To see the transformative power of music first-hand, just be in an audience for Stages St. Louis’ production of “Million Dollar Quartet,” because you will watch as a crowd of adults become kids again.
On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at Sun Studios in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.
The man who gave them their start, Sam Phillips, deservedly known as “The Father of Rock ‘n Roll,” narrates this twist-of-fate tale, a true David vs. Goliath industry narrative featuring the star power of four future legends.
As impresario Phillips, Jeff Cummings is well-suited to play the country boy mogul with savvy instincts on hit-making, conveying equal parts passion and pride.
The cast’s remarkable full-throttle energy, showmanship, and musicality turned the Kirkwood Performing Arts Center’s Ross Family Theatre into a freewheeling and fun house party where the ready-to-rock crowd blissed out to the enduring rhythm of roots rock ‘n roll. The company, all seasoned professionals, many veterans of this show, looked like they were having so much fun performing together.
Perhaps I can speak for my fellow Boomers, as I felt we were transported back to sock hops, Teen Towns and listening to our transistor radios with earphones before bedtime. And couldn’t resist the urge to toe-tap and clap along, for the hits just kept on coming: “Hound Dog,” “Long Tall Sally,” “Great Balls of Fire,” “Who Do You Love,” “Sixteen Tons,” “Folsom Prison Blues,” and “I Walk the Line” among them.
Brady Wease as brash Jerry Lee Lewis. Photo by Phillip Hamer.
But it’s not merely a blast from the past — rather, a vivacious retelling of magical music moments in pop culture history. Music Director and Conductor David Sonneborn, who also plays the drums as session musician W.S. “Fluke” Holland, has splendidly brought out the best in everyone.
The joint was jumping, and it was a thrill to be a part of such a joyful celebration. There was a whole lotta shakin’ going on during the coda/extended curtain call, with the crowd on their feet for most of it — and singing along to “See You Later Alligator.”
Director Keith Andrews, who also choreographed Edward La Cardo as an unstoppable Elvis, marvelously captured the lightning-in-a-bottle aspect of four rock ‘n roll influencers for a perfect show, lovingly crafted and crisply performed by an ensemble who achieves synchronicity together but also stands out individually. It’s his sixth time directing this show, and his command of the material is evident.
This jukebox musical displays the heart, humor and overflowing talent of these scrappy guys who came from humble Southern beginnings, carved a place in history for themselves and put Sun Studios on the map.
Carl Perkins, who hadn’t been able to follow up “Blue Suede Shoes” with another hit, has a simmering resentment towards Elvis, for his performance on “The Ed Sullivan Show” and other grievances. He has a chip on his shoulder and a festering attitude, which Jeremy Sevelovitz carefully projects.
Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.
Carl’s brother, Jay, is one of the session musicians, and Chuck Zayas knows how to slap that bass, having been a founding cast member, and has been rockin’ out for more than 30 years in bands and on stage.
The story begins with the premise that rockabilly specialist Carl Perkins is there to record some new music with a brash piano player from Louisiana – Jerry Lee Lewis, whose swagger and desire to be the center of attention rubs him the wrong way. Brady Wease’s bravado blazes the stage as a boyish “The Killer” and his prowess pounding the keys is fun to watch.
With his deep voice and confident demeanor, Scott Moreau’s ease as Johnny Cash is noteworthy. He has played this role more than 1,000 times, and that experience shows. His way with the guitar, and impressive vocals are riveting. “Ghost Riders in the Sky” is one of the standouts, and his gospel influences are emphasized.
La Cardo embodies the young energetic Elvis, now a movie star too, who would prefer solid career advice rather than a chorus of ‘yes’ men. In this show, he brings a girlfriend along, and Shelby Ringdahl fits right in as Dyanne, belting out “I Hear You Knockin” and delivering a sultry “Fever.” At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer.
Besides the smokin’ hot beats, there is drama in between songs dealing with show biz and their personal relationships, just to create conflicts and tension.
The show’s original concept by Floyd Mutrix was solid gold, and it premiered in Florida in 2006. A regional Chicago production was mounted in 2008, starting at the Goodman, then moving over to the Apollo, where it celebrated its 2,500th performance six years later. The show closed in 2016, ranking as the third-longest running show in Chicago theater history.
Scott Moreau as Johnny Cash. Phillip Hamer Photography.
Nominated for three Tony Awards — for Best Musical, Book by Colin Escott and Mutrux, and Best Performance by a Featured Actor, which was won by Levi Kreis as Jerry Lee Lewis, the show opened on Broadway in April 2010 and closed in June 2011, after having played 489 performances and 34 previews,
I first saw this on its national tour in 2013 at the Fox Theatre, and then The Rep staged a slick, exuberant production in 2017. While both were enjoyable and executed well, the Stages one seems the most spirited, with an extra oomph of pizzazz and far more nuance.
Not only is this ensemble aces, percolating on all cylinders, but the creative team has showcased its mastery – scenic designer Adam Koch for a vintage studio interior, costume designer Brad Musgrove – of course the quartet are in colorful sequined blazers for the grand finale!, the exceptional expertise of lighting designer Sean M. Savoie, and clear sound designed by Beef Gratz.
The vibrancy of the production is unforgettable, and you surely will sing a happy tune while leaving the building.
Jeff Cummings as Sam Phillips. Phillip Hamer Photography
“Stages St. Louis presents “Million Dollar Quartet” from Sept. 8 to Oct. 8 at the Kirkwood Performing Arts Center. For more information: stagesstlouis.org.
The iconic photo of Dec. 4, 1956. It hangs on the wall of Sun Records in Memphis (worth the tour!).
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
Noteworthy for its fleet-footed cast and flawless execution, the rip-roaring romp “Clue” is a winning combination at Stages St. Louis.
In its first non-musical presentation since 1989, the company strikes comedic gold with a farcical whip-smart whodunit patterned after the classic murder mystery board game and based on the 1985 movie that has blackmail on the menu. I haven’t laughed this hard at live theater in a long time.
Is Professor Plum the guilty one with the candlestick in the Library or Miss Scarlet with the rope in the Ballroom? We will find out what really happened in this briskly paced 90-minute escapade that connects the charades, deceptions, and secret passageways during an unusual dinner party.
The hilarious hijinks kick off on a dark and stormy night in 1954, in a well-appointed Boddy Manor, located in a remote area of New England.
As the oddball characters cavort through the mansion’s rooms and corridors, this exceptional quick-witted ensemble shows why each performer is at the top of their game, deftly demonstrating skills in slapstick and impeccable comic timing. Together, they are a finely tuned troupe, zany like the original Monty Python’s Flying Circus in movement and delivery. Let the silly walks begin!
Photo by Phillip Hamer.
The six suspects are named according to the familiar game designed by Anthony E. Pratt and first manufactured by Waddington’s in England in 1949. Updated over the years, the current American edition, labeled “classic detective game,” is published by Hasbro, which bought the franchise from Parker Brothers in 1992.
The players’ task is to determine who murdered the game’s victim, in what room the crime took place, and which weapon was used, with cards and miniature props divvied up. Each player, representing a token color, takes on the role of either Colonel Mustard, Mr. Green, Mrs. Peacock, Professor Plum, Miss Scarlett, or Mrs. White, rolls the dice to move around the nine rooms, and collects clues to deduce the correct answer (which are secretly placed in a special solution envelope).
