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

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

By Lynn Venhaus

With its sinister hints of Adam-and-Eve symbolism, “Dutchman” is a daring and thought-provoking ritual drama that indicates Soul Siren Playhouse is a new group with something to say.

The gritty and raw one-act is now playing at the well-appointed Greenfinch Theatre (formerly the Way Out Club), the newest performing space in St. Louis. The intimate setting lends itself to focus on the two bravura performances by Cameron Jamarr and Eileen Engel.

Written by Amiri Baraka, aka poet activist LeRoi Jones, he had much to say about black men in ‘60s society during the heightened civil rights struggle. With its themes of racism, sexism, and discrimination, it may make people uncomfortable, but its intention is to start a dialogue, and that’s necessary.

Soul Siren’s co-directors – Jamarr, Engel, Bradford Rolen and Zahria Moore — unpacks the complexities of this revolutionary play related to bias, stereotypes, race relations in America and our social responsibility as bystanders. An interactive dramaturgy display designed by Moore is at the back of the room and illuminating the period that influenced Baraka – beat poets, emerging black artists and the avant-garde movement in a vibrant Greenwich Village.

Photo by Zak Littrell

Fast forward to the 21st century, and divisions, misinformation and social media outrage fan flames that point out that we have a long way to go towards understanding common humanity.

Jamarr and Engel are fearless in undertaking this challenging work, which is as disturbing as it was in 1964. Bakara boldly presented a distinct sociological situation, heavy on symbolism, to propel audiences into action, and the pair convey the intensity required. It’s quite the tango.

The first slave-bearing ship to America was from the Dutch, and Bakara also references the legend of “The Flying Dutchman,” a doomed ship cursed with never finding safe harbor.

In describing his short play’s metaphorical setting, Bakara wrote: “In the flying underbelly of the city, steaming hot and summer on top, outside. Underground. The subway heaped in modern myth.”

Rolen’s scenic design puts us on the subway car, and Lenny Banks’ lighting design sets the mood well. De’Janna Scales-Hand’s sound design has enhanced the experience too.

Jamarr is an unsuspecting sharp-dressed man named Clay on a mass transit train who encounters a mysterious white woman, Lula, who looks like a wild flower-child dressed in Bohemian attire. Unfiltered, Lula is obviously trying to seduce the man, who is at first wary, but then gives in to the temptation.

Engel’s character is no hippy-dippy chick, although she looks like a poster-girl for 1967’s “Summer of Love.” Presenting herself as a flirty seductress with a good time on her mind, she slowly indicates her intensions are not noble.

Calculating, with a maniacal unhinged laugh, Lula tries to manipulate, but Clay is no push-over. An eerie aspect is that Lula seems to know things about Clay and that is both mysterious and unsettling.

The confrontations become emotionally charged, compelling in a horror-movie jump-scare kind of way. This collision course of a play, unpredictable and with actions unexpected, will linger. It’s certain to spark conversations.

Photo by Zak Littrell.

That, of course, was Baraka’s point. The fact that we can still talk about social injustice in a meaningful way is a unifying message, but it also points out that much more change is needed.

This production takes a timeless approach to the story – a cell-phone! – as the play will celebrate its 60th anniversary next month, of its premiere off-Broadway in March 1964 It won the Obie Award for Best Play that year.

The cast includes Jeremy Thomas and alternate DeAnte Bryant as the conductor and an annoying drunk passenger, and Donald Kidd in a brief role.

Racially explicit language is used, and physical violence is part of the piece.

One can see and feel the passion and commitment involved in this well-produced show, and I look forward to seeing what’s next on their schedule.

Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” Feb. 1 through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m. The cost is free (donations can be made), but RSVPs are necessary. For more information: www.playsiren.com

Photo by Zak Littrell

Take Ten with Cameron Jamarr Davis

Take Ten with Cameron Jamarr Davis

By Lynn Venhaus
Seeking his own creative lane in St. Louis, multi-hyphenate Cameron Jamarr Davis is making some noise as founding artistic director of Soul Siren Playhouse, whose inaugural production is Amira Baraka’s “Dutchman.”

The 60-year-old revolutionary play is running from Feb. 1 to Feb. 18 at the new venue, Greenfinch Theater and Dive.

An American nonprofit arts and cultural enrichment organization committed to social outreach, activism, and artistic development through the medium of dramatic and artistic expression, Soul Siren Playhouse aims to challenge and provoke thought, thus change, through artistic exploration and dramatic encounters — while holding space for safe, civil, proactive communication and collaboration on polarizing issues, he said.

The past five years have been a journey for Cameron. “One riddled with lessons, setbacks, successes, and various trials of patience, determination and faith,” he said.

