Production Team Includes Director Paige Price and Scenic Designer Kate Rance

Stages St. Louis is proud to unveil the stellar ensemble cast for its upcoming production of “Steel Magnolias.” This beloved story, known for its memorable characters and heartfelt message, will grace the stage from May 31 – June 30 in The Ross Family Theatre at the Kirkwood Performing Arts Center.

In “Steel Magnolias,” you will take a trip south to the town of Chinquapin, Louisiana and join the ladies at Truvy’s Salon in Chinquapin, Louisiana. There anyone who’s anyone not only comes to get their hair cut and styled, but also leaves with free advice…whether asked for or not. Along with her eager assistant Annelle, Truvy pampers a collection of clients with both style and gossip: M’Lynn and her soon-to-be-married daughter Shelby, the wisecracking and crotchety Ouiser, and the well-to-do Clairee. Together these touching, heartfelt, outspoken, and hilarious ladies forge friendships as strong as steel that help them through both the good times and the bad.

The 2024 Season also includes the smash-hit Disney’s Newsies and concludes with the dazzling Ragtime.

AMY LOUI (M’Lynn) is thrilled to make her STAGES debut. Amy has played every STL Equity stage but one. Regional theaters include Greenbrier Valley Theatre, Copper Mountain Rep, Herringbone Productions Hawaii, STAGES Houston. Recent roles: All My Sons (Kate), Silent Sky (Henrietta), Sweat (Tracy), My Name Is Asher Lev (all women). Nominated for multiple Kevin Kline/Theater Circle
Awards, Amy is also a producer and voice talent. Love to all steel magnolias out there – the world needs you.

TAYLOR QUICK (Shelby) is overjoyed to be making her STAGES debut! Credits: understudy Anya / Young Anastasia, Anastasia (1st Broadway National Tour); Peggy, 42nd Street (Maltz Jupiter); Millie, Thoroughly Modern Millie (Goodspeed); Sandy, Grease (Fulton); Amalia, She Loves Me (Link Theatre); Liesl, Sound of Music (Fulton, MSMT); Laurey, Oklahoma! (Ogunquit); Penny, Hairspray (Maltz
Jupiter); Flaemmchen, Grand Hotel (Lyric Stage). Film: God’s Not Dead 2. Soloist: Broadway at Long’s Park (Lancaster Symphony). Distinguished Young Woman AR 2012. Love to family, Ben, and DGRW. Rejoice Always. @taylorlquick

ZOE VONDER HAAR (Ouiser) has been a STAGES Company member for over 35 years and 75 shows. STAGES: Clue (Mrs. Peacock), Gypsy (Mama Rose), Hello Dolly (Dolly), Always Patsy Cline (Louise). MUNY: Into the Woods (Jack’s Mother), Kinky Boots (Stage Manager), My Fair Lady (Mrs. Higgins STL REP: Sunday In the Park (Mother), Follies (Hattie), Urinetown Ms. Pennywise). FARMERS ALLEY: It Should Been You (Judy), The Cake (Della). Zoe teaches/directs/choreographs at Washington
University and St. Margaret of Scotland school.

KARI ELY (Clairee) celebrates 30 STAGES seasons. Favorites include: I DO, I DO, A LITTLE NIGHT MUSIC, THOROUGHLY MODERN MILLIE, GYPSY and CRAZY FOR YOU. Most recent: Thelma in Wedding Band (Black Rep), and two World Premiere plays: THE GOOD SHIP ST. LOUIS (Upstream) and COMFORT (Actors’ Studio). Next up: playing Big Momma opposite her real-life husband Peter Mayer in
CAT ON A HOT TIN ROOF (Tennessee Williams Festival). Kari thanks you for supporting live theatre!

JILANNE MARIE KLAUS (Truvy) has acted nationally and internationally on stage and screen for over three decades and is delighted to be joining STAGES St. Louis. After stints in New York and Los Angeles, she returned to the St. Louis stage last year as Ethel in Barefoot in the Park, which earned her a Theatre Critics’ Best Supporting Actress nomination. She would like to thank her family for
being as excited about her work as she is.

