Without skipping a beat, four iconic music legends continue a sentimental reunion in the cheery holiday show “Million Dollar Quartet Christmas,” which has been gift-wrapped with star power and delightful musicality.
On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at the Sun Records studio in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.
That twist of fate was captured in an enchanting jukebox musical “Million Dollar Quartet” that highlighted the enduring rhythm of roots rock. It was first produced in Florida in 2006, then Chicago in 2008, and eventually on Broadway in 2010, and the nostalgic charmer was nominated for three Tony Awards
This 2021 sequel version is a festive and fun presentation that builds on the original premise, which were both smash hits at The Repertory Theatre of St. Louis in 2017 and at Stages St. Louis in 2023.
In a savvy move, the two companies have collaborated to bring this crowd-pleasing show to life with many of the same artists involved in the Stages production but presented on The Rep’s mainstage. This is the first partnership, but hopefully not the last.
Brady Wease and Jeff Cummings as Jerry Lee Lewis and Sam Phillips. Photo by Jon Gitchoff.
The memorable trio of Scott Moreau duplicating Johnny Cash’s deep bass-baritone, Jeremy Sevelovitz as fast-playing honky-tonk specialist Carl Perkins and Brady Wease as sparkplug Jerry Lee Lewis easily blend with suave newcomer Sean Buckley, whose graceful moves capture Elvis Presley’s vitality.
What a jolly time it is to see this cast perform together. Crackling with electricity, these other fabulous, fantastic four guys create a warmth onstage, even if they needle each other.
Their energy is limitless, and their showmanship stellar. While it is a blissful blast from the past, it’s not just the Christmas songbook’s greatest hits. They dip into their rockabilly classics – those fusions of country and rhythm and blues they became known for – but present fresh takes on holiday classics like “Jingle Bell Rock,” “I’ll Be Home for Christmas,” and “God Rest Ye Merry Gentlemen.”
Everyone expects “Blue Christmas,” of course, and Buckley delivers a dandy one. Upbeat highlights include Chuck Berry’s “Run Rudolph Run,” the Bing Crosby cover “Mele Kalikimaka” and “Boogie Woogie Santa Claus.”
The statuesque Shelby Ringdahl is back as Elvis’ girlfriend Dyanne, and so is Jeff Cummings as impresario Sam Phillips. The dynamic duo of music director Dave Sonneborn as W.S. “Fluke” Holland on drums and Chuck Zayas as Jay Perkins on bass, one of the original cast members, have returned.
Scott Moreau as Johnny Cash. Photo by Jon Gitchoff.
It’s obvious this entire group of seasoned professionals are a tight team that enjoys spending time together – and wow, can they rock around the Christmas tree. With their slick musicianship, there is a whole lotta shakin’ going on.
Colin Escott’s script, while formulaic, focuses on the heart and the humor, and because the group feels so familiar with each other, they smooth over the rough edges.
As the guys reminisce about their humble beginnings, they tell Christmas tales tied to their Southern roots. They admit struggling to fit into a cutthroat show business when people don’t understand their blue-collar cultural upbringing.
The men are at a crossroads, some having tasted more success than the others. They got their start through Phillips, aka “The Father of Rock ‘n Roll,” whose personal feelings are hurt because of the professional transactions. He’s too much of a country boy to be considered a main player by the big-city record companies.
After putting Sun Records on the map, Elvis received a huge record contract with RCA Records, while Johnny and Carl recently moved on to Columbia. The brash Jerry Lee is pegged as Phillips’ next big thing.
As played by the high-spirited Wease, swaggering Lewis is full of braggadocio, easily getting on everyone’s nerves. Yet, his pounding of the piano keys is always a high point.
Jeremy Sevelovitz as Carl Perkins. Photo by Jon Gitchoff.
There is a wistfulness that you sense among the three older ones. Elvis expresses a homesick blues, though, while Cash and Perkins are making wishful new plans. That adds a relatable poignancy as people tend to reflect on the year past at holiday time and look ahead to a more promising future.
Dyanne’s role is stronger this go-round, and Ringdahl dances merrily while joining the guys. At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer. Ringdahl delivers a playful “Santa Baby.”
Director Keith Andrews focuses on the opportunity for magical moments – because it is the most wonderful time of the year. He has previously directed the original six times, so he is quite familiar with this material.
The precise craftsmanship of scenic designer Adam Koch is noteworthy for decking the halls with bright lights, mistletoe, tinsel and a tree, all bathed in a beautiful glow by lighting designer Sean M. Savoie. And sound designer Beef Gratz’ work is crisp and clear.
Costume designer Brad Musgrove has outfitted everyone in 1950s winter garb, plus woven in sequins for another killer grand finale. He selected a knockout red cocktail dress for Dyanne, while wig designer Dennis Milam Bensie coiffed her chicly.
Shelby Ringdahl and Chuck Zayas as Jay Perkins. Photo by Jon Gitchoff.
A special shout-out to those who dressed the theater in style, transforming the lobby and outside into a breathtaking winter wonderland.
