Take Ten with Joel Moses

Take Ten with Joel Moses

By Lynn Venhaus

Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.

Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”

This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.

After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.

He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.

Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.

Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.

He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.

In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.

Take Ten Q & A with Joel Moses

1. What is special about your latest project?

“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.

I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”

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

“My mom says that from an early age I was always in character.  Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.

When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”

3. How would your friends describe you?

“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.

With Nicole Angeli in “Lungs.”

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

“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”

5. What is your current obsession?

“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”

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

“I get anxious in social settings and can sometimes struggle with words.”

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

“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”

8. Who do you admire most?

“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”

9. What is at the top of your bucket list?

“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”

10. What is your favorite thing to do in St. Louis?

“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”

I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”

11. What’s next?

“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”

In his award-winning role in “The Christians” at West End Players Guild.

More Information on Joel Moses

Birthplace: near Kansas City, Mo.
Current location: St Louis
Education: BFA: Theatre Performance – University of Central Missouri – 2006.
Moscow Art Theatre – Summer Acting Intensive – 2012.
MFA: Acting – Northern Illinois University – 2013.

Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.

First job: Fry Cook. Dairy Queen.
First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.”
Favorite jobs/roles/plays or work in your medium?

It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.

•           Ubu in King Ubu, Organic Theater Company

•           Einstein in Picasso at the Lapin Agile, Organic Theater Company

•           Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.

•           Branwell in Bronte Sister House Party, SATE.

With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.

And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.

•           Lungs, Albion Theatre.

•           George Deever in All My Sons, New Jewish Theatre.

•           Heisenberg in Copenhagen, St Louis Actors’ Studio

•           Duke Frederick in As You Like It, St. Louis Shakespeare Festival.

Awards/Honors/Achievements:

St. Louis Theater Circle Awards:

•           Outstanding Performance in a Drama: The Christians – West End Players

•           Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE

Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner

“What is utterly absurd happens in the world.” Gogol

A song that makes you happy: “Scatman” – Scatman John

With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.

“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.

The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.

Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell photo.

The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL  ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH

Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024

The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.

The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link: https://repstl.my.salesforce-sites.com/ticket/#/events/a0SVI0000040h4J2AQ

The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.

Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.

Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.

A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.

The nominees for the 12th annual St. Louis Theater Circle Awards are:

Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.” Photo by Philip Hamer.

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 

Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Amy Loui, “Steel Magnolias,” Stages St. Louis
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 

Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre
Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joel Moses, “As You Like It,” St. Louis Shakespeare Festival
Spencer Sickmann, “Trayf,” New Jewish Theatre

Outstanding Performer in a Comedy, Female or Non-Binary Role 

Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis

Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.

Outstanding Performer in a Comedy, Male or Non-Binary Role 

Alan Knoll, “We All Fall Down,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie, “Red Jasper,” Michael Madden Productions
Jacob Schmidt, “Trayf,” New Jewish Theatre
Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre

Outstanding Lighting Design in a Play 

Denisse Chavez, “All My Sons,” New Jewish Theatre
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis
Sean Savoie, “Hold On!,” The Black Rep

Outstanding Sound Design 

Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis
Chuck Harper, “Wolf Kings,” YoungLiars
Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis
Amanda Werre, “All My Sons,” New Jewish Theatre
Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis

Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
Colleen Michelson, “The Mousetrap,” Stray Dog Theatre
Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre

Outstanding Set Design in a Play 

Andrea Ball, “We All Fall Down,” New Jewish Theatre
Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival
Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Red,” New Jewish Theatre

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 

Evann De-Bose, “Hold On!,” The Black Rep
Kari Ely, “Wedding Band,” The Black Rep
Margery Handy, “The Inheritance,” Tesseract Theatre Company
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis

“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 

J. Samuel Davis, “King Hedley II,” The Black Rep
Gary Glasgow, “Life Is a Dream,” Upstream Theater
Jayson Heil, “All My Sons,” New Jewish Theatre
Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis
Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis

Outstanding Performer in a Drama, Female or Non-Binary Role 

Nicole Angeli, “Lungs,” Albion Theatre Company
Amy Loui, “All My Sons,” New Jewish Theatre
Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis
Jacqueline Thompson, “Wedding Band,” The Black Rep
Maggie Wininger, “Molly Sweeney,” Albion Theatre

Outstanding Performer in a Drama, Male or Non-Binary Role 

Christopher Harris, “Red,” New Jewish Theatre
Greg Johnston, “All My Sons,” New Jewish Theatre
Joel Moses, “Lungs,” Albion Theatre
Gabriel Paul, “The Inheritance,” Tesseract Theatre Company
William Roth, “The Whale,” St. Louis Actors’ Studio

Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.

Outstanding New Play 

“Am I Dangerous?,” by e.k. doolin, Contraband Theatre
“Longing,” by Lize Lewy
“Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio
“Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre
“Tempest in a Teapot,” by Shualee Cook, SATE Ensemble

Outstanding Achievement in Opera 

Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis
Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis
Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis
Elise Quagliata, “Carmen,” Union Avenue Opera
Laura Skroska, “Into the Woods,” Union Avenue Opera

Outstanding Production of an Opera 

“Carmen,” Union Avenue Opera
“Galileo Galilei,” Opera Theatre of Saint Louis
“H.M.S. Pinafore,” Winter Opera St. Louis
“Julius Caesar,” Opera Theatre of Saint Louis
“The Barber of Seville,” Opera Theatre of Saint Louis

The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Outstanding Musical Director 

E. Renee Gamez, “Ragtime,” Stages St. Louis
Khalid McGee, “Blues in the Night,” The Black Rep
James Moore, “Les Miserables,” The Muny
Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company
Andra Velis Simon, “Waitress,” The Muny

Outstanding Choreographer 

William Carlos Angulo, “In the Heights,” The Muny
Jared Grimes, “Anything Goes,” The Muny
Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis
Mike Hodges, “Xanadu,” Stray Dog Theatre
Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis

Outstanding Projections or Special Effects

Zach Cohn, “Hold On!,” The Black Rep
Zachary Grimm, “Longing,” Lize Lewy
Kylee Loera, “Anything Goes,” The Muny
Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre
Mike Tutaj, “Waitress,” The Muny

Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 

Rachel Bailey, “[title of show],” Prism Theatre Company
Sarajane Clark, “Ruthless,” Stray Dog Theatre
Lissa deGuzman, “Waitress,” The Muny
Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 

Will Bonfiglio, “First Date,” New Jewish Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Matthew Cox, “Ragtime,” Stages St. Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Lara Teeter, “Anything Goes,” The Muny

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Nevermore,” Stray Dog Theatre
John Lasiter, “Fiddler on the Roof,” The Muny
Jason Lyons, “Les Miserables,” The Muny
Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis
Sean M. Savoie, “Ragtime,” Stages St. Louis

Outstanding Set Design in a Musical 

Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis
Ann Beyersdorfer, “Les Miserables,” The Muny
Wilson Chin, “Waitress,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Arnie Sancianco, “In the Heights,” The Muny

Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.

Outstanding Costume Design in a Musical 

Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
Robin L. McGee, “Disney’s The Little Mermaid,” The Muny
Brad Musgrove, “Ragtime,” Stages St. Louis

Outstanding Performer in a Musical, Female or Non-Binary Role 

Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Tiffany Mann, “Dreamgirls,” The Muny
Marissa McGowan, “Ragtime,” Stages St. Louis
Jessica Vosk, “Waitress,” The Muny
Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company

Outstanding Performer in a Musical, Male or Non-Binary Role 

Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Adam Heller, “Fiddler on the Roof,” The Muny
John Riddle, “Les Miserables,” The Muny

“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.