ABIGAIL ISOM (Annelle) is thrilled to return to STAGES St. Louis, where she made her professional debut in 2006 as Tootie in Meet Me in St. Louis, alongside her parents. Recent credits include Equus (Jill Mason) and Doubt (Sister James) at The Fulton Theatre, as well as Windfall (Hannah Higley), directed by Jason Alexander at Bay Street Theatre. She thanks Gayle Seay, Paige Price, and everyone at
STAGES. Love to her friends, family, and Caroline. @abigailisom

LARI WHITE (Standby) is ecstatic to be returning to STAGES this year. You may have seen her last year as Yvette in Clue. Other roles include Mairead in Lieutenant of Inishmore for which she won a St. Louis Theatre Circle award. Lari is also a multi-instrumentalist under the moniker Kiing Lair. To catch up on all of her projects visit Much love to her family, friends, Archie, and Brock.

LEXY WITCHER (Standby) is a Kansas-born, St. Louis-based performer, and she is thrilled to work with such an amazing cast, crew, and team! Select St. Louis credits: Wayward (First Run Theatre), Carol Kwiatkowski; A Midsummer Night’s Dream (St. Louis Shakespeare), Hippolyta; and Doubt: a parable (Prism Theatre), U/S Sister James. Lexy has also worked with Blue Gate Musicals and various live
entertainment venues. Many thanks to Gayle, Paige, Alicia, my family, Zach, and King.

MEME WOLFF (Standby) has performed in theatres across the USA and Canada and is thrilled to be working at STAGES again. Some favorite roles include Boston Marriage (Anna), Who’s Afraid of Virginia Woolf? (Martha) and The Wizard of Oz (Glinda/Auntie Em). Additional work includes Marconi Award winning commercial voice-overs, announcer duties for KSDK-TV and KETC-TV and hosting radio programs on KTRS and KLOU. Some in between jobs include sign language interpreter and dolphin trainer.


“I am thrilled to unveil the extraordinary creative team behind our upcoming production of STEEL MAGNOLIAS,” Artistic Director Gayle Seay said. “Their talent and dedication promise to bring this beloved story to life in ways that will captivate and resonate with our audiences. We invite everyone to join us on this journey as we ‘Experience the Story’ through their remarkable vision and artistry.”

Paige Price will make her debut with STAGES as the director for STEEL MAGNOLIAS. Price brings over 30 years of experience in the industry as a former professional performer, director, producer, and artistic director. On Broadway, she starred in the original casts of SATURDAY NIGHT FEVER, DISNEY’S BEAUTY AND THE BEAST, AND SMOKEY JOE’S CAFÉ. Most recently, she co-produced
THE COTTAGE (Broadway 2023) and she is a lead producer on the newly premiered comedy, JUDGEMENT DAY starring Jason Alexander.

The story will come to life with the artistry of Scenic Designer Kate Rance, who returns after creating the iconic set for STAGES’ 2023 production of AIDA. Joining her will be Lighting Designer Sean Savoie, an accomplished electrical veteran returning for his 10th season with STAGES St. Louis.

Costume Designer, Brad Musgrove, has designed 25 productions at STAGES, winning the St. Louis Theatre Circle award for the productions of; ANYTHING GOES, IN THE HEIGHTS, AND CLUE. With great enthusiasm, STAGES welcomes Tony Award winning Sound Designer Nevin Steinberg (Broadway: THE NOTEBOOK, SWEENEY TODD 2023 Revival-Tony Award, HADESTOWN- Ton
Award, HAMILTON) and Wig Designer, Daniel J Paller (MARY POPPINS, Tuacahn Center for the Arts, 12 NIGHT/ROMEO AND JULIET, Oregon Shakespeare Festival).

