On a remote island far, far away, a mischievous mix of magic and mayhem mark “The Tempest,” which is the St. Louis Shakespeare Festival’s flagship production now anchored in Forest Park’s Shakespeare Glen.
William Shakespeare’s drama-tinged romantic comedy takes place after a violent storm has washed ashore a merry band of revelers, upending the inhabitants on this island – and nothing is as it seems. Perhaps, someone’s bad dream is another’s hopeful voyage. In any case, there is perceptible verve.
Think of this as a way-back machine “Survivor,” where everyone must outwit, outplay and outlast the people who want power. And Prospero (Nancy Bell) is manipulating a chess game.
A mother and sorcerer, Prospero rules this mystical place, and tensions rise between her, her teenage daughter and now the brother who messed up her future and has reappeared. Haunted by his betrayal, she has vengeance on her mind, for she was once Duke of Milan.
Reginald Pierre and Jeff Cummings as Prospero’s evil brothers. Photo by Phillip Hamer.
Through royal chicanery, Antonio (Jeff Cummings) usurped the title, and with the help of another brother, Alonso (Kathryn Bentley), King of Naples, she was banished 12 years earlier. But they can’t be trusted because another ambitious brother, Sebastian (Reginald Pierre), wants the king’s crown himself.
Ariel (Eliza Pagelle) is a shape-shifting spirit on the island that aids Prospero. Through her occult preoccupation, the boss finds out that her nefarious brothers are on their way from Tunis to Italy, so she conjures a squall, and they wind up where she is. Mama Bear thinks she is in control.
It won’t be long until old wounds resurface and new challenges arise. Oh, be careful what you wish for, as Alonso’s honorable son Ferdinand (an earnest Zay Williams) spies Miranda (Sigrid Wise) and falls in love.
Caliban (Chauncy Thomas) is the only true island inhabitant, a witch’s son, and resents being overtaken by Prospero, who imprisoned him so he doesn’t get too close to her daughter.
A fierce Thomas musters all his fury as a resentful native. Formerly of St. Louis, Thomas is always a welcome addition when he returns, now for the sixth time.
Bell and Chauncy Thomas as Caliban. Photo by Phillip Hamer.
The ensemble includes kindly Gonzalo (veteran Whit Reichert), an elderly Neapolitan lord who helped Prospero survive exile (but secretly), and comic buffoons Stephano (Michael Dougherty) and Trinculo (Jose Sabillon), Alonso’s butler and court jester. That daffy duo plots with Caliban to take over.
Mother and daughter have been marooned since the girl was 2 years old, so one can imagine her naivete and innocence – and yearning to break free of the overbearing parent. Nevertheless, the protective mom wants her daughter to marry for love and position.
Wise, enchanting as the isolated Miranda, is as luminous as she was as Juliet in “Romeo and Juliet” in 2018 and was part of “The Winter’s Tale” the year before. She has tangible chemistry with Williams as a decent prince who can be trusted.
Through her instincts and technique, Bell is a formidable Prospero – and as much of an impact she has had on Shakespeare in this city, one must note that this is her first leading role outdoors in Shakespeare Glen.
Bell and Eliza Pagelle as Ariel. Photo by Phillip Hamer.
(As Playwright-in-Residence, Bell wrote several “Shakespeare in the Street” productions, earning Best New Play awards from the St. Louis Theater Circle for “The World Begun” and “Old Hearts Fresh,” and two years ago, directed the award-winning “As You Like It.” She also founded the Confluence New Play Festival.)
The Circle’s most awarded theater artist, for acting, writing and directing, Bell commands attention from various vantage points perched on the decaying hull of a shipwreck. Her character must find a way to forgive on this journey.
Director Rick Dildine shrewdly showcases Prospero’s dominance by staging Bell’s position at different heights – when she’s talking to others. It’s rare when she’s on the same level of this imposing set, masterfully adorned with functional nooks and crannies.
The former director of St. Louis Shakespeare Festival (2009 – 2017) emphasizes nature’s impact as well as the colonial-era themes. Dildine’s version is a breezy 90 minutes without an intermission.
Goofballs Jose Sabillon and Michael Dougherty with Thomas. Photo by Phillip Hamer.
He is aided by a talented squad — assistant director Lize Lewy, producer Colin O’Brien, production company Blank Slate, stage manager Sarah Luedloff, and assistant stage manager Britteny Henry.
Dildine won a Circle award for directing a shimmering “A Midsummer Night’s Dream” in 2016 where sound, lighting and scenic design enhanced the production, especially the original music.
The storytelling here is boosted by those same elements. The artisan MVPs who blended music and storm effects to elevate the experience included music director Michael Grieve, sound designer Melanie Chen Cole, lighting designer Jeff Behm and scenic designers Justin and Christopher Swader, all making impressive debuts, as were costume designer Kathleen Geldard and props designer Katherine Stepanek.
Grieve’s captivating immersive upbeat music is a zesty blend of roots music, sea shanties and folk melodies, with lively musicians Harrison Farmer, Crayton Haney and Otto Klemp, also in supporting roles, as is Grieve.
Musicians and partiers aboard a vessel. Photo by Phillip Hamer.
An original prologue on a satellite stage creates a festive atmosphere at Alonso’s daughter Claribel’s wedding, which kicks off the show (starting at 8 p.m.). Paul Dennhardt has provided interesting moves for the musicians and guests. All that’s swept away in the tempest.
Regarded as Shakespeare’s last play, when he was in his late 40s, this tale of forgiveness has the compassion of an experienced man looking at what’s important in life. And that is expressed well in this vibrant setting.
Dildine’s focus on nature’s capacity to heal is a key component to this 26th annual outing in the park, a year after a destructive tornado tore through Forest Park. He interprets that resiliency in the aftermath, as we all weather calm seas and violent storms in life.
A portion of the donations collected during “The Tempest” will go towards the tornado relief funds for the St. Louisans hit the hardest. And thanks to the parks department and Forest Park Forever, we are sitting today in these hallowed grounds of immense cultural importance.
Zay Williams and Sigrid Wise as Ferdinand and Miranda while Bell looks on. Photo by Phillip Hamer.
St. Louis Shakespeare Festival presents “The Tempest” May 27 – June 21 at 8:15 p.m., Tuesdays through Sundays, in Shakespeare Glen in Forest Park, 6604 Fine Arts Drive (next to the Art Museum). Admission is free and accessible to everyone. The Glen opens at 6:30 p.m. and the Teen Green Show takes place at 7:15 p.m. Thursday through Sunday. For more information, visit www.stlshakes.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.
Line-up includesThe Tempest, Rosencrantz & Guildenstern are Dead, Two Gentlemen of Verona, and Romeo & Zooliet
The St. Louis Shakespeare Festival announcedtodayits line-up for their 26th Season of free Shakespeare with THE TEMPESTas the mainstage production in Forest Park. Directed by the Festival’s former artistic director Rick Dildine and featuring Nancy Bell as Prospero, THE TEMPEST, will begin free public performances in Shakespeare Glen on Wednesday, May 27 and run Tuesday – Sunday nights through June 21.
The romance and comedy-forward 2026 season lineup includes the previously announced CONFLUENCE NEW PLAY FESTIVAL (March 19-21), TourCo, a free and outdoor public parks tour of TWO GENTLEMEN OF VERONA directed by Rebekah Scallet (August 4-September 6), ROSENCRANTZ AND GUILDENSTERN ARE DEAD (March 26-April 11), in association with Albion Theatre, and the return of and updated and refreshed ROMEO & ZOOLIET (Fall 2026). The annual Shakespeare in the Streets community storytelling event will return in 2027 in DOGTOWN. During the 2026 season, the Festival will also host the return of Boozy Bard with THE RECLAIMING OF THE SHREW at Schlafly Tap Room.
Tom Ridgely, Artistic Director: “From Hollywood to London, Shakespeare is once again having a moment. His stories and poetry continue to shape our culture in subtle and profound ways. They connect us by illuminating our most defining experiences: love and loss, rupture and reconciliation. This season is about sharing those riches with more of St. Louis than ever before – and celebrating St. Louis’s unique contributions to Shakespeare in America.”
Kate Tichelkamp, Executive Director: “After celebrating a record-breaking 25th anniversary, we’re stepping into 2026 with tremendous momentum. This season builds on the energy, ambition, and community support that have shaped the Festival over the past 25 years, while continuing to expand what’s possible for Shakespeare in St. Louis. We’re excited to carry that success forward and to keep creating experiences that bring people together through extraordinary storytelling.”