Outstanding Ensemble in a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Spirits to Enforce,” The Midnight Company
“Steel Magnolias,” Stages St. Louis
“Woman in Mind (December Bee),” Albion Theatre

Outstanding Ensemble in a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Hold On!,” The Black Rep
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company

Outstanding Ensemble in a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Anything Goes,” The Muny
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
Ragtime,” Stages St. Louis

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Outstanding Director of a Comedy 

Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre
Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival
Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Aaron Sparks, “Trayf,” New Jewish Theatre

Outstanding Director of a Drama 

Gary Wayne Barker, “All My Sons,” New Jewish Theatre
David Catlin, “Moby Dick,” Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Stephen Peirick, “The Inheritance,” Tesseract Theatre Company
Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis

Outstanding Director of a Musical 

Lili-Anne Brown, “Waitress,” The Muny
Marcia Milgrim Dodge, “Anything Goes,” The Muny
Deidre Goodwin, “Ragtime,” Stages St. Louis
Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company
Rob Ruggiero, “Fiddler on the Roof,” The Muny

Outstanding Production of a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Steel Magnolias,” Stages St. Louis
“Trayf,” New Jewish Theatre
“Woman in Mind (December Bee),” Albion Theatre

The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.

Outstanding Production of a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company
“Wedding Band,” The Black Rep

Outstanding Production of a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Ragtime,” Stages St. Louis
“Waitress,” The Muny

Joe Hanrahan.

Special Award for Lifetime Achievement

Ron Himes.

Joe Hanrahan, founder and artistic director, The Midnight Company
Ron Himes, founder and producing director, The Black Rep

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, STL Stage Snaps, St. Louis Arts Scene on Substack); Mark Bretz (Ladue News); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, visit www.stltheatercircle.org, contact stltheatercircle@gmail.com, or ‘like’ the St. Louis Theater Circle on Facebook.

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Lynn’s Annual Love of Theatre Awards (LOTTIES) Celebrating 2024

Lynn’s Annual Love of Theatre Awards (LOTTIES) Celebrating 2024

By Lynn Venhaus

“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

  1. Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
  2. John Riddle and Jordan Donica in “Les Miserables” (The Muny)
  3. Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
  4. Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
  5. Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
  6. Andre Navid Eslamian and Leta DeBardeleben in “Longing”
  7. Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
  8. Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
  9. Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
  10. Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
  11. Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
  12. Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
  13. Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
  14. Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
  15. 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
  1. Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
  2. Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
  3. John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
  4. Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
  5. Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
  6. Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
  7. Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
  8. Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
  9. The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
  10. Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
  11. 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

  1. Will Schulte, “Les Miserables,” The Muny
  2. Zoe Klevorn, “Ragtime,” Stages St Louis
  3. Shane Rose, “All My Sons,” New Jewish Theatre
  4. Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
  5. Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
  6. Lucy Miller, “Wedding Band,” The Black Repertory Theatre
  7. Davin Wade, “Newsies,” Stages St. Louis
  8. Maliah Strawbridge, “Big Machine,” Fly North Theatricals
  9. 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.

  1. “Longing” by Lize Lewy
  2. “Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
  3. “Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
  4. “Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
  5. “Romanov Family Yard Sale” by Courtney Bailey, ERA
  6. “Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
  7. “Am I Dangerous” by e.k. doolin, Contraband Theatre
  8. “Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
  9. “Cash Flow,” Marjorie Williamson, First Run Theatre
  10. “Sandra’s Son,” Cbabi Bayoc (work in progress)

As You Like It. Photo by Phillip Hamer.

BEST COMEDY PRODUCTIONS

  1. “As You Like It,” St. Louis Shakespeare Festival
  2. “Trayf,” New Jewish Theatre
  3. “The Roommate,” The Repertory Theatre of St. Louis
  4. “Woman in Mind (December Bee),” Albion Theatre
  5. “Steel Magnolias,” Stages St. Louis
  6. “Spirits to Enforce,” The Midnight Company
  7. “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  8. “The Tempest,” St. Louis Shakespeare Festival, Tour Co.
  9.  “Romanov Family Yard Sale,” ERA
  10. “Red Jasper,” Michael Madden Productions

BEST DRAMA PRODUCTIONS

  1. “The Inheritance, Part 1 and 2,” Tesseract Theatre Company
  2. “Moby Dick,” The Repertory Theatre of St. Louis
  3. “All My Sons,” New Jewish Theatre
  4. “August: Osage County,” The Repertory Theatre of St. Louis
  5. “Red,” New Jewish Theatre
  6. “The Whale,” St. Louis Actors’ Studio
  7. “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
  8. “Life is a Dream,” Upstream Theater
  9. “Hold On!” The Black Rep
  10. “Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.

BEST MUSICAL PRODUCTIONS

  1. “Anything Goes,” The Muny
  2. “Ragtime,” Stages St. Louis
  3. “Fiddler on the Roof,” The Muny
  4. “Anastasia,” Tesseract Theatre Company
  5. “Newsies,” Stages St. Louis
  6. “First Date,” New Jewish Theatre
  7. “In the Heights,” The Muny
  8. “Blues in the Night, “The Black Rep
  9. “(Title of Show),” Prism Theatre
  10. “Waitress,” The Muny

BEST SUPPORTING ACTRESS IN A COMEDY

  1. Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
  2. Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
  3. Kari Ely, “Steel Magnolias,” Stages St Louis
  4. Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
  5. Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
  6. Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
  7. Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
  8. Anna Blair, “The Butcher of Baraboo,” West End Players Guild
  9. Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
  10. 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

  1. Spencer Sickmann, “Trayf,” New Jewish Theatre
  2. Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
  3. Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
  4. Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
  5. Cassidy Flynn, “Romanov Family Yard Sale,” ERA
  6. Danny Brown, “Woman in Mind (December Bee),” Albion Theatre

BEST ACTRESS IN A COMEDY

  1. Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
  2. Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
  3. Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
  4. LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
  5. Nancy Nigh, “Red Jasper,” Michael Madden Productions
  6. Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
  7. Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
  8. Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
  9. Jan Meyer, “Elephants’ Graveyard,” First Run Theatre
    10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
  10.  (tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis

BEST ACTOR IN A COMEDY

  1. Jacob Schmidt, “Trayf,” New Jewish Theatre
  2. Bryce A. Miller, “Trayf,” New Jewish Theatre
  3. Ben Ritchie “Red Jasper,” Michael Madden Productions
  4. Alan Knoll, “We All Fall Down,” New Jewish Theatre
  5. 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

  1. Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
  2. Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
  3. Alex Jay, “King Hedley II,” The Black Rep
  4. Evann De-Bose, “Hold On!” The Black Rep
  5. Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
  6. Denise Thimes, “King Hedley II,” The Black Rep
  7. Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
  8. Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
  9. Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
  10. Kari Ely, “Wedding Band,” The Black Rep

BEST ACTRESS IN A DRAMA

  1. Maggie Wininger, “Molly Sweeney,” Albion Theatre
  2. Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
  3. Amy Loui, “All My Sons,” New Jewish Theatre
  4. Nicole Angeli, “Lungs,” Albion Theatre
  5. Jacqueline Thompson, “Wedding Band,” The Black Repertory
  6. Eileen Engel, “Dutchman,” Soul Siren Playhouse
  7. Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater

BEST SUPPORTING ACTOR IN A DRAMA

  1. Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
  2. Jayson Heil, “All My Sons,” New Jewish Theatre
  3. Dustin Petrillo, “Red,” New Jewish Theatre
  4. Eric Dean White, “Hold On!” The Black Rep
  5. Jerome Davis, ‘King Hedley II,” The Black Rep
  6. Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
  7. Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
  8. Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
  9. Joseph Garner, “Dark Matters,” West End Players Guild
  10. Jerry Vogel, “Life is a Dream,” Upstream Theater
  11. 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

  1. Greg Johnston, “All My Sons,” New Jewish Theatre
  2. Christopher Harris, “Red,” New Jewish Theatre
  3. William Roth, “The Whale,” St. Louis Actos’ Studio
  4. Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
  5. Joel Moses, “Lungs,” Albion Theatre
  6. Reginald Pierre, “Life is a Dream,” Upstream Theatre
  7. Andre Eslamian, “Longing”
  8. Enoch King, “Hold On!” The Black Rep
  9. Cameron Jamarr Davis, “Dutchman,” Soul Siren Playhouse