Production Stage Manager Monica Dickhens returns after working on STAGES productions of PATSY CLINE, A CHORUS LINE AND MILLION DOLLAR QUARTET. Her National Tour Credits include: THE COLOR PURPLE, SISTER ACT, AMERICAN IDIOT, LEGALLY BLONDE, CAMELOT (Lou Diamond Phillips), PETER PAN (Cathy Rigby) and JESUS CHRIST SUPERSTAR (Carl Anderson). She will
work alongside Production Manager, Kimberly Klearman Peterson (Director of Production, Ballet West in Salt Lake City, Production Manager, Touhill Performing Arts Center).

Tickets for the 2024 Season are on sale now. For more information, please follow STAGES Facebook and Instagram or visit

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.

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

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

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

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

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

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

Scott Moreau as Johnny Cash. Phillip Hamer Photography.

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

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

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

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

Jeff Cummings as Sam Phillips. Phillip Hamer Photography

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

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

The St. Louis Black Rep rounds up its season of virtual programming with a final mainstage production of an original work.  Do I Move You? –  based on a collection of poetry by Dr. Jonathan Smith, Vice President for Diversity and Inclusion Saint Louis University and President of The Black Rep Board of Directors – will stream on Vimeo June 15-30.

Smith’s collection of poetry, music, and dance pulls inspiration from Jazz, religion, love, family, and some of the greatest musicians of our time –  Donny Hathaway, Louis Jordan, and Marvin Gaye. Conceived by Producing Director Ron Himes, using devised theatre, Black Rep Director and Choreographer Heather Beal weaves a web of music, dance, and poetry. Themes of betrayal, identity, discovery, and love flow throughout the performance, culminating to answer one very important question, “Do I Move You?”

Produced at the Edison Theatre on the campus of Washington University in St. Louis, the production features the Black Rep’s Acting Intern Company Kentrell Jamison, Christian Kitchens, Theorri London, Brian McKinley, Tyler White, Jesmelia Williams, and Christina Yancy. Also featured are local Vocalist and Musical Director, Amber Rose, Dancer Samantha Madison, Percussionist Bernard Long Jr, Bass Player Jeffrey Anderson, and Lead Guitarist Dennis Brock. With scenic and projection design by Peter and Margery Spack, lighting design by Sean Savoie, costume design by Ellen Minch, sound engineering by Kareem Deanes, editing by Avatar Studios, and Kasey Dunaski as Stage Manager.

Tickets for Do I Move You? are available at or by calling our Box Office at 314-534-3807. Streaming free on demand, a suggested donation of $25 will directly help support the theatre company and its artists.

By Lynn Venhaus Managing Editor A brilliantly staged and acted “District Merchants” raises timely questions on oppression in a modern reworking of Shakespeare’s 420-year-old “Merchant of Venice.”

Playwright Aaron Posner’s 2016 comedy-drama tweaks the characters,
and sets them in the post-Civil War reconstruction era of 1870, in the nation’s
burgeoning capital, Washington D.C. Scenes also take place in Belmont, Mass.

It was a time of transition – out of ruins came renewal. But
it wasn’t fast or smooth. Posner has us confront the fact that old habits die
hard, change isn’t easy, and our tribes continue to define us, so is all the
uneasy historical issues and disastrous conflicts really in our past? The
clashes could be viewed as somewhat contemporary.

In this New Jewish Theatre production, butting heads are a Jewish immigrant moneylender, Shylock, and black businessman Antoine, shrewdly played by Gary Wayne Barker and J. Samuel Davis respectively, in skillfully calibrated performances.

Antoine has borrowed money from Shylock, but because of a
series of events not his doing, must default. Will he be required to hand over
a “pound of flesh,” as demanded by the loaner? A trial will ensue, but there
will be fireworks in and out of the courtroom regarding power, race, position,
family and loyalty.

The incredibly dynamic duo of Barker and Davis, longtime
local mainstays, spars so convincingly and with such verve that you hang on to
every word and nuance. Their timing is so impeccable that the audience broke
into applause after a couple explosive scenes.

Their triumphant pairing is potent – arguably career best
— but the supporting characters, involved in several thorny romantic subplots,
are exceptional as well.