This stage play version, first performed in 2019, was written by Sandy Rustin, whose “The Cottage” opened on Broadway this summer. She adapted the screenplay by Jonathan Lynn (“My Cousin Vinny”), who also directed the movie.
The 1985 film, with Tim Curry playing the butler, was marketed with the gimmick of three different endings, and this version seems to jumble the endings’ best parts – wisely keeping the robustly delivered last line. New material was added by Hunter Foster and Eric Price.
As part of the merry menagerie, Mr. Boddy is the host who has been blackmailing the other dinner guests for years. Jeff Cummings is appropriately condescending and threatening, handing out gift-wrapped weapons to each, spelling out the dangers ahead. When he winds up dead, they become suspects. Their color-coded names are aliases, assigned to prevent real identities being exposed. It doesn’t appear that they are that innocent, and the plot thickens (insert menacing laugh here).
Whodunit? Photo by Phillip Hamer
In a virtuoso performance, Mark Price tickles the funny bone as the butler Wadsworth, a master manipulator who seems to be putting the puzzle together, but whose antics question everything we’ve seen and heard. With his rapid back-and-forth delivery and devil-may-care spirit dialed to 11, he is physically reminiscent of a younger Robin Williams in “Mork and Mindy.” He nimbly seizes control of every scene in the second act, earning breakout applause, and has the audience howling with laughter.
A Broadway veteran, Price is reprising his role from the Paper Mill Playhouse in New Jersey production in January 2022, postponed from a planned bow in ’20, delayed by the pandemic. The original direction by Casey Hushion is noted in the program, and this production is directed with tremendous zeal by Steve Bebout.
Bebout highlights each character’s eccentricities and keeps us guessing as to whodunit. The story structure isn’t as dependent on the characters as it is on the performances, and this cast is a marvel of perpetual motion and goofy quirks to keep us interested.
Could it be the self-important Mrs. Peacock, married to a U.S. senator accused of taking bribes? Flamboyant in blue, Zoe Vonder Haar struts around in fine fashion, exaggerating slurping soup and putting on airs.
Or is it the vampy Miss Scarlett, a smooth operator who runs an underground brothel in Washington D.C.? Diana DeGarmo, who has already impressed at Stages in “Always… Patsy Cline” and “Aida,” continues her hot streak, sashaying in a satiny red gown, sultry attitude to match.
Or the third suspicious woman, Tari Kelly as dramatic Mrs. White, who claims she is innocent in the death of her nuclear physicist husband. However, this international woman of mystery is hiding other secrets and motives, giving off a black widow vibe.
The men project peculiarities and appear not to be very smart, even Professor Plum, whose fall from grace includes a patient’s death. Looking all stuffed-shirt with purple bowtie, Graham Stevens is the annoying agitator.
Colonel Mustard, David Hess, on right. Photo by Phillip Hamer.
As Colonel Mustard, in his medal-detailed military jacket, David Hess seems clueless and not in sync with anyone else, evoking laughs through his obvious befuddlement. . Mr. Green, who seems rather strait-laced and buttoned-up, has a terrific reveal sequence that is not worth spoiling, for Charlie Franklin brings the house down as this clever chameleon.
The help is mischievous and mystifying, with Lari White sassy and sexy in a skimpy French maid outfit, affecting a spot-on accent, too, and Leah Berry funny as the demanding, no-nonsense cook who doesn’t suffer fools and knows knife skills.
Cameron Jamarr Davis conveys authority and reliability as “The Cop” among other roles, and Cummings re-appears in minor parts as well.
As outstanding as the cast is, the production’s artisans have matched their vigor. Lee Savage’s production design creates rooms Agatha Christie and Sherlock Holmes would have been comfortable in, while lighting designer Sean M. Savoie’s expert shades of illumination provide key shadows and moods. Costume designer Brad Musgrove has captured each character’s personality through a color palette that defines their attire and accessories. Sound designer Beef Gratz’s superb atmospheric contributions make sounds ranging from thunderstorms to creaking doors an integral part of the story.
The zest evident in presentation is this show’s most attractive quality, the sheer thrill of watching a high-wire act without a net. Stages St. Louis leaves us smiling on a summer night, and I’m still chuckling reminiscing about what I saw.
“Clue” at Stages St. Louis. Photo by Phillip Hamer.
Stages St. Louis presents “Clue” from July 21 (previews) through Aug. 20 in the Ross Family Theatre at the Kirkwood Performing Arts Center, 210 E. Monroe St., in Kirkwood, Mo. For more information, visit: https://stagesstlouis.org.
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
By Lynn Venhaus Stages St. Louis’ “In the Heights,” a jubilant celebration of culture, community, and connection, won six awards, including Outstanding Musical Production, Music Director, Choreography, Set Design, Costume Design (tie) and Ensemble in a Musical, at the St. Louis Theater Circle Awards Monday.
Their world premiere of “The Karate Kid – The Musical” won Outstanding Lighting Design for a total of seven, and Jack Lane, retired executive producer, announced the musical is Broadway-bound in 2024.
Seven is what The Black Repertory Theatre of St. Louis amassed for four productions: August Wilson’s “Jitney” (2 – Outstanding Production and Ensemble), “Behind the Sheet,” (2 – tie for Outstanding Production – Drama and Best Director), “The African Company Presents Richard III” (1 – Supporting Performer, Male or Non-Binary, Cameron Jamarr Davis) and “Dontrell, Who Was Kissed by the Sea” (2 – Lighting Design and Sound Design).
Brian McKnight accepted on behalf of The Black Rep and described founder Ron Himes as a man “who has vision.”
The Muny, SATE (Slightly Askew Theatre Ensemble), and West End Players Guild each won four at the 10th Annual Theater Circle Awards, which recognized achievements in comedies, dramas, musicals and operas.
SATE’s original play “Bronte Sister House Party” won 4 (Best New Play, Outstanding Comedy Production, Comedy Ensemble and Supporting Performer Male or Non-Binary Role). “The Color Purple” at The Muny won 3 – Leading Performer, Female or Non-Binary in a Musical, Supporting Performer, Female or Non-Binary, and Costume Designer while Martin McDonagh’s “The Lonesome West” won 3 – Leading Performer, Male or Non-Binary, Supporting Performer, Female or Non-Binary, and Director Robert Ashton for the West End Players Guild.
For more than 10 years, the St. Louis Theater Circle has been presenting annual awards for regional professional theater, and resumed a live ceremony after virtual productions streamed by HEC Media online in 2020 and 2022 because of the coronavirus pandemic, cancelling 2021 (but including a few of those productions last year).
It was the first live ceremony since 2019, and held at the Repertory Theatre of St. Louis’s Loretto-Hilton Center on Webster University’s campus.
Approximately 90 productions were considered for this year’s event. Three productions – “Chicago” at the Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre — were ineligible because the same production was presented within the last three years at the respective venues.
The Circle presented more than 30 categories for outstanding achievements from 2022, with 20 theater companies receiving nominations.
Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin was honored with a special award for lifetime achievement.
Records that evening included Joel Moses winning two acting awards in one night and Jennifer Theby-Quinn won her third acting award, joining Will Bonfiglio and Laurie McConnell as three-time winners.
Luis Salgado, who made “In the Heights” ‘pop’ with his spirited direction and vibrant choreography, accepted awards while praising the theater community in St. Louis. He and actor Ryan Alvarado, a nominee for playing Usnavi, flew in from New York City to attend .