The St. Louis Shakespeare Festival’s commitment to radically accessible free theater is made possible through the support of hundreds of Festival supporters throughout the year. Lead support of the 2026 Season comes from Edward Jones, Regional Arts Commission ARPA for the Arts, Whitaker Foundation, Switch, Missouri Arts Council, and Pershing Charitable Trust.
SEASON DETAILS
SHAKESPEARE IN THE PARK is the Festival’s flagship production and the unofficial start of the summer season in St. Louis. As one of the world’s largest free and outdoor Shakespeare productions, the show is accessible for everyone, always. This summer, THE TEMPEST, directed by Rick Dildine, returns to Shakespeare Glen for the first time in 20 years. “Returning to Forest Park feels like coming home. Shakespeare Glen is one of the most inspiring outdoor spaces in the country to share this work, and I’m deeply honored to be invited back to direct The Tempest for the people of St. Louis,” said Rick Dildine. “Having previously staged Twelfth Night and A Midsummer Night’s Dream here, I know how powerfully these plays live under the open sky – where the city, the landscape and the audience all become part of the story. I can’t wait to make theater in St. Louis again.”
Nancy Bell (Prospero): “Years ago, I directed a motley cast of elementary students in an abridged version of The Tempest. On opening night, the third-grade girl who played Prospero held up her cardboard magic wand and said the line, “I’ll break my staff.” She snapped it in half. Her voice broke and she bowed her head. It was one of the most thrilling moments I’ve ever seen in the theatre. It was as if this young person was somehow channeling an elderly Renaissance sorcerer. It made me realize that the play, like many of Shakespeare’s is truly – maybe literally magic.”
BOOZY BARD’S “THE RECLAIMING OF THE SHREW”, marks the return of the wildly popular 2025 event, this time taking on Shakespeare’s The Taming of the Shrew at Schlafly Tap Room on February 5, 6, 12 & 13. During an evening with Boozy Bard, an inebriated performer voluntarily struggles to reconstruct a character in a Shakepeare plan after imbibing several shots of whiskey while the remaining sober performer try to keep the story on track. Tickets for this 21+ event are now on sale.
THE CONFLUENCE NEW PLAY FESTIVALwas created in 2018 to further foster a culture of playwriting in the Midwest by supporting emerging writers in Missouri and Illinois with a fellowship and weekend-long celebration of new works at the Confluence New Play Festival each spring. Under the direction of St. Louis’s own Drama Desk-nominated playwright Deanna Jent since 2022, Confluence has commissioned 19 new plays, six of which have gone on to world premieres around the country. Current fellows include Zachariah Ezer, Pamela Morgan, and Catherine Yu. The Festival will present staged readings of their plays and take place March 19-21, 2026.
ROSENCRANTZ AND GUILDENSTERN ARE DEAD, written by Tom Stoppard, directed by Tom Ridgely, and presented in association with Albion Theatre (Robert Ashton, Artistic Director), arrives in St. Louis in spring 2026. What happens when you’re not the hero of the story? Rosencrantz and Guildenstern Are Dead flips Hamlet on its head, following two side characters who suddenly find themselves trapped inside a story they don’t fully understand. As events spiral around them, Rosencrantz and Guildenstern wrestle with fate, free will, friendship, and the unsettling realization that they may have very little control over what happens next. Performances begin at the Kranzberg Arts Center’s Black Box Theater on March 26 and close April 11, 2026.
ROSENCRANTZ AND GUILDENSTERN ARE DEAD is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com
TOURCO, the free touring program, TWO GENTLEMEN OF VERONA written by William Shakespeare and directed by the New Jewish Theater’s Rebekah Scallet, features six actors performing a 90-minute free and outdoor adaptation in parks around the region. One of the largest free Shakespeare tours in the country, TourCo will run for a record 5 consecutive weeks in 2026, opening August 4. TWO GENTLEMEN OF VERONA is complete with disguises, misunderstandings – and one very scene-stealing dog – and takes on friendship, forgiveness and the hilarious messiness of growing up.
“I am so thrilled to be able to work with the St. Louis Shakespeare Festival on this production of Two Gents. I have a deep passion for Shakespeare, and this will be my first opportunity to direct one of his works in St. Louis,” said Rebekah Scallet. “This play is also one of my favorites – though it is one of his earliest works, it is full of hints at what it is to come with amazing comic characters and touching love stories — it even has Shakespeare’s first balcony scene! There is truly something for everyone in this coming-of-age adventure, and it will be a perfect show to share with audiences across St. Louis this summer.”
Nisi Sturgis as Juliet’s mother in “Romeo and Zooliet” last summer.
ROMEO & ZOOLIET, written by Jennifer Joan Thompson and directed by Tom Ridgely, is eyeing a return to St. Louis in fall 2026 at a soon-to-be-announced location. In this updated and refreshed production, the animals and back and sillier than ever. ROMEO & ZOOLIET is a vibrant family comedy filled with laughter, friendship and larger-than-life puppets from world-renowned Michael Curry Design. It’s a playful celebration of curiosity, courage and connection – perfect for audiences of all ages.
SHAKESPEARE IN THE STREETS, the internationally recognized community engagement program, that most recently visited East St. Louis will arrive in DOGTOWN in 2027. Shakespeare in the Streets is a grassroots theatrical experience that invites St. Louis neighborhoods to tell their stories. A Festival-selected creative team leads the neighborhood in developing an original play based on one of Shakespeare’s works – a play with themes that reflect the community’s character.
Tickets for ROSENCRANTZ AND GUILDENSTERN ARE DEAD will go on sale to the general public on Monday, February 2, 2026. Reserved seats and boxes for THE TEMPEST in Shakespeare Glen will go on sale in April 2026.
“A Late Summer Night’s Stroll” in Forest Park during the pandemic in 2020.
Biographies
The St. Louis Shakespeare Festival strives to foster community and joy across the St. Louis region through the Shakespearean tradition of art for all. Since 2001, the Festival has grown from producing a single production of Shakespeare in Forest Park to a year-round season of impactful programming in exciting and accessible venues throughout the bi-state area. Artistic and education programs reach over 50,000 patrons and students each season. Their award-winning work has been featured in the New York Times, Wall Street Journal, and Bloomberg News.
Rick Dildine For over 20 years, Rick has led some of the most prestigious theater companies in America. Today he serves as Artistic Director of the Tony Award-winning Children’s Theatre Company, the largest theater in North America dedicated to creating work for multi-generational audiences. Previously, he served as Artistic Director of Alabama Shakespeare Festival and St. Louis Shakespeare Festival. He’s also led Shakespeare & Company, About Face Theatre, and the Stephen Foster Theater. He is a member of the National Board of Directors of Theatre for Young Audiences/USA. MFA from Brown University/Trinity Rep. Member, SDC. His directing credits include A Midsummer Night’s Dream, Twelfth Night, Macbeth, Romeo & Juliet, and The Tempest.
Rebekah Scallet is the Artistic Director of the New Jewish Theatre (NJT), a position she has held since 2022. Credits at NJT include: Cabaret, We All Fall Down and The Immigrant. Other St. Louis credits include The Roommate at the Repertory Theatre of St. Louis and Moliére’s The Learned Ladies for the Sargent Conservatory at Webster University. Rebekah was also the Producing Artistic Director of the Arkansas Shakespeare Theatre for nine years, where she directed many of Shakespeare’s works with some of her favorites being Twelfth Night, King Lear and Macbeth. Other recent credits include The Tempest at the Texas Shakespeare Festival, and The Winter’s Tale for Illinois Shakespeare Festival. Rebekah received her Bachelor of Arts in Theatre and English from Brandeis University and her Master of Fine Arts degree in Directing from Illinois State University.
Nancy Bell is a theatre artist and writer who is grateful to have had St. Louis Shakespeare Festival as an artistic home for more than a decade. She served as Playwright-In-Residence here for six years, serving under Rick Dildine’s leadership as the first playwright for the Festival’s groundbreaking Shakespeare in the Streets program. She was the founding director of the Festival’s Confluence New Play Festival, and the director of Into the Breeches and 2024’s award-winning As You Like It. She is a familiar performer and director at the Repertory Theatre of St. Louis, as well. Recent credits there include The Roommate, Athena, and Emma. Other credits nationally include New York Theatre Workshop, Manhattan Theatre Club, South Coast Repertory, The Geffen Playhouse, The Old Globe, Alabama Shakespeare Festival, among many others. TV and film credits from once upon a time include Star Trek Voyager, Guiding Light, Mad About You, Newsradio, and various Law and Orders. She is Professor of Theatre at St. Louis University.