The noteworthy ensemble has created memorable characters
that also mesh as a unit – even with the conflicts. They project a vibrancy,
with much thought into their role’s development.

Courtney Bailey Parker and Rae Davis. Photo by Eric WoolseySteadfast Courtney Bailey Parker is a strong Portia, who
dresses like a man to audit law classes at Harvard and is striving to define
her role as a smart woman in 19th century America.

She pairs well with love interest Benjamin, a black man
passing for white, and their courtship has a larger context. Rob White is solid
as an agent of change.

Standing out is Rae Davis as Portia’s servant Nessa, and she has stood out in two other plays she was in last year (“Cold,” “The Last Days of Judas Iscariot”), her first in regional St. Louis theater. She has a delightful way with dialogue, as does the sublime Karl Hawkins, who is dandy as Shylock’s servant Lancelot.

Karl Hawkins as Lancelot in “District Merchants.” Photo by Eric WoolseyHawkins charms in every scene, as does Paul Edwards as
Finn, an Irish produce salesman who takes a shine to Shylock’s sheltered
daughter Jessica. At first, his brogue was wobbly, but he grew better, and his
winning personality was enough to endear.

As delicate Jessica who transforms with determination, Alicen
Moser understands the frustration of being a powerful and overprotective father’s
only child. When she rebels, she does it in a big way that nearly destroys her
The relationships are complicated, but this cast pulsates under Jacqueline
Thompson’s perceptive direction.

Thompson has directed this show with such vigor that each
character has a distinct understanding of the material, and with her innovative
touches, has achieved a masterpiece.
She has astutely woven each character into this tapestry, and moves them around
the stage, the striking multi-level set by David Blake, and into the audience
with such purpose —  a flow that keeps
us riveted.

It does not matter if you have never seen Shakespeare’s
most controversial play. “District Merchants” flips it to assure that we see
the maligned, marginal groups in a different perspective – people of faith, of
color, of origin. We look at mercy in a fresh way.

Posner’s unflinching dialogue about stereotypes is tough
stuff, pitting Jews against gentiles, blacks vs. whites, and Irish vs. other
ethnic groups.

Billed as an “uneasy comedy,” you wouldn’t ever regard such
thought-provoking material that tackles racism, bigotry and xenophobia as a
laugh-riot, but there are surprising comic bits that struck a chord with the
audience, a spoonful of sugar if you will. After all, Shakespeare did consider
“Merchant of Venice” one of his comedies.

But mostly, the humor derives from the spoken thoughts and
feelings of the characters, who want basically what everyone wants and how they
tell their story. Because of the caliber of this cast, we are quickly drawn
into this period, and become emotionally invested as well.

Posner’s work appears to be a winner with New Jewish
Theatre. “Life Sucks!,” his comical adaptation of Chekhov’s “Uncle Vanya,” was
a delightful presentation last spring, and nominated for multiple St. Louis
Theatre Circle Awards (coming up March 25).

This must-see production has raised the bar – and will be a
measuring stick for this year’s offerings, especially with such a harmonious

A work of stunning achievement all the way around – with
beautifully accented lighting by Sean Savoie, richly detailed period costumes
by Felia Davenport and sound design by Zoe Sullivan.

 “District Merchants” is presented by New Jewish Theatre from Jan. 24 – Feb. 10 on Wednesday, Thursday, Saturday and Sunday at the Wool Theatre at the Jewish Community Center, Creve Coeur. For tickets, visit

By Lynn Venhaus
Managing Editor
The game-changing musical “Oklahoma!” is celebrating its 75th anniversary, and Stages St. Louis has honored that legacy with a rollicking hoedown. Their colorful collaboration burns bright with vivid characterizations.
The ensemble’s good cheer emanates. Based on Lynn Riggs’ 1931 play, “Green Grow the Lilacs,” the first book musical by Oscar Hammerstein II and Richard Rodgers focuses on romantic conflicts — between Laurey and her two suitors, Curly and Jud, and Ado Annie and two men she’s drawn to Ali Hakim and Will Parker.
Set on the Oklahoma territory in 1906, the musical reflects both its innocent time and the rugged pioneer spirit, the hands that built America. Director Michael Hamilton conveys a strong sense of community throughout, and the cast does its part, creating dynamic interactions in a small prairie town.