BEST SUPPORTING ACTRESS IN A MUSICAL

  1. Lissa De Guzman, “Waitress,” The Muny
  2. Nicole Michelle Haskins, “Waitress,” The Muny
  3. Sarajane Clark, “Ruthless,” Stray Dog Theatre
  4. Rachel Bailey, “Title of Show,” Prism Theatre Company
  5. Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
  6. Shereen Pimentel, “Ragtime,” Stages St. Louis
  7. Lauren Tenenbaum, “American Idiot,” New Line Theatre
  8. Emily Bautista, “Les Miserables,” The Muny
  9. Samantha Massell, “Fiddler on the Roof,” The Muny
  10. Nancy Ticotin, “In the Heights,” The Muny
  11. 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

  1. Matthew Cox, “Ragtime,” Stages St. Louis
  2. George Abud, “Anything Goes,” The Muny
  3. Matthew Cox, “Newsies,” Stages St Louis
  4. Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
  5. Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
  6. James D. Gish, “Les Miserables,” The Muny
  7. Nick Rashad Burroughs, “Dreamgirls,” The Muny
  8. Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
  9. Kevin Chamberlin, “Anything Goes,” The Muny
  10. Will Bonfiglio, “First Date,” New Jewish Theatre
  11. Jayson Heil, “First Date,” New Jewish Theatre
  12. Troy Iwata, “Waitress,” The Muny
  13. Rafael DaCosta, “Dracula,” New Line Theatre

BEST ACTRESS IN A MUSICAL

  1. Jessica Vosk, “Waitress,” The Muny
  2. Tiffany Mann, “Dreamgirls,” The Muny
  3. Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
  4. Marissa McGowan, “Ragtime,” Stages St. Louis
  5. Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
  6. Jill Abramovitz, “Fiddler on the Roof,” The Muny
  7. Jaelyn Hawkins, “(title of show),” Prism Theatre
  8. Taylor Quick, “Newsies,” Stages St. Louis
  9. Katie Orr, “(title of show),” Prism Theatre
  10. 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)

  1. Adam Heller, “Fiddler on the Roof.” The Muny
  2. John Riddle, “Les Miserables,” The Muny
  3. Jordan Donica, “Les Miserables,” The Muny
  4. Aaron Fischer, “Anastasia,” Tesseract Theatre Company
  5. Tamar Greene, “Ragtime,” Stages St. Louis
  6. Benji Santiago, “In the Heights,” The Muny
  7. Drew Mizell, “Nevermore,” Stray Dog Theatre
  8. Jay Armstrong Johnson, “Anything Goes,” The Muny
  9. Al Bastin, “The Big Machine,” Fly North Theatricals
  10. Clayton Humburg, “American Idiot,” New Line Theatre

BEST ENSEMBLE IN A COMEDY

  1. “Romanov Family Yard Sale,” ERA
  2. “Spirits to Enforce,” Midnight Company
  3. “As You Like It, St. Louis,” Shakespeare Festival
  4. “Woman in Mind (December Bee),” Albion Theare
  5. “Red Jasper,” Michael Madden Productions
  6. “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  7. “Ripcord, “Stray Dog Theatre
  8. “Steel Magnolias,” Stages St. Louis

BEST ENSEMBLE IN A DRAMA

  1. “The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
  2. “August: Osage County,” The Repertory Theatre of St. Louis
  3. “All My Sons,” New Jewish Theatre
  4. “Hold On!” The Black Rep
  5. “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
  6. “The Whale,” St. Louis Actors’ Studio
  7. “Moby Dick,” The Rep
  8. Life is a Dream,” Upstream Theatre
  9. “King Hedley II,” The Black Rep
  10. “Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.

BEST ENSEMBLE IN A MUSICAL

  1. “Anything Goes,” The Muny
  2. “Ragtime,” Stages St. Louis
  3. “Fiddler on the Roof,” The Muny
  4. “Anastasia,” Tesseract Theatre Company
  5. “First Date,” New Jewish Theatre
  6. “In the Heights,” The Muny
  7. “Newsies,” Stages St. Louis
  8. “Les Miserables,” The Muny
  9. ‘(Title of Show),: Prism Theatre Company

BEST LIGHTING DESIGN IN A PLAY

  1. Jayson M. Lawshee, “Red,” New Jewish Theatre
  2.  Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
  3. Sean Savoie, “Hold On!” The Black Rep
  4. William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
  5. Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
  6. Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.

BEST LIGHTING DESIGN IN A MUSICAL

  1. John Lasiter, “Fiddler on the Roof,” The Muny
  2. Rob Denton, “Anything Goes,” The Muny
  3. Sean Savoie, “Ragtime,” Stages St. Louis
  4. Jason Lyons, “Disney’s The Little Mermaid,” The Muny
  5. Tyler Duenow, “Nevermore,” Stray Dog Theatre
  6. Travis Richardson, “Blues in the Night,” The Black Rep
  7. 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.
  1. Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
  2. Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
  3. Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
  4. Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  5. Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
  6. Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
  7. Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival

BEST COSTUME DESIGN IN A MUSICAL

  1. Leon Dobkowski, “Dreamgirls,” The Muny
  2. Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
  3. Brad Musgrove, “Ragtime,” Stages St. Louis
  4. Tristan Raines, “Anything Goes,” The Muny
  5. Brad Musgrove, “Newsies,” Stages St. Louis
  6. Eileen Engel, “Big Machine,” Fly North Theatricals
  7. 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

  1. Wilson Chin, “Waitress,” The Muny
  2. Ann Beyersdorfer, “Newsies,” Stages St. Louis
  3. Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
  4. Arnel Sancianco, “In the Heights,” The Muny
  5. Edward E. Haynes Jr., “Anything Goes,” The Muny
  6. Jamie Bullins, “Blues in the Night,” The Black Rep
  7. 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

  1. Jared Grimes, “Anything Goes,” The Muny
  2. Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
  3. William Carlos Angulo, “In the Heights,” The Muny
  4. Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
  5. Mike Hodges, “Xanadu,” Stray Dog Theatre
  6. Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
  7. Lesia Kaye, “Dreamgirls,” The Muny
  8. Chelsie Johnston, “American Idiot,” New Line Theatre
  9. 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

  1. James Moore, “Les Miserables,” The Muny
  2. Khalid McGee, “Blues in the Night,” Black Rep
  3. Roberto Sinha, “In the Heights,” The Muny
  4. Darryl Archibald, “Fiddler on the Roof,” The Muny
  5. E. Renee Gamez, “Ragtime,” Stages St. Louis
  6. Zach Neumann, “Anastasia,” Tesseract Theatre Company
  7. John Gerdes, “American Idiot,” New Line Theatre
  8. Mallory Golden, “Title of Show,” Prism Theatre Company
  9. Larry Pry, “First Date,” New Jewish Theatre
  10.  Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages

BEST DIRECTOR OF A COMEDY

  1. Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
  2. Aaron Sparks, “Trayf,” New Jewish Theatre
  3. Rebekah Scallet, “The Roommate,” The Rep
  4. Lucy Cashion, “Spirits to Enforce,” The Midnight Company
  5. Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
  6. Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep

BEST DIRECTOR OF A DRAMA

  1. Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
  2. David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
  3. Alan Knoll, “Red,” New Jewish Theatre
  4. Gary Wayne Barker, “All My Sons,” New Jewish Theatre
  5. Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
  6. Ron Himes, “Hold On!” The Black Rep
  7. Philip Boehm, “Life is a Dream,” Upstream Theater
  8. Ellie Schwetye, “Lungs,” Albion Theatre
  9. Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.

BEST DIRECTOR OF A MUSICAL

  1. Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
  2. Marcia Milgrom Dodge, “Anything Goes,” The Muny
  3. Rob Ruggiero, “Fiddler on the Roof,” The Muny
  4. Sam Hayes, “(Title of Show),” Prism Theatre Company
  5. William Carlos Angulo, “In the Heights,” The Muny
  6. Lee Ann Mathews, “First Date,” New Jewish Theatre
  7. Deidre Goodwin, “Ragtime,” Stages St. Louis
  8. Lili-Anne Brown, “Waitress,” The Muny
  9. John Tartaglia, “Disney’s The Little Mermaid,” The Muny
  10. 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

Take Ten With Will Bonfiglio

Take Ten With Will Bonfiglio

By Lynn Venhaus

Will Bonfiglio, long a fixture in both ensemble pieces and one-man shows in the regional professional theater community, is back on stage in familiar territory: Making people laugh.