Tom Ridgely is a Drama Desk-nominated director who has developed or presented work at the Public Theater, The Old Globe, Oregon Shakespeare Festival, Hudson Valley Shakespeare Festival, Red Bull and more, and his productions have won DFW Theater Critics Forum and ECNY Awards and been nominated for St. Louis Theater Circle, Connecticut Critics Circle and BroadwayWorld Connecticut Awards. He came to the Festival from Waterwell in New York City, the company he co-founded and led from 2002-2018. There he helped create and produce more than a dozen world premieres and adaptations of classics nominated for three IT awards, a Drama Desk, a New York Magazine Culture Award and a Village Voice “Best of NYC”. Since taking over the Festival, he has won a St. Louis Magazine A-List Award for “New Arts Leader” and oversaw the Festival’s shift to developing and producing new work, which also won an A-List Award for “New Programming.”
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A grizzly bear, crocodile, prairie dog, red panda, and tiger dance into a party in Zoorona, and we get a bouncy beat, a perky vibe, and a bright-eyed and bushy-tailed family-friendly adaptation of Shakespeare’s classic love story, revived as “Romeo and Zooliet.”
After all, what’s in a name? “That which we call a rose by any other name would smell as sweet.” What if the animal kingdom put on their own show in the friendly confines of a public zoo?
This inspired first-ever collaboration between St. Louis Shakespeare Festival and the Saint Louis Zoo is staged in a grassy, wooded valley area known as “Historic Hill,” between the sea lions and Cat Country on the zoo’s south side.
It is an enchanted setting on a midsummer night, and even a rain delay and sound glitch on Friday, July 11, couldn’t dampen the enthusiasm and enjoyment, particularly of the young and the young at heart.
Ingeniously camped in a performance space named “The Glowb,” clever large custom-made animal puppets cavort in their make-believe habitats, courtesy of Shakespeare-trained actors nimbly operating their characters while they provide the voices and the movements.
Ryan Omar Stack and Nisi Sturgis. Photo by Theo R Welling.
The synergy between playful puppeteers is uplifting, especially when you have a tale aimed at young audiences that is an ode to friendship. (In crossing the biological divide, no animals were harmed in this charming presentation).
The tragic-free conflict, created with wildlife behaviors in mind, is that cuddly bear cub Juliet, an omnivore who leans towards being a vegetarian, becomes best friends with adorable prairie dog Romeo, an herbivore who eats plants.
They don’t mind their differences and want to spend time together without their friends and families interfering. Those colorful characters are not feuding; they’re just from different clans.
Playwright Jennifer Joan Thompson’s imaginative script, based on a 2015 graphic novel, “The Stratford Zoo Midnight Revue Presents Romeo and Juliet,” which was written by Ian Lendler and illustrated by Zack Giallongo, takes flight in this delightful zoo setting.
An exuberant Ricki Franklin, a master interpreter of Shakespearean iambic pentameter, is the sweet Juliet seeking a best buddy. Franklin is a two-time winner of the St. Louis Theater Circle Award for performer in a supporting role for “Twelfth Night” and “As You Like It,” two recent outdoor productions in Shakespeare Glen, and her vibrant stage presence is welcoming.
Jacob Schmidt and Jordan Moore. Photo by Theo R. Welling.
Agile Jordan Moore plays nice Romeo, smitten with Juliet in a way where it’s the platonic version of “Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night,” and wants to hang out after they dance.
Juliet’s controlling mom, Lady Capulet, has other ideas — to have a play date with Paris, a smarmy crocodile with ulterior motives, for he sees a meal ticket. Nisi Sturgis’s suppleness in moving with an enormous bear apparatus above her head is impressive.
Adroit Ryan Omar Stack cunningly delivers his double entendre lines, trying to cover up his hearty appetite. He also portrays the prince, who is a sage sea lion (and easily distracted by balls!)
Zookeepers have gone home for the evening, and assorted critters come alive for fun and adventure. The remarkable puppets were designed and fabricated by Michael Curry Design. They collaborated with Julie Taymor for incredible “The Lion King” puppets, so no wonder these are striking in detail.
All the characters are animals that can be found in the Saint Louis Zoo – and on your way in and out, you can watch the prairie dogs’ antics as they go about their evening.
Narrators are a penguin, their offspring, and a puffin. Bryce Cleveland is Puff, Genevieve Mazzoni is Penny. Rian Page and Sophie Stogsdill are also listed in the program.
An animated Jacob Schmidt is a gleeful Mercutio, ready to dance, but he clashes with Juliet’s cousin, Tybalt (the always vivacious Rae Davis). He’s more laid back, she’s friskier – but they both are protective of their pals.
Schmidt also makes a comical entrance as an ambling tortoise, Friar John, ready to dispense his wisdom. He’s quite a crowd-pleaser.
The mellifluous Jeff Cummings is Friar Lawrence, a wise owl, while Olivia Scicolone is a marvel of motion as a hippo, who is quite limber as Juliet’s fussy nurse.
Rising stars Charlie Mathis and Daisy Held are the capable swings throughout the run.
Scenic designer extraordinaire Scott C. Neale has fashioned a rustic performance space that’s part clubhouse, treehouse, campground and stage – with interesting nooks and crannies for the animals to pop in and take off from.
Jesse Klug’s lighting design incorporates fairy lights, and their illumination elicited ‘aws’ from the crowd.
Costume designer Rachel Adorno, in tandem with Caitlin McLeod, associate costume designer and additional puppet fabrication, give the animals distinct personalities – including sparkly masks for the party scene, to convey the whimsy. Eric Barnes managed the props.
With his keen eye for detail and his zest for high-spirited, fun-filled action, producing artistic director Tom Ridgely has helmed this show laser-focused on cheerful entertainment for all ages, especially wide-eyed youngsters.
Ridgely, as he always does, has included exceptional creatives on this show’s roster. His team included producer Colin O’Brien, associate producer Ryan Jeffery, stage manager Sarah Luedloff and assistant stage manager Britteny Henry.
Olivia Scicolone
The 80-minute show includes catchy pop tunes, with a sensational signature song “Just Like Romeo and Zooliet,” the show’s own interpretation of a song first recorded in 1964 by The Reflections.
It has been re-arranged by music supervisor Jeffrey “JQ” Oaiyum, and sung by JQ and Kiley B. Moore, with background vocals by Sophie Dimitroff and trumpet playing by Marques Carroll.
JQ is part of The Q Brothers, which have been involved in several shows presented here by the St. Louis Shakespeare Festival. A Chicago composer, he also works on the Emmy-winning Hulu series “The Bear.”
The peppy music numbers are choreographed by Sam Gaitsch, and Steve Ptacek did a terrific job with sound design. Zev Steinrock choreographed the fights.
Jeff Cummings.
While it’s briskly performed and pleasantly presented, “Romeo and Zooliet” is a massive undertaking, so no small feat for all involved to create such a magical, purposeful experience.
With an entire village of artisans, Ridgely good-naturedly directed this groundbreaking attempt to unite two different worlds, and we’re the better for it.
If you’re like me, you’ll leave grinning ear to ear, hearing little tots giggling being the best sounds of all on a summer’s eve. (And it’s not every day you hear barking sea lions ready to go to bed).
St. Louis Shakespeare Festival presents “Romeo and Zooliet” Tuesdays through Sundays at 7:30 pm from July 8 through Aug. 17. Performances take place at the Historic Hill in the St. Louis Zoo. For more information: stlzoo.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.
An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.
Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.
From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.
Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.
Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”
The play within a play. Photo by Phillip Hamer.
His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.
“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.
Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.
That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.
Scott C. Neale’s striking set. Photoby Phillip Hamer.
The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.
And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:
“To be, or not to be, that is the question Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: ’tis a consummation Devoutly to be wish’d. To die, to sleep; To sleep, perchance to dream—ay, there’s the rub: For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause—there’s the respect That makes calamity of so long life.“
Sarah Chalfie as Ophelia. Photo by Phillip Hamer.
Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.
His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.
Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.
Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.
Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.
Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.
You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.
Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”
Gertrude, Hamlet. Photo by Phillip Hamer.
Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause. He also delivers the often misquoted “Though this be madness, yet there is method in’t.”
No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.
She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.
In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.
Hamlet, Ophelia. Photo by Phillip Hamer.
The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.
The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.
Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.
Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”
Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.
Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.
Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.
This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.
St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.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.
Quickly making a name for himself for his versatile work in local regional professional theater companies, Joel Moses continues to challenge himself through a variety of opportunities.
Recently, he was nominated for two St. Louis Theater Circle Awards – as a supporting performer in St. Louis Shakespeare Festival’s “As You Like It” as Duke Frederick, and for his leading role as a conflicted husband in the Albion Theatre drama, “Lungs.”
