamboyant Kimmie Kidd-Booker), wants him to make a musical.
Gutmann conveys Guido’s desperation as he tries to come up with his next big picture, spinning tall tales and improvising with a riff on Casanova. His macho meltdown is precipitated by his turning 40, writer’s block, and his shabby treatment of people.
Has he run out of things to say? As the chaotic circus of his life flashes before our eyes, we see what the women have meant to him and what they have put up with – which makes him mostly unsympathetic. Can he change into a better person?
As the magnetic Guido, Gutmann is obsessive and frantic interacting with his mother, wife, teacher, temptress, mistress, muse, younger self, and other people who cross his path.
Cole Gutmann as Guido Contini. Lisa Karpowicz, at left, is Luisa. Photo by Gerry Love.
Gutmann has a rich melodic voice and the confident stage presence to pull off this conflicted character, but because the center of attention is often a jerk, it’s not that easy to emotionally connect to Guido, no matter how famous, important, handsome, and charming he is.
But Gutmann’s soulful delivery of his numbers – especially “Guido’s Song” and “I Can’t Make This Movie” — and his willingness to show the guy at his worst, makes you appreciate his skills. It’s a very demanding, energetic role, as he is on stage about 95 percent of the time.
The drama does have humorous moments but the book by Arthur Kopit seriously attempts to make a statement on artists, the creative process, and one’s demons and desires. Yet, it’s mostly a psychoanalysis of a self-absorbed talent, a male-centered fantasy and it runs hot and cold.
The story flips from real to invented, often taking place in Guido’s head, as he explores his past and present relationships.
Co-directors Scott Miller and Chris Kernan capitalize on the strength of the performers in their minimalist staging, keeping in mind the necessary surrealism. Kernan also choregraphed the movements to be functional, simply depicting moods and attitudes.
The ensemble moves the story forward with added oomph, starting with the exquisite harmonies in the opening “Overture Delle Donne.”
Because it’s about filmmaking, the company delivers melodramatic versions of “Not Since Chaplin,” “Western di Guido,” “Bible di Guido,” and “Documentary di Guido,” plus Guido’s exaggerated “The Script” and “The Grand Canal.”
Guttman is strong leading “The Bells of St. Sebastian,” which shows off the belters to close the first act. In keeping with the plot thread about how the Catholic religion affected his childhood, “Kyrie eleison” (“Lord, have mercy”) is repetitively sung.
Cole Gutmann, Ann Hier Brown. Photo by Gerry Love.
Throughout the two acts, which run 2 hours and 15 minutes, with a 15-minute intermission, the women sit on a striking black and white set cleverly designed as cubes by Rob Lippert, moving off the steps onto the tiled floor for various processions in a dream-like way.
Like a black-and-white film, this work contrasts darkness and light, and this staging uses that aesthetic to its advantage. Lighting designer Matt Stuckel heightens the shadows effectively.
Costume Designer Sarah Porter has outfitted the women in cosmopolitan black apparel that reflects their characters’ personalities and the period styles, while Gutmann’s all-black attire comfortably suits the role.
Music Director Jenna Lee Moore, making her New Line debut and playing keyboard, deftly leads a cohesive orchestra – Tyler Davis on cello, John Gerdes on brass, Lea Gerdes and Joseph Hendricks on reeds, Mallory Golden on violin, and Clancy Newell on percussion.
Ryan Day’s sound design works well at The Marcelle.
The spa sojourn doesn’t turn out as planned. Guido’s mistress, the young and sexy Carla Albanese, shows up. Sarah Wilkinson is a fireball, agile in movement and frisky in “A Call from the Vatican.” She nimbly maneuvers her slinky, satiny mini-dress with bike shorts underneath. Lovely as well in voice, she tugs at the heartstrings in “Simple.”
His muse, actress Claudia Nardi (Ann Hier Brown) has previously been an inspiration, so she is called again in that capacity. However, their relationship is complicated, and she holds her ground. Brown’s luscious mezzo soprano is sublime in “A Man Like You” and the plaintive “Unusual Way.”
Kimmie Kidd-Booker as Liliane. Photo by Gerry Love.
Another highlight is big personality Kidd-Booker, hamming it up and interacting with the audience in her robust “Folies Begeres.” After all, Liliane is a former showgirl, and Kidd-Booker is a scene-stealer as a diva.
Guido’s mother is played sentimentally by Stephanie Merritt, featuring her outstanding operatic voice. As an apparition, she is tender towards her genius son, yet she is aware of his faults. Merritt may be younger than the role calls for, but she appropriately projects the loving mother’s nurturing side and dazzles in the title number, “Nine.”
