By Lynn Venhaus A walrus and a manatee walk into a polar bear’s bar that’s a comical rant. There is trouble in paradise between Adam, Eve, God and Satan. A mother and a daughter square off, a coach and a parent exchange words, and a married couple share their rocky heart-tugging journey.
A range from savvy farce to poignant drama, this year’s 10th annual LaBute New Theater Festival’s line-up stresses shared humanity in five strong complete-thought one-act plays that press different emotional buttons.
Every year since 2013 – when live theater could be presented, St. Louis Actors’ Studio has collaborated with playwright, screenwriter and film and theater director Neil LaBute to support new works from across the country.
LaBute not only lends his name, but he is part of a 10-member panel that selects the plays from a vast number of submissions, often emerging voices. The company provides the resources for local presentations.
In years’ past, selections have included some edgier and esoteric works, but this current slate is as relatable as it is affecting – and still in a thought-provoking way.
However, typical topics like politics, the state of the world or a dystopian future are not on this roster.
It may not be intentional, but I detected a unifying theme between the five — wrestling with demons and doubts, and addressing elephants in the room, all in compelling contemporary presentations. After all, there is more commonality than differences among us, as the arts frequently point out.
Lorelei Frank, Greg Hunsaker and Tyler Crandall in “Grief & Woe.” Photo by Patrick Huber.
All five are particularly suited for The Gaslight Theatre’s black box stage intimacy, and in keeping with the festival’s rules, plays can only have up to four characters.
LaBute contributes a world premiere one-act every year. This year’s original presents a view askew of sports at young levels. Although not specified, I surmised it was a summer squad aka “Little Leagues” or those between school leagues, like American Legion and ‘select’ teams.
Called “Who’s on First?”, this uncomfortable exchange between a baseball coach and the parent of a player whose skills are lacking is entirely plausible.
A rueful commentary on how we got here, LaBute’s razor-sharp rhythmic dialogue is superbly delivered by Chuck Winning as the coach (Abbott!) and Anthony Wininger (Costello!) as the father.
As they painstakingly reveal motivations, they re-affirm the present-day stakes matter-of-factly. The scene, which opens the second act after a 15-minute intermission, takes place in a dugout, and is shrewdly directed by Kristi Gunther, the current production manager at St. Louis Actors’ Studio.
She and Spencer Sickmann, a veteran performer who took a couple years off for a personal-life break, has returned to tag-team directing this program.
Previously, he had acted in two earlier new theater festivals, and in leading roles in LaBute’s “Comfort,” St. Louis native Beau Willimon’s “Farragut North,” and St. Louisan Cory Finley’s “The Feast,” among others.
Hunsaker, Anthony Wininger and Crandall. Photo by Patrick Huber.
Gunther assuredly guided two conflict pieces – a wacky one that escalated, called “Walrus,” and a somber two-hander that came to a resolution, in “Cage.”
Sickmann perceptively helmed the opening kick-off, a bracing battle of the sexes featuring a fractured relationship between the first man and first wife, Adam and Eve. Quick-witted dialogue by playwright Paul Bowman of New Albany, Ind., makes “Grief & Woe” an interestingly observed relationship study, interrupted by God’s rules and Lucifer’s interference.
The Garden of Eden resembles a battleground like “Men are from Mars; Women are from Venus.” The not-so-happy bickering couple is tested by a seductive, slithery serpent, ‘just call me Lou,’ played slyly by Winning, affecting a devil-may-care attitude and dominating the stage.
A benevolent but exasperated “Mr. G” is humorously fleshed out by Greg Hunsaker as a cross between a Borscht Belt comedian – think “Your Show of Shows” sketch – and a ‘60s sitcom boss.
It’s a clever albeit lighthearted scenario, with impressive new-to-Gaslight-stage Tyler Crandall as an inattentive Adam and Lorelei Frank as a frustrated Eve
The festival is usually modestly presented, with simple, functional staging by set designer Patrick Huber, who also astutely augments each scene as lighting designer. With distinctive outfits and props, production values are elevated this year by costume designer Abby Pastorello’s outstanding choices and Emma Glose’s props.
Pastorello’s slick attire for Winning as “Lou” is a sensational assortment of pieces including a shiny carnival barker’s jacket, brocade vest, lime green shoes and a gold-plated leaf barrette for his deceptive wig.
To easily alter appearances of actors comically portraying North Pole wildlife in the act-one closer, “Walrus,” she chose whimsical noses, ears and ‘hands’ so that it’s obvious Wininger is an obnoxious blowhard walrus, Crandall is the more agreeable, timid manatee and Hunsaker is the no-nonsense proprietor of the drinking establishment where they regale each other with tales of life in arctic waters.
Gunther directed as if they could be super-fans knocking back a drink in a Chicago sports bar, and the trio has fun with the goofy premise. The cagey play was written by Brandt Adams of Brooklyn, N.Y.
A complicated relationship between a mother and daughter is depicted in an argumentative “Cage” by Barbara Blatner of New York. The pair, deftly played by Jane Paradise (Bobby) and Frank (George), must consider the other person’s pain and come to an understanding.
Using the miserable girl bringing home a wild snake as a pet, it’s a metaphor about the things that hold us back and move us forward, and the women strike the right tone.
Hunsaker and Jane Paradise. Photo by Patrick Huber.
In one of the saddest and hardest-hitting one-acts ever presented, “Love in the Time of Nothing” chronicles a marriage from courtship through loss, as a couple grapples with the husband’s early-onset Alzheimer’s Disease.
Playwright Jayne Hannah of North Providence, R.I., accurately reflects the rollercoaster life after a dementia diagnosis changes everything for a husband in his 50s and a wife in her 40s.
If you have family experience with this disease, you will recognize all the symptoms, treatments, roadblocks, and the heartbreaking decline of a once-vibrant mind and the unrelenting burden placed on caretakers.
Hunsaker, as David, and Paradise, as Julieanna, masterfully interpret Hannah’s literate and lyrical prose, conveying the ecstasy and agony of a serious commitment.
These parts are demanding of the actors, and their proficiency makes an impact. This one lingers, and it was a wise choice for the finale. Sickmann presents both the hope of good times and the tragic realization of never-ending sad times with inevitable anguish.