After starting Soul Siren in Los Angeles in 2019, he relocated back to St. Louis and weathered the pandemic. In 2022, he was named a directing fellow at St Louis Shakespeare Festival and played James Hewlett, the first black Shakespearean actor in the U.S., in “The African Company Presents Richard III” at The Black Rep..

In 2023, he won the St. Louis Theater Circle Award for Outstanding Supporting Performer in a Drama, Male or Non-Binary Role, for that role.

Cameron Jamarr Davis as James Hewlett, the first black Shakespearean actor in the U.S. Photo by Phillip Hamer.

He also portrayed Hector MacQueen in “Murder on the Orient Express” at The Rep and was the cop, among other roles, in “Clue” at Stages St. Louis.

“Clue” and “Murder on the Orient Express” are both nominated for Outstanding Ensemble in a Comedy, and “Clue” leads all St. Louis Theater Circle Awards nominations with 11. (Ceremony on March 25).

“Cameron said “Clue” was the highlight of 2023 on stage for him.

“It was one of those productions that actors dream to be a part of because it was the definition of ‘theater magic’ — all the elements came together so perfectly, you could feel the pure, unrelenting joy that the audience was experiencing. That, in turn, reminded me of the joy I experience onstage as an actor, and the gift of light that theater is capable of bringing to people’s lives,” he said.

“To work with such skilled, hilarious actors, I was on stage legit trying not to break every night. And would bow at the end of every performance not only taking pride in what I do, but beaming with sincere joyfulness. That show truly was a gift, and redeemed something for me I didn’t know I needed,” he said.

The cast of “Clue” at Stages St. Louis, with Cameron third from left. Phillip Hamer photo.

Davis is currently an artist-in-residence at the Kranzberg Arts Foundation, and has rebuilt Soul Siren from the ground up, along with a collective of committed artisans. He is a graduate of Clayton High School and earned a BFA in Dramatic Performance at the University of Cincinnati College Conservatory of Music.

For Soul Siren’s first show, Cameron wanted to celebrate the timeless artistry of “Dutchman.” When he read it in college, he identified with its passion, rawness and abstract chaotic nature.

“Unfiltered and unapologetic, Baraka’s writing sirens the soul of the artist as strongly as it does the revolutionary,” he said.

He describes the 65-minute show as an emotionally charged and highly symbolic version of the Adam and Eve story, where an unsuspecting black man is encountered by a mysterious and calculating white seductress alone on an underground train.. It won the Obie Award for Best Play in 1964.

“The show is gritty, raw, and provocative. It is a clear affirmation of a counter-cultural identity that demands to be seen, felt, heard and understood,” he said.

“We aim to assume a timeless approach to this story that is coming upon the 60th Anniversary of its premiere off-Broadway in March 1964. We also have an interactive dramaturgy display, educating audiences on the playwright, the Black Arts Movement of the 70’s, and the genre of beat poetry, which came about at this time that also has influence on the play’s script,” he said.

Cameron Jamarr as Clay and Eileen Engel as Lula in “Dutchman.” Photo by Zak Littrell.

“A provocative drama that rests between allegory and realism, I believe the danger of this play lies in its fearless attempt to explore what lies at the heart of America’s subconscious and collective identity. Its subterranean setting grants two complete strangers the freedom to encounter their hidden natures as well as one another. A clamorous racing train serves as the vessel for its action as well as the thoughts of its passionate playwright,” he said.

“Though Baraka, the individual, does not fully represent the philosophy, truth, and ideals of Soul Siren Playhouse; the fearless and socially conscious instincts represented in ‘Dutchman’ speak directly to the foundation of our goals as a cultural institution,” he explained.

“We want to facilitate community dialogue on the challenging questions the play continues to present, Our intention is to unify, harmonize and most importantly, entertain, with this bold, challenging story,” he said.

The cast features Cameron Jamarr, Eileen Engel, Jeremy Thomas and alternates DeAnte Bryant and Donald Kidd in a brief role. The creative team includes Scenic Design by Bradford Rolen, Lighting Design by Lenny Banks, Sound Design and Hair Design by De’Janna Scales-Hand, and Dramaturgy by Zahria Moore. Bradford Rolen is also the Stage Manager. The show was co-directed by Cameron, Eileen, Rolen and Moore.

So far, the word he hears most from audiences is “unexpected.” You’ll want to join the conversation.

Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson, St. Louis.

Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m.

The cost is free (donations can be made), but RSVPs are necessary. For RSVPs/tickets, visit: https://a.purplepass.com/organizer/67544

For more information: www.playsiren.com.

There will be talkbacks following the shows Thursday 2/8 and 2/15.