The stars shined brightly, and the cast’s harmony embossed this celebration of comfort and joy with wonderful verve. “Million Dollar Quartet” is a two-hour sentimental journey that sparks warm memories, reaffirms music’s deep connection in our lives, and allows our hearts to be light.
In partnership with Stages St. Louis, the Repertory Theatre of St. Louis presents the musical “Million Dollar Quartet Christmas” Dec. 4 – 22. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.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.
With its Dream Team of actresses eliciting all the feels, a sterling “Steel Magnolias” is a warm and wry reminder about the connective tissue that binds us – whether it’s family, friends or community ties.
In only the second play produced by Stages St. Louis, following the runaway success of last year’s “Clue” (winner of five St Louis Theater Circle Awards out of 11 nominations), the company has kicked off its 38th season with an enduring classic.
Robert Harling’s beloved comedy-drama honored his late sister, Susan-Harling Robinson, who died of complications from Type 1 diabetes in 1985. Taking place over three years, the play celebrates the special bond of a group of women in a small Southern town.
First presented off-Broadway in March 1987, the play opened on Broadway that June, and ran for 1,126 performances until it closed in 1990. The original 1989 smash hit film starred an all-aces ensemble including Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton, Darryl Hannah and Julia Roberts in her first Oscar-nominated role.
Those are some heavy shoes to fill, but with this irresistible group, it’s a pleasure to watch them interact like they’re an Olympic sports team at play. Their fervor for this work is obvious, and they each bring something fresh to their roles.
Photo by Phillip Hamer
In her Stages St. Louis debut, intuitive Amy Loui anchors the cast as doting but worry-wart mother M’Lynn as they get ready for daughter Shelby’s wedding. Taylor Quick is also making her Stages debut as the vivacious Shelby, sparkling with personality.
The women gather at Truvy’s Beauty Spot, an in-home salon. Spunky Jilanne Marie Klaus scampers around as the busy business owner, dispensing homespun wisdom with a side of sass zhuzhing their hair.
Playing off each other like one would expect the grand dames of St. Louis theater to achieve with their snappy banter and impeccable timing, Kari Ely is the elegant and affluent widow Clairee who loves to gossip and Zoe Vonder Haar is the crotchety and very wealthy Ouiser who loves to annoy.
Sparks fly as the two trade barbs and speak their minds. Ely is marking 30 seasons with this company and Vonder Haar has been in 75 shows there.
Ouiser is such a crowd favorite that the audience erupted into applause when Zoe made her blustery entrance. She brought the house down uttering the famous line: “I’m not crazy, I’ve just been in a bad mood for 40 years.”
The character with the most growth is Annelle, hired as Truvy’s assistant. As played by Abigail Isom, she’s timid, but a people-pleaser, with enough problems to fill the lyrics of a country song. After dipping back into the dating pool, she becomes a Bible-thumper, which perplexes some of the ladies.
Photo by Phillip Hamer
Harling grew up in Natchitoches but set the play in the fictional northwest Louisiana parish of Chinquapin. He’s filled the conversations with colloquial references, mentioning the local football games, festivals, beauty pageants, and special occasions that give a place its color.
Those distinctive cadences make the show appealing, smoothly delivered and tugging at our emotions.
While the women cope with life’s rhythms, Shelby’s health deteriorates after a risky pregnancy doctors warned her about, and that stubborn streak puts her at odds with her concerned mother.
In real life, Harling’s sister gave birth to his namesake nephew and when a kidney transplant failed, it led to her body wearing out.
Director Paige Price’s care in honoring these delightful women is notable. She smartly moves the show along in a well-appointed space, with an outstanding scenic design from Kate Rance. They’ve both captured an authentic glimpse of Southern living in the ‘80s.
Taylor Quick as Shelby. Photo by Phillip Hamer.
Shelby’s signature color pink is highlighted in not only her fetching wardrobe but inside the inviting beauty shop too.
Costume designer Brad Musgrove has created an attractive array of looks befitting the characters’ ages and economic status. He selected a pleasing color palette to make the characters come alive.
A big component to the characters’ looks is the wig and hair designs by Daniel Paller, and he managed to create remarkably realistic hairstyles for each character.
Dialect coach Pam Reckamp’s work is especially noteworthy, considering all six’s Southern drawls are maintained without dropping throughout the two acts.
Lighting designer Sean M. Savoie’s customary excellence is on display, after 10 years of memorable work at Stages. The crisp sound design by two-time Tony winner Nevin Steinberg includes a mix of Shelby’s favorite songs playing on the radio. The local DJ is voiced with authority by unseen Kurt Deutsch.
Jilanne Marie Klaus as Truvy and Amy Loui as M’Lynn. Photo by Phillip Hamer.
There isn’t a false note conveying his family’s personal tragedy as Harling adroitly combined heartache with humor. The one-liners zing and the tears are earned.