This year’s festival is smoothly executed, intellectually nourishing and engaging in unexpected ways. The best part, besides being a splendid showcase for high-caliber performers, is that it surprises with its empathy.
The needle drops are particularly affecting, so kudos to whoever selected the music. Pastorello also effectively managed wigs, hair and makeup.
Special shout-outs to stage manager Amy J. Paige and her assistant Collin Brinkley for their unflagging efforts to keeping the pace from sagging, and their ninja staff for quick set changes.
To celebrate a decade of this fruitful collaboration, STLAS has published a book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival,” that features ten pieces by LaBute that were created and staged exclusively by STLAS at The Gaslight, 59E59 Street and Davenport Theaters.
The book is currently available on Amazon and can be ordered directly from St. Louis Actors’ Studio. It is also available at the box office during this show’s run.
Frank and Paradise. Photo by Patrick Huber.
St. Louis Actors’ Studio presents the 10th annual LaBute New Theater Festival July 12 to 28, with performances at 8 p.m. Thursday through Saturday and at 3 p.m. on Sundays for July 18-21 and July 25-28, but only Friday-Sunday July 12-14 at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org
General admission tickets are 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.
A playwright reception will be held on July 19 to celebrate the artists’ work, giving patrons an opportunity to learn and understand the stories they’ve just digested.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Throughout a long and illustrious career as a professional actor and director, Alan Knoll has been a steady and appreciated presence in St. Louis regional productions. This year, he’s as busy as ever, appearing as flawed dads in two plays — “We All Fall Down” and “August: Osage County,” and directing an acclaimed drama — “Red” — later this summer.
Knoll estimates he has been in more than 150 productions, with his current turn as Saul Stein, a retired history professor, in “We All Fall Down,” now playing at New Jewish Theatre through June 16.
“It appears to be around my 153rd show since I started acting ‘professionally’ right after college. That doesn’t include the many shows I did at St. Mary’s High School, St. Louis University, and all those little gigs I took right out of school that didn’t pay a little something,” he said.
The parts of Saul Stein and Charlie Aiken Sr. this year have been enriching, he said. He has moved easily between comedic and dramatic parts, with occasional forays into musicals.
“This is the year of the family dramedy for me, for sure. Playing Saul Stein in ‘We All Fall Down’ at the New Jewish Theatre took me down an unexpected road of reflecting on my own dad and what he went through at the end of his life. Playing Charlie Aiken in ;August: Osage County” gave me the opportunity to reflect on my successes and failures in raising my wonderful son,” he said.
Alan plays retired history professor Saul Stein in “We All Fall Down,” with Jenni Ryan (back) and Bridgette Bassa (right). Photo by Jon Gitchoff.
The New Jewish Theatre’s production will be its first in St. Louis, after it made its debut in 2020 at Boston’s Huntington Theatre. It illustrates the joys and heartaches of growing older, growing up, and growing to understand the value of tradition.
Mindy Shaw plays Saul’s wife Linda, a brilliant but dramatic matriarch, who wanted to bring her secular family together for their first-ever Passover seder. But as the night continues, the occasion goes from funny to poignant. The play reminds us how culture, personal identity, and family are intricately woven.
“Even with my next project, directing “Red” for the New Jewish Theatre, the play has that father-son dynamic. It brings up strong memories of me as both the son and the father,” he said.
A bonus of being in family-centered plays is the connections you make, he noted.
“The secret no one tells you about acting is every time you do a show you gain a family. And when that show is about a family, those gained relationships can be even more intense,” he said.
As God.
He last appeared on the Wool Studio Theatre in 2018, playing the Almighty in “An Act of God.”
Knoll has worked with multiple companies in St. Louis, including 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..
He has also worked extensively over the years at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and about 160 miles from St. Louis. His wife of 26 years, Laurie McConnell, became the marketing director there in 2023, and they moved from their Dogtown neighborhood to the quaint village of Arrow Rock.
He received Kevin Kline Award acting nominations for “It’s a Wonderful Life” and “Conversations with My Father.” Besides acting, he has been nominated for directing Neil Simon’s autobiographical comedies “Brighton Beach Memoirs” and “Broadway Bound” at New Jewish Theatre by the St. Louis Theater Circle Awards.
He has also appeared in several films, including as a prison warden in 2023’s “Penitentia,” and in the 1998 mini-series “A Will of Their Own” as a reporter, which was shot in St. Louis.
Despite his busy schedule, he graciously gave us his time to answer our Take Ten questionnaire.
With Steve Isom in “Wittenberg” at Upstream Theater.
Take Ten Q&A
1. What is special about your latest project?
“Lila Rose Kaplan’s family comedy/drama is just great. I didn’t realize it would be so special to me, but in rehearsing it, it has become a role that is very close to my heart. It has made me reflect on my own dad and what he was going through toward the end of his life.”
2. Why did you choose your profession/pursue the arts?
“It was the only thing I felt comfortable doing! As a kid, I was pretty lonely and isolated, not very happy at all. At St. Mary’s High School, I met Rich Contini, the drama teacher, which changed the trajectory of my life. That continued at SLU under the guidance of Alan Hanson, Robert Butler and Wayne Loui.”
3. How would your friends describe you?
“What friends? I guess as an easy-going nice guy. I hope so anyway. I have a sense of fairness and I make them laugh. Also, if you need to know who won Best Supporting Actor in 1942, I’m faster than Google.”
Alan Knoll as the U.S. president in “November” at St. Louis Actors’ Studio.
4. How do you like to spend your spare time?
“What is this spare time you speak of? Reading, watching old movies, finding a streaming show for us to become obsessed with, walking our rescue pooch, Truman.”
5. What is your current obsession?
“Abbott Elementary and running from cicadas.”
6. What would people be surprised to find out about you?
“I’m very shy.”
7. Can you share one of your most defining moments in life?
“Marrying the best girl in the world, Laurie McConnell.”
8. Who do you admire most?
“I would have to say my wife, Laurie McConnell. She’s amazingly talented and so sweet to everyone. She always becomes a rockstar at whatever she does, whether it’s in her radio career, her acting career or her marketing career. I don’t know how she does it.”
9. What is at the top of your bucket list?
“Travel, because I have done very little of it. Touring the UK (or whatever it’s called since Brexit) is a dream of mine.”