Here are the awards given out April 3:
Cameron Jamarr Davis “The African Company Presents Richard III” at the Black Rep
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role: Hannah Geisz, “The Lonesome West,” West End Players Guild
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role: Joel Moses, “Brontë Sister House Party,” SATE
Outstanding Performer in a Comedy, Female or Non-Binary Role: Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre
Outstanding Performer in a Comedy, Male or Non-Binary Role: Jason Meyers, “The Lonesome West,” West End Players Guild
Outstanding Lighting Design in a Play: Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Sound Design: Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Costume Design in a Play: Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis
Outstanding Set Design in a Play (tie): Bess Moynihan, “Rodney’s Wife,” The Midnight Company and Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Winner Jason Meyers, at right “The Lonesome West”
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role: Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role: Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep
Outstanding Performer in a Drama, Female or Non-Binary Role: Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater
Outstanding Performer in a Drama, Male or Non-Binary Role: Joel Moses, “The Christians,” West End Players Guild
Joel Moses, “The Christians” at West End Players Guild
Outstanding New Play: “Brontë Sister House Party,” by Courtney Bailey, SATE
Outstanding Achievement in Opera: (tie) Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis and Robert Mellon, “Falstaff,” Union Avenue Opera
Outstanding Production of an Opera: “A Little Night Music,” Union Avenue Opera
Outstanding Musical Director: Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis
Outstanding Choreographer: Luis Salgado, “In the Heights,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role: Nicole Michelle Haskins, “The Color Purple,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role: Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre
Outstanding Lighting Design in a Musical: Bradley King, “The Karate Kid – The Musical,” Stages St. Louis
Outstanding Set Design in a Musical: Anna Louizos, “In the Heights,” Stages St. Louis
Outstanding Costume Design in a Musical: (tie) Samantha C. Jones, “The Color Purple,” The Muny and Brad Musgrove, “In the Heights,” Stages St. Louis
Anastacia McCleskey “The Color Purple” at The Muny
Outstanding Performer in a Musical, Female or Non-Binary Role: Anastacia McCleskey, “The Color Purple,” The Muny
Outstanding Performer in a Musical, Male or Non-Binary Role: Ben Davis, “Sweeney Todd,” The Muny
Outstanding Ensemble in a Comedy: “Brontë Sister House Party,” SATE
Outstanding Ensemble in a Drama: “Jitney,” The Black Rep
Outstanding Ensemble in a Musical: “In the Heights,” Stages St. Louis
Outstanding Director of a Comedy: Robert Ashton, “The Lonesome West,” West End Players Guild
Outstanding Director of a Drama: Ron Himes, “Behind the Sheet,” The Black Rep
Outstanding Director of a Musical: Bradley Rohlf, “Assassins,” Fly North Theatricals
“Bronte Sister House Party” won four Circle Awards
Outstanding Production of a Comedy: “Brontë Sister House Party,” SATE
Outstanding Production of a Drama: (tie) “Behind the Sheet,” The Black Rep and “Jitney,” The Black Rep
Outstanding Production of a Musical: “In the Heights,” Stages St. Louis
Special Award: Joan Lipkin, for lifetime achievement
The St. Louis Theater Circle was formed the summer of 2012 and began awarding excellence in regional professional theater in 2013. No touring, community theater or school productions are considered.
Current embers of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Rob Levy, Broadwayworld.com; Michelle Kenyon, snoopstheatrethoughts.com and KDHX; Gerry Kowarsky, Two on the Aisle (HEC-TV); Chuck Lavazzi, KDHX; Judith Newmark, judyacttwo.com; Lynn Venhaus, PopLifeSTL.com and KTRS Radio; Bob Wilcox, Two on the Aisle (HEC-TV); and Calvin Wilson, St. Louis Post-Dispatch. Eleanor Mullin, local actress and arts supporter, is group administrator.
The mood was extraordinary, and, in Joan Lipkin’s words, we could feel the “palpable joy” for each other. The speeches were heartfelt, and I wish we had them on record. It was truly “celebratory revelry.”
The Black Rep was a winner for four separate shows in the same year, an a back to back winner for August Wilson, as last year’s drama production was “Two Trains Running”)
We discovered we had two different Josh Smiths nominated — the one for Shakepeare’s Italian villa who won for “Much Ado About Nothing” was not the same for the carnival in “Ride the Cyclone.”
Happy the ‘tribe’ had so much fun — and the fellowship was really special. Hope the feedback continues to be positive.
GO SEE A PLAY!
“Jitney” Best Drama Production and Best Dramatic Ensemble
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
By Alex McPherson A gnarly B-movie that’s both messy and thrilling, director Elizabeth Banks’ “Cocaine Bear” delivers on the chaotic fun promised by its title.
Set in 1985, the film — inspired from true, albeit far less “entertaining” events — begins with a crazed drug smuggler named Andrew C. Thornton II (Matthew Rhys) dumping a large shipment of blow over the Chattahoochee-Oconee National Forest to be retrieved later. The drugs are soon ingested by an American black bear, who, hyped up on the substance, embarks on a path of destruction, not letting anything get between her and the good-good.
When trying to parachute out of his plane, Andrew knocks himself unconscious on the doorframe and falls to his death in Knoxville, Tennessee. He’s then identified by a local policeman named Bob (Isaiah Whitlock Jr.), who links the drugs to a ruthless St. Louis kingpin named Syd White (Ray Liotta). Syd enlists his depressed son, Eddie (Alden Ehrenreich), who is mourning the loss of his wife, and his tough guy fixer, Daveed (O’Shea Jackson Jr.), to find the cocaine. They’re unaware that Bob’s on the trail, but, more importantly, unprepared for the cuddly carnivore that awaits them.
Meanwhile, the 12 year-old Dee Dee (Brooklyn Prince) and her best friend Henry (Christian Convery) skip school to paint a picture of a waterfall in the forest without telling her mother, Sari (Keri Russell). Before long, they find some bricks of cocaine, eat some of it (as one does), and wander into the vicinity of our titular bear. Sari, who happens to be a nurse, panics and goes out searching for them, accompanied by the raunchy, nonchalant Ranger Liz (Margo Martindale) and her tree-hugging crush, Peter (Jesse Tyler Ferguson), whose love of nature isn’t exactly reciprocated.
As these disparate groups converge, mama bear joins the party, not caring one iota about their petty human affairs — they are prime meat for the slaughter. Indeed, when the bear is unleashed to wreak gratuitously bloody havoc, Banks’ film shines: creature-feature-slasher as tar-black slapstick comedy. The human drama doesn’t hold up in comparison, but “Cocaine Bear” remains briskly paced and wholeheartedly committed to the bit during its 95-minute runtime, while maintaining an earnest streak through the bloodshed that, for all its awkwardness, fits the proceedings like a glove.
As expected, “Cocaine Bear” doesn’t aim for high-minded social commentary (no pun intended), and never takes itself too seriously. Numerous criticisms can be lobbed its way in terms of structure and consistency, but, perhaps, that’s part of the point — the bear triumphs over all. Nearly every other element, no matter how lackluster, sets up scenarios for her to engage in gory goodness. Even though the film can be a scattershot affair, the payoff is always worth it.
By not anthropomorphizing the bear itself, Banks respects it as an animal hooked on a mysterious substance, instantly addicted and empowered with newfound boldness — unpredictable and dangerous, merciless in its pursuits and not to be trifled with by anyone idiotic enough to believe they stand a chance against it. Performed with impressive motion capture by Allan Henry, the bear is a source of both terror and hilarity, with Banks delivering some genuinely suspenseful set-pieces of it creeping up on and misdirecting its prey; priming viewers for some wholly effective jump-scares and viscera-laden carnage amid rustling foliage and sunswept fields.