Because of its believability, “Steel Magnolias” holds a special place in people’s hearts. Anyone undergoing grief and loss can relate. And the women’s strength is to be admired, even when they’re tossing off quips.
Sentimental without being sappy and sincere without being maudlin, “Steel Magnolias” demonstrates the enriching aspect of female friendships. And we’re the lucky ones to be reminded how very special the people in our orbit can be.
This production is a chef’s kiss. And don’t forget your tissues.
Stages St. Louis presents “Steel Magnolias” May 31 through June 30 at the Kirkwood Performing Arts Center in Kirkwood. For more information, visit www.stagesstlouis.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.
Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023
ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. 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 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.
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 11th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival Diana DeGarmo, “Clue,” Stages St. Louis Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival Christina Rios, “Broadway Bound,” The New Jewish Theatre Zoe Vonder Haar, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre Charlie Franklin, “Clue,” Stages St. Louis Nick Freed, “The Birthday Party,” Albion Theatre Bryce A. Miller, “The Nerd,” Moonstone Theatre Company Chuck Winning, “The Birthday Party,” Albion Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role Colleen Backer, “Outside Mullingar,” West End Players Guild Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre Sarah Burke, “Grand Horizons,” Moonstone Theatre Company Teresa Doggett, “The Birthday Party,” Albion Theatre Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild
Outstanding Performer in a Comedy, Male or Non-Binary Role Jacob Flekier, “Broadway Bound,” The New Jewish Theatre Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company Jason Meyers, “Outside Mullingar,” West End Players Guild Mark Price, “Clue,” Stages St. Louis
Outstanding Lighting Design in a Play Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis Jayson M. Lawshee, “Skeleton Crew,” The Black Rep Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Sean M. Savoie, “Clue,” Stages St. Louis Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Outstanding Sound Design G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Beef Gratz, “Clue,” Stages St. Louis Amanda Werre, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Play | Daryl Harris, “Death of a Salesman,” The Black Rep Liz Henning, “The Lion in Winter,” The Midnight Company Brad Musgrove, “Clue,” Stages St. Louis Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Set Design in a Play Nina Ball, “Confederates,” The Repertory Theatre of St. Louis An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Lee Savage, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role Nicole Angeli, “Mindgame,” Albion Theatre Velma Austin, “Death of a Salesman,” The Black Rep Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company Kelly Howe, “See You in a Minute,” Contraband Theatre Mindy Shaw, “The Immigrant,” The New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio Chauncy Thomas, “Death of a Salesman,” The Black Rep David Wassilak, “The Immigrant,” The New Jewish Theatre John Wolbers, “The Lion in Winter,” The Midnight Company
Outstanding Performer in a Drama, Female or Non-Binary Role Lavonne Byers, “The Lion in Winter,” The Midnight Company Kate Durbin, “Doubt: A Parable,” Prism Theatre Company Ricki Franklin, “See You in a Minute,” Contraband Theatre Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Male or Non-Binary Role John Contini, “Barrymore,” St. Louis Actors’ Studio Ron Himes, “Death of a Salesman,” The Black Rep Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding New Play “Action,” by Colin McLaughlin, Action Art Collaborative “In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company “One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio “The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts “See You in a Minute,” by Jacob Juntunen, Contraband Theatre
Outstanding Achievement in Opera Janai Brugger, “Susannah,” Opera Theatre of Saint Louis Teresa Doggett, “Don Pasquale,” Union Avenue Opera Gemma New, “Susannah,” Opera Theatre of Saint Louis Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis Patricia Racette, “Susannah,” Opera Theatre of Saint Louis
Outstanding Production of an Opera “Don Pasquale,” Union Avenue Opera “Ragtime,” Union Avenue Opera “Susannah,” Opera Theatre of Saint Louis “Treemonisha,” Opera Theatre of Saint Louis “The Turn of the Screw,” Union Avenue Opera
Outstanding Musical Director Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny Colin Healy, “Caroline, or Change,” Fly North Theatricals James Moore, “West Side Story,” The Muny Larry D. Pry, “Into the Woods,” The New Jewish Theatre David Sonneborn, “Million Dollar Quartet,” Stages St. Louis
Outstanding Choreographer Denis Jones, “Sister Act,” The Muny Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny Josh Rhodes, “Chess,” The Muny Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role Jackie Burns, “Beautiful: The Carole King Musical,” The Muny Jerusha Cavazos, “West Side Story,” The Muny Diana DeGarmo, “Aida,” Stages St. Louis Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre Taylor Louderman, “Chess,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role Jonathan Hey, “Into the Woods,” Stray Dog Theatre Phil Leveling, “Into the Woods,” The New Jewish Theatre Ken Page, “West Side Story,” The Muny Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny
Outstanding Lighting Design in a Musical Herrick Goldman, “Aida,” Stages St. Louis Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre Jason Lyons, “Disney’s Beauty and the Beast,” The Muny Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis
Outstanding Set Design in a Musical Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny Edward E. Haynes, Jr., “Chess,” The Muny Rob Lippert, “Godspell,” Stray Dog Theatre Kristen Robinson, “Little Shop of Horrors,” The Muny C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Musical Leon Dobkowski, “Little Shop of Horrors,” The Muny Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre Robin McGee, “Disney’s Beauty and the Beast,” The Muny Brad Musgrove, “Aida,” Stages St. Louis Marc. W. Vital III, “Eubie!,” The Black Rep
Outstanding Performer in a Musical, Female or Non-Binary Role De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company Bryonha Marie, “Sister Act,” The Muny Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny Molly Wennstrom, “Into the Woods,” The New Jewish Theatre
Outstanding Performer in a Musical, Male or Non-Binary Role Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company Ben Crawford, “Disney’s Beauty and the Beast,” The Muny Robin de Jesus, “Little Shop of Horrors,” The Muny Kevin O’Brien, “Into the Woods,” The New Jewish Theatre John Riddle, “Chess,” The Muny
Outstanding Ensemble in a Comedy “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “The Brechtfast Club,” ERA “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis
Outstanding Ensemble in a Drama “Death of a Salesman,” The Black Rep “The Immigrant,” The New Jewish Theatre “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Lehman Trilogy,” The Repertory Theatre of St. Louis “The Lion in Winter,” The Midnight Company
Outstanding Ensemble in a Musical “Caroline, or Change,” Fly North Theatricals “Disney’s Beauty and the Beast,” The Muny “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Outstanding Director of a Comedy Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company Steve Bebout, “Clue,” Stages St. Louis Alan Knoll, “Broadway Bound,” The New Jewish Theatre Suki Peters, “The Birthday Party,” Albion Theatre Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Director of a Drama Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio Rebekah Scallet, “The Immigrant,” The New Jewish Theatre Jacqueline Thompson, “Death of a Salesman,” The Black Rep
Outstanding Director of a Musical Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny Brian McKinley, “Caroline, or Change,” Fly North Theatricals Robert Quinlan, “Into the Woods,” The New Jewish Theatre Josh Rhodes, “Chess,” The Muny John Tartaglia, “Disney’s Beauty and the Beast,” The Muny
Outstanding Production of a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Outstanding Production of a Drama “Death of a Salesman” The Black Rep “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Immigrant,” The New Jewish Theatre “The Lehman Trilogy,” The Repertory Theatre of St. Louis “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding Production of a Musical “Aida,” Stages St. Louis “Caroline, or Change,” Fly North Theatricals “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “West Side Story,” The Muny
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.
Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com); Lynn Venhaus (PopLifeSTL.com); 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.
A stand-up-and-cheer musical that makes the most of its moves and moments, “The Karate Kid The Musical” is a triumph for Stages St. Louis.
With its inspirational underdog storyline and a multi-generational, universal appeal that transcends a formula 1984 movie script, the musical version takes those familiar beats and capitalizes on the warm glow of nostalgia.
Perhaps against all odds, this slick production genuinely connects to an audience, wearing its heart of gold on its gi.
With its impeccable technical elements and a captivating East meets West aura, director Amon Miyamoto has polished this big-deal show to dazzle with crisp movements, stunning scenic and lighting designs, and a seamless flow – despite a long first act.
For those who haven’t seen “The Karate Kid” film from 1984, which garnered an Oscar nomination for Noriyuki “Pat” Morita as Mr. Miyagi and made such catch phrases as “Wax on, wax off” and “You trust the quality of what you know, not quantity” popular, viewing it isn’t a prerequisite.
The message of using your head and heart, not fists, to win in life, is evergreen.
This world premiere, with its winsome Miyagi-verse a major factor, runs through June 26 at the Kirkwood Performing Arts Center.
Where it lands after that depends on what’s referred to as “a pre-Broadway tryout,” which means it is a work in progress. For now, it is in a first-reaction phase, and what we see here might not be the completed licensed material.
The simple premise is thus: Widowed mom and her teenage son move from New Jersey to Southern California, and while she has a good job, the Italian kid with the Jersey accent doesn’t fit in with the surfer crowd.
Daniel LoRusso becomes a target of elitist punks who train at the same high-intensive karate school – the Cobra Kai dojo. Mr. Miyagi, the Okinawa-born maintenance man-gardener, happens to be a martial arts master and trains him to fight in an all-valley tournament a few months away.
While the movie has a distinctively ‘80s signature, not unlike “Footloose,” “The Breakfast Club,” “Fast Times at Ridgemont High,” “Fame” and “Risky Business” back in the day, it has become a pop culture classic, as much known for Mr. Miyagi’s words of wisdom as the iconic “crane’ move. (And that big moment prompts more cheers).
The movie is credited with launching renewed interest in martial arts from American youth, sparking a franchise with two more sequels (1986 and 1989, a 1994 reboot “The New Karate Kid” and the television series, “Cobra Kai,” now on Netflix and about to start its fifth season on Sept. 9.
The musical’s book is adapted by screenwriter Robert Mark Kamen, who based the original film in part on his own experiences.