Post-pandemic, he hasn’t been on St. Louis stages as frequently as he was before COVID, so when he is, it’s a pleasant reminder of what a local treasure he is.

He’s currently appearing as a zany waiter in “First Date” (Nov. 21-Dec. 8) at New Jewish Theatre, singing, dancing and wisecracking. It’s a perfect part for his skillset.

Winner of three St. Louis Theater Circle Awards for Best Performance in a Comedy in a Male or Nonbinary Role, the Wool Studio Theatre is where he has performed some of his best work – the solo shows “Fully Committed” and “Every Brilliant Thing,” plus a two-hander with Jerry Vogel in “Old Wicked Songs,” and ensemble work in “I Now Pronounce,” “Never the Sinner” and “Yentl.”

This production is a homecoming of sorts for him, and he’s thrilled to work with this cast and creative crew.

“It’s a rare and wonderful experience to work on a show where the cast and crew are all such kind and lovely people,” he said.

Mitch Henry-Eagles, Will Bonfiglio and Molly Wennstrom in “First Date.” Photo by Jon Gitchoff

Bonfiglio’s versatility is key to his appeal, for he can blend in when performing with his respected pals in the more experimental groups ERA (“Make Hamlet”) and SATE, and in other small companies — “Mr. Burns, A Post-Electric Play” by R-S Theatrics, “Photograph 51” and “Oedipus Aparatus” at West End Players Guild, and in the former Insight Theater Company’s “Moon Over Buffalo” and “The Importance of Being Earnest.”

But then he’ll venture into musicals. In “Grey Gardens,” which Max & Louie Productions mounted in 2016, he played both young Joseph Kennedy Jr. in the first act and Jerry a delivery boy in the second act.

He was an integral part of the Variety Club Theatre’s productions “The Little Mermaid,” “The Beauty and the Beast,” and “Mary Poppins.”

Two shows in the Wool Studio Theatre were among the four roles in 2016 that earned him four nominations for St. Louis Theater Circle Awards in 2017. Four! To date, he holds the record for performers most-nominated in a single season.

Will Bonfiglio and Madeline Purches in Max & Louie’s “:Grey Gardens.’

He was nominated for outstanding actor in a comedy for “Buyer & Cellar” at Stray Dog Theatre, which he won; for outstanding supporting actor in a comedy for “As You Like It” at Slightly Askew Theatre Ensemble, for outstanding supporting actor in a drama for “Old Wicked Songs” at New Jewish Theatre, and for outstanding supporting actor in a musical for “Grey Gardens” at Max & Louie Productions.

He received his second Circle Award for “Red Scare on Sunset” in 2018 at Stray Dog Theatre, for which he played Mary Dale, and had to dress in drag and do slapstick wearing high heels.

Not only does he have a background in acting, but also in directing, playwrighting, and producing. At COCA (Center of Creative Arts), he serves on the theater faculty, and recently directed “SIX: Teen Edition.”

In his professional career in the arts, he previously served as COCA’s Director of COCAbiz, where he developed and facilitated professional development workshops using the arts to a variety of corporate and nonprofit partners, including Bayer, BJC HealthCare, Comcast, Commerce Bank, Delta Dental, Edward Jones, and TEDxStLouis.

Will Bonfiglio and Shanara Gabrielle in “Red Scare on Sunset.”

Under his leadership, the program saw an expansion of partnerships to increase access for nonprofit and community organizations as well as the launch of a new equity-centered curriculum around social justice and belonging for all communities.

In 2020, he became one of the youngest people selected for FOCUS Leadership St. Louis.
He is currently the artistic director of theatre at COCA.

Will earned a master’s degree in theatre and performance studies and a master’s in nonprofit management from Washington University in St Louis. His undergraduate degree is from Vanderbilt University in Nashville, Tenn.

An alumnus of the Fulbright Program, he often teaches courses on theatre and performance studies at several area universities.

“The Importance of Being Earnest” at Insight Theatre with Will, Julia Crump, Gwen Wotowa and Pete Winfrey.

In the meantime, he and the cast of “First Date” are entertaining audiences

The story unfolds in real time as two young adults meet for a blind date at a local restaurant. Aaron, a nervous newbie to blind dates, has been set up with Casey, a more experienced dater by her brother-in-law, who works with Aaron.

Casey and Aaron’s inner critics take on a life of their own when they become supportive best friends, manipulative exes and protective parents, who sing and dance through icebreakers, appetizers and potential conversational land mines. His musical solo “I’d Order Love” is done with a wink and a smile. He also doubles as Casey’s therapist

 First Date at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running November 21 to December 8. Performances are on Thursdays at 7:30pm, Saturdays at 4pm and 8pm, and Sundays at 2pm, except for Thanksgiving weekend where there will be no Thursday show, but a special “Black Friday Getaway Matinee” at 2pm on November 29. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

ERA’s “Moscow,” a Zoom play aka “Zheatre,” from 2020 during pandemic shutdown. Screenshot by Lynn Venhaus.

Take Ten Q&A with Will Bonfiglio

1. What is special about your latest project?

The team. It really feels like a community I want to be a part of, and I feel lucky we get to spend so much time together throughout the process.

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

I’ve always loved theatre, and St. Louis has so much of it! For a city of our size, we are truly blessed with an abundance of opportunities to perform and produce work.

3. How would your friends describe you?

Oh, this is so tricky! I honestly don’t know — overscheduled?

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

As my friends and family know– and are regularly annoyed about (see answer to question 3) — I am often in school, taking or teaching classes in my spare time. But when it’s not the school year, I love to travel when my schedule allows.

5. What is your current obsession?

Not necessarily current, but my always-obsession is Dolly Parton. I’m currently teaching a class on her at WashU this semester. “It’s hard to be a diamond in a rhinestone world!”

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

Perhaps that, although I do love performing and being onstage, I’m actually quite introverted.

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

Probably living abroad after college for a year. It taught me resilience and provided me with many rich friendships that still remain today.

8. Who do you admire most?

My family.

9. What is at the top of your bucket list?

Walk the Camino de Santiago.

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

Community. While I applaud and appreciate how everyone tried to continue making work virtually during that time, I am so happy that Zheatre (Zoom theatre) didn’t stick. There’s nothing like a live performance.

11. What is your favorite thing to do in St. Louis?

I enjoy visiting our many wonderful arts and cultural institutions and also trying new restaurants and coffee shops. Love exploring all our great city has to offer!

12. What’s next?

A break!!

“Buyer & Cellar” at Stray Dog Theatre.

More About Will

Name: Will Bonfiglio

Current location: St. Louis, MO

Education: MA, WashU, Theatre & Performance Studies

Day job: Artistic Director of Theatre, COCA-Center of Creative Arts

First job: St. Louis Bread Company.

First play or movie you were involved in or made: I did a few plays here and there growing up, but my first big thing was “Guys and Dolls” in high school

Awards/Honors/Achievements: 3 St. Louis Theatre Circle Awards for Outstanding Actor in a Comedy

Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre in 2023. Photo by Jon Gitchoff.

Heartfelt Storytelling in PPA Alumni Theatre’s Moving ‘As Told By Us’

Heartfelt Storytelling in PPA Alumni Theatre’s Moving ‘As Told By Us’

By Lynn Venhaus

Two life-affirming original one-acts grab the heart through humor and genuine emotion for a moving night of original stories in “As Told By Us” presented by Prison Performing Arts’ Alumni Theatre Company.

Featuring works by two Missouri playwrights who have written from their heart about home, both strike universal chords with their observations on life, love, loss and surviving despair, heartaches and regrets. These are characters that feel real.

“Go Before I Do,” written by Hazel McIntire, features Katherine Leemon as a world-weary mixologist working at a craft cocktail bar. In walks a daughter who is meeting her father for a drink.

Jocelyn Padilla plays a sophisticated, well-traveled woman, and her dad, played by David Nonemaker is a typical Midwest good guy who likes simple things, and simple pleasures. They are dealing with the loss of their mother and wife – in different ways.

Under Eric Satterfield’s direction, it’s a lived-in portrait, warm with humor from quoting “The Golden Girls” but also expressing the aches of loss, and the daunting task of moving forward.