This follows winning two awards for the 2023 season, for leading performer as a pastor who is having a crisis of faith in “The Christians” and as a supporting performer in “Bronte Sisters House Party” as the black sheep brother Branwell.
After having a banner year in 2024, in both the acclaimed “All My Sons” production at New Jewish Theatre and “As You Like It” in Shakespeare Glen, both Circle-nominated ensembles, and playing the Jewish theoretical physicist Werner Heisenberg, who worked on the atomic bomb project at Los Alamos, in “Copenhagen” for St. Louis Actors’ Studio, he returns to The Gaslight Theatre in one of the great plays of the 20th century.
He stars as Jamie Tyrone in Eugene O’Neill’s magnum opus, “A Long Day’s Journey Into Night,” which is being directed by Austin Pendleton and features Meghan Baker, William Roth, Dustin Petrillo and Bridgette Bassa.
Moses was gracious to take our questionnaire and discuss this challenging work, which will run from Feb. 7 to Feb. 23, on Thursdays through Sundays.
Joel, who moved here during the pandemic with his partner Danielle, describes his journey as an actor in St. Louis and beforehand, and his joy in being part of collaborative teams.
He first worked with St. Louis Actors’ Studio on two one-acts, “The Zoo Story” by Edward Albee and Harold Pinter’s “The Dumb Waiter,” opposite William Roth, then has returned. He has worked with SATE, The Repertory Theatre of St. Louis, St. Louis Shakespeare Festival, Albion Theatre, New Jewish Theatre, The Midnight Company and West End Players Guild.
In New Jewish Theatre’s “Laughter on the 23rd Floor.” Photo by Jon Gitchoff.
Take Ten Q & A with Joel Moses
1. What is special about your latest project?
“I love working on challenging plays, and Long Day’s definitely checks that box. We have an incredible cast and production team, many of whom I am getting the opportunity to work with for the first time.
I think it could be easy to spiral into despair working on this play, but happily that’s not been my experience. Austin has this effortless way of creating an atmosphere of glee in the room. Beyond that, he is incredibly insightful about the work and infinitely curious about pretty much everyone I’ve seen him encounter. And his stories, the man has a story about seemingly everyone.”
2. Why did you choose your profession/pursue the arts?
“My mom says that from an early age I was always in character. Acting was the first thing I ever felt I was ‘good’ at. And when I started doing theatre in high school that was the first time that I really understood what it meant to be a part of a team. So those things were very appealing to me as a young person.
When I started college, I was planning to be a high school theatre teacher, but after my first semester I realized I only wanted to focus on Acting. I switched my major from theatre education to a BFA in theatre performance and never really looked back.”
3. How would your friends describe you?
“As someone who is reserved at first but opens up once I trust you. Someone who is thoughtful and compassionate, but also has a dry, cynical sense of humor. Someone who takes his work very seriously, but in many other ways is a silly goofball.
With Nicole Angeli in “Lungs.”
4. How do you like to spend your spare time?
“I’m a bit of a homebody, so I do like to spend a lot of my downtime relaxing at home with my partner Danielle and our dogs and cat. I love to read, although working on plays can sometimes delay my progress on a book. I really love movies, even a lot of terrible ones. I would describe one of Danielle’s qualities as being a bit of an adventurer, and as a result I’ve spent much more time enjoying nature and visiting beautiful places in the 10 years we’ve been together.”
5. What is your current obsession?
“My current obsessions tend to be the shows I am working on. So right now, it is ‘A Long Day’s Journey Into Night.’ Also, pretty much any dog I see at any time.”
6. What would people be surprised to find out about you?
“I get anxious in social settings and can sometimes struggle with words.”
7. Can you share one of your most defining moments in life?
“I spent the summer of 2012 studying abroad at the Moscow Art Theatre. It was a very intense experience in many regards. We were in classes six days a week, seeing plays a few times a week, and trying to experience as much of Moscow as we could. I stood in Stanislavski’s home studio, Tolstoy’s Garden, visited Chekhov’s grave. It was an incredibly inspiring artistic experience that had a huge impact on how I think about and approach work. It was also a culture shock…this was 2012, Putin had just ‘won’ another election there (or was about to). I used to dream of going back to Moscow someday…sadly I don’t see how that would ever be possible again.”
8. Who do you admire most?
“Alexander Gelman. Gelman was the director of the School of Theatre and Dance at NIU when I was in the MFA program there, and the Artistic Director of the Organic Theater Company when I was a member of that acting company. He is my great teacher and continues to be a mentor to me today.”
9. What is at the top of your bucket list?
“I’m going to give the nerdiest answer I can and say I want to play a character in each of the four great Chekhov plays before I’m done: Three Sisters, The Cherry Orchard, Uncle Vanya, The Sea Gull.”
10. What is your favorite thing to do in St. Louis?
“I do love seeing as much theatre as I can, and there is so much great theatre here – and something for everyone’s tastes. At any point in the season, you can find new, classic, and weird plays, something to make you think, or something to help you escape. We are lucky to have such a great artistic community with a lot to offer.”
I also love that St. Louis is such a good beer town, so I enjoy visiting local breweries when I can. And I’m always interested in finding a good cheeseburger so that gets me out and about.”
11. What’s next?
“Auditions, auditions, auditions. Hopefully some callbacks. If anyone is casting out there, I have some availability in my calendar I’d love to discuss with you. Maybe a comedy. I think I’m due for a comedy.”
In his award-winning role in “The Christians” at West End Players Guild.
More Information on Joel Moses
Birthplace: near Kansas City, Mo. Current location: St Louis Education: BFA: Theatre Performance – University of Central Missouri – 2006. Moscow Art Theatre – Summer Acting Intensive – 2012. MFA: Acting – Northern Illinois University – 2013.
Day job: I don’t really have one full time job, but juggle a handful of part time jobs. I adjunct at SLU and Webster, and I absolutely love teaching. I love working with students and getting to be a part of their process. I’m also a teaching artist for Prison Performing Arts and work a few lunch shifts at a local brewery.
First job: Fry Cook. Dairy Queen. First play or movie you were involved in or made: “I think I was a rain drop in a play about agriculture in first grade.” Favorite jobs/roles/plays or work in your medium?
It is so hard for me to pick favorites, but here are some particularly memorable roles in no particular order.
• Ubu in King Ubu, Organic Theater Company
• Einstein in Picasso at the Lapin Agile, Organic Theater Company
• Hamlet in Hamlet, Northern Illinois University MFA Thesis Performance.
• Branwell in Bronte Sister House Party, SATE.
With Lizi Watt and Aaron Orion Baker in STLAS’ “Copenhagen.” Patrick Huber photo.
And 2024 was kind of a golden year for me. I loved all these projects I worked on last year.
• Lungs, Albion Theatre.
• George Deever in All My Sons, New Jewish Theatre.
• Heisenberg in Copenhagen, St Louis Actors’ Studio
• Duke Frederick in As You Like It, St. Louis Shakespeare Festival.
Awards/Honors/Achievements:
St. Louis Theater Circle Awards:
• Outstanding Performance in a Drama: The Christians – West End Players
• Outstanding Supporting Performance in a Comedy: Bronte Sister House Party – SATE
Favorite quote/words to live by: “The truth of ourselves is the root of our acting.” Sanford Meisner
“What is utterly absurd happens in the world.” Gogol
A song that makes you happy: “Scatman” – Scatman John
With Meghan Baker, William Roth, and Dustin Petrillo as The Tyrones in “A Long Day’s Journey Into Night. Patrick Huber photo.
“A Long Day’s Journey into Night” premiered in Sweden in February 1956 and opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the work, which is openly autobiographical in nature. The title refers to the setting of the play, which takes place during one single day.
The performances are Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $60 each plus fees, $55 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email [email protected].
Joel Moses, far right, with Ryan Lawson-Maeske and Michael Pierce in The Midnight Company’s “The Lion in Winter.” Joey Rumpell 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.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
An abundance of new voices and fresh faces mixed with familiar stories and reliable veterans to give us another compelling year of theater among regional professional groups.
Sometimes, there were so many offerings, one couldn’t get to them opening weekend, or my schedule prevented me from early viewing. I attended around 80 eligible shows and am grateful for the theater companies accommodating me. This does not include touring, school or community theatre productions.
I am enriched and in awe of the talent in our midst. And sharing what it feels like to be human in the 21st century is a very wonderful experience. That sense of belonging and community abounds. Onward to a magical year ahead.