In broad strokes, Kamen capitalizes on the key pieces – mother and son starting a new life, teenage boy not fitting into the California coastal milieu, the maintenance man who becomes a father figure, and the David vs. Goliath battle royale.
What is new is that the musical is framed as Mr. Miyagi’s memory, thus we return to the 1980s, and the journey of how he and Daniel developed a deep bond.
Musical composer and lyricist Drew Gasparini obliges with numbers that fit into the framework, stripping the action down to basics: “California Dream,” “Square One,” “I Want to Know What You Know,” and the finale sentiment, “Stronger Than Before.”
The unorthodox training is captured in “Method to His Madness” and the epiphany breakthrough “Balance.”
A striking sense of rhythm is noteworthy throughout every ensemble number, with vibrant, precise choreography by Keone and Mari Madrid that uniquely stands out. A mix of modern hip-hop and traditional, cultural Far East dance, it is extraordinary in execution.
It’s rare that a big, splashy musical number receives a standing ovation midway through the first act, but the bravado of “Strike First. Strike Hard. No Mercy” was a showstopper that prompted many in the opening night crowd to leap from their seats in enthusiastic applause.
Alan H. Green, who plays the brutal taskmaster John Kreese, had the crowd at his first snarl and it’s a fierce performance as the unsavory ‘win at all costs’ sensei.
By the time his ruthlessness is revealed, “The Whole World Will Be Watching,” to end act one, hints at danger ahead in Act 2, fueling anticipation for the big showdown.
Credit goes to the engaging ensemble – a mix of seasoned pros and energetic young performers, for their contributions to Stages meeting this moment.
Cardoza is the lynchpin here – charming and earnest, and all the relationships hinge on his likability as Daniel. He develops a palpable bond with Mr. Miyagi – Jovanni Sy in an unforgettable heart-tugging performance.
And that connection burrows into our hearts.
Daniel and his mother, Lucille, played by the wondrous Kate Baldwin, a two-time Tony nominee, are at different crossroads, which they express clearly in songs.
Baldwin showcases a sweet, well-trained soprano in “Doing Something Right” and a soulful “If I Could Take Away His Pain.”
No stranger to St. Louis, she won a St Louis Kevin Kline Award for her performance as Maria in The Muny’s 2005 staging of “The Sound of Music.”
The standard love triangle between Ali, her ex Johnny Lawrence and Daniel sets up the bigger issues with the bully (Jake Bentley Young fine in the thankless one-note role).
As a girl with gumption, Jetta Juriansz puts some oomph into the stock love interest part, and her songs “Who I’m Supposed to Be” and “What Comes Next.”
As Daniel’s new pal Freddy, Luis-Pablo Garcia is a real charmer, and capably leads “Dreams Come True.”
Music Director Andrew Resnick’s strong arrangements are another noteworthy element, as is John Clancy’s orchestrations.
It is evident that all the technical parts came together in such a high level, indelible way as to mesmerize. The black and red imagery is bold and impressive.
With its angles and moving doors, windows and walls, the stunning set design by Tony winner Derek McLane is one of the finest ever executed here – and another reason to wax rhapsodic. So is Tony winner Bradley King’s exceptional lighting design.
With its snappy pace and mostly upbeat score, “The Karate Kid – the Musical” turns into a fun time meant to be shared with a pumped-up crowd, not unlike other classic feel-good sports stories “Rocky,” “Rudy” and “American Underdog.”
Obviously, this is a production with an unabashed gooey center, and say what you will, delivered as promised, bringing much comfort and joy to a wildly enthusiastic audience.
After all, “Man who catch fly with chopstick, accomplish anything.”
Stages St Louis presents “The Karate Kid – The Musical” from May 25 to June 26 at the Kirkwood Performing Arts Center.For more information, visit www. StagesSTL.org.
Portions of this review appeared in the June 17 issue of the Webster-Kirkwood Times.
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.
STAGES St. Louis is thrilled to announce that five team members of the Pre-Broadway production of THE KARATE KID – The Musical have been nominated for 2022 Tony Awards. Lighting Designer Bradley King, Scenic Designer Derek McLane, and Projection Designer Peter Nigrini each received nods, as did producer Kumiko Yoshii and STAGES St. Louis Executive Producer Jack Lane, when the full slate of this year’s nominees were announced May 9.
“I am thrilled for all of this year’s nominees, and most especially for my treasured collaborators on THE KARATE KID,” stated Kumiko Yoshii. “Today is a day of celebration for an industrthat has made a remarkable return to form.” King was nominated for Best Lighting Design of a Musical for FLYING OVER SUNSET, McLane and Nigrini were both nominated for Best Scenic Design of a Musical for MJ: THE MUSICAL.
Yoshii also serves as Co-Producer of MJ: THE MUSICAL, which earned 10 Tony Award nominations, including Best Musical, and Lane serves as a Co-Producer for COMPANY, which earned 9, including Best Revival of a Musical “These nominations are a testament to the caliber of talent that is surrounding THE KARATE KID – The Musical, and certainly add to the excitement of STAGES’ first Pre-Broadway World Premiere,” Jack Lane said. “What a great day for the city of St. Louis!”