Jocelyn Padilla and David Nonemaker. Photo by RayBayCreates.

The characters explore grief and loss as they grow and learn to understand. Its emotional impact sneaks up on you when you least expect it. “Go Before I Do” was first presented by SATE at their Aphra Behn Festival in 2022.

It’s a good start to this two-act program, setting the table for “Don’t Be a Hero, Thank You.”

Leemon, who played the bartender in the first one-act, is the playwright of the exceptional “Don’t Be a Hero, Thank You.” Be prepared for its emotional wallop as force of nature LaWanda Jackson is raw and vulnerable in a remarkably honest performance.

Jackson mesmerizes in a hard-fought journey to make sense of her incarceration and moving beyond those years with self-acceptance, and a desire to be everything she can become.

Directed by Rachel Tibbetts, the play unfolds with warmth, humor, sweetness, light, interesting observations and outlooks on life. When everything is taken from you, how do you bounce back and re-enter society?

Kristen Strom and LaWanda Jackson. Photo by RayBayCreates.

This tale also tackles friendship, with Kristen Strom in several supporting roles. When Jackson talks about what it means to be a contemporary woman, she is as funny as a stand-up comedian delivering a monologue. Sarcasm with a smile, delivered sincerely. But she always keeps it real, and her ability to express a full range of emotions in that one-act is impressive..

Jackson’s work is one of my favorite performances of the year, and the play one of the candidates for Best New Play.

The tech work is crisp, with Bess Moynihan’s astute lighting design and a set design that’s reveal is best not spoiled (misty-eyed memories!), Brian Dooley’s expert sound design – and deft needle drops, and Tyler White’s modern casual costume design. Eric Satterfield’s project designs are also noteworthy.

In the intimate confines of the Greenfinch performance space, Prison Performing Arts presented a cozy, comforting environment to share beautiful stories about going through the hard knocks of life and coming through the other side. Poignant and powerful, they resonated deeply because two pieces were a sample of joy that can be found in the unlikeliest of places and with unexpected connections.

PPA presents “As Told By Us” Thursday through Sunday, Nov. 14-17, at the Greenfinch Theatre & Dive 2525 S. Jefferson Avenue, St. Louis, Mo 63104. Sunday matinee at 2 p.m., evenings Thursday – Saturday at 7:30 p.m. Tickets can be purchased through Purple Pass. For more information, please visit www.prisonperformingarts.org. Content warning/Trigger warning:Be advised that this production contains mature content and references to suicide.

LaWanda Jackson as Kate spills her life story. Photo by RayBayCreates.

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

By Lynn Venhaus

A movable feast of tumbling ideas and kernels of wit, “Wolf Kings” is an inspired piece of inter-disciplinary performance by indomitable producing partners Maggie Conroy and Chuck Harper of YoungLiars.

The producers say they like to set hearts and minds on fire with bold theatricality, and this one has plenty of sparks to ignite. Written and directed by Harper, it’s a one-act fusion of original thought, critical thinking and re-imagined classics that are mysterious puzzle pieces in a larger picture designed to provoke and engage.

Back after a five-year hiatus, the avant-garde troupe was known for interpreting works in a lyrical and collage-like way, comparable to the like-minded experimental theater companies SATE and ERA.

They all draw from a close-knit collective that understands their assignments in interpreting these works. These performers don’t do dull – they bend, stretch and draw from literature to make statements and explore possibilities of live theater.

In “Wolf Kings,” a lionhearted quintet of women and that one-man band Cassidy Flynn take us in multiple directions, and the enigmatic journey appears to start in a Parisian literary salon.

With clever nods to fairy tales, Victorian theatricals, and French writers, Conroy and Harper adapted text and were inspired by the writings of Angela Carter, Alphonse Daudet, Marie de Rabutin-Chantal Sevigne, and Benjamin Walker.

Maggie Conroy and Kay Ailee Bush.

The ensemble had input as well as to shaping what their weekly gathering to ‘divert, distract and delight each other’ would be. Conroy role plays, as does Ashwini Arora, Frankie Ferrari, Keating and Kay Ailee Bush, who show up as if they are visiting Gertrude Stein’s studio at 27 Rue de Fleurus.

Their similar attire suggests a performance within a performance, setting the stage for quick changes – and revolving around a red cape. Marcy Wiegert designed the costumes to reflect a cabaret quality, then transforming into characters.

Flynn arrives, insistent to crash the clandestine soiree. But this eclectic mix – one arrives carrying a hatchet – isn’t exactly a book club although they are smart and could be hobnobbing with Zelda and Scott Fitzgerald, and other intellectuals and philosophers.

Balancing comedy and drama, the players are modern Bohemians who enjoy each other’s company. They demonstrate their verbal dexterity with a fun parlor game called “Compliments,” and quick-witted conversations ensue.

They play vinyl records, offering interesting needle drops for a dance party where they execute precise movements, choreographed by Mikey Thomas. Sound board operator Morgan Schindler, following Harper’s sound design, keeps us on our toes.

Eventually, they land on cloak-and-dagger storytelling, where they probe issues related to the Brothers Grimm fairy tale “Little Red Riding Hood,” but also 17th century folk tale versions. Converging in that proverbial cabin in the woods appears to be somehow connected to Angela Carter’s feminist short stories “The Company of Wolves,” “Wolf-Alice,” and “The Werewolf.”

Cassidy Flynn and Keating.

Who exactly is in danger and how straying from the path can be interpreted are given different options. Some characters go through metamorphosis, and there’s a sharp menacing turn as lines are blurred between those oppressed and who is oppressing in the forest. The actors display a passion and a purpose.

Lighting designer Morgan Brennan enhances the paradoxical elements.

While viewers may not understand where the playwrights are taking us, one constant is unpredictability. The group’s keen observational skills are intriguing to watch unfold through a tight-rope edge.

Because of the perceptive performers and their finely tuned interplay, the evening’s theatrical “Wolf Kings” challenges us as it entertains – taking us in bold directions as we try to find our way.

YoungLiars presents “Wolf Kings” Thursdays through Saturdays at 8 p.m. from Nov. 7 to Nov. 23 at The Chapel, 6238 Alexander Drive in Clayton, Mo. For more information: www.youngliarstheatre.org.

Frankie Ferrari and Kay Ailee Bush.

Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

By Lynn Venhaus

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…)

  1. Barbenheimer at the movie theaters
  2. The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
  3. 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.
  4. 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)

  1. De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
  2. John Riddle singing “Anthem” in “Chess” at The Muny
  3. Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
  4. 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
  5. Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
  6. The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
  7. Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
  8. Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
  9. Christian Douglas singing “Maria” in “West Side Story” at The Muny
  10. 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

  1. Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
  2. Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
  3. Michael Hobin “Disney’s Beauty and the Beast,” The Muny
  4. Cameron Hadley, “Caroline or Change,” Fly North Theatricals
  5. Malachi Borum, “Caroline or Change,” Fly North Theatricals
  6. Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
  7. Jada Little “The Piano Lesson,” Encore! Theatre Group
  8. Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
  9. 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

  1. “One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  2. “Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  3. “This Palpable Gross Play,” SATE
  4. “See You in a Minute,” Contraband Theatre
  5. “In Bloom,” New Play Festival, Tesseract Theater Company
  6. “The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
  7. “Feminine Energy,” Mustard Seed Theatre
  8. “From the Garden,” Wee Laddie Theatrics

“Clue” at Stages St Louis

BEST COMEDY PRODUCTIONS

  1. Clue – Stages St. Louis
  2. Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
  3. The Birthday Party – Albion Theatre
  4. Gruesome Playground Injuries – The Repertory Theatre of St. Louis
  5. Broadway Bound – New Jewish Theatre
  6. Merry Wives – St. Louis Shakespeare Festival Touring Company
  7. This Palpable Gross Play – SATE
  8. Outside Mullingar – West End Players Guild
  9. A Midsummer Night’s Dream – St Louis Shakespeare
  10. Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare

BEST DRAMA PRODUCTIONS

  1. It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
  2. The Immigrant – New Jewish Theatre
  3. The Lion in Winter – The Midnight Company
  4. Uncle Vanya – St Louis Actors’ Studio
  5. The Lehman Trilogy – The Repertory Theatre of St. Louis
  6. Skeleton Crew – The Black Repertory Theatre of St Louis
  7. What the Constitution Means to Me – Max and Louie Productions
  8. Mindgame – Albion Theatre
  9. Doubt: A Parable – Prism Theatre Company
  10. Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis

BEST MUSICAL PRODUCTIONS

  1. Caroline, or Change – Fly North Theatricals
  2. West Side Story – The Muny
  3. Into the Woods – New Jewish Theatre
  4. Eubie! – The Black Rep
  5. Million Dollar Quartet – Stages St. Louis
  6. Disney’s The Beauty and the Beast – The Muny
  7. Beautiful: The Carole King Musical– The Muny
  8. Chess – The Muny
  9. Q Brothers A Christmas Carol – St Louis Shakespeare Festival
  10. Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival

BEST SUPPORTING ACTRESS IN A COMEDY

  1. Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
  2. Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  3. Zoe Vonder Haar, Clue, Stages St. Louis
  4. Annalise Webb, Absent Friends, Albion Theatre
  5. Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
  6. Anna Langdon, Absent Friends, Albion Theatre
  7. Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
  8. Diana DeGarmo, “Clue,” Stages St. Louis
  9. Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
  10. Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre

BEST SUPPORTING ACTOR IN A COMEDY

  1. Chuck Winning, The Birthday Party, Albion Theatre
  2. Nick Freed, The Birthday Party, Albion Theatre
  3. Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Bryce A Miller, The Nerd, Moonstone Theatre Company
  5. Chuck Brinkley, Broadway Bound, New Jewish Theatre
  6. Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
  7. Charlie Franklin, Clue, Stages St. Louis
  8. 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

  1. Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  2. Colleen Backer, Outside Mullingar, West End Players Guild
  3. Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
  4. Teresa Doggett, The Birthday Party, Albion Theatre
  5. Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
  6. Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
  7. Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
  8. Nicole Angeli, Absent Friends, Albion Theatre
  9. Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio

BEST ACTOR IN A COMEDY

  1. Mark Price, Clue, Stages St. Louis
  2. Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
  3. Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Brian Slaten, Gruesome Playground Injuries, The Rep
  5. Jacob Flekier, Broadway Bound, New Jewish Theatre
  6. Jason Meyers, Outside Mullingar, West End Players Guild
  7. Armando Duran, Murder on the Orient Express, The Rep
  8. Joneal Joplin, Grand Horizons, Moonstone Theatre Company
  9. Ted Drury, The Birthday Party, Albion Theatre
  10. 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

  1. Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
  2. Rae Davis, Feminine Energy, Mustard Seed Theatre
  3. Mindy Shaw, The Immigrant, New Jewish Theatre
  4. Rhiannon Creighton, Doubt, Prism Theatre Company
  5. Ashley Bauman, The Years, The Midnight Company
  6. Nicole Angeli, Mindgame, Albion Theatre Company
  7. Kelly Howe, See You in a Minute, Contraband Theatre Company

BEST SUPPORTING ACTOR IN A DRAMA

  1. Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
  2. David Wassilak, The Immigrant, New Jewish Theatre
  3. Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
  4. Joey File, The Years, Midnight Company
  5. John Wolbers, The Lion in Winter, The Midnight Company
  6. Joel Moses, The Lion in Winter, The Midnight Company
  7. Joseph Garner, See You in a Minute, Contraband Theatre
  8. 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

  1. Alicia Reve Like, The Light, The Black Rep
  2. Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
  3. Lavonne Byers, The Lion in Winter, The Midnight Company
  4. Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
  5. Kate Durbin, Doubt, Prism Theatre Company
  6. Ricki Franklin, See You in a Minute, Contraband Theatre Company
  7. Velma Austin, Skeleton Crew, The Black Rep
  8. Jenni Ryan, Gloria: A Life, New Jewish Theatre
  9. Tiffany Oglesby, Confederates, The Rep
  10. Erin Rene Roberts, Feminine Energy, Mustard Seed Theatre
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre

BEST ACTOR IN A DRAMA

  1. Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
  2. John Contini, Barrymore, St. Louis Actors’ Studio
  3. John Pierson, Uncle Vanya, St Louis Actors’ Studio
  4. Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
  5. Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
  6. Nick Freed, Mindgame, Albion Theatre
  7. Chuck Winning, Mindgame, Albion Theatre
  8. Kelvin Roston Jr, Twisted Melodies, The Rep
  9. Olajuwon Davis, Skeleton Crew, The Black Rep
  10. Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre

BEST SUPPORTING ACTRESS IN A MUSICAL

  1. Diana DeGarmo, Aida, Stages St. Louis
  2. Taylor Louderman, Chess, The Muny
  3. Kimmie Kidd-Booker, 9, New Line Theatre
  4. Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
  5. Jerusha Cavazos, West Side Story, The Muny
  6. Katie Geraghty, Sister Act, The Muny
  7. Jackie Burns, Beautiful The Carole King Musical, The Muny
  8. Sarah Gene Dowling, Into the Woods, New Jewish Theatre
  9. Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
  10. Jenny Mollet, Aida, Stages St. Louis
  11. Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
  12. Grace Langford, Into the Woods, Stray Dog Theatre

BEST SUPPORTING ACTOR IN A MUSICAL

  1. Jarrod Spector, Beautiful The Carole King Musical, The Muny
  2. Phil Leveling, Into the Woods, New Jewish Theatre
  3. Duane Foster, Caroline or Change, Fly North Theatricals
  4. Ken Page, West Side Story, The Muny
  5. Jon Hey, Into the Woods, Stray Dog Theatre
  6. Ryan Vasquez, Little Shop of Horrors, The Muny
  7. Albert Jennings, Aida, Stages St Louis
  8. Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
  9. Adrian Villegas, Rent, The Muny
  10. Drew Mizell, Into the Woods, Stray Dog Theatre
  11. James T. Lane, Sister Act, The Muny
  12. Claybourne Elder, Disney’s Beauty and the Beast, The Muny

BEST ACTRESS IN A MUSICAL

  1. De-Rance Blaylock, Caroline or Change, Fly North Theatricals
  2. Sara Sheperd, Beautiful The Carole King Musical, The Muny
  3. Molly Wennstrom, Into the Woods, New Jewish Theatre
  4. Bryonha Marie, Sister Act, The Muny
  5. Melissa Felps, The Mad Ones, Tesseract Theatre Company
  6. Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
  7. Guinevere Govea, Spells of the Sea, Metro Theatre Company
  8. 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)

  1. John Riddle, Chess, The Muny
  2. Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
  3. Ben Crawford, Disney’s Beauty and the Beast, The Muny
  4. Robin De Jesus, Little Shop of Horrors, The Muny
  5. Drew Mizell, Saturday Night Fever, Stray Dog Theatre
  6. Kevin O’Brien, Into the Woods, New Jewish Theatre
  7. Christian Douglas, West Side Story, The Muny
  8. Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  9. Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”

BEST ENSEMBLE IN A COMEDY

  1. Clue, Stages St. Louis
  2. The Birthday Party, Albion Theatre
  3. Who’s Afraid of Virginia Woolf? Stray Dog Theatre
  4. Broadway Bound, New Jewish Theatre
  5. The Brechtfast Club, ERA
  6. A Midsummer Night’s Dream, St Louis Shakespeare
  7. This Palpable Gross Play, SATE
  8. Absent Friends, Albion
  9. Murder on the Orient Express, The Rep
  10. Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA

BEST ENSEMBLE IN A DRAMA

  1. It’s A Wonderful Life: Live Radio Play, The Rep
  2. The Immigrant, New Jewish Theatre
  3. Uncle Vanya, St. Louis Actors’ Studio
  4. The Lion in Winter, The Midnight Company
  5. The Lehman Trilogy, The Rep
  6. Skeleton Crew, The Black Rep
  7. Wrens, Prism Theatre Company
  8. Doubt: A Parable, Prism Theatre Company
  9. Feminine Energy, Mustard Seed Theatre