As a local theater critic and writer about arts and entertainment, here’s my highly personal annual assessments on 2024 output – my “LOTTIES” – Lynn’s Love of Theatre Awards, as I announce every year. They are not set at five, but categories vary. If I wanted to recognize a performer or a show, I did (my rules). This is separate from the St. Louis Theater Circle, of which I am a founding member. My esteemed colleagues and I will present our annual awards at a gala ceremony, aka theater prom, on Monday, March 24, at the Loretto-Hilton Center on the Webster University campus. Nominations will be revealed soon.
“The Inheritance, Parts I and II.” Provided by Tesseract Theatre Company.
Production of the Year: “The Inheritance, Parts I and II” by Tesseract Theatre Company
A 7-hour commitment but worth every minute, riveting from start to finish, with everyone giving their all. Epic in scope and intimate in execution, Tesseract Theatre Company’s production was exhilarating.
Playwright Matthew Lopez wrote a vivid and perceptive rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love. Surprising in its wit and depth of feeling, this Tony and Olivier-Award winning play is a magnum opus on what it’s like to be gay in America.
Boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble, they each met their moments. Intertwining a sprawling cast of 13, Lopez examined healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.
Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.
In an uncommon structure, Lopez tackled the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastic way. It is specific to the LGBTQIA+ experience, but allies could relate.
Companies of the Year: The Repertory Theatre of St. Louis (large) and Tesseract Theatre Company (small)
Danny Williams and Kate Bergstrom. Provided.
The Rep gets the honor, turning around the venerable institution in spectacular fashion after it was on the brink of not surviving in 2023. A change in direction and a rallying community – both faithful and skeptical – helped the reset. So did new Artistic Director Kate Bergstrom, a sunny collaborative charmer whose efforts have been nothing short of astounding, along with managing director Danny Williams, who came aboard in 2022. Two absolute stunners – “Moby Dick” and “August: Osage County” helped restore the luster in early 2024 while The Studio returned with “The Roommate” and a new partnership with Stages St. Louis for the crowd-pleasing “Million Dollar Quartet Christmas” followed a classic “Dial M for Murder” to deliver on its promises. Enthusiasm and goodwill is palpable at every function.
At the Tesseract Theatre Company, Kevin Corpuz and Brittanie Gunn took over operations, and continued bold moves started by founder Taylor Gruenloh in 2010. “The Inheritance, Part 1 and 2” was a landmark achievement, they shifted to musicals for the summer new play festival, and then their ambitious production of “Anastasia: The Musicals” in the fall cemented the statement that they have arrived. Can’t wait to see what is ahead.
Alan Knoll
Artist of the Year: Alan Knoll
Actor-Director Alan Knoll is such a St. Louis fixture that it would be easy to take him for granted, but we never ever do. He’s not one to phone it in, always finds an entry point for us, and continues to stretch his capabilities. Last year, he did some of his finest work yet – as flawed dads in “We All Fall Down” and “August: Osage County,” and as a loyal servant in “Life Is a Dream.”
He also directed the acclaimed drama “Red” for New Jewish Theatre, where he previously helmed “Brighton Beach Memoirs” and “Broadway Bound,” part of Neil Simon’s Eugene trilogy.
In a 40-plus year career, he estimates he has been in more than 150 productions. He has worked at the Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory in St. Louis, and at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and is about 160 miles from St. Louis.
With his name in the ensemble, you can be assured of a first-rate performance, and with him in the director’s seat, you know you are in for a thoughtful, insightful production.
Tom Ridgely. Photo by Kevin Roberts.
Producers of the Year
Tom Ridgely, Sr. Louis Shakespeare Festival
As the producing artistic director of the St. Louis Shakespeare Festival since 2018, Tom Ridgely has expanded offerings and community partnerships, and taken an innovative, collaborative approach to their mission. In 2024, he oversaw one of the freshest summer productions yet in Forest Park’s Shakespeare Glen – “As You Like It,” and their TourCo’s “The Tempest” broke attendance records in multiple city parks and outdoor venues. Their work in schools and with young artists is an important component as well. Under his leadership, the organization thrives on reinvention and keeps its audiences engaged. The Shakespeare in the Streets events are eagerly anticipated, and they always attempt new ground.
Andrew Kuhlman and Gayle Seay
Andrew Kuhlman and Gayle Seay, Stages St. Louis
Andrew Kuhlman is the homegrown element as executive producer, rose through the ranks, while Gayle Seay brings an astute experienced eye as artistic director at Stages St. Louis. With two seasons under their belt, they showed Stages St. Louis’ audiences that they were moving forward while not messing with the recipe for success that co-founders Jack Lane and the late Michael Hamilton focused on when they started the company in 1987. Andrew, who was mentored by both Jack and Michael, continues to build partnerships while Gayle, familiar with the Stages’ family as a longtime casting director, knows the right people to go to in mounting their shows. They’ve demonstrated that theirs is a strong match, and they build on recent successes. Last season’s “Steel Magnolias,” “Newsies” and “Ragtime” continued the legacy.
Touring Production of the Year: (tie) “The Cher Show,” The Broadway Series at Stifel, and “Jagged Little Pill” at The Fox.
Jacob Schmitt and Bryce Miller in “Trayf”
THE MVPs
(Must have excelled in two or more shows this year, not a rookie, and whose presence made a difference)
Rachel Bailey Ann Hier Brown Matthew Cox Jerome (J Samuel) Davis Isaiah DiLorenzo Jayson Heil Bryce Miller Drew Mizell Joel Moses Dustin Petrillo Ben Ritchie Jacob Schmidt Molly Wennstrom Eric Dean White Sarah Wilkinson
ONES TO WATCH Ashwini Aurora Cory Burke Jade Cash Tyson Cole Rafael Da Costa Dominic Di Ciccio Andre Eslamian Aaron Fischer Nadja Kapetanovich Gabriel Paul Allison Sexton
Nicole Angeli and Joel Moses in “Lungs”
DYNAMIC DUOS /TRIOS
Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
John Riddle and Jordan Donica in “Les Miserables” (The Muny)
Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
Andre Navid Eslamian and Leta DeBardeleben in “Longing”
Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
Matt Anderson, Jeremy Goldmeier, and Donna Parrone as Haunted House actors in “Ripcord” (Stray Dog Theatre)
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
Jamaal Fields-Green as Michael Jackson in the “MJ – The Musical” finale in the touring production at The Fox. Whatever that ‘surprise’ move he concocted for the 1992 “Dangerous” World Tour was. One of the most exhilarating things I’ve ever seen in a musical.
BEST YOUTH PERFORMERS
Will Schulte, “Les Miserables,” The Muny
Zoe Klevorn, “Ragtime,” Stages St Louis
Shane Rose, “All My Sons,” New Jewish Theatre
Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
Lucy Miller, “Wedding Band,” The Black Repertory Theatre
Davin Wade, “Newsies,” Stages St. Louis
Maliah Strawbridge, “Big Machine,” Fly North Theatricals
Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke) in “Fiddler on the Roof,” The Muny
BEST NEW PLAYS
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing” at the LaBute New Play Festival. Patrick Huber photo.
“Longing” by Lize Lewy
“Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
“Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
“Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
“Romanov Family Yard Sale” by Courtney Bailey, ERA
“Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
“Am I Dangerous” by e.k. doolin, Contraband Theatre
“Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
“Cash Flow,” Marjorie Williamson, First Run Theatre
“Sandra’s Son,” Cbabi Bayoc (work in progress)
As You Like It. Photo by Phillip Hamer.
BEST COMEDY PRODUCTIONS
“As You Like It,” St. Louis Shakespeare Festival
“Trayf,” New Jewish Theatre
“The Roommate,” The Repertory Theatre of St. Louis
“Woman in Mind (December Bee),” Albion Theatre
“Steel Magnolias,” Stages St. Louis
“Spirits to Enforce,” The Midnight Company
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“The Tempest,” St. Louis Shakespeare Festival, Tour Co.
“Romanov Family Yard Sale,” ERA
“Red Jasper,” Michael Madden Productions
BEST DRAMA PRODUCTIONS
“The Inheritance, Part 1 and 2,” Tesseract Theatre Company
“Moby Dick,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“August: Osage County,” The Repertory Theatre of St. Louis
“Red,” New Jewish Theatre
“The Whale,” St. Louis Actors’ Studio
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
“Life is a Dream,” Upstream Theater
“Hold On!” The Black Rep
“Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.
BEST MUSICAL PRODUCTIONS
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“Newsies,” Stages St. Louis
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Blues in the Night, “The Black Rep
“(Title of Show),” Prism Theatre
“Waitress,” The Muny
BEST SUPPORTING ACTRESS IN A COMEDY
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
Kari Ely, “Steel Magnolias,” Stages St Louis
Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Anna Blair, “The Butcher of Baraboo,” West End Players Guild
Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
Ami Loui, “Steel Magnolias,” Stages St. Louis
Emily Baker and Isaiah Di Lorenzo in “Woman in Mind (December Bee).” Albion Theatre.