THE KARATE KID – The Musical will “kick-off” the 36th Season at STAGES St. Louis at The Ross Family Theatre at the Kirkwood Performing Arts Center, running May 25 – June 26. Following the Pre-Broadway World Premiere will be the STAGES Premiere of Lin-Manuel Miranda’s To Award-Winning IN THE HEIGHTS (July 22 – August 21) and the return of the Pulitzer and Tony Award-Winning classic A CHORUS LINE (September 9 – October 9).
Tickets are on sale now online at StagesStLouis.org or by phone at 314.821.2407. For more information, please follow STAGES on Facebook and Instagram or visit StagesStLouis.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.
Awards to Be Given at March 28, 2022 Virtual Event Streaming on HEC Media
ST. LOUIS, February 23, 2022 – Special lifetime achievement awards to Michael Hamilton and Jack Lane, co-founders of Stages St. Louis, will be given by the St. Louis Theater Circle at its March 28 virtual event, which will be streamed by HEC Media. Ken and Nancy Kranzberg, who received a special award from the Theater Circle at the 2020 virtual streaming ceremony, will make an acceptance speech for that award, as will Lane for this year’s special award, for the 2022 ceremony.
After a hiatus due to the coronavirus pandemic in 2020 and 2021, the St. Louis Theater Circle Awards are returning in 2022 in a ‘virtual’ ceremony. That event will be streamed at 7 p.m. on Monday, March 28, 2022 on HEC Media’s Facebook page, YouTube channel, and web site (www.hecmedia.org).
Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the combined calendar years of 2020 and 2021.
Hamilton, who served as artistic director for Stages since its founding in 1987, retired at the end of the company’s 2021 season. He directed both of Stages’ productions in 2021, “Always…Patsy Cline” and “Jersey Boys.” Hamilton has been nominated for both productions for Outstanding Director of a Musical. Stages St. Louis has been nominated for a total of 16 awards, 11 for “Jersey Boys” and five for “Always…Patsy Cline.”
Lane, who serves as executive producer of Stages and co-founded the company with Hamilton in 1987, was instrumental in the development and eventual opening of the Kirkwood Performing Arts Center, which held its first productions by local companies in 2021.
Because the pandemic brought about the cancellation of so many productions by virtually all local professional theater companies, approximately 75 productions have been considered for nominations for the combined years of 2020 and 2021. This compares to roughly 110 to 120 productions normally considered in one year alone.
The eighth annual award ceremony, which was to have been held ‘live’ 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 was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s Faceook page, YouTube channel and web site. There was no ceremony of any type by the Theater Circle in 2021.
HEC’s 2020 production of the St. Louis Theater Circle Awards was one of the first major productions of any awards ceremony in the United States after the coronavirus pandemic shut down nearly all theatrical activities in mid-March 2020. The ceremony had one of the largest viewership figures for any virtual streaming event of HEC at that time.
For this ninth annual ceremony, members of the St. Louis Theater Circle considered nominees from shows produced in the first three months of 2020 and the last eight months of 2021 combined. In addition, a few shows produced between April 2020 and May 2021 were included. The total number of shows considered from the years 2020 and 2021 combined amounted to about 75 shows.
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.
Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Bob Cohn (St. Louis Jewish Light); Tina Farmer (KDHX); Michelle Kenyon (snoopstheatrethoughts.com); Gerry Kowarsky (Two on the Aisle, HEC-TV); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Ann Lemons Pollack (stlouiseats.typepad.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on theAisle, HEC-TV); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, 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.
Oh, what a night! Any time you can be joyfully swept up by the catchy hooks and upbeat sounds of the Four Seasons catalog is a good day.
Although the music is the big draw, the personal stories of bandmates Frankie Valli, Nick Massi, Bob Gaudio and Tommy DeVito combine for the irresistible musical “Jersey Boys.” The four lads from New Jersey’s rough-and-tumble journey through the music business is a fascinating rags-to-riches story, the quintessential American Dream tale.
In its Stages St. Louis premiere, the Tony Award winner comes alive in the Kirkwood Performing Arts Center’s intimate staging in the Ross Family Theater. The show runs through Oct. 24.
This can’t-miss combination overflows with energy and charm – and 30 songs, including their chart-topping hits “Sherry” in 1962, “Big Girls Don’t Cry,” “Who Loves You” and their last number one from 1976, “December 1963: Oh! What a Night!” The group sold 175 million records.
Directed with verve by Stages’ mainstay Michael Hamilton, with input from associate director Gayle Seay and assistant director Christopher Kale Jones, each number is vibrantly staged. Dana Lewis’ choreography is snappy and stylized.
The addition of live music at Stages, with the band perched atop of James Wolk’s grid set design, is a major plus. Music director Jeremy Jacobs kept up a peppy infectious beat with a tight band.