Alan and wife Laurie McConnell. Provided photo.
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?
“2020 was scheduled to be one of my best years. I had acting and directing gigs lined up all over the place. None of that happened. Of course, this nothing compared to the millions who lost their lives.
Laurie and I got through it by teaching ourselves to cook and visiting with our neighbors over the fence in the back yard. 6 feet apart of course. It reminded us of our inter-connectedness and how we’re not in this alone.
The St Louis arts scene was terribly affected. All the theatres shut down and some never came back. Patrons got out of the habit ongoing to the the theatre and we’re still trying to fix that.”
11. What is your favorite thing to do in St. Louis?
This is my hometown, but now that I don’t live here, it’s fun to see the city and all it has to offer with fresh eyes. Forest Park, Ted Drewes, hanging out with my son in the Bevo neighborhood, Imo’s pizza, smelling the hops emanating from the brewery where my Dad worked for forty years. I love my hometown and the Cardinals…….even this year!
12. What’s next?
“Directing “Red” for the New Jewish Theatre, then performing in “Noises Off” at the Arrow Rock Lyceum Theatre, then a long nap.”
Playing a priest in “Flanagan’s Wake” at the Playhouse at Westport. The run was cut short by the pandemic shutdown in March 2020.
More About Alan Knoll
Name: Alan Vincent Stephen Knoll Age: My wife Laurie says I act like I’m 12 Birthplace: St Louis Current location: Home base, Arrow Rock, Mo. Currently working in St Louis. Family: Laurie McConnell & Ben Knoll Education: Bachelor’s degree from Saint Louis University Day job: Dog walker (just mine….unpaid) First job: Dishwasher at Al Smith’s restaurant on Grand, 7 Meramec in South St Louis First play or movie you were involved in or made: My first play was the Caine Mutiny Court Martial. I was a sophomore in high school. Dream job/opportunity: I really want to play Willy Loman in “Death of a Salesman” Awards/Honors/Achievements: The late, great Riverfront Times named me Best Actor as George in “Who’s Afraid of Virginia Woolf?” A Woody award as a best supporting actor for the Black Rep’s “Intimate Apparel.” A Piglet Award for directing “Putnam County Spelling Bee” for St. Louis University. Being enough of a working actor to earn a pension from Actor’s Equity. Favorite quote/words to live by: Dying is easy, Comedy is hard — Edmund Gwenn A song that makes you happy: “Gimme Shelter” – The Rolling Stones
The ensemble cast of The Rep’s “August: Osage County.” Alan is in the foreground, center.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
February 2025 will mark the beginning of St. Louis Actors’ Studio’s 17th season, themed “Something Old Something New.” The season includes productions of Eugene O’Neill’s masterwork “Long Day’s Journey Into Night,” to be directed by renowned theater artist Austin Pendleton, and a new work by playwright Carter W. Lewis starring local legends Whit Reichert and Donna Weinsting.
“We are very excited about the offering for our 17th season, and to be working with Carter Lewis and Austin Pendleton again,” says William Roth, Founder and Artistic Director. “Carter’s plays have been featured in our LaBute Festival and Austin has come to STLAS to teach master classes.”
Austin Pendleton
Long Day’s Journey Into Night By Eugene O’Neill Directed by Austin Pendleton February 7-23, 2025
O’Neill’s autobiographical masterwork, winner of the 1957 Pulitzer Prize for Drama, is an unflinchingly honest portrayal of addiction in a dysfunctional Connecticut family, and will be directed by STLAS friend and Broadway actor/director Austin Pendleton.
“A magnificent and shattering play.” – New York Post “O’Neill’s masterpiece… What never ceases to astonish is the dizzying emotional contradiction of O’Neill’s characters. Within a tight classical structure, they bounce around like pinballs between reality and illusion.” – The Guardian “A stunning theatrical experience.” – New York Herald-Tribune “O’Neill’s most beautiful play.” – New York Daily News
Donna Weinsting
With By Carter W. Lewis Directed by Assoc Artistic Director Annamaria Pileggi April 4-20, 2025 Starring: Whit Reichert* and Donna Weinsting*
Whit Reichert
Clifford and Minnie devolve into a world of humorous, but ultimately heartbreaking minutiae as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.
The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically array. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.
11th Annual LaBute New Theater Festival July 11-27, 2025
Tony Nominated Playwright Neil LaBute returns to host his award winning One Act Festival.
*Member Actors’ Equity Association
ABOUT ST. LOUIS ACTORS’ STUDIO
St. Louis Actors’ Studio is one of the leading professional theatres in the St. Louis. area, producing a four-show season of plays at our 97-seat Gaslight Theatre. STLAS collaborates with renown director, screenwriter and playwright Neil LaBute to produce the LaBute New Theater Festival each July in St. Louis and each January in New York City. The festival is a one-act play competition for emerging professionals and high-school writers. For more information and ticket sales, visit stlas.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
St. Louis Actors’ Studio Releases Book “Unlikely Japan and Other Plays”
St. Louis Actors’ Studio (STLAS) and esteemed film director, screenwriter and playwright Neil LaBute have published a new book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival.” Since 2014, STLAS has worked with LaBute to produce the annual festival bearing his name celebrating new works by emerging professional and high school playwrights, as well as a new piece penned each year by LaBute himself.
In honor of a decade of this successful collaboration, the book features ten one-act plays by LaBute, created and staged exclusively each summer by STLAS at The Gaslight Theatre in St. Louis. The festival has also had successful runs in New York City at the 59E59 and Davenport Theatres.
“The ten shorts contained in this volume are quite diverse, from comedy to drama, from dialogue to monologue, and all written with a passion for the actors who would go on to breathe life into the many characters on display. It has been a great pleasure for me to work with William Roth and STLAS for ten years on this project and to spend time creating a collection of short plays, a form that is always a challenge but one that I both love and admire,” said Neil LaBute.
In subsequent printings, STLAS hopes to publish many more short plays by a variety of participating authors.
“I so value my 12-year creative relationship with Neil. Lending his name and talents to foster new works in the theater is just another example of his generosity and commitment to the arts, and we could not be more proud to host this ongoing event,” says William Roth, Founder and Artistic Director at St. Louis Actors’ Studio.