One scene involving an ambulance is a masterpiece of dark comedy — fear and tension turning into shocked laughter that’s best viewed with a large crowd of like-minded souls. These sequences, thanks to Banks’ unflinching direction, John Guleserian’s dynamic cinematography, and Mark Mothersbaugh’s synth-heavy score, are memorable, and worth the price of admission alone.
What about the humans, though? “Cocaine Bear” doesn’t prioritize “raw emotion” in their respective arcs, but the ensemble capably shoulders the absurdity. Whitlock Jr. brings his characteristic deadpan dignity to policeman Bob, remaining cool and collected through his exasperation and increasing peril. With a small dog waiting for him at home, we’re rooting for him to make it out alive. Martindale and Ferguson are exceptional — essentially cartoon characters who, for what they lack in groundedness, make up for in charm. Russell convincingly brings out her own “mama bear” side to rescue Dee Dee, while Prince and Convery are hilarious as two rebellious youngsters in way over their heads who aren’t quite as brain-dead as viewers might initially expect. Ehrenreich and Jackson Jr. do what they can, but aren’t nearly as successful with standard archetypes bonding through their trauma bond and finally learning some self-respect. Liotta amusingly hams it up as the real villain of the piece, rather one-note but enjoyable to watch nevertheless.
Even though “Cocaine Bear” is, well, “Cocaine Bear,” there’s some environmentalist themes that rear their heads, principally the importance of respecting the natural world. Like the shipment of cocaine that’s carelessly dropped into the wilderness, this batch of characters with wildly different life experiences are gathered within a space they don’t belong— encountering a drug-fueled apex predator ready to punish them for their intrusion. Whether or not they deserve their fates, the bear (as it mauls, stalks, and does lines of cocaine off severed limbs) is an equalizing force that removes preconceptions and shifts the humans’ focus to pure survival and self-preservation, at least if they’re smart enough to recognize it. The animal also illuminates their true values. But none of this really matters — it’s just appealing to watch a coked-up bear causing complete and utter chaos.
Admittedly, there is too much going on plot-wise for “Cocaine Bear” to be as focused and satisfying as it should be. The film’s editing is occasionally clunky, with intermittently awkward transitions that break immersion. Similarly, the film’s jokes are hit-or-miss, with the general vibe representative of “there’s a bear on cocaine, oh no!” and punchlines via over-the-top violence. Cheesiness abounds, which fits with the film’s goofy, 80s-throwback style, but lacks emotional heft. The script’s brand of broad, gross-out humor won’t work for those who don’t find the concept giggle-worthy, or who are easily perturbed by excess gut spillage.
Fortunately, for this viewer, “Cocaine Bear” is properly filling, meeting expectations and having (slightly) more to unpack than being merely a slasher flick. This is Cocaine Bear’s domain, and we’re just existing in it.
“Cocaine Bear” is a 2023 comedy-thriller directed by Elizabeth Banks and starring Keri Russell, Matthew Rhys, O’Shea Jackson Jr., Alden Ehrenreich, Ray Liotta, Brooklynn Prince, Christian Convery, Isiah Whitlock Jr., Jesse Tyler Ferguson and Margo Martindale. It is Rated R for bloody violence and gore, drug content and language throughout and the run time is 1 hour, 35 minutes. I opened in theaters Feb. 24. Alex’s Grade: B
Alex McPherson is an unabashed pop culture nerd who contributes movie reviews for Cultured Vultures and Pop Life STL. He is also a member of the St. Louis Film Critics Association.
ST. LOUIS THEATER CIRCLE AWARDS RETURN FOR IN-PERSON GALA APRIL 3, 2023
TO HONOR OUTSTANDING WORK IN LOCAL PROFESSIONAL THEATER IN 2022
The Muny leads with 21 nominations, Stages St Louis has 19, The Black Rep 17 and Stray Dog Theatre 15
First In-Person Gala Since 2019 Due to Coronavirus Pandemic
ST. LOUIS, February 6, 2023 – After a four-year hiatus of not holding an in-person ceremony due to the coronavirus pandemic in 2020 through 2022, the St. Louis Theater Circle Awards will return April 3, 2023 in a ‘live’ ceremony beginning at 7 p.m. at the Loretto-Hilton Center on the campus of Webster University. The previous two events were streamed online by HEC Media.
Tickets at $23 apiece will soon be available at the box office of The Repertory Theatre of St. Louis at www.repstl.org or 314-968-4925, and also at the box office one hour before the ceremony.
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 calendar years 2022. Approximately 90 productions have been considered for nominations for this year’s event. This compares to roughly 120 productions normally considered in one year alone prior to the pandemic.
Three productions – “Chicago” at The Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre – were ineligible because the same production was presented within the last three years at the respective venues.
Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin will be honored with a special award for lifetime achievement.
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.
The nominees for the 10th annual St. Louis Theater Circle Awards are:
Bronte Sister House Party, SATE. Photo by Joey Rumpell
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Cassidy Flynn, “Brontë Sister House Party,” SATE Hannah Geisz, “The Lonesome West,” West End Players Guild Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company Bess Moynihan, “Brontë Sister House Party,” SATE Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Ted Drury, “The Lonesome West,” West End Players Guild Joel Moses, “Brontë Sister House Party,” SATE Bradley Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Chauncy Thomas, “Much Ado About Nothing,” St. Louis Shakespeare Festival Eric Dean White, “Hand to God,” St. Louis Actors’ Studio
Molly Burris, Dear Jack Dear Louise
Outstanding Performer in a Comedy, Female or Non-Binary Role
Colleen Backer, “Hand to God,” St. Louis Actors’ Studio Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Claire Karpen, “Much Ado About Nothing,” St. Louis Shakespeare Festival Rachel Tibbetts, “Brontë Sister House Party,” SATE
Jeff Kargus, Jason Meyers, “The Lonesome West” Photo by John Lamb
Outstanding Performer in a Comedy, Male or Non-Binary Role
Mitchell Henry-Eagles, “Hand to God,” St. Louis Actors’ Studio Jeff Kargus, “The Lonesome West,” West End Players Guild Ryan Lawson-Maeske, “Dear Jack, Dear Louise,” New Jewish Theatre Jason Meyers, “The Lonesome West,” West End Players Guild Stanton Nash, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Joe Clapper, Behind the Sheet, Photo by Philip Hamer
Outstanding Lighting Design in a Play
Amina Alexander, “Stick Fly,” Repertory Theatre of St. Louis Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Joe Clapper, “Behind the Sheet,” The Black Rep Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep John Wylie, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Outstanding Sound Design
Lamar Harris, “Behind the Sheet,” The Black Rep Pornchanok (Nok) Kanchanabanca, “House of Joy,” Repertory Theatre of St. Louis Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep Rusty Wandall, Kareem Deanes, “Much Ado About Nothing,” St. Louis Shakespeare Festival Amanda Werre, “Dear Jack, Dear Louise,” New Jewish Theatre
Joel Moses in “Laughter on the 23rd Floor,” New Jewish Theatre, Photo by Jon Gitchoff
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “Much Ado About Nothing,” St. Louis Shakespeare Festival Liz Henning, “Brontë Sister House Party,” SATE Liz Henning, “Rodney’s Wife,” The Midnight Company Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis Michele Friedman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre
Outstanding Set Design in a Play
Dahlia Al-Habieli, “House of Joy,” Repertory Theatre of St. Louis Dunsi Dai, “Dear Jack, Dear Louise,” New Jewish Theatre Bess Moynihan, “Rodney’s Wife,” The Midnight Company Kyu Shin, “Stick Fly,” Repertory Theatre of St. Louis Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Riley Carter Adams, right, The Bee Play, New Jewish Theatre. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Riley Carter Adams, “The Bee Play,” New Jewish Theatre Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre Rachel Hanks, “The Christians,” West End Players Guild Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company Sumi Yu, “House of Joy,” Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep Joseph Garner, “The Christians,” West End Players Guild Michael James Reed, “Proof,” Moonstone Theatre Company Joey Saunders, “The Normal Heart,” Stray Dog Theatre Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre
Summer Baer, Michael James Reed “Proof,” Moonstone Theatre Company.