Wolk has efficiently used the space to set up different nooks conveying time and place, from recording studios to Las Vegas, with Sean M. Savoie’s savvy lighting choices expertly enhancing the designs, starting with streetlamps, and moving on to glitzy showbiz venues.
After it opened on Broadway in 2005, the musical became a juggernaut, winning four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design in 2006, and ran until 2017, with multiple resident companies in the U.S. and abroad, in addition to several national tours pleasing crowds for years.
“Jersey Boys” is currently the 12th longest-running Broadway show (4,642 performances in 11 years).
Stages has assembled a very capable quartet of smooth operators who mesh as a group –singing actors Christopher Kale Jones, Brent Michael DiRoma, Jason Michael Evans and Ryan Jesse are funny, appealing, good singers whose harmonizing brings a strong dynamic to the show.
Jones, as indefatigable lead singer Frankie Valli, pours his heart and soul into the role, with a comfortable falsetto and a passionate delivery. His rendition of “Can’t Take My Eyes Off You,” one of the show’s biggest moments, will give you goosebumps. He played Frankie on the first national tour.
Jason Michael Evans is an amusing Nick Massi, the quirky bass player, and he pulls off the deadpan delivery and crisp comic timing required of the role. Brent Michael DiRoma, who was so strong as Jerry in Stages’ “The Full Monty,” brings out the complexities of the swaggering troublemaker guitarist Tommy DeVito. He also had national tour experience, but in other roles.
The songwriting talents and keyboard prowess of young musical genius Bob Gaudio is charismatically portrayed by Ryan Jesse, who performed the role on Broadway and on tour.
Stages’ ensemble adroitly fills in the supporting roles: Edward Juvier is Bob Crewe and others, while Dereis Lambert, Jenna Coker-Jones, Nic Thompson, Brady Miller, Sarah Ellis, Donna Louden, Steve Isom, John Flack, Dena Digiacinto, Trevor James Berger, and Erik Keiser fluidly move the story along. The entire production has a close-knit feel.
They journey through backstage drama, in-fighting, inside show-business wheeling and dealing, and unsavory parts of personal and professional relationships.
Clever book writers Rick Elice and Oscar-winning screenwriter Marshall Brickman presented different points of view and broke the Fourth Wall, where characters talk directly to the audience. It’s a masterful touch.
The vintage outfits from several decades are crafted with flair by resident costume designer Brad Musgrove, who knows how to go way back into the time machine of early rock ‘n roll and sharply dress performers.
Because it resonates so well, “Jersey Boys” remains a blissful experience, a delightful jukebox musical with a smartly constructed book that features humor and heartache – not to mention it’s based on a remarkable true story. And those songs!
It was thrilling to be back together in a theater where you could feel the electric jolt on stage – and in the audience. I’ve seen this show, I think, seven times, and it is always a home run. Performers may be better than others, but such pizzazz. It never gets old.
Show features adult content, so viewer discretion. “Jersey Boys” runs from Sept. 24 to Oct. 24. For information and tickets, visit www.stagesstlouis.org or call 314-821-2407.
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.
STAGES St. Louis is thrilled to announce a new partnership with Emerson, STAGES 2021 Season Education Sponsor, titled Emerson Educates. The new program, exclusively for students, will offer special priced tickets to all 2021 Season STAGES’ productions in an effort to promote arts education and access throughout the region.
“With Emerson’s generous support, we will offer the most affordable student rush ticket price in STAGES history at just $10 per ticket” Mosbacher Family Executive Producer Jack Lane said. “Thanks to Emerson, this offer has the potential to benefit and provide arts access to more than 700 students each year.”
The special $10 tickets will be available throughout the 2021 Season to all students with valid student ID. Up to two tickets can be sold per transaction with ten tickets available at every performance. In addition to special priced tickets, Emerson Educates will offer a one-of-a-kind educational experience in conjunction with the upcoming STAGES Premiere of JERSEY BOYS. Underserved schools will be offered specially designed programming and lessons plans tied directly to the themes featured in the production as well as complimentary tickets and talk backs with members of the JERSEY BOYS creative team and cast.
“Arts education and access are vitally important to students of all ages,” said Crissy Nordin, Director of Education & Outreach at STAGES. “Emerson Educates will not only help in providing teachers with the proper tools to bring this to the classroom, but it will also directly connect that to the stage with unique in person opportunities for learning.”
Emerson Educates tickets are available throughout the 2021 Season for productions of ALWAYS… PATSY CLINE (August 6-September 5) and JERSEY BOYS (September 24-October 24). Tickets can be purchased on the day of performance by calling the STAGES Box Office at 314.821.2407 or visiting their locations in both Chesterfield and Kirkwood.
For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.
In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of their new home, the $25 Million Ross Family Theatre at The Kirkwood Performing Arts Center.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
In celebration of the reopening of live theatre in St. Louis and their 35th Anniversary Season, STAGES St. Louis has announced their 2022 Season will feature the regional premiere of the Tony-Award Winning IN THE HEIGHTS, music and lyrics by Lin-Manuel Miranda and book by Quiara Alegría Hudes.