A seductive Sarah Lueken plays the local prostitute Saraghina from Guido’s youth, seen costumed as a nun. She made an indelible impact on him at age 9, and he must face that truth. Her rousing “Be Italian” is provocative, and the company joins in the naughty fun, using tiny tambourines for effect.
Gillian Pieper is sardonic as Stephanie Necrophorus, a writer and film critic not enamored by Guido neither as a man or a visionary and is downright hostile as she disapproves.
Much of the action takes place in the spa. Kathleen Dwyer is the hospitable manager Mama Maddelena, and a flirty, comical Annabella, while Kay Love is the ethereal Our Lady of the Spa, giving off a spiritual vibe. Then there are spa workers and guests, who are chorus and dancers – Olga (Julia Monsey), Renata (Chelsie Johnston), Diana (Kat Bailey) and Juliette (Brittany Kohl Hester).
Monsey is also Lina Darling, Liliane’s bodyguard. Hester is also the voice of little Guido, and sings the significant “Getting Tall.”
Normally, a little boy is featured in the cast, but New Line uses Hester’s fine vocals and a portrait instead as the young Guido. Like the 2003 Broadway revival, they have dropped “The Germans at the Spa.”
This tale has been an awards magnet and conversation piece since the iconic film debuted 60 years ago, and then became a musical in 1982, revived in London in the ‘90s, then on Broadway in 2003 and film adaptation of the musical (and original film) in 2009. It’s one of those unorthodox works that you may not comprehend completely at first glance, but perception deepens in time and repeat viewings.
It remains maestro Fellini’s chauvinistic source material, nevertheless.
Fellini’s elegant Italian film won two Oscars, for Best Foreign Language Film and for costume design in 1964, and was also nominated for best director, screenplay, and art direction-set decoration (black and white).
Sarah Wilkinson, Gutmann. Photo by Gerry Love.
The musical, and New Line’s interpretation, forego other male characters, trims the women to manageable cast size, cuts the constant smoking and omits Guido’s snazzy hat that Marcello Mastroianni wore.
1963 was a very different time for women, so it’s good to have some cuts, such as the harem scene, Mastroianni’s disturbing whip-cracking, and revisions in dialogue.
However, I wished the playwright would have kept the movie’s best line: “Happiness consists of being able to tell the truth without hurting anyone.”
(An aside: my college film professor adored Fellini, so I was introduced to his films as a student. I struggled with his ideas and images back when I was a teen, but upon watching as an adult, it’s a stirring avant-garde work, and Claudia Cardinale takes your breath away. If you are an HBOMax subscriber, the original “8 ½” in glorious black-and-white and the filmed musical “Nine” are available streaming).
The 1982 musical received 12 Tony Award nominations and won five, including Best Musical, Tommy Tune as director, Yeston for score, Liliane Montevecchi for featured actress as Liliane Le Fleur, and William Ivey Long for costume design. Receiving nominations: Raul Julia as Guido, Karen Akers as Luisa, Anita Morris as Carla, Kopit for book, Thommie Walsh for choreography, lighting design and scenic design.
The 2003 Broadway show earned nine Tony Award nominations, winning for Best Revival and Jane Krakowski for featured actress as Carla, with Antonio Banderas as Guido, Mary Stuart Masterson as Luisa, Chita Rivera as Liliane, director, lighting design and orchestrations nominated.
The film version of the musical, directed by Rob Marshall and starring Daniel Day-Lewis as Guido, was not well-received in 2009, but earned four Oscar nominations for Penelope Cruz as Carla, Maury Yeston for the original song “Take It All,” costume design and art direction.
This cinematically inspired musical, because it’s not typically structured, is more difficult than many other modern theatricals, and is not often produced. While its themes are intriguing, it can be frustrating for those unfamiliar with how the plot unfolds. Yet, the characters are passionate and the music sophisticated, so performers willing to risk the challenge can make their mark.
The focus in New Line’s crisp performance is the sense of collaboration instead of coming across as distant. This cast exhibits sincerity, brings out colors and feelings not always apparent, and appears to be on ‘Cloud Nine’ embarking on this journey.
Photo by Gerry Love.
“Nine” runs March 2 – 25 at The Marcelle Theatre in the Grand Center Arts District, 3310 Samuel Shepard Drive. Shows are Thursday, Friday, and Saturday at 8 p.m. For more information, visit www.newlinetheatre.com, and for tickets, they can be purchased at metrotix.com or by calling 314-534-1111.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
What happens when a family’s secrets are all revealed on one outrageous, pot-fueled Christmas Eve in 1959?
What’s the best medicine for feeling beat up by the world?
How much would you give up for love?