BEST SUPPORTING ACTOR IN A COMEDY
Spencer Sickmann, “Trayf,” New Jewish Theatre
Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
Cassidy Flynn, “Romanov Family Yard Sale,” ERA
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
BEST ACTRESS IN A COMEDY
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Nancy Nigh, “Red Jasper,” Michael Madden Productions
Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
Jan Meyer, “Elephants’ Graveyard,” First Run Theatre 10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
(tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST ACTOR IN A COMEDY
Jacob Schmidt, “Trayf,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie “Red Jasper,” Michael Madden Productions
Alan Knoll, “We All Fall Down,” New Jewish Theatre
Joel Wilper, “Bell, Book & Candle,” Stray Dog Theatre
Denise Thimes and Alex Jay in “King Hedley II” at The Black Rep.
BEST SUPPORTING ACTRESS IN A DRAMA
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
Alex Jay, “King Hedley II,” The Black Rep
Evann De-Bose, “Hold On!” The Black Rep
Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Denise Thimes, “King Hedley II,” The Black Rep
Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
Kari Ely, “Wedding Band,” The Black Rep
BEST ACTRESS IN A DRAMA
Maggie Wininger, “Molly Sweeney,” Albion Theatre
Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
Amy Loui, “All My Sons,” New Jewish Theatre
Nicole Angeli, “Lungs,” Albion Theatre
Jacqueline Thompson, “Wedding Band,” The Black Repertory
Eileen Engel, “Dutchman,” Soul Siren Playhouse
Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater
BEST SUPPORTING ACTOR IN A DRAMA
Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
Jayson Heil, “All My Sons,” New Jewish Theatre
Dustin Petrillo, “Red,” New Jewish Theatre
Eric Dean White, “Hold On!” The Black Rep
Jerome Davis, ‘King Hedley II,” The Black Rep
Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
Joseph Garner, “Dark Matters,” West End Players Guild
Jerry Vogel, “Life is a Dream,” Upstream Theater
Gary Glasgow, “Life is a Dream,” Upstream Theater
Greg Johnston and Jayson Heil in “All My Sons.” New Jewish Theatre.
BEST ACTOR IN A DRAMA
Greg Johnston, “All My Sons,” New Jewish Theatre
Christopher Harris, “Red,” New Jewish Theatre
William Roth, “The Whale,” St. Louis Actos’ Studio
Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Joel Moses, “Lungs,” Albion Theatre
Reginald Pierre, “Life is a Dream,” Upstream Theatre
Rachel Bailey, “Title of Show,” Prism Theatre Company
Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis
Lauren Tenenbaum, “American Idiot,” New Line Theatre
Emily Bautista, “Les Miserables,” The Muny
Samantha Massell, “Fiddler on the Roof,” The Muny
Nancy Ticotin, “In the Heights,” The Muny
Adrianna Hicks “Anything Goes,” The Muny
Tamar Greene and Shereen Pimentel in “Ragtime” at Stages St. Louis. Phillip Hamer photo.
BEST SUPPORTING ACTOR IN A MUSICAL
Matthew Cox, “Ragtime,” Stages St. Louis
George Abud, “Anything Goes,” The Muny
Matthew Cox, “Newsies,” Stages St Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
James D. Gish, “Les Miserables,” The Muny
Nick Rashad Burroughs, “Dreamgirls,” The Muny
Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Will Bonfiglio, “First Date,” New Jewish Theatre
Jayson Heil, “First Date,” New Jewish Theatre
Troy Iwata, “Waitress,” The Muny
Rafael DaCosta, “Dracula,” New Line Theatre
BEST ACTRESS IN A MUSICAL
Jessica Vosk, “Waitress,” The Muny
Tiffany Mann, “Dreamgirls,” The Muny
Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
Marissa McGowan, “Ragtime,” Stages St. Louis
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Jill Abramovitz, “Fiddler on the Roof,” The Muny
Jaelyn Hawkins, “(title of show),” Prism Theatre
Taylor Quick, “Newsies,” Stages St. Louis
Katie Orr, “(title of show),” Prism Theatre
Savy Jackson, “Disney’s The Little Mermaid,” The Muny
Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
BEST ACTOR IN A MUSICAL (Male or Non-binary)
Adam Heller, “Fiddler on the Roof.” The Muny
John Riddle, “Les Miserables,” The Muny
Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Benji Santiago, “In the Heights,” The Muny
Drew Mizell, “Nevermore,” Stray Dog Theatre
Jay Armstrong Johnson, “Anything Goes,” The Muny
Al Bastin, “The Big Machine,” Fly North Theatricals
Clayton Humburg, “American Idiot,” New Line Theatre
BEST ENSEMBLE IN A COMEDY
“Romanov Family Yard Sale,” ERA
“Spirits to Enforce,” Midnight Company
“As You Like It, St. Louis,” Shakespeare Festival
“Woman in Mind (December Bee),” Albion Theare
“Red Jasper,” Michael Madden Productions
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Ripcord, “Stray Dog Theatre
“Steel Magnolias,” Stages St. Louis
BEST ENSEMBLE IN A DRAMA
“The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
“August: Osage County,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“Hold On!” The Black Rep
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
“The Whale,” St. Louis Actors’ Studio
“Moby Dick,” The Rep
Life is a Dream,” Upstream Theatre
“King Hedley II,” The Black Rep
“Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.
BEST ENSEMBLE IN A MUSICAL
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Newsies,” Stages St. Louis
“Les Miserables,” The Muny
‘(Title of Show),: Prism Theatre Company
BEST LIGHTING DESIGN IN A PLAY
Jayson M. Lawshee, “Red,” New Jewish Theatre
Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
Sean Savoie, “Hold On!” The Black Rep
William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.
BEST LIGHTING DESIGN IN A MUSICAL
John Lasiter, “Fiddler on the Roof,” The Muny
Rob Denton, “Anything Goes,” The Muny
Sean Savoie, “Ragtime,” Stages St. Louis
Jason Lyons, “Disney’s The Little Mermaid,” The Muny
Tyler Duenow, “Nevermore,” Stray Dog Theatre
Travis Richardson, “Blues in the Night,” The Black Rep
Jason Lyons, “Les Miserables,” The Muny
BEST VISUAL PROJECTIONS/DESIGN 1. Zachary Grimm, “Longing” 2. Kylee Loera, “Anything Goes,” The Muny 3. Katherine Freer, “Disney’s The Little Mermaid,” The Muny 4. Zach Cohn, “Hold On!” The Black Rep 5. Joe Taylor, “Romanov Family Yard Sale,” ERA 6. Mike Tutaj, ‘Waitress,” The Muny
BEST SOUND DESIGN IN A PLAY 1. Rick Sims, “Moby Dick,” The Repertory Theatre of St. Louis 2. Zachary Grimm, “Longing” 3. Michael Musgrave-Perkins and Philip Boehm, “Don’t Wait for the Marlboro Man,” Upstream Theater 4. Chuck Harper, “Wolf Kings,” Young Liars 5. Kareem Deanes, “The Roommate,” The Rep 6. Amanda Werre, “All My Sons,” New Jewish Theatre 7. Amanda Were, “Dial M for Murder,” The Rep
BEST COSTUME DESIGN IN A PLAY
“Romanov Family Yard Sale.” ERA.
Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
BEST COSTUME DESIGN IN A MUSICAL
Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
Brad Musgrove, “Ragtime,” Stages St. Louis
Tristan Raines, “Anything Goes,” The Muny
Brad Musgrove, “Newsies,” Stages St. Louis
Eileen Engel, “Big Machine,” Fly North Theatricals
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
BEST SCENIC DESIGN IN A COMEDY 1. Scott Neale, “As You Like It,” St. Louis Shakespeare Festival 2. Kate Rance, “Steel Magnolias,” Stages St. Louis 3. Andrea Ball, “We All Fall Down,” New Jewish Theatre 4. Gary F. Bell, “Bell, Book & Candle,” Stray Dog Theatre 5. Robert Mark Morgan, “The Roommate,” The Repertory Theatre of St. Louis
“Red” at New Jewish Theatre.