IN THE HEIGHTS is a vital and thrilling musical about the American Dream set in the vibrant NYC neighborhood of Washington Heights. Exploring the hopes and dreams of family, community, and more, the production is a perfect fit for the STAGES mission and audience.
Before there was HAMILTON, Lin-Manuel Miranda’s IN THE HEIGHTS took Broadway by storm, winning the Tony Award for Best Musical, as well as the Grammy Award for Best Musical Show Album. An acclaimed film adaptation, directed by Jon M. Chu and starring Anthony Ramos, was released this past weekend.
“We are beyond excited about presenting IN THE HEIGHTS at STAGES in 2022. I can’t think of a better show to be a part of our first full season at the Kirkwood Performing Arts Center. Everything about this beautiful and melodic musical speaks to the stories that STAGES so loves to tell,” said Mosbacher Family Executive Producer Jack Lane.
On its Broadway opening in 2008, The New York Times raved, “When this musical erupts in one of its expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year or two.” That energy will no doubt be alive and thriving on The Ross Family Theatre stage at the Kirkwood Performing Arts Center in 2022.
STAGES St. Louis will announce the remainder of their 2022 Season later this summer. In the meantime, tickets for STAGES 35th Anniversary Season, featuring the fan-favorite production of ALWAYS… PATSY CLINE (August 6 – September 5) and the STAGES premiere of JERSEY BOYS (September 24 – October 24) are on sale now. You can purchase two-show subscriptions or single tickets by visiting their website at StagesStLouis.org or by calling the Box Office at 314.821.2407.
For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new home, the $25 Million Kirkwood Performing Arts Center.
STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company.
For more information on the Academy or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.Two-show subscription and single tickets for the 2021 Season are on sale now. For more information, please call 314.821.2407 or visit www.StagesStLouis.or
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.
STAGES St. Louis Artistic Director and co-founder, Michael Hamilton, has announced that he will be retiring at the end of the 2021 Season.
“From our opening season in 1987 to our launch into the stunning new Kirkwood Performing Arts Center, every moment at STAGES has been an extraordinary one for me. As I explore and embrace the next chapter in my life, my heart will always remain at STAGES,” said Artistic Director Michael Hamilton. “It is truly a life legacy that I am incredibly proud of. But I am particularly proud and grateful of all the extraordinary people that I met and worked with in my 35 years at STAGES. That is something I will be able to keep in my heart for the rest of my life.”
A co-founder of STAGES St. Louis, Michael has directed over 100 productions in his 35-year STAGES history and has been the creative force behind the company’s most iconic productions that patrons have come to know and love. For his work at STAGES, Michael has been honored with multiple awards including the Art & Education Council’s 2019 Lifetime Achievement Award (with Jack Lane) and both Kevin Kline and St. Louis Theatre Circle Awards for Outstanding Director of a Musical. Michael’s list of award-winning productions include FOOTLOOSE (2005); THE FULLY MONTY (2007); PROMISES, PROMISES (2010); ANYTHING GOES (2015); and MAN OF LA MANCHA (2019).
Additionally, Michael’s acclaimed production of ALWAYS…PATSY CLINE (2013) was not only transferred to the Alabama Shakespeare Festival, but also played a record-breaking eight-month run at the Playhouse at Westport Plaza.
“When Michael and Jack asked me in my role as Kirkwood’s Director of Parks and Recreation to rent the Robert G. Reim Theatre for the first STAGES Season in 1987, I don’t think any of us imagined what would come of that meeting,” said STAGES Board President Dave White. “But Michael had a vision and knew what he could do with that stage at the Reim. Seeing the growth of the organization from that point is one of the proudest parts of my career. Under Michael’s direction, STAGES has absolutely raised the bar for what theatre looks like in St. Louis.”
“As the saying goes, there will be very big shoes to fill with the departure of Michael Hamilton,” said Mosbacher Family Executive Producer Jack Lane. “But, I have no doubt that there is a future artistic leader of STAGES out there waiting for us. As we enter our new phase in the Kirkwood Performing Arts Center, STAGES is setting sail onto a national platform that no doubt will unfold in dynamic new ways and be embraced by both our loyal patrons and newcomers alike.”
Jack added, “We are also pleased to announce that we are establishing The Michael Hamilton Artistic Fund, where contributions will support the advancement of artistic needs at STAGES.”
The entire STAGES family wishes Michael the best in his well-deserved retirement and thanks him for his steadfast leadership and dedication to the mission of STAGES for 35 years. A national search has begun for the new Artistic Director role.
The organization looks forward to the curtain rising again with the return of Michael’s critically-acclaimed and audience-loved production of ALWAYS… PATSY CLINE (August 6-September 5) this upcoming season, followed by the STAGES premiere of JERSEY BOYS (September 24-October 24).
For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.
Michael Hamilton
In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new home, the Kirkwood Performing Arts Center. STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences.
For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org. Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.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.