Outstanding Performer in a Drama, Female or Non-Binary Role
Summer Baer, “Proof,” Moonstone Theatre Company Lavonne Byers, “Good People,” Stray Dog Theatre Kelly Howe, “Rodney’s Wife,” The Midnight Company Chinna Palmer, “Behind the Sheet,” The Black Rep Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater
Outstanding Performer in a Drama, Male or Non-Binary Role
Kevin Brown, “Jitney,” The Black Rep Jeff Cummings, “Behind the Sheet,” The Black Rep Olajuwon Davis, “Jitney,” The Black Rep Joel Moses, “The Christians,” West End Players Guild Stephen Peirick, “The Normal Heart,” Stray Dog Theatre
“Jitney,” The Black Rep, Phillip Hamer photo
Outstanding New Play
“Bandera, Texas,” by Lisa Dellagiarino Feriend, Prism Theatre Company “Brontë Sister House Party,” by Courtney Bailey, SATE “The Good Ship St. Louis,” by Philip Boehm, Upstream Theater “Roll With It!” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre Company “Winds of Change,” by Deanna Jent, St. Louis Shakespeare Festival
Outstanding Achievement in Opera
Daniela Candillari, “Carmen,” Opera Theatre of Saint Louis Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis Karen Kanakis, “La Rondine,” Winter Opera Saint Louis Robert Mellon, “Falstaff,” Union Avenue Opera Sarah Mesko, “Carmen,” Opera Theatre of Saint Louis
Union Avenue Opera’s production of A Little Night Music on August 17, 2022.
Outstanding Production of an Opera
“Awakenings,” Opera Theatre of Saint Louis “Falstaff,” Union Avenue Opera “The Gondoliers,” Winter Opera Saint Louis “Harvey Milk,” Opera Theatre of Saint Louis “A Little Night Music,” Union Avenue Opera
Outstanding Musical Director
Cullen Curth, “Jerry’s Girls,” New Jewish Theatre Jermaine Hill, “The Color Purple,” The Muny Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis James Moore, “Sweeney Todd,” The Muny Andrew Resnick, “The Karate Kid – The Musical,” Stages St. Louis
The Karate Kid – The Musical, Phillip Hamer photo.
Outstanding Choreographer
Dena DiGiacinto, “A Chorus Line,” Stages St. Louis Keone and Mari Madrid, “The Karate Kid – The Musical,” Stages St. Louis Patrick O’Neill, “Mary Poppins,” The Muny Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Luis Salgado, “In the Heights,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Tami Dahbura, “In the Heights,” Stages St. Louis Melissa Felps, “Something Rotten!” New Line Theatre Nicole Michelle Haskins, “The Color Purple,” The Muny Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre
Marshall Jennings, Melissa Felps “Something Rotten!” New Line Theatre
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Luis-Pablo Garcia, “In the Heights,” Stages St. Louis Clayton Humburg, “Something Rotten!” New Line Theatre Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre Marshall Jennings, “Something Rotten!” New Line Theatre Jordan Wolk, “Assassins,” Fly North Theatricals
Outstanding Lighting Design in a Musical
Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre Bradley King, “The Karate Kid – The Musical,” Stages St. Louis John Lasiter, “Sweeney Todd,” The Muny Sean M. Savoie, “A Chorus Line,” Stages St. Louis Sean M. Savoie, “In the Heights,” Stages St. Louis
“In the Heights,” Stages St. Louis, Photo by Phillip Hamer.
Outstanding Set Design in a Musical
Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Anna Louizos, “In the Heights,” Stages St. Louis Derek McLane, “The Karate Kid – The Musical,” Stages St. Louis Michael Schweikardt, “Sweeney Todd,” The Muny Josh Smith, “Ride the Cyclone,” Stray Dog Theatre
Outstanding Costume Design in a Musical
Eileen Engel, “A Little Night Music,” Stray Dog Theatre Eileen Engel, “Assassins,” Fly North Theatricals Samantha C. Jones, “The Color Purple,” The Muny Brad Musgrove, “In the Heights,” Stages St. Louis Alejo Vietti, “Sweeney Todd,” The Muny
Anastacia McCleskey, “The Color Purple,” Phillip Hamer photo.
Outstanding Performer in a Musical, Female or Non-Binary Role
Carmen Cusack, “Sweeney Todd,” The Muny Jeanna De Waal, “Mary Poppins,” The Muny Eileen Engel, “Ride the Cyclone,” Stray Dog Theatre Melissa Felps, “Urinetown,” New Line Theatre Anastacia McCleskey, “The Color Purple,” The Muny
Outstanding Performer in a Musical, Male or Non-Binary Role
Ryan Alvarado, “In the Heights,” Stages St. Louis Corbin Bleu, “Mary Poppins,” The Muny Ben Davis, “Sweeney Todd,” The Muny Stephen Henley, “Assassins,” Fly North Theatricals Jovanni Sy, “The Karate Kid – The Musical,” Stages St. Louis
Stephen Henley, The Balladeer, Fly North Theatricals.