BEST SCENIC DESIGN IN A DRAMA
1, Margery Spack and Peter Spack, “Red,” New Jewish Theatre 2. Margery Spack and Peter Spack, “Dial M for Murder,” The Repertory Theatre of St. Louis 3. C. Otis Sweezey, “All My Sons,” New Jewish Theatre 4. Courtney O’Neill, “Moby Dick,” The Repertory Theatre of St. Louis 5. Rob Corbett, “Elephants’ Graveyard,” First Run Theatre 6. Timothy Jones, “King Hedley II,” The Black Rep
BEST SCENIC DESIGN IN A MUSICAL
Wilson Chin, “Waitress,” The Muny
Ann Beyersdorfer, “Newsies,” Stages St. Louis
Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
Arnel Sancianco, “In the Heights,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Jamie Bullins, “Blues in the Night,” The Black Rep
Adam Koch, “Million Dollar Quartet Christmas,” The Rep and Stages St. Louis
Alysia Velez and the company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
BEST CHOREOGRAPHY
Jared Grimes, “Anything Goes,” The Muny
Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
William Carlos Angulo, “In the Heights,” The Muny
Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
Mike Hodges, “Xanadu,” Stray Dog Theatre
Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
Lesia Kaye, “Dreamgirls,” The Muny
Chelsie Johnston, “American Idiot,” New Line Theatre
Parker Esse (original choreography by Jerome Robbins), “Fiddler on the Roof,” The Muny 10. Patrick O’Neill, “Disney’s The Little Mermaid,” The Muny
BEST MUSICAL DIRECTOR
James Moore, “Les Miserables,” The Muny
Khalid McGee, “Blues in the Night,” Black Rep
Roberto Sinha, “In the Heights,” The Muny
Darryl Archibald, “Fiddler on the Roof,” The Muny
E. Renee Gamez, “Ragtime,” Stages St. Louis
Zach Neumann, “Anastasia,” Tesseract Theatre Company
John Gerdes, “American Idiot,” New Line Theatre
Mallory Golden, “Title of Show,” Prism Theatre Company
Larry Pry, “First Date,” New Jewish Theatre
Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages
BEST DIRECTOR OF A COMEDY
Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
Aaron Sparks, “Trayf,” New Jewish Theatre
Rebekah Scallet, “The Roommate,” The Rep
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep
BEST DIRECTOR OF A DRAMA
Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Gary Wayne Barker, “All My Sons,” New Jewish Theatre
Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
Ron Himes, “Hold On!” The Black Rep
Philip Boehm, “Life is a Dream,” Upstream Theater
Ellie Schwetye, “Lungs,” Albion Theatre
Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.
BEST DIRECTOR OF A MUSICAL
Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
Marcia Milgrom Dodge, “Anything Goes,” The Muny
Rob Ruggiero, “Fiddler on the Roof,” The Muny
Sam Hayes, “(Title of Show),” Prism Theatre Company
William Carlos Angulo, “In the Heights,” The Muny
Lee Ann Mathews, “First Date,” New Jewish Theatre
Deidre Goodwin, “Ragtime,” Stages St. Louis
Lili-Anne Brown, “Waitress,” The Muny
John Tartaglia, “Disney’s The Little Mermaid,” The Muny
Justin Been, “Nevermore,” Stray Dog Theatre
From left: Cleavant Derricks, Jonah D. Winston, Nicole Michelle Haskins, Jessica Vosk and Lissa deGuzman in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
On an enchanted evening at local parks, you’ll be swept away to a far-off island, where mischief, magic and mayhem will ensue. This is a brave new world, where puppets are part of the storytelling and lovely music enhances the experience.
It’s one of those gratifying adventures that you will remember long after the summer’s heat has faded.
St. Louis Shakespeare Festival’s TourCo annual traveling show is a 90-minute adaptation of the Bard’s dramatic-tinged romantic comedy “The Tempest,” which is free each evening beginning at 6:30 p.m. at 24 parks in Illinois and Missouri from July 30 – Aug. 25.
Featuring a merry band of spry performers who appear to be constantly in motion, the six take on multiple roles. They will introduce themselves and their characters, and draw you into this tale of family squabbles, revenge, betrayal — and sorcery. Maybe it’s not exactly Paradise Island, but it is accessible Shakespeare.
The fine-tuned ensemble includes Joy Christina Turner as Prospero, the Duke of Milan who is a wizard too. He escaped to a remote island with his infant daughter Miranda (Daisy Held) years ago, because his deceitful double-crossing brother Antonio (Reginald Pierre) took over his dukedom with the help of Alonso (Alex Daspit).
Prospero has two very quirky servants – Caliban (Isaiah Di Lorenzo) and Ariel (Aliyah Jacobs) that carry out his schemes. He is determined to get his territory back and conjures up a storm so that his brother’s boat is shipwrecked, leaving Antonio and Alonso stranded.
Alonso’s son Ferdinand (Alex Daspit) is also there, as is Prospero’s trusted minister Gonzalo (Isaiah Di Lorenzo). Ferdinand is heir to the throne and Prospero puts him together with his now 15-year-old daughter, hoping a royal marriage is in their future.
The king’s jester Trinculo is played by Daisy Held and his head servant Stephano is played by Reginald Pierre, and they are a daffy duo. Held is also a spirit and Jacobs is a boatswain.
There are plans to thwart, people who must change their ways, a young couple to keep innocent, and meddling spirits.
Directed by Tom Ridgely with a big splash of whimsy, he favors broad strokes for the performers to play to whatever size crowd has assembled – and deal with whatever kind of conditions that spring up outdoors.
Ridgely is the festival’s producing artistic director, and under his guidance, they have shaped summers quite imaginatively the past few years post-pandemic – with its revered annual month-long offering in Forest Park; Shake in the Streets, where they take a hand-crafted show and bring it to a festive neighborhood setting; and this touring company, which has grown into delightful flights of fancy adapted for various park locations.
With such an esprit de corps, players are reminiscent of an old-timey troupe (think “Rosencrantz and Guildenstern Are Dead” and ‘The Fantasticks”) immersed as these strolling troubadours.
The addition of songs and puppets really enrichthe production values, and the stagecraft is exceptional in elevating the experience. Because the show’s presentation is focused on mobility and makeshift exteriors, the costumes, props and scenery are not hidden backstage, but placed off to the side, for folks to witness the process. Breaking the fourth wall, so to speak.
The clever costume designs by Sam Hayes consider the flexibility needed and differentiate the multiple characters, outfitting the females in airy, ethereal textures and the men in flamboyant brocaded jackets.
This play involves a masque, which was a popular technique in Renaissance England to combine music, dance and drama, so this is where the puppets come in, and they are effective in advancing the plot.
Puppet designer Ryan Marshall and puppet fabricator Taylor Abs created three tall imposing figures that mimic goddesses and smaller marionettes you find in puppet theater. They created dogs ready to attack, too. Abs also managed the props.
Stage Manager Britteny Henry kept everything moving without any glitches on the evening I went, and they have an admirable system in place.
The show was created for audiences of all ages, so pack a picnic, grab some chairs or a blanket, and experience a communal adventure that is a singular sensation.
SCHEDULE
July 30 – Spring Church, Grand Center July 31 – Old Post Office Plaza, St. Louis Aug. 1 – Metter Park, Columbia, Ill. Aug. 2 – Schroeder Park, Manchester, Mo. Aug. 3 – Carondelet Park, St. Louis Aug. 4 – Frank Holten State Park, East St. Louis Aug. 6 – Tower Grove Park, St. Louis Aug. 7 – Lot at St. Ann & Augusta St., Normandy, Mo. Aug. 8 – O’Day Park Amphitheater, O’Fallon, Mo. Aug. 9 – Cortex Commons, St. Louis Aug. 10 – 14th & St. Louis – Old North, St. Louis Aug. 11 – Shaw Park, Clayton, Mo. Aug. 13 – Brussels Heritge Park, Brussels, Ill. Aug. 14 – Chesterfield Amphitheatre, Chesterfield, Mo. Aug. 15 – Ivory Perry Park, St. Louis Aug. 16 – City Park, Edwardsville, Ill. Aug.17 – January-Wabash Park, Ferguson, Mo. Aug. 18 – Bellevue Park Bandstand, Belleville, Ill. Aug. 20 – 370 Lakeside Park Pavilion, St. Peters, Mo. Aug. 21 – Fairground Park, St. Louis Aug. 22 – Tisch Park at Washington University, St. Louis Aug. 23– Love Bank Park, St. Louis
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The adage: “Write what you know” is never far from Mariah Richardson’s creative process.
The local playwright and educator decided for her latest work, she would address caregivers. She has known this world – for 10 years, she took care of her mother, who died in 2012, and then her brother was special needs, and she helped care for him “my whole life,” until his death in 2021.
However, for her play, “The Caregiving Project: Who’s Taking Care of Momma?” she expanded upon her experience by interviewing real St. Louis caregivers – both unpaid family members and paid professionals.
“It’s their stories that I am highlighting because they really connect us all,” she said.