The book is currently available in electronic form for Kindle on Amazon. The print version will be available beginning on May 24 via Amazon and direct order from St. Louis Actors’ Studio. Email help@stlas.org to order direct.
LaBute and Roth will do a reading and book signing event at The Drama Book Shop in New York City on Wednesday, June 12 at 7:30 p.m.
The 10th Annual LaBute New Theater Festival is set to take place July 12-28, 2024 at The Gaslight Theater with featured plays to be announced in the coming weeks. Stay tuned to stlas.org for updates and ticket information.
About St. Louis Actors’ Studio
St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.
John Pierson, associate artistic director at STLAS, Neil LaBute and William Roth, artistic director STLAS. Provided photo.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
At only 16, Nadja Kapetanovich is beginning to make a splash on local stages. She is appearing as Ellie in “The Whale,” a role she says is her favorite to date: “It has been a true gift.”
A junior in high school who lives in Alton, Ill., she has appeared in community theater, youth productions and recently, in regional professional theater. She was Tony Manero’s little sister Linda in Stray Dog Theatre’s “Saturday NIght Fever” last fall and a dancer in St. Louis Shakespeare Festival’s “Winds of Change,” an original production presented in the Bevo Mill neighborhood as part of the Shakespeare in the Streets event in 2022.
She played another daughter in “From the Garden,” an original play by Don Cameron Miller, that was produced by Wee Laddie Theatrics. She will be part of a reading this summer for another original play, “13 Hours of Sun,” by Elizabeth Breed Penny.
And then trying to figure out school, future, and what’s ahead.
Here’s a glimpse into the young actress currently in “The Whale” at St. Louis Actors’ Studio Thursday, Friday and Saturday evenings at 8 p.m. and Sundays at 3 p.m. April 5 through April 21 at The Gaslight Theatre, 358 N. Boyle. For more information: stlas.org.
Take Ten Q & A with Nadja Kapetanovich
Nadja Kapetanovich and William Roth in “The Whale.” Photo by Patrick Huber.
1. What is special about your current project?
“The Whale” has been a true gift. Getting to play a character who is so misunderstood and broken has been a big challenge, but doing it alongside this cast of actors is everything I could have ever wished for. Being directed by Annamaria Pileggi has taught me so much, and I will always thank her for showing me what it feels like to really understand a character and allow myself to truly feel every emotion that comes in a natural way.
2 Why did you choose your profession/pursue the arts?
“My favorite memories from when I was a little kid were going to see musicals and plays in St Louis with my family. My childhood dream was to be an actor, and my parents were extremely supportive and helped me to find my first few auditions. I have always loved dissecting people’s personalities and finding out who they really are, which is why I found the process of developing your own version of a show with your cast and crew members to be extremely exciting and rewarding.”
3. How would your friends describe you?
“I did not know how my friends would describe me, so I asked them! Here were some of the things they said: “outgoing,” “super-funny and spontaneous,” “constantly bursting into song, would burst into dance but space often doesn’t allow,” “hard-working and persevering,” “passionate about her dreams,” “kind-hearted, honest, and true to her word,” and “quick-witted.” I have the best friends ever.”
4. How do you like to spend your free time?
“Recently, I have been spending my free time going on walks with my friends, trying to teach myself guitar, playing piano, painting and drawing, and reading.”
5. What is your current obsession?
“My current obsession is going on walks after school and on the weekends. I love walking around my neighborhood while listening to my favorite music. I am also currently very obsessed with vegetarian chicken sandwiches.”
6. What would people be surprised to find out about you?
“Many people are very surprised to find out that I speak Bosnian. I do not tell my new friends this, and just let them find out by hearing me speak to my dad in Bosnian for the first time. I really appreciate the shock value.”
:The Gingerbread Lady” at KTK Productions. Nadja was nominated for an Arts For Life Theater Mask Award in 2023.
7. Can you share one of your most defining moments?
“One of my most defining moments was when I was 3 years old and I saw my first musical. I think it might have either been “Annie” or “Cinderella.” At this moment, I absolutely fell in love with live theatre. On the way home from the show, I turned to my mom and said “Mommy? On Monday I need you to find out how I can become an actress.” The rest is history!
8. Who do you admire the most?
“The person I admire most in my life is my grandma. She is the most caring and helpful person I have ever met, and she is full of a huge amount of love and life. She has taught me so so much, and has been there for me whenever I needed help with anything. She is truly inspiring, and I hope that I will be like her in my future.”
9. What is at the top of your bucket list?
“Currently, moving to a big city is at the top of my bucket list. Chicago, New York, or St. Louis are all places I would really love to live. Also, I would love to be in a film in the near future.”
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?
“The COVID-19 pandemic was extremely hard for my family and I. A few months after quarantine started, my grandpa was infected with COVID. He ended up passing away from the virus, and we were not able to say goodbye to him because of social distancing. I learned that I get my energy from being around other people, so having to be apart from all of my friends and loved ones during that time was extremely difficult. Also, not getting to perform for a year was very sad. I was supposed to make my professional debut in “Looking For Normal” at Max and Louie Productions, but the show was cancelled due to the pandemic. Moving forward from COVID in the arts was extremely exciting, and it feels great to be able to come back and make my professional play debut four years later.”
11. What is your favorite thing to do in St. Louis – or your hometown?
“As someone who lives about 45 minutes away from St. Louis, I come often, but usually visit the same places over and over. I love the Zoo and the Art Museum. I also really enjoy walking in Central West End before rehearsals with my dad. In my hometown, Alton, I really love walking down by the river and on the docks with my friends.”
12. What’s next?
“I’m currently auditioning for some summer shows, and I will be doing a reading of a play by Elizabeth Breed Penny called “13 Hours of Sun” this summer. Apart from theatre, I am very focused on school right now. I’m going to be a senior next year, which means I have to start applying to colleges and decide what I am going to do with my future.”
Nadja in “Winds of Change,” an original production presented in the Bevo Mill neighborhood as part of the Shakespeare in the Streets event in 2022.