BEST ENSEMBLE IN A MUSICAL

  1. Caroline, or Change, Fly North Theatricals
  2. Eubie! The Black Rep
  3. Disney’s Beauty and the Beast, The Muny
  4. Million Dollar Quartet, Stages St Louis
  5. Q Brothers Christmas Carol, St Louis Shakespeare Festival
  6. West Side Story, The Muny
  7. Into the Woods, New Jewish Theatre
  8. Into the Woods, Stray Dog Theatre
  9. Spells of the Sea, Metro Theatre Company
  10. 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

  1. Sean M. Savoie, Clue, Stages St. Louis
  2. Anshuman Bhatia, Gruesome Playground Injuries, The Rep
  3. Jason Lynch, Murder on the Orient Express, The Rep
  4. John Wylie, Twelfth Night, St Louis Shakespeare Festival
  5. Erik Kuhn, This Palpable Gross Play, SATE

BEST LIGHTING DESIGN IN A DRAMA

  1. Christina Watanabe, It’s a Wonderful Life, The Rep
  2. Xavier Pierce, Twisted Melodies, The Rep
  3. Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
  4. Jayson M. Lawshee, Skeleton Crew, The Black Rep
  5. Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny

BEST LIGHTING DESIGN IN A MUSICAL

  1. Rob Denton, Chess, The Muny
  2. Sean M Savoie, Million Dollar Quartet, Stages St. Louis
  3. Herrick Goldman, Aida, Stages St. Louis
  4. Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
  6. Jasmine Williams, Eubie!, The Black Rep
  7. Heather Gilbert, Rent, The Muny

BEST VISUAL PROJECTIONS

  1. Alex Bosco Koch, Chess, The Muny
  2. Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
  3. Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep


BEST SOUND DESIGN IN A COMEDY

  1. Beef Gratz, Clue, Stages St. Louis
  2. Kareem Deames, Broadway Bound, New Jewish Theatre

BEST SOUND DESIGN IN A DRAMA

  1. Michael Costagliola, It’s a Wonderful Life, The Rep
  2. Kareem Deames, The Immigrant, New Jewish Theatre
  3. G Glausen, Twisted Melodies, The Rep
  4. 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

  1. Brad Musgrove, Clue, Stages St. Louis
  2. Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
  3. Fabio Toblini, Murder on the Orient Express, The Rep
  4. Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
  5. Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre

BEST COSTUME DESIGN IN A DRAMA

  1. Liz Henning, The Lion in Winter, The Midnight Company
  2. Michelle Friedman Siler, The Immigrant, New Jewish Theatre
  3. An-Lin Dauber, It’s a Wonderful Life, The Rep
  4. Sam Hayes, Wrens, Prism Theatre Company
  5. Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company

BEST COSTUME DESIGN IN A MUSICAL

  1. Robin McGee, Disney’s Beauty and the Beast, The Muny
  2. Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
  3. Brad Musgrove, Aida, Stages St Louis
  4. Marc W. Vital III, Eubie!, The Black Rep
  5. Michelle Friedman Siler, Into the Woods, New Jewish Theatre
  6. Zachary Phelps, Kinky Boots, Tesseract Theatre
  7. Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep

BEST SCENIC DESIGN IN A DRAMA

  1. An-Lin Dauber, It’s a Wonderful Life, The Rep
  2. Sara Brown, The Lehman Trilogy, The Rep
  3. Nina Ball, Confederates, The Rep
  4. Margery and Peter Spack, Skeleton Crew, The Black Rep
  5. Matt Stuckel, Doubt, Prism Theatre Company
  6. (tie) James Wolk, Suddenly Last Summer

BEST SCENIC DESIGN IN A COMEDY

  1. Tim Macabee, Murder on the Orient Express, The Rep
  2. Lee Savage, Clue, Stages St Louis
  3. Dunsi Dai, Grand Horizons, Moonstone Theatre Company
  4. Margery and Peter Spack, Broadway Bound, New Jewish Theatre
  5. Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
  6. Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival

BEST SCENIC DESIGN IN A MUSICAL

  1. Edward E Haynes Jr., Chess, The Muny
  2. Rob Lippert, Godspell, Stray Dog Theatre
  3. Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
  4. C. Otis Sweezey, Into the Woods, New Jewish Theatre
  5. Adam Koch, Million Dollar Quartet, Stages St Louis
  6. Kristen Robinson, Little Shop of Horrors, The Muny
  7. Tim Jones, Eubie! The Black Rep
  8. Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
  9. Ryan Douglass, Beautiful The Carole King Musical, The Muny

BEST CHOREOGRAPHY

  1. Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
  2. Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
  3. Mike Hodges, Saturday Night Fever, Stray Dog Theatre
  4. Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Maggie Nold, Kinky Boots, Tesseract Theatre Company
  6. Parker Esse, West Side Story, The Muny (original choreography reproduced)
  7. Denis Jones, Sister Act, The Muny
  8. Luis Salgado, Aida, Stages St. Louis
  9. Patricia Wilcox, Beautiful, The Muny
  10. Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre

BEST MUSICAL DIRECTOR

  1. Colin Healy, Caroline or Change, Fly North Theatricals
  2. James Moore, West Side Story, The Muny
  3. Larry D. Pry, Into the Woods, New Jewish Theatre
  4. Charlie Alterman, Beautiful the Carole King Musical, The Muny
  5. Leah Schultz, Saturday Night Fever, Stray Dog Theatre
  6. David Sonneborn, Million Dollar Quartet, Stages St. Louis
  7. Jason DeBord and Michael Horsley, Chess, The Muny
  8. Leah Schultz, Into the Woods, Stray Dog Theatre

BEST DIRECTOR OF A COMEDY

  1. Steve Bebout, Clue. Stages
  2. Alan Knoll, Broadway Bound, New Jewish
  3. Suki Peters, The Birthday Party, Albion
  4. Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
  5. Lucy Cashion, The Brechtfast Club, ERA
  6. Becks Redman, Gruesome Playground Injuries, The Rep
  7. Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio

BEST DIRECTOR OF A DRAMA

  1. Kate Bergstrom, It’s a Wonderful Life, The Rep
  2. Carey Perloff, The Lehman Trilogy, The Rep
  3. Rebeka Scallet, The Immigrant, New Jewish Theatre
  4. Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
  5. Tom Kopp, The Lion in Winter, The Midnight Company
  6. Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre

BEST DIRECTOR OF A MUSICAL

  1. John Tartaglia, Disney’s Beauty and the Beast. The Muny
  2. Robert Quinlan, Into the Woods, New Jewish Theatre
  3. Josh Rhodes, Chess, The Muny
  4. Brian McKinley, Caroline or Change, Fly North Theatricals
  5. Justin Been, Into the Woods, Stray Dog Theatre
  6. 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

Deadline for SATE’s Aphra Behn Festival Submissions on Dec. 11

Deadline for SATE’s Aphra Behn Festival Submissions on Dec. 11

SATE is seeking submissions for Directors and Writers for the Eighth Annual Aphra Behn Festival, which will be presented March 29-31, 2024. The theme for the 2024 Festival is “Transformations”. 

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, “Or,” by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, “The Rover”, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. “The Rover” was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy. 

For artists interested in applying to be a director, email stl.sate@gmail.com by December 11, 2023 with a personal experience that inspired your interest in directing for theatre. SATE’s co-producers, Rachel Tibbetts and Ellie Schwetye, will contact applicants for a further interview.

For artists interested in submitting a play, email it to stl.sate@gmail.com by December 11, 2023. The play must contain the following ingredients:

  • Theme: Transformations
  • 3 characters max
  • Must be no longer than 20 minutes
  • A reference to a fairytale/childhood story or character
  • A mention of a Shakespeare play or character
  • A magic trick
  • One element (air, water, fire, earth) used in excess
  • A moment of music using one of the following songs:
    • Change or Telling Stories by Tracy Chapman
    • White Rabbit by Jefferson Airplane
    • Changes by David Bowie
    • Heads will Roll by the Yeah Yeah Yeahs
  • Utilize text created by the Spoken Word Artists

SATE is partnering with Prison Performing Arts (PPA) and their Spoken Word artists in Vandalia, MO, who have written poems following the season theme and inspired by fairy tales and children’s stories. Click the link above or here to read these poems.