Outstanding Ensemble in a Comedy
“Brontë Sister House Party,” SATE “Heroes,” Albion Theatre “Laughter on the 23rd Floor,” New Jewish Theatre “A Midsummer Night’s Dream,” St. Louis Shakespeare Festival “Much Ado About Nothing,” St. Louis Shakespeare Festival
Outstanding Ensemble in a Drama
“The African Company Presents Richard III,” The Black Rep “Behind the Sheet,” The Black Rep “The Christians,” West End Players Guild “Jitney,” The Black Rep “The Normal Heart,” Stray Dog Theatre
The Christians, West End Players Guild, Photo by John Lamb
Outstanding Ensemble in a Musical
“The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre “A Chorus Line,” Stages St. Louis “The Color Purple,” The Muny “In the Heights,” Stages St. Louis “Sweeney Todd,” The Muny
Outstanding Director of a Comedy
Robert Ashton, “The Lonesome West,” West End Players Guild Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Keating, “Brontë Sister House Party,” SATE Bruce Longworth, “Much Ado About Nothing,” St. Louis Shakespeare Festival
“Rodney’s Wife,” The Midnight Company, Photo by Joey Rumpell
Outstanding Director of a Drama
Gary F. Bell, “The Normal Heart,” Stray Dog Theatre Joe Hanrahan, “Rodney’s Wife,” The Midnight Company Ron Himes, “The African Company Presents Richard III,” The Black Rep Ron Himes, “Behind the Sheet,” The Black Rep Ellie Schwetye, “The Christians,” West End Players Guild
Outstanding Director of a Musical
Lili-Anne Brown, “The Color Purple,” The Muny Scott Miller, “Something Rotten!” New Line Theatre Bradley Rohlf, “Assassins,” Fly North Theatricals Rob Ruggiero, “Sweeney Todd,” The Muny Luis Salgado, “In the Heights,” Stages St. Louis
“Much Ado About Nothing,” St Louis Shakespeare Festival
Outstanding Production of a Comedy
“Brontë Sister House Party,” SATE “Dear Jack, Dear Louise,” New Jewish Theatre “The Lonesome West,” West End Players Guild “Much Ado About Nothing,” St. Louis Shakespeare Festival “The Rose Tattoo,” Tennessee Williams Festival St. Louis
“The African Company Presents Richard III,” The Black Rep, Photo by Phillip Hamer
Outstanding Production of a Drama
“The African Company Presents Richard III,” The Black Rep “Behind the Sheet,” The Black Rep “Good People,” Stray Dog Theatre “Jitney,” The Black Rep “The Normal Heart,” Stray Dog Theatre
Outstanding Production of a Musical
“Assassins,” Fly North Theatricals “The Color Purple,” The Muny “In the Heights,” Stages St. Louis “Ride the Cyclone,” Stray Dog Theatre “Sweeney Todd,” The Muny
“Ride the Cyclone,” Stray Dog Theatre, Photo by John Lamb
Special Award
Joan Lipkin, for lifetime achievement
Joan Lipkin
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 (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on theAisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
Challenges. As we march through the third winter of the pandemic, we’re still adjusting to a ‘new normal,’ whatever that is. The regional professional theater companies have had more than their share of challenges, as COVID-19 outbreaks continue to affect rehearsals and performances.
Bravo to everyone trying to create art in trying times. We learn as we go, as we try to adapt, follow the rules for safe practices and try to fit in multiple shows that seem to be scheduled in clusters. Shining a spotlight on those who are doing their very best is important.
This year, I was fortunate to see 63 shows, not counting touring, college or community theater, and I appreciate the local theater companies working with me when my dear sweet uncle/father figure was in hospice and eventually passed on in mid-summer, and how they fit me in, sometimes at the end of a run, and then when some health issues arose for me in December, helping me to juggle a crazy schedule. (Unfortunately, after spending 10 days in the hospital in January, I can speak about nightmare ER experiences all too well. Life happens, and I appreciate the consideration.) Through my podcast, PopLifeSTL, we were able to interview local professionals to help promote their productions, and while we recently took a three-week break, we’re back at it, and happy to support the arts.
So, I finally finished my annual Lynn’s Love of Theatre Awards, aka “The LOTTIES,” for 2022, a few weeks later than intended. I don’t follow a rigid format of capping off recognition. Some categories may have 5, others 8 or more. If it looks like everyone gets a trophy, so be it. The folks mentioned are deserving of honors.
This is my own list. It is separate than my voting in the annual St. Louis Theater Circle Awards and nominations, which will be announced soon (Monday, Feb, 6 on KWMU noon to 1 p.m.). I am one of the founding members. Our awards ceremony will be on Monday, April 3, at The Loretto-Hilton Center at Webster University. Yes, theater prom will return! Exciting.
I’ve been selecting the LOTTIES since 2014. I am attempting to go back and put Lotties of years’ past into my website archives, so they are all in one place here. Stay tuned…But in the meantime, I wanted to recognize what I thought was excellence in 2022. Granted, I missed a handful of productions, but overall, was impressed with outstanding work from our best and brightest. It is thrilling when you see live theater achieve its grand goals. (And I will never take it for granted ever).
I am privileged to witness such creative spirits at work here. This weekend, I return to seeing theater after a rather crazy and unplanned January that included an outpatient procedure that went awry and resulted in internal bleeding to deal with, which meant two hospital stays. But I’m getting stronger every day, and eager to return to sitting in auditoriums, watching live theater. I regret I had to miss several shows, but again, life…ob-la-di, ob-la-da.
I look forward to an exciting year ahead, and I am very appreciative of all the well-wishes. Onward and upward.
Photo by Philip Hamer
EVENT OF THE YEAR: “The Karate Kid – The Musical” at Stages St. Louis.
St. Louis was ready for its close-up. A pre-Broadway world premiere at the Kirkwood Performing Arts Center had east and west coast creatives, stars and glitterati convening for a musical in the works for a Broadway debut. The effort was impressive, and it was fun to be a part of its creative birth.
Photo by Joey Rumpell
PRODUCTION OF THE YEAR: “Bronte Sister House Party” at SATE.
A very original play by Courtney Bailey, directed by Keating, designed by Bess Moynihan and Liz Henning, was one of the most fun theatrical experiences of the year. This world premiere was the tonic I needed after a death in the family, and I am so grateful that I was able to see it at the end of its run (THANK YOU).
Every element came together for an interactive event that percolated with good humor and delightful creative touches. The Brontë sisters of Victorian literary fame (Charlotte, Emily, and Anne) are trapped in a purgatorial time loop where they must throw a fabulous house party every night for eternity. Only when they reach The Point of Celebratory Reverence, the highest point of celebration that a party can achieve, will they be released. An absurd, feminist revisionist tribute to all the women artists who’ve created under pressure and still had it in them to throw a good party. What a terrific ensemble – Maggie Conroy, Rachel Tibbetts, Cassidy Flynn, Bess Moynihan, Joel Moses, Vicky Chen and LaWanda Jackson — and a kicky dance party.
COMPANY OF THE YEAR: The St. Louis Black Repertory Theatre “The Black Rep.” They raised the bar with a line-up that included the profound and insightful “Between the Sheet,” August Wilson’s “Jitney” and “The African Company Presents Richard III,” not to mention the shimmering “Dontrell, Who Kissed the Sea.”
ARTIST OF THE YEAR: Ron Himes. Forty-six years after founding The Black Rep,he remains at the top of his game – he directed “Between the Sheet,” “Jitney,” and “The African Company Presents Richard III” and starred in “Jitney,” and at The Rep, in “Stick Fly.”
THE SHOW MUST GO ON CITATION: The Muny, after storm devastation, Put on “Legally Blonde” a night later! What a herculean effort.
MVPs of 2022 Summer Baer Molly Burris Olajawon Davis Eileen Engel Melissa Felps Liz Henning Joel Moses Bess Moynihan Ben Ritchie John Wolbers Metro Theatre Company’s outreach and traveling efforts to provide youngsters with theatrical opportunities that matter.