More Information on Nadja Kapetanovich
Age: 16 years old Birthplace: Alton, Ill. Current Location: Alton, Ill. Family: Jennifer and Mirsad Kapetanovich are my incredible parents.I do not have any siblings, but spend a lot of time with my grandparents. Education: Currently a high school junior. Day job: High School First Job: Selling vegetables at a farmers’ market First play you were involved in: “Shrek the Musical” when I was 8 years old. Favorite Jobs/Roles/Plays or work in your medium: My favorite role I have played is Ellie in “The Whale,” but Jeannine Pratt in “Ordinary People,” Esther Smith in “Meet Me in St. Louis,” and Polly Meara in “The Gingerbread Lady” are also high on my list. Dream job/opportunity: Professional actor/clinical psychologist Awards/Honors/Achievements: I was nominated for Best Supporting Actress in a Drama for my role in The Gingerbread Lady” a few years ago! I also won Best Supporting Performer in a Play for the 2023 St. Louis Broadway World Awards. Favorite quote/words to live by: “There are places you haven’t been where you already belong” A song that makes you happy: “Here Comes the Sun” by The Beatles
“Freaky Friday” at Christ Memorial Productions in 2023..
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Anyone who has experienced grief knows that moving forward, life is measured by “Before” and “After.”
“The Whale” delves into the mental and physical health problems of a morbidly obese recluse, showing us the “After” and explaining the “Before” in an emotionally honest drama by Samuel D. Hunter.
In yet another well-cast, impeccably directed production, St. Louis Actors’ Studio imbues this gut-punch of a script with empathy and authenticity.
In his play, Hunter forces us to see the complexities in human nature, so impressions aren’t so easily defined, and judgment can wait. He has crafted flawed characters who have dealt with adversity and challenges in very different ways. Yet, they are stuck in time.
First presented in 2012, Hunter later wrote a bleak screenplay adaptation for the 2022 film that won two Oscars – one for Brendan Fraser’s performance and the other for makeup.
The film, while much dimmer inside the claustrophobic apartment, is very similar to the stage play, yet the characters are more severely portrayed, and redemption doesn’t seem plausible.
Set in a small town in northern Idaho, over the course of a week, four people interact with a nearly immobile Charlie (William Roth) in his dingy living room – nurse and friend Liz (Colleen Backer), estranged daughter Ellie (Nadja Kapetanovich), ex-wife Mary (Lizi Watt), and Mormon missionary Elder Thomas (Thomas Patrick Riley).
All affected by loss and loneliness, they are each wrapped in their own cocoons, and grace has eluded them. Director Annamaria Pileggi has drawn out nuances among this exemplary cast as they reveal truths about themselves. You feel their misery, but you also see signs of hope.
In a brave, towering performance, William Roth has never been better as Charlie, a sensitive soul whose heartache and regrets have led to self-destructive behavior. A writing instructor who now conducts classes online, he has ballooned to 600 lbs., suffers from congestive heart failure and is on a trajectory to imminent death.
Roth has delivered virtuoso performances before, notably as George in “Who’s Afraid of Virginia Woolf?” and as Charlie Aikin in “August: Osage County,” both at St. Louis Actors’ Studio, which he founded and is the artistic director.
William Roth as Charlie. Photo by Patrick Huber
But this realization is both heartfelt and haunting. Hunter enlists many ways to display Charlie’s self-loathing, visually masking his pain with an eating disorder, and describing memories from what had been an ordinary life. Roth disappears into the role, wistfully recounting happier times at the seashore with his wife and child, and then later being with his lover and former student Alan. Will he ever forgive himself for what he perceives are his failings?
Using a colloquial term, Charlie has “let himself go.” Eating his feelings since Alan’s death eight years ago, he has guilt in his psyche – but passion in his heart for literature. You feel his remorse – and his enormous capacity for love.
Through grading papers, talking to his class via computer, and reading aloud their essays, Charlie displays a fine mind, a keen grasp of literature, what authors meant, and encourages self-expression.
Conveying that love for the written word that once gave him great joy makes it much sadder that, sidelined by grief, he’s not the teacher he once was, and not entirely comfortable connecting with his students (yet, astute in his comments). The isolation, as reflected in that tiny room, is crushing.
He also has vast unconditional love for his daughter Ellie, a sullen teenager who feels abandoned and lashes out cruelly. After years of no contact, he has attempted to reconnect with her, and she is seemingly unreachable – tough, rebellious, impulsive.
Her mother, angry and filled with rage too, has kept her from establishing a relationship with her father. At 17, she hates everything and everybody, and is flunking out of school. She is repulsed by his appearance, but visits anyway — after all, he is writing her English papers, and there is a pledge of money.
Displaying hostility, confusion, forlornness, and defiance, Nadja Kapetanovich is a knockout in a finely textured performance as Ellie. It’s a sensational breakthrough performance in regional theatre.
Kapetanovich, Riley, Watt, Backer, Roth. Photo by Patrick Huber.
Thomas Patrick Riley also has a breakout opportunity as Elder Thomas, and he’s splendid. He has the most complicated backstory of them all, and represents the evangelical religion that Hunter focuses on as a root to issues expressed here, particularly religious homophobia, and pointedly The Church of Jesus Christ of Latter-day Saints.
More dots in the plot are connected through Liz, the tough-love nurse played with heartbreaking compassion by Colleen Backer, whose ability to shift moods between comic and dramatic is one of her finest features.
Liz is Alan’s sister, so there is that. And she’s trying to keep Charlie healthy and alive, but also enabling him with high-fat, high-sodium foods (fried chicken, sub sandwiches, pizza, doughnuts and soda). She offers comfort while admonishing him with lectures. It’s an endearing performance by the always entertaining Backer.
In a brief but pivotal role, Lizi Watt blows in as the blustery ex-wife Mary, whose resentment is at a full rolling boil. She’s full of outrage, and vents to Charlie on how exasperated she is about their daughter. While she’s snarling, she’s also drinking copious amounts of vodka. It’s apparent that Ellie is a mirror image of her mother.
What is interesting about these hardened characters is you see them mentally and physically soften when confronted with Charlie’s predicament – if only fleeting. There is also more humor in the play than I recall from the film, which are moments of relief from the grim subject matter and the blame game volleys.
Wearing an impressively designed body suit by Angela B. Calin and engineered and constructed by Laurie Donati of the South Coast Repertory Theatre in Costa Mesa, Calif., Roth’s physicality is key to the character, portraying the very real struggles of someone so overweight as to be in pain from the slightest exertion.