The Eighth Annual Aphra Behn Festival will be performed at the Chapel (6238 Alexander Drive, 63105), across from Forest Park, March 29-31, 2024. Rehearsals will begin the first week of March 2024.

SATE will be hiring three directors and three writers for the 2023 Aphra Behn Festival. Artists of all ethnicities, races, ages, abilities, and backgrounds are encouraged to apply. Submissions from applicant directors and writers will be reviewed by members of SATE’s Artistic Advisory Ensemble.

SATE is grateful for the support of the St. Louis Regional Arts Commission, the Missouri Arts Council, the Steve Nelson Memorial Playwright’s Fund, and the Siteman Family Charitable Fund for making the Eighth Annual Aphra Behn Festival possible.

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

By Lynn Venhaus

With full moon magic this week, step into the unique and absurd world created by the imaginative minds at SATE ensemble theatre for “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream.”

It’s Shakespeare flipped inside out, an end-of-summer trifle that follows SATE’s award-winning “Bronte Sister House Party” last year and Equally Represented Arts (aka ERA) with their thoroughly clever “The Residents of Craigslist.”

This ensemble is an appealing, adroit, and gifted group that is fully committed to appearing as if they are self-absorbed, clueless, temperamental, needy, and incompetent actors as the Mechanicals, in addition to feuding royals, and mismatched lovers.

The Mechanicals. Photo by Joey Rumpell.

The innovative Lucy Cashion, in a class all by herself, directs here with a touch of whimsy and a focus on the quirky. She is particularly good at dissecting classics and putting her own spin on them, such as “Trash Macbeth” in 2016 for ERA (St. Louis Theater Circle Award for directing) and “Oedipus Apparatus” for SATE in 2017.

She teams up here with the multi-hyphenate Ellie Schwetye, a distinctive writer also good at different takes on Jane Austen (“First Impressions,” St. Louis Theater Circle Award for Best New Play in 2018), who has adapted this version of Shakespeare’s beloved 16th century comedy.

Normally, the play starts with royal wedding planning, gets sidetracked with love potions and mixed-up pairings, and features a troupe of inept actors rehearsing a play as the special occasion entertainment. Instead of being the side hustle, the Mechanicals have the spotlight, and they shine in all their peculiar glory.

So, dive into their world, not knowing where you will go. You may think you know this play, but here, they’re steering the ship into uncharted, yet kinda familiar, waters. And that’s the fun of it.

The Mechanicals are referred to as skilled manual laborers, and others look down on them. But for this amateur troupe, there’s no way to go but up. Kayla Ailee Bush is bellows-mender Francis Flute, Andre Eslamian is weaver Nick Bottom, Anthony Kramer Moser is joiner Snug, Joshua Mayfield is tinker Tom Snout, Ross Rubright is tailor Robin Starveling, and Kristen Strom is carpenter Peter Quince, the director. Strom’s presiding over the circus as if she’s Orson Welles directing the Mercury Theatre.

Victoria Thomas and Ross Rubright. Photo by Joey Rumpell.

Moser is very funny getting into his lion role, and with the others, their idiosyncrasies emerge as they develop the characters for the tragic love story of “Pyramus and Thisbe,” set in Babylon. Andre Eslamian plays Bottom as an insufferable know-it-all. Joshua Mayfield’s Tom Snout is perturbed about how he’s moved around, and so is Kayla Ailee Bush’s Francis Flute. (The sextet is so bad, the audience thinks it’s a comedy). Master thespians, you know.

Well, they may be delusional, but they are giving it their all as they prepare to mount the play-within-a-play, hopeful of entertaining at Theseus and Hippolyta’s royal wedding. Of course, they question their parts, bicker with castmates and Quince, trying to get the attention they need and ‘deserve.’  

Now, in context, we don’t see Theseus and Hippolyta here, but they are the toast of the town, as he is the Duke of Athens and she is the Queen of the Amazons.

I digress.

Puck/Robin Starveling (Ross Rubright), Titania (Victoria Thomas) and Oberon (Spencer Lawton) are outfitted to look like old-timey movie stars of the silent era, extras in “The Great Gatsby,” or maybe Puck is the bartender in “The Shining.”

They have an aristocratic air, and wear Liz Henning’s gorgeous period attire beautifully. As the king and queen of the fairies, Titania and Oberon are estranged and feuding, and Thomas and Lawton make that obvious, as if they are reciting lines in a Noel Coward play.

In another flip, Oberon falls in love with Bottom, who’s now costumed as a donkey. Hee-haw! Eslamian and Lawton display deft physical comedy skills during this turn of events.

Oberon and Bottom. Photo by Joey Rumpell.

Dapper in tails, Ross Rubright introduces himself as Robin Starveling as he welcomes the audience. The tall Rubright is visually striking, and then he begins his contrasting monologues, as if auditioning, and reads a commercial for Lunesta, a prescription sleep aid, including a long list of side effects. It sets the mischievous mood beautifully.

Rubright may not be sprite-size, but as Puck, he smoothly moves around creating dazed and confused mayhem with his lantern, wafting potion, and magic powers.

That iconic butterfly logo will be referred to several times and its shimmering wings used in another ‘wow’ vision from Henning.

Now the star-crossed lovers make an appearance too, as the cast doubles roles: Hermia (Bush), Lysander (Moser), Helena (Strom), and Dementrius (Mayfield). In Shakespeare’s original, Hermia is in love with Lysander, but her father wants her to marry Demetrius, who is in love with her, but Helena is in love with him. It’s complicated.

The creative team is first-rate, too, with Erik Kuhn’s atmospheric lighting design noteworthy. Joe Taylor’s original music score is a delightful throwback to such ‘30s styles as “Moonlight Serenade” and Cole Porter.

 Cashion and Schwetye collaborated on the scenic design – a summer house’s study where Titania and Oberon are ensconced, and use front space for the woodland where rehearsals are staged. Jimmy Bernatowicz, the stage manager, and Rachel Tibbetts, the co-producer, also contributed to the overall experience.

The Mechanicals. Photo by Joey Rumpell.

The play has a fantasy quality reminiscent of the 1935 movie, which is mesmerizing in its depiction of the glistening fairies frolicking in the forest created through rudimentary visual effects back then. (The casting is memorable too – James Cagney is Nick Bottom and Mickey Rooney is Puck!)

“This Palpable Gross Play” is tantalizing with its witty take on illusions and theme of metamorphosis. The folly is fun, thanks to the harmonious cast and crew’s efforts. Adventurous theatergoers can applaud their good fortune at seeing a fresh interpretation of an enduring classic.

Note: The script of “This Palpable Gross Play” will also receive productions with Clayton High School and with Prison Performing Arts.

SATE is presenting “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream” Aug. 16 through Sept. 2, with performances Wednesday through Saturday at 8 p.m. at The Chapel, 6238 Alexander Drive. It is 90 minutes without an intermission. Tickets are $25 and can be purchased through Eventbrite. For more information, visit www.satestl.org.

Photo by Joey Rumpell.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE presents the Seventh Annual Aphra Behn Festival, May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.

This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.

2023 Festival Plays

Bold Stroke for a Villain by Summer Baer
Directed by Emma Glose
Inspired by Hannah Cowley’s Bold Stroke for a Husband
Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson
Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.

Lieblingstante, by Aurora Behlke
Directed by Kayla Ailee Bush
Based off The Uncle by Princess Amalie of Saxony
Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe
Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.

reANIMA by Aly Kantor
Directed by Britney N. Daniels
A speculative subversion of Amelia Rosselli’s Anima
Performed by Keating and Taylor Kelly
Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?

PRODUCTION ENSEMBLE
Stage Manager: Spencer Lawton
Costume Design: Liz Henning
Lighting Design: Michael Sullivan
Graphic Design: Dottie Quick
Photography: Joel Rumpell
Set/Props Design: Rachel Tibbetts, Ellie Schwetye
Sound Design: Emma Glose, Ellie Schwetye
Intimacy Coordinator: Rachel Tibbetts