The cast infuses the old-fashioned characters with plenty of personality, making them appealing to a modern audience. The characters don’t remotely resemble any contemporary archetypes, so they remain quaint caricatures, and the ensemble plays them broadly.
Blake Price, Sarah Ellis and Zoe Vonder Haar in “Oklahoma!”As Curly and Laurey, Blake Price and Sarah Ellis have a playful chemistry together as they tussle, clearly meant for each other, and their vocal ease is a high point of the show.
Price sets the tone with “Oh What a Beautiful Morning” and is a convincing charmer in “The Surrey with the Fringe on Top.” Their “People Will Say We’re in Love” is a superb rendition as they project yearning.
Ellis showcases a satiny soprano, outstanding on “Out of My Dreams” with the girls, and flawless both “People Will Say We’re in Love” and reprise.
But then there’s hired hand Jud (versatile David Sajewich), whose undercurrent of menace has some others on edge. Today, he’s viewed as a tragic figure who boils over in frustration and anger, misunderstood. You do feel sympathy for Jud, especially when Sajewich sings “Lonely Room.”
Sparks fly with the comical love triangle between lively Ado Annie, cowboy Will Parker and peddler Ali Hakim, who play their characters strictly for laughs.
Con O’Shea-Creal, with a winning smile and jaunty demeanor as Will, is convivial in “Kansas City,” an ebullient dance number unleashing rodeo spirit!
Newcomer Lucy Moon is the spunky boy-crazy lass Ado Annie and animated Matthew Curiano, with crackerjack comic timing, had the crowd on his side as the charming peddler stuck in the middle.
Zoe Vonder Haar, who has been part of Stages St. Louis for 31 of its 32 years, crackles as Aunt Eller. Her spunky delivery is another bright spot.
Stages’ veterans Leah Berry stood out as Gertie Cummings, with her distinctive laughter, while John Flack as crusty Andrew Carnes and Steve Isom as the lawman Cord Elam capably crafted lived-in characters. In Flack’s case, his shotgun-daddy character is a real “character” – he was straight out of Yosemite Sam’s playbook.
With their first collaboration, the legendary songwriting duo of Rodgers and Hammerstein set the gold standard with their innovations in 1943, seamlessly integrating music, dance, drama and comedy. They changed musical history and won a special Pulitzer Prize for their efforts.
The music effortlessly flows, and each number is crisply delivered and smooth as corn silk. Stuart M. Elmore handled the orchestral design while Lisa Campbell Albert oversaw the music direction.
The robust rendition of the title song brings out the community pride at being settlers in this new land. Since I learned it in fourth grade music class, it has always been one of my favorites, especially with the exquisite harmony and the modulated delivery.
Agnes DeMille’s landmark original choreography is honored by choreographer Dana Lewis. While the Dream Ballet is a beautiful component of this show, it’s a wee bit jarring when the Dancing Curly is a different guy – primo ballet dancer Nicholas De La Vega (who stood out in The Muny’s “Jerome Robbins’ Broadway” this summer) when Dancing Laurey is ballet-trained Ellis. Effortless nonetheless.
With the cast’s vitality shining through, the dance sequences fit the stage well. Costume designer Brad Musgrove has made eye-popping homespun costumes that stand out too.
The intimate staging at the Robert G. Reim Theatre works well for the large ensemble. Scenic Designer James Wolk’s work is stunning. His scrim and set evoked early American paintings and breathtaking vistas of what motivated pioneers to embark on an adventure. Sean Savoie’s exquisite lighting design accented every scene beautifully.
Steeped in Americana, this vigorous “Oklahoma!” honors our country’s love of the land, and our hard-working ancestors who believed in the American Dream and most definitely, the pursuit of happiness.
What a fitting way to end Stages’ 32nd season.
Photos by Tom Sakiyama