Costume Designer Teresa Doggett also worked skillfully on Roth’s prosthetics to ready him for this appearance on stage, and her casual outfit choices for the five actors were on point.
Patrick Huber’s scenic and lighting design reflects the slovenly quarters but also Charlie’s thirst for knowledge, with crammed bookshelves and papers everywhere. Props designer Emma Glose did a fine job littering the apartment with discarded food boxes, beverage containers and academia.
Caleb D. Long supervised the crafts parts as technical director. Another standout is the sound design by Kristi Gunther, also production manager, which incorporated hearing seaside noises like seagulls and the waves on the beach to evoke pleasant memories.
Others responsible for shaping this tight production: Bryn McLaughlin was the assistant director, and stage manager Amy J. Paige, with Glose her assistant.
This show’s cast was able to let us into their world, tinged with melancholy, and indicate the possibility of mercy, which is a final grace note.
And we can debate the ending for a long time, but I choose triumph, even if it is just in the teeniest glimmers of change that may be ahead for all.
St. Louis Actors’ Studio presents “The Whale” Thursday, Friday and Saturday evenings at 8 p.m. and Sundays at 3 p.m. April 5 through April 21 at The Gaslight Theatre, 358 N. Boyle. For more information: stlas.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Embarking on his most challenging role to date in an acting career spanning 35 years, William Roth has transformed himself into Charlie, the 600-lb. writing instructor recluse that is the center of Samuel D. Hunter’s play “The Whale.”
St. Louis Actors’ Studio presents “The Whale” April 5 – 21, with performances Thursday, Friday and Saturday evenings at 8 p.m. and Sundays at 3 p.m. at The Gaslight Theater, 358 N. Boyle. For more information: stlas.org.
Wearing a body suit by Angela B. Calin, and engineered and constructed by Laurie Donati of the South Coast Repertory Theatre in Costa Mesa, Calif., with prosthetics by costume designer Teresa Doggett, Roth must physically move like someone so morbidly obese as to have issues with the slightest exertion.
Director Annamaria Pileggi made sure his physical gestures matched, and he had watched some episodes of TLC’s “My 600-lb. Life” and other documentaries for research as well.
The play is part of the St. Louis Actors’ Studio’s 16th season, “A Way Forward,” and has provided a strong ensemble environment for its 5-person cast, including Colleen Backer, Nadja Kapetanovich, Thomas Patrick Riley and Lizi Watt. Backer is a regular on The Gaslight Theatre stage, while this is Watt’s third show in two years, and Kapetanovich and Riley are making their debut.
The Whale. Photo by Patrick Huber.
When founded by Roth in 2006, the mission was that “through the use of ensemble work, to explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre.”
Roth, who grew up in the Central West End, purchased and helped rehab The Gaslight Theater, which had been a key fixture in the iconic Gaslight Square heyday, into a 99-seat black box, That continues to be the home for STLAS shows, and also programs concerts and other entertainment acts.
An adjacent restaurant, West End Grill and Pub, opened in 2009, and Roth was one of four owners. It closed and reopened in 2019 with two of the original owners, and that version of WEGAP closed in 2022. It is now operated as Black Mountain Wine House, at 354 N. Boyle.
He continues to be the theater’s artistic director and is a member of SAG/AFTRA and Actors’ Equity. He has produced more than 75 shows at STLAS, including New York premiere productions of “Day of the Dog” and four seasons of the LaBute New Theater Festival at the 59E59 street theaters and The Davenport in Midtown Manhattan.
The festival will celebrate its 10th year this July, and a special edition of all the world-premiere plays LaBute has written for the annual event will be published collectively this year, Roth said. LaBute has contributed a one-act play per year, and has often attended the annual event.
In the July 2013 issue of the publication American Theatre, Roth explained how LaBute agreed to put his name on the festival. When STLAS was staging “The Shape of Things,” he began corresponding with the playwright, and after they produced an anthology of his short plays titled “Just Desserts,” Roth asked.
“He came to me with this idea of a short play festival named after myself. It makes you feel both proud and silly, but if it helps draw in writers and/or audience, I’m willing to do it. I’m a crusader for theatre, wherever it might be,” LaBute told the magazine.
Associate Director John Pierson, playwright Neil LaBute, William Roth in New York.
Every year, they receive about 250 submissions from around the globe, and a jury selects which ones should be produced, mostly relationship studies – with an edge. There is also a high school playwrighting contest component, too.
Since 2013, when the St. Louis Theater Circle Awards began, STLAS has won 18 awards and received about triple that in nominations, with 18 nominations garnered in 2014 the most in one year.
Two Best New Play Awards have been for one-acts at the LaBute New Theater Festival — ‘Percentage America” by Carter Lewis and “One Night in the Many Deaths of Sonny Liston” by J.B. Heaps.
Roth has been nominated for his work as George in Edward Albee’s “Who’s Afraid of Virginia Woolf?” and Mervyn in Martin McDonagh’s “A Behanding in Spokane.”
At STLAS, his roles have included Horace in Lillian Hellman’s “The Little Foxes,” Teach in David Mamet’s “American Buffalo,” Charlie Aikin in Tracy Lett’s “August Osage County,” Saul in Sam Shepard’s “True West,” Robert in David Mamet’s “A Life in the Theatre,” Ben in Harold Pinter’s “The Dumbwaiter” and Peter in Albee’s “The Zoo Story,” Ben in Neil Simon’s “The Sunshine Boys,” Michael Waterman in Steven Dietz’s “Fiction” and Sir Thomas More in Robert Bolt’s “A Man for All Seasons.”
During his acting career, he has performed with The Classic Theater Company, American Ballet Theater, River City Players, Magic Smoking Monkey, The Goldenrod Showboat, The International Hemingway Festival, HotHouse Theatre and Muddy Waters.
“August: Osage County.”
He spent six years with the Orthwein Theatre Company, appearing in several shows, including “The Grapes of Wrath,” “Our Town,” “Hamlet,” “ER,” and “Harvey.” His Shakespeare productions include “King Lear,” “Richard III,” “Much Ado About Nothing,” “A Winter’s Tale,” “As You Like It,” “Macbeth,” “Othello,” and “Antony and Cleopatra.”