Our Take Ten Q&A with Cameron Jamarr Davis

1. What is special about your latest project?

“Our first show ‘Dutchman’ has been five years in the making to get to this point, and we have made personal history by presenting our inaugural production as a black inspired theater company on the first day of Black History Month.” 

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

“It very much chose me. I was torn between going to college to study acting professionally or pursuing a degree in English. After inadvertently booking my first professional gig at 17 with St. Louis Shakespeare Festival in “Richard lll,” I took that as a sign to pursue the arts as a professional actor.” 

3. How would your friends describe you? 
Passionate. Loving. Crazy. Soulful. Intelligent. Wild. 

Portraying Richard III and the actor James Hewlett at The Black Rep. Phillip Hamer photo.

4. How do you like to spend your spare time?
Baking. Writing. Learning how to DJ.  Plotting how to take over the world. 

5. What is your current obsession?
 Creating my own professional, creative lane in this city. 

6. What would people be surprised to find out about you?
 I’ve had the honor of dining with Prime Ministers of the United Nations in Nairobi, Kenya. Good God, the food was incredible! 

7. Can you share one of your most defining moments in life? 
Unexpectedly losing my mom at the age of 24. Until then, I’d taken so much of my life, life in general, for granted. In light of her death, I was forced to choose new Life. 

8. Who do you admire most?
 My friends. Their resilience. Their loyalty. The capacity and magnitude of their hearts. 

9. What is at the top of your bucket list?
 Participation in a traditional ayahuasca ceremony led by an indigenous shaman.  

The cast of “Murder on the Orient Express” at The Rep. Davis, fifth from right, played Hector MacQueen, the personal secretary and translator to Samuel Ratchett, who is murdered (spoiler alert). Photo by Phillip Hamer.

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? 

If it weren’t for the pandemic I probably would not have moved back to St. Louis. Sustaining myself creatively was essential in navigating and enduring the uncertainties of the pandemic. In this time I learned patient persistence and the power of the pivot. I created a spoken word album and decided to relocate to St. Louis to restart Soul Siren Playhouse from the ground up, yet did not want to produce theater that required mask mandates. I watched theater become an unidentifiable shadow of itself; actors and audiences in masks, plus various barriers between Art, the Artist and Community. I watched art become increasingly self-serving as a means of survival.

Moving forward I believe that theater’s primary objective should be to entertain, and to be of service to its local community via artistic expression or creative intent (free tickets, child care at shows, pay with a can performances to support food banks, etc). I believe theater can take a greater responsibility in the role of social elevation and enrichment. How can theater meet the needs of audiences and return value as opposed to the self-serving nature of exploitation I commonly see as a detriment. 

11. What is your favorite thing to do in St. Louis?
Grocery shop at Soulard Market on Saturday mornings. 

12. What’s next? 
Developing my one-man show, “Death Jam” as an Artist in Residence with the Kranzberg Arts Foundation. 

With the cast of “Clue,” at left, as a police officer, at Stages St Louis last summer. Phillip Hamer photo.

More About Cameron Jamarr Davis


Age: 33
Birthplace: St. Louis,
Current location: St. Louis
Family: Only Child / Fairy God Cousin / Cool “Uncle” with no kids or siblings 
Education: BFA Dramatic Performance from the University of Cincinnati College-Conservatory of Music (CCM)
Day job: Substitute Teacher, Clayton School District 
First job: Busser/Dishwasher, Outback Steakhouse (age 16) 
First movie you were involved in or made: “Fenced Off” – Rebel Pilgrim Productions in Cincinnati, Ohio
Favorite jobs/roles/plays or work in your medium? Oberon in “A Midsummer Night’s Dream” / Leontes + The Bear  in “A Winter’s Tale “/ Kendrick Lamar in Lil Wayne’s “Mona Lisa” 
Dream job/opportunity: Producing Artistic Director of my own theater company 
Awards/Honors/Achievements: 2023 STL Theater Circle Winner (Best supporting actor in a drama for “The African Company Presents Richard lll” at the STL Black Rep), 2024 Artist in Residence of the Kranzberg Arts Foundation, 2022 Directing Fellow with St. Louis Shakespeare Festival, 2023 Community Arts Training (CAT) Cohort 
Favorite quote/words to live by:
call it our craziness even,
call it anything.
it is the life thing in us
that will not let us die…
it is the light in us
it is the light of us
it is the light…
– Lucille Clifton, “Roots” 
A song that makes you happy: “Built for Greatness” – Marieme 
Marieme is a Soul Siren Playhouse board member and this song is featured as a promo for Michelle Obama’s Netflix special. This song is GREAT and will make anyone feel like they can conquer anything.

Eileen Engel, Bradford Lewis Rolen, and Cameron Jamarr Davis. Photo provided.

Cover photo by Zak Littrell