Richardson, who also directs and acts, has written 12 plays, two children’s books, and written, directed and produced four short films. Her children’s animated series, “Drawn In,” ran for a season and was locally produced at Nine PBS in St. Louis. She was the staff writer and lead voice.
Mariah, second from left, with voice actors from PBS’s “Drawn In.”Provided photo.
The local theater company Bread and Roses Missouri is presenting her latest original play.
“This production is a powerful exploration of the challenges of caregiving, a vital issue impacting countless individuals and families,” said executive director Emily Kohring. “It highlights the lack of support in our society for this essential work.”
Three performances are set for Friday and Saturday, Aug. 2 and 3, at the St. Louis Shakespeare Festival Rehearsal Hall, 3333 Washington Ave. St. Louis, MO 63103. Showtimes are at 7 p.m. on Friday and at 3 p.m. and 7 p.m. on Saturday.
The company is offering free admission, although reservations are strongly encouraged. To reserve tickets, visit: https://www.showtix4u.com/event-details/85280
“It’s more than just a performance; it’s a call to action to recognize and support the caregivers in our community. With the support of the National Endowment for the Arts, the Arts & Education Council’s Arts and Healing Initiative, and the Regional Arts Commission, tickets are free,” Kohring said.
The play tells the story of Lacy, a woman trying to balance the demands of her children, her full-time job, and a mother in the early stages of dementia.
“Lacy is trying to juggle it all. Some days she manages, and other days it all feels like too much. Her kids need her care, her mom needs her care – but who’s taking care of Lacy? When Lacy finds a support group for caregivers, she discovers a community of people with their own unique stories of the challenges and the joys of caring for other people,” Richardson said.
“Through Lacy’s journey and her connection with a support group for caregivers, we explore the challenges and joys of caring for others and pose the crucial question: ‘Who’s taking care of the caregivers?’” Kohring said.
Kohring described the play as “heartfelt and powerful, a deeply moving and insightful look into the lives of caregivers.”
“While nearly every person at some point in their lives will either need to provide care to somebody, or will be the person who needs care, the work of caregiving is often rendered invisible. Workplace and government policy rarely provides caregivers with the support or resources they need. Paid caregivers are most often working for low wages in less-than-ideal conditions,” she said.
Ricki Franklin in rehearsal for “The Caregiver Project.” Photo provided.
“We created this project to amplify the voices and concerns of caregivers through the most powerful medium we know–storytelling,” Kohring added.
“The McKinsey Global Institute estimates that the U.S. economy loses up to $840 billion annually in economic output due to the suppression of women in the labor force caused by the lack of caregiving support,” she noted.
“This is a particularly exciting project for us as we received funding from the National Endowment for the Arts to make this production possible. Caregiving, though incredibly rewarding, is often undervalued and unsupported.
“We hope that this production brings to light the immense personal and economic challenges faced by caregivers and we hope to foster crucial conversations about the support systems they need,” she said.
Because the company believes in the urgency of this work, the play is also being made available this fall to organizations and groups.
“We will come to groups, and the play can be performed in a multi-purpose room, auditorium, church basement or any space where a group of people can gather,” Kohring said.
To contact Kohring to discuss scheduling a performance, she can be reached by emailing: [email protected]
The play is directed by longtime local theater educator and artist Deanna Jent, who is familiar with this terrain.
Her original play, “Falling,” was produced off-Broadway in 2012, and was presented by Mustard Seed Theatre, which she had founded at Fontbonne University in 2007 and was the artistic director for over 12 years. In St. Louis, it won a Kevin Kline Award in 2012 as Best New Play.
The family drama was based on her experience as a parent of an autistic child, and the struggles the family goes through.
Jent, who taught theater at Fontbonne for 29 years, now works as a chaplain at St. Louis University Hospital.
Jent is the author of three adaptations of novels into plays: “Till We Have Faces” by C.S. Lewis, “Pride and Prejudice” by Jane Austen, and “Imaginary Jesus” by Matt Mikalatos. She adapted “Winds of Change” for Shakespeare in the Streets in 2022, and wrote “Bosnian/American: Dance for Life.”
She has directed for the Illinois Shakespeare Festival, Shakespeare Festival St. Louis Touring Company, New Jewish Theatre and the Orange Girls. She won a St. Louis Theater Circle Award for directing the musical “All Is Calm: The Christmas Truce of 1914.”
She received a BFA from Illinois Wesleyan University and a Ph.D. in theatre from Northwestern University. She and her late husband Steve are the parents of three children.
The play stars three local actresses: Ricki Franklin, Leslie Wobbe, and Michelle Dillard.
Playwright Richardson, who wrote the 2021 Shakespeare in the Streets production “The Ville: Avengence!” is currently a full-time assistant professor at St. Louis Community College – Florissant Valley.
Mariah Richardson in her play, “Delilah’s Wish,” at Metro Theater Company in 2011.
For Metro Theater Company, her original play “Delilah’s Wish” was a touring production in 2011. It was about an 8-year-old girl in old North St. Louis who spends a challenging year depending on people in her neighborhood while her mother is serving in the military in Iraq. Geared towards grades 2 to 12, it dealt with diversity, tolerance and acceptance.
She developed a children’s book series based on that play and has been working on turning it into an animated cartoon series.
“I have eight episodes of a short-form kids show on YouTube, “Delilah Shares Our World.” I want to find partnerships to grow it and eventually show episodes all over the world. It’s a bit of geography and a bit of history and showcases a kid talking about what they love about where they live.”
Metro Theater Company also produced her original play, “Brave, Bold, Curious!” in 2022.
Richardson received a bachelor’s degree in communications from the University of New Mexico and an MFA from Smith College in playwriting.
In St. Louis, she previously taught mass communications from 2005 to 2013, moved to Los Angeles, and then returned to teach in 2015.
“The Ville: Avengeance!” at the Annie Malone Children & Family Service Center in 2021. Photo St. Louis Shakespeare Festival.
The theater company, Bread and Roses Missouri, amplifies and elevates the stories of working people through art, performance, and activism. They believe that cultural and creative expression are a means to effect deep and lasting social change, Kohring said.
The company organizes and produces arts and humanities events, exhibits and workshops for and about workers and their families.
“We strive to empower participants and educate audiences. Through the arts we envision a world that achieves an economic base benefitting the entire community,” Kohring said.
Take Ten Questions with Mariah Richardson
1.What is special about your latest project?
Mariah L Richardson
“Having been a caregiver for many years (my mind in her last ten years of life and my special needs brother throughout my life), Emily thought I was a good fit for the project.”
2. Why did you choose your profession/pursue the arts?
“After more than 40 years in this business, the reason is varied depending on the where I am in the timeline. In the beginning, as an actor, I wanted to ‘be somebody.’ I was as a poet, always, and I felt like I had something to say. As a playwright, I want to share messages and inspire. I have always enjoyed being in the arts and felt it was the safest way for me to express the many facets of myself.”
3. How would your friends describe you?
“Funny, kind, hardworking, intelligent, and I will say what others are afraid to say, authentic.”
4. How do you like to spend your spare time?
“I love TV: well written sitcoms and dramas, documentaries, and true crime.”
5. What is your current obsession?
“Getting Kamala elected.”
6. What would people be surprised to find out about you?
“That I love to fly kites.”
7. Can you share one of your most defining moments in life?
“When I was 33 and I understood when it was said that Jesus suffered for the world. ( I have always been on a spiritual path and first, I used the teachings of Christianity for guidance.) I was living in Oakland, California, and I was approached by a woman who asked me for 35 cents. I couldn’t imagine why when 35 cents is nothing. And I understood that people expect so little when they could have so much if they could see themselves as worthy. I have battled with feelings of unworthiness, and that encounter opened my eyes and set me on the path to seeing myself as deserving of good things and knowing that what I believed I was worthy of would become manifest whether good or bad.”
8. Who do you admire most?
“I admire anyone who knows how to truly forgive.”
9. What is at the top of your bucket list?
“A trip down the Nile, Northern Lights in Alaska, be financially free. “
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 pandemic was good for me, overall. My day job went online, and I was able to walk in Forest Park daily. It was tough for those producing live theatre, but as a writer I could work from home. I know the importance of self-reflection and being quiet. I naturally have work and downtime in equal measure when I can. This is what got me through the pandemic, and I miss how quiet the world got.”
11. What is your favorite thing to do in St. Louis?
“I am a tourist in my hometown of St. Louis, and I love finding out about it, mostly through food and cultural events around town.”
Mariah’s play “Brave, Bold, Curious!” at Metro Theater Company in 2022. Photo by Jennifer A. Lin.
Cover photo by Lynn Venhaus at St Louis Community College – Forest Park.
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.