In recent years, he has been cast in a couple films, including LaBute’s “Fear the Night” in 2023 and locally shot “Hungry Dog Blues,” which was written and directed by Jason Abrams and won several awards at the 2022 St. Louis Filmmakers Showcase.
He will be seen in the upcoming “On Fire,” which stars William H. Macy and John Corbett. Roth plays a construction guy in the film adaptation of St. Louis native John O’Leary’s book about his experience surviving a horrific housefire when he was nine years old and burned on 100% of his body. It was shot in St. Louis last fall, directed by Sean McNamara.
Another side gig is his band, Holy Friars, which plays songs by George Harrison, among other artists.
Coming soon is also the announcement of STLAS’s 17th season. For more information about St. Louis Actors’ Studio, visit www.stlas.org
William Humphrey and William Roth in “True West” in 2019. Photo by Patrick Huber.
Here is the Take Ten Q&A with William Roth:
1. What is special about your latest project? Telling Charlie’s story. Trying to figure out what is going on inside this 600lb man
2. Why did you choose your profession/pursue the arts? Seeing Plays, Opera, Symphony. Wanting to participate
3. How would your friends describe you? Idiotic Introvert
4. How do you like to spend your spare time? Playing hockey
Joel Moses and William Roth in “The Zoo Story.” Photo by Patrick Huber.
5. What is your current obsession? My Band “The Holy Friars”
6. What would people be surprised to find out about you? Enlisted in the Marine Corps on my 17th Birthday
7. Can you share one of your most defining moments in life? London Trip 1976 — I saw Richard Burton, Rex Harrison, Robert Morley and Antony Hopkins all in different plays over a 10 day period.
8. Who do you admire most? Most of the people I meet
9. What is at the top of your bucket list? I don’t have one, just try to achieve something each day..
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?- Shut down our season and theater, patrons learned to stay home and watch TV –trying to get them back to the theater one at a time is not easy, the couch is nice place to sit.
11. What is your favorite thing to do in St. Louis? Forest Park, Zoo, Art Museum, my neighborhood street.
12. What’s next? Hockey Sunday and Tuesday evenings
William Roth in “American Buffalo.” Photo by Patrick Huber.
More about William Roth:
Age: 60 Birthplace: Cincinnati, Ohio Current location: St. Louis Family: Wife Elisa, daughter Josephine, son Jack Education: BS, ASM Aeronautics (yea I know) Day job: Running STLAS, Roth Investments LLC and The Eleven Inc First job: US Marine First play or movie you were involved in or made: The Black Stallion film (1979), South Pacific at Webster Groves Theater Guild-1970ish Favorite jobs/roles/plays or work in your medium? George (Who’s Afraid of Virginia Woolf), Earl Moss (The Late Henry Moss), Thomas Moore (A Man For All Seasons) Bill( Here We Go Round the Mulberry Bush – LaBute world premiere), Dream job/opportunity: I have it Awards/Honors/Achievements: Honored that folks still come to see our plays Favorite quote/words to live by: “All Things Must Pass, None of Life’s Strings Can Last. So I Must Be On My Way, Face another Day” A song that makes you happy: Any song by George Harrison, or The Grateful Dead
“Who’s Afraid of Virginia Woolf?” in 2014, with Kari Ely, Betsy Bowman, Michael Amaroso and William Roth. Photo by John Lamb.The Gaslight Theatre is home to STLAS and other events. To find out what’s playing, visit www.gaslighttheater.net
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Writer-Director Helping Small Professional Theatre Sustainment Fund
By Lynn Venhaus Cory Finley first came on my radar with “The Feast,” his original play that was produced by the St. Louis Actors’ Studio in fall 2017. Since then, he has received national acclaim for two films, “Thoroughbreds” and “Bad Education.” He is definitely one to watch.
Now he is giving back to the small theater company that gave him a shot by being one of the artists trying to help STLAS and others in St. Louis through the Small Professional Theatre Sustainment Fund. This was started to help these struggling companies pay their bills until they can safely re-open.
The coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including theater companies, who will continue to be hit hard as they might not receive any funding in 2021, and if they do, it would be a small amount.
“The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, STLAS Founder and Artistic Director. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.”
By donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with Finley or other famous St. Louis artists Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).
For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. Contest ends Sept. 17 and the winner will be drawn on September 18.
During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.
Finley wanted to get involved because he believes in their work and the mission they’re starting.
“I was lucky enough to have STLAS put on a production of my play ‘The Feast.’ I’m a huge fan of the work they’re doing and I’m very concerned about the health of theater in America generally in pandemic conditions. I think it’s a great initiative to help keep vital institutions alive,” Finley said.
In a short-take review, I described the play this way: “One act, three actors, five genres, so says director John Pierson, who shrewdly realizes an eerie “Twilight Zone”-type mind game by Cory Finley of Clayton, Mo. The twisty-turny original play, only 65 minutes’ long, benefits from an accomplished trio of actors and Patrick Huber’s customary meticulous set and artful lighting design. Pierson’s crisp direction and keen sound design enhance the mysterious off-kilter quality.”
Pierson, a St. Louis actor, director and teacher, has been at John Burroughs School since 1993 and is chairman of the Theatre, Speech and Dance Department.
Finley, 31, a Burroughs graduate, is based in New York City, where he is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater. He received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for “The Feast,” which was presented first at The Flea Theater.
Three years ago this month, Finley’s play “The Feast” fit into the vision at The Gaslight Theatre, STLAS’ black-box home.
“STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre,” Roth said.
Finley received high praise for the film “Thoroughbreds,” which he adapted from his play and also directed. It was accepted for the Sundance Film Festival in January 2017, and nominated for the Audience Award in the Best of Next! competition. It played at the St. Louis International Film Festival that November. Sold to Focus Features for $5 million, the film opened in theaters in March 2018.
Finley wrote the crime-drama-dark comedy about two upper-class teenage girls in suburban Connecticut, who rekindled their unlikely friendship after years of growing apart. Then they hatch a plan to solve both of their problems — no matter what the cost. The cast included Anna Taylor-Joy and Olivia Cooke, and was the last film of Anton Yelchin, who died in a tragic accident at his home in June 2016. The film is dedicated to him.
Anton Yelchin, Cory Finley, Anya Taylor-Joy. Photo by
Indie Wire described the film as “Heathers meets American Psycho.” Rotten Tomatoes had a score of 86% and the critic consensus was: ” Thoroughbreds juggles genres with panache, delivering a well-written and refreshingly unpredictable entry in the teen thriller genre.”
In 2019, Finley scored a Film Independent Spirit Award nomination for Best First Screenplay for “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. For more information on the film, visit www.thoroughbredsmovie.com
Last year, Finley directed “Bad Education,” which was shown at the Toronto International Film Festival in 2019 and sold to HBO for $20 million. HBO aired it April 25 this year (Currently available in HBOMax catalog) and as of Sept. 8, it is available on DVD and Blu-Ray. It is also available for rental or purchase on streaming platforms.
“Bad Education” is nominated for two Emmy Awards — Best Television Movie and Hugh Jackman for Lead Actor in a Limited Series or Movie. The Emmy Awards are Sunday, Sept. 20.
The film, based on a true story, focuses on the popular superintendent of New York’s Roslyn school district as well as his staff, friends and relatives who become the prime suspects as the single largest public school embezzlement scandal in American history unfolds. Former Roslyn student Mike Makowsky wrote the screenplay based on the New York Magazine article “The Bad Superintendent” by Robert Kolker.
Finley said he was drawn to the script for several reasons.
“I thought the script had a really unique tone, a complex character at its center, and themes about greed, institutional failure and systemic corruption that spoke to me,” he said.
And working with the cast was a positive experience.
Jackman played Frank Tassone, who was sentenced to 4 to 12 years for the $11.2 million embezzling scheme, and Alison Janney played Pam Gluckin, an assistant superintendent who took part in the scheme.
“I was enormously lucky that my A-list cast all had the work ethic and humility of actors just starting off: particularly Hugh and Alison made my job incredibly easy and were intensely collaborative and open, as well as super-prepared,” Finley said.
He said he is not at liberty to divulge his next project just yet..
How has he been coping with the pandemic in New York?
“My partner is a medical resident who got pulled into the COVID ward right at the height of the pandemic, so I had a very intense view of the worst of it through her. But she’s now back home doing tele-health and things are much more normal,” he said. “I’m fortunate to have a job that I can do from home — the writing and prep parts of my job at least — and so I’m far less affected than many New Yorkers have been.”
What has he learned during this time of quarantine?
“It’s a total cliche, but I’ve learned how important a sense of social community is, and how badly we all need it back,” he said.
Cory FInley at Film Independent Spirit Awards. Photo by Kevin Mazur.
Q&A QUESTIONS FOR “TAKE TEN” 1. Why did you choose your profession? I always loved creating and managing made-up worlds: first pretend games, then Dungeons and Dragons, then school plays, then directing film.
2. How would your friends describe you? Tall, polite, bad at remembering things, dad jokes, no sense of direction.
3. How do you like to spend your spare time? Playing basketball with great enthusiasm and minimal ability.
4. What is your current obsession? Youtube chiropractic adjustment videos. Also, archived Firing Line videos of William F. Buckley debating prominent leftists of the 60s — Noam Chomsky, James Baldwin, Huey Newton. They show at once how far our politics have come and how little our discourse has changed.
5. Who do you admire most? In no particular order: Caryl Churchill, Alexandria Ocasio-Cortez, Lebron James.
6. What is your favorite thing to do in the St. Louis Metropolitan Area? Ted Drewes and the Tivoli Theatre.
More to Know: Name: Cory Finley Age: 31 Birthplace: St. Louis, MO (Clayton, specifically) Current location: Manhattan Day job: Many years SAT/ACT tutoring Favorite movies: Brief Encounter, There Will Be Blood
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Will Help Struggling Arts Community in Wake of Global Pandemic
Donate for Chances to Win Virtual Hangouts with Sterling K. Brown, Jon Hamm, Beau Willimon, Sam McMurray, Cory Finley and Neil LaBute
The Coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including many beloved St. Louis theater companies. In fact, local and regional arts commissions announced recently that many struggling organizations will not receive any funding in 2021, and those that do are expected to receive only a small percentage of what they have been granted in the past.
In an effort to help small professional theater companies in St. Louis as well as those across the nation to pay their bills until they can safely reopen, the St. Louis Actors’ Studio announced today the creation of the Small Professional Theatre Sustainment Fund. “The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, Founder and Artistic Director of the St. Louis Actors’ Studio. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.”
By simply donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with such famous St. Louis artists as Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, Cory Finley or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).
For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. The winner will be drawn on September 17.
During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.
About the Participating Artists Actor Jon Hamm is a John Burroughs grad best known for his Golden Globe and Emmy Award-winning role on “Mad Men.” He will star in the upcoming film “Top Gun: Maverick” in theaters this winter.See Jon Hamm’s video message here:https://vimeo.com/427780482
Sterling K. Brown is a graduate of MICDS and recent Golden Globe and Emmy Award winner for his work on NBC’s smash hit “This is Us.”See Sterling K. Brown’s video message here: https://vimeo.com/429676164
A graduate of Washington University, character actor Sam McMurray has appeared in “Freaks & Geeks,” “Friends” and “Raising Arizona.”
Director and screenwriter Cory Finley is another John Burroughs alum. STLAS produced his play “The Feast” and he recently directed the film “Bad Education” for HBO.
Playwright, screenwriter and activist Beau Willimon is yet another John Burroughs alum, STLAS produced his play “Farragut North” (of which the movies “Ides of Mach” starring and directed by George Clooney is adapted.) He developed “House of Cards” for American television and was its showrunner. He most recently wrote the screenplay for “Mary Queen of Scots.”
STLAS Associate and Tony Award-nominated playwright and screenwriter Neil LaBute whose films include “In the Company of Men,” “Your Friends & Neighbors,” “Nurse Betty” and “The Shape of Things.” Neil hosts his “LaBute New Theater Festival” at STLAS’ Gaslight Theater in St. Louis each fall in in NYC periodically.
About the St. Louis Actor’s Studio
The St. Louis Actors’ Studio is a non-profit 501(c)(3) organization that was founded by William Roth in 2006 to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. To learn more or to make a donation, visit www.stlas.org/sustain. This program would not be possible without the generous support of Mr. & Mrs. Charles L. Barnes and John Russell.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