Jeffrey Kargus and Jason Meyers “The Lonesome West”
Best Supporting Performer in a Comedy, Female or Non-Binary Role
Cassidy Flynn, “Bronte Sister House Party,” SATE Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis Tielere Cheatem, “A Midsummer Night’s Dream,” St Louis Shakespeare Festival Bess Moynihan, “Bronte Sister House Party,” SATE Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company Hannah Geisz, “The Lonesome West,” West End Players Guild
A Midsummer Night’s Dream, St Louis Shakespeare Festival
Best Supporting Performer in a Comedy, Male or Non-Binary Role
Bradley J. Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St Louis Joel Moses, “Bronte Sister House Party,” SATE Eric Dean White, “Hand to God,” St Louis Actors Studio Chauncy Thomas, “Much Ado About Nothing,” St Louis Shakespeare Festival Ted Drury, “The Lonesome West,” West End Players Guild John Wolbers, “Laughter on the 23rd Floor,” New Jewish Theatre Ryan Burns, “Bandera, Texas,” Prism Theatre Company
Molly Burris and Ryan Lawson-Maeske in “Dear Jack, Dear Louise”
Best Performer in a Comedy, Female or Non-Binary Role
Colleen Backer, “Hand to God,” St Louis Actors’ Studio Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre Rachel Tibbetts, “Bronte Sister House Party,” SATE Maggie Conroy, “Bronte Sister House Party,” SATE Claire Karpen, “Much Ado About Nothing,” St Louis Shakespeare Festival Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival
Hand to God
Best Performer in a Comedy, Male or Non-Binary Role
Mitchell Henry- Eagles, “Hand to God,” St Louis Actors’ Studio Isaiah di Lorenzo, “Every Brilliant Thing,: St Louis Shakespeare Jeff Kargus, “The Lonesome West,” West End Players Guild Jason Meyers, “The Lonesome West,” West End Players Guild Ben Ritchie, “Laughter on the 23rd Floor,” New Jewish Theatre Ryan Lawson-Maeske, “Dear Jack Dear Louise,” New Jewish Theatre Stanton Nash, “Much Ado About Nothing,” St Louis Shakespeare Festival
The Bee Play
Best Supporting Performer in a Drama, Female or Non-Binary Role
Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company Coda Boyce, “The African Company Presents Richard III,” The Black Rep Alex Jay, “Jitney,” The Black Rep Donna Parrone, “Romeo and Juliet,” St Louis Shakespeare Alex Jay, “The African Company Presents Richard III,” The Black Rep Riley Carter Adams, “The Bee Play,” New Jewish Theatre Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre Rachel Hanks, “The Christians,” West End Players Guild Summer Baer, “Rodney’s Wife,” The Midnight Company
Summer Baer, Michael James Reed “Proof”
Best Supporting Performer in a Drama, Male or Non-Binary Role
Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep Joey Saunders, “The Normal Heart,” Stray Dog Theatre Michael James Reed, “Proof,” Moonstone Theatre Company Joseph Garner, “The Christians,” West End Players Guild Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre Wali Jamal Abdull, “The African Company Presents Richard III,” The Black Rep
Good People
Best Performer in a Drama, Female or Non-Binary Role
Jennifer Theby Quinn, “Iphigenia in Splott,” Upstream Theatre Chinna Palmer, “Between the Sheet,” The Black Rep LaVonne Byers, “Good People,” Stray Dog Theatre Summer Baer, “Proof,” Moonstone Theatre Company Kelly Howe, “Rodney’s Wife,” The Midnight Company
Jitney at the Black Rep
Best Performer in a Drama, Male or Non-Binary Role
Joel Moses, “The Christians,” West End Players Guild Jeff Cummings, “Between the Sheet,” The Black Rep Kevin Brown, “Jitney,” The Black Rep Erik Petersen, “Romeo and Juliet,” St Louis Shakespeare Olajuwon Davis, “Jitney,” The Black Rep Stephen Peirick, “The Normal Heart,” Stray Dog Theatre John Wolbers, “Rodney’s Wife,” The Midnight Company
Winds of Change St Louis Shakespeare Festival
Best New Play
“Bronte Sister House Party” by Courtney Bailey, SATE “Winds of Change,” by Deanna Jent, St Louis Shakespeare Festival “St Louis Woman,” by Joe Hanrahan, The Midnight Company “Roll With It!,” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre “Bandera, Texas,” Lisa Dellagiarino Feriend, Prism Theatre Company
Sweeney Todd. Photo by Philip Hamer
Best Musical Director
James Moore, “Sweeney Todd,” The Muny Walter “Bobby” McCoy, “In the Heights,” Stages St Louis Andrew Resnick, “The Karate Kid: The Musical,” Stages St Louis Jermaine Hill, “The Color Purple,” The Muny Colin Healy, “Assassins,” Fly North Theatricals Cullen Curth, “Jerry’s Girls,” New Jewish Theatre Tre’ von Griffin, “Midsummer Night’s Dream, St Louis Shakespeare Festival Zach Neumann, “Ordinary Days,” Tesseract Theatre Company Tim Clark, “Urinetown,” New Line Theatre
A Chorus Line at Stages St Louis. Philip Hamer
Best Choreographer
Keone and Mari Madrid, “The Karate Kid: The Musical,” Stages St. Louis Luis Salgado, “In the Heights,” Stages St. Louis Dena DiaGiacinto, “A Chorus Line,” Stages St. Louis Patrick O’Neil, “Mary Poppins,” The Muny Heather Beal, “Dontrell, Who Kissed the Sea,” The Black Rep Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny
In the Heights at Stages St Louis
Best Supporting Performer in a Musical, Female or Non-Binary Role
Kate Baldwin, “The Karate Kid: The Musical,” Stages St. Louis Amanda Robles, “In the Heights,” Stages St. Louis Melissa Felps, “Something Rotten!,” New Line Theatre Janelle Gilreath, “Urinetown!,” New Line Theatre Sarah Gene Dowling, “A Little Night Music,” Stray Dog Theatre Tami Dahbura, “In the Heights,” Stages St. Louis Nasia Thomas, “The Color Purple,” The Muny Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre Rachel Bailey, “Triassic Parq: The Musical,” Stray Dog Theatre
“Something Rotten!” at New Line Theatre
Best Supporting Performer in a Musical, Male or Non-Binary Role
Jordan Wolk, “Assassins,” Fly North Theatricals Clayton Humburg, “Something Rotten!,” New Line Theatre Marshall Jennings, “Something Rotten!,” New Line Theatre Kevin O’Brien, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre Luis-Pablo Garcia, “In the Heights,” Stages St. Louis Jeffrey Izquierdo-Malon, “Something Rotten!,” New Line Theatre Mykal Kilgore, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Evan Tyrone Martin, “The Color Purple,” The Muny Bryce Miller, “A Little Night Music,” Stray Dog Theatre Shea Coffman, “Legally Blonde: The Musical,” The Muny
The 25th annual Putnam County Spelling Bee at Stray Dog Theatre
Best Lighting Design in a Musical
Bradley King, “The Karate Kid: The Musical,” Stages St. Louis John Lasiter, “Sweeney Todd,” The Muny Sean M Savoie, “In the Heights,” Stages St. Louis Sean M. Savoie, “A Chorus Line,” Stages St. Louis Jason Lyons, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre
Joseph and the Amazing Technicolor Dreamcoat at The Muny. Philip Hamer photo
Best Set Design in a Musical
Anna Louisoz, “In the Heights,” Stages St. Louis Derek McLane, “The Karate Kid: The Musical,” Stages St. Louis Michael Schweikardt, “Sweeney Todd,” The Muny Ann Beyersdorfer, “Camelot,” The Muny Rob Lippert, “Something Rotten!,” New Line Theatre Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny
Stray Dog Theatre’s A Little Night Music
Best Costume Design in a Musical
Samantha C. Jones, “The Color Purple,” The Muny Brad Musgrove, “In the Heights,” Stages St. Louis Leon Dobkowski, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny Eileen Engel, “A Little Night Music,” Stray Dog Theatre Eileen Engel, “Triassic Parq The Musical,” Stray Dog Theatre Robin L. McGee, “Mary Poppins,” The Muny Sarah Porter, “Urinetown,” New Line Theatre Alejo Vietti, “Sweeney Todd,” The Muny
“Forget Me Not” at St Louis Actors’ Studio
Best Lighting Design in a Play
Patrick Huber, “Forget Me Not,” St Louis Actors’ Studio Jasmine’ Williams, “Dontrell, Who Kissed the Sea,” The Black Rep Bess Moynihan, “Bronte Sister House Party,” SATE John Wylie, “Much Ado About Nothing,” St Louis Shakespeare Festival Joseph Clapper, “Between the Sheet,” The Black Rep Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St Louis
“Between the Sheet” at the Black Rep
Best Sound Design in a Play
Lamar Harris, “Between the Sheet,” The Black Rep Kareem Deanes and Rusty Wandall, “Much Ado About Nothing,” St Louis Shakespeare Festival Zeck Schultz, “Bronte Sister House Party,” SATE Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep Lamar Harris, “Jitney,” The Black Rep
Dontrell, Who Kissed the Sea at The Black Rep
Best Costume Design in a Play
Daryl Harris, “Dontrell, Who Kissed the Sea,” The Black Rep Liz Henning, “St Louis Woman,” The Midnight Company Liz Henning, “Rodney’s Wife,” The Midnight Company Michele Fredman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre Andre Harrington, “The African Company Presents Richard III,” The Black Rep Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis
St Louis Woman, The Midnight Company
Best Set Design in a Play
Bess Moynihan, “Rodney’s Wife,” The Midnight Company Josh Smith, “Much Ado About Nothing,” St Louis Shakespeare Festival Margery and Peter Spack, “Dontrell, Who Was Kissed by the Sea.” The Black Rep Jamie Bullens, “Jitney,” The Black Rep Rob Lippert, “Laughter on the 23rd Floor,” New Jewish Theatre Dunsi Dai, “Dear Jack Dear Louise,” New Jewish Theatre Margery and Peter Spack, “The Last Stop on Market Street,” Metro Theatre Company
Dynamic Duos
Liam Craig and Whit Reichert, “Much Ado About Nothing,” St Louis Shakespeare Festival Molly Burris and Ryan Lawson-Maeske in “Dear Jack Dear Louise,” New Jewish Theatre Jeff Kargus and Jason Meyers, “The Lonesome West,” West End Players Guild Nicole Michelle Haskins as Sofia and Gilbert Domally as Harpo in ‘The Color Purple” at The Muny Matt Pace and Brien Seyle, original music for “Much Ado About Nothing,” St. Louis Shakespeare Festival
Best Performer in a Musical, Female or Non-Binary Role
Anastacia McCleskey, “The Color Purple,” The Muny Carmen Cusack, “Sweeney Todd,” The Muny Isabel Leoni, “In the Heights,” The Muny Eileen Engel, “Ride the Cyclone!,” Stray Dog Theatre Jeanna de Waal, “Mary Poppins,” The Muny Lauralyn McClelland, “A Chorus Line,” Stages St Louis
Stephen Henley as The Balladeer in “Assassins”
Best Performer in a Musical, Male or Non-Binary Role
Ben Davis, “Sweeney Todd,” The Muny Jovanni Sy, “The Karate Kid: The Musical,” Stages St. Louis Stephen Henley, “Assassins,” Fly North Theatricals Ryan Alvarado, “In the Heights,” Stages St. Louis Corbin Bleu, “Mary Poppins,” The Muny Danny McHugh, “A Chorus Line,” Stages St Louis
“Laughter on the 23rd Floor” at New Jewish Theatre
Best Ensemble in a Comedy
“Bronte Sister House Party,” SATE ‘Laughter on the 23rd Floor,” New Jewish Theatre “Hand to God,” St Louis Actors’ Studio “The Residents of Craigslist,” ERA Theatre “Heroes,” Albion Theatre “The Rose Tattoo,” Tennessee Williams Festival St Louis
Rodney’s Wife by The Midnight Company. Photo by Joey Rumpell.
Best Ensemble in a Drama
“The Normal Heart,” Stray Dog Theatre “Jitney,” The Black Rep “The African Company Presents Richard III,” The Black Rep “Rodney’s Wife,” The Midnight Company “The Christians,” West End Players Guild “Between the Sheet,” The Black Rep
“Ride the Cyclone” at Stray Dog Theatre
Best Ensemble in a Musical
“Sweeney Todd,” The Muny “In the Heights,” Stages St. Louis “The Color Purple,” The Muny “A Chorus Line,” Stages St. Louis “Jerry’s Girls,” New Jewish Theatre “Ride the Cyclone!” Stray Dog Theatre “Triassic Parq The Musical,” Stray Dog Theatre “Urinetown!,” New Line Theatre “Ordinary Days,” Tesseract Theatre Company “A Midsummer Night’s Dream,” St Louis Shakespeare Festival “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre “The Karate Kid: The Musical,” Stages St. Louis “Something Rotten!” New Line Theatre
Much Ado About Northing, St Louis Shakespeare Festival
Best Director of a Comedy
Bruce Longworth, “Much Ado About Nothing,” St Louis Shakespeare Festival Keating, “Bronte Sister House Party,” SATE Andrea Urice, “Hand to God,” St Louis Actors’ Studio Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre Robert Ashton, “The Lonesome West,” West End Players Guild David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St Louis
The African Company Presents Richard III at The Black Rep
Best Director of a Drama
Ron Himes, “Jitney,” The Black Rep Gary F. Bell, “The Normal Heart,” Stray Dog Theatre Ron Himes, “The African Company Presents Richard III,” The Black Rep Joe Hanrahan, “Rodney’s Wife,” The Midnight Company Ellie Schwetye, “The Christians,” West End Players Guild Ron Himes, “Between the Sheet,” The Black Rep
Jerry’s Girls at New Jewish Theatre
Best Director of a Musical
Rob Ruggiero, “Sweeney Todd,” The Muny Luis Salgado, “In the Heights,” Stages St. Louis Lili-Anne Brown, “The Color Purple,” The Muny Bradley Rolf, “Assassins,” Fly North Theatricals Gayle Seay, “A Chorus Line,” Stages St. Louis Ellen Isom, “Jerry’s Girls,” New Jewish Theatre Justin Been, “A Little Night Music,” Stray Dog Theatre John Tartaglia, “Mary Poppins,” The Muny Scott Miller, “Something Rotten!” New Line Theatre Elisabeth Wurm, “Ordinary Days,” Tesseract Theatre Company
The Rose Tattoo, Tennessee Williams Festival St Louis
Best Production of a Comedy
“Bronte Sister House Party,” SATE “Dear Jack, Dear Louise,” New Jewish Theatre “Laughter on the 23rd Floor,” New Jewish Theatre “Much Ado About Nothing,” St Louis Shakespeare Festival “The Lonesome West,” West End Players Guild “Hand to God,” St Louis Actors’ Studio The Rose Tattoo, Tennessee Williams Festival St Louis
“The Normal Heart,” Stray Dog Theatre
Best Production of a Drama
“The Normal Heart,” Stray Dog Theatre “Jitney,” The Black Rep “The African Company Presents Richard III,” The Black Rep “Good People,” Stray Dog Theatre “Proof,” Moonstone Theatre Company “Between the Sheet,” The Black Rep “The Christians,” West End Players Guild
“Sweeney Todd” at The Muny. Philip Hamer
Best Production of a Musical
“Sweeney Todd,” The Muny “In the Heights,” Stages St. Louis “The Color Purple,” The Muny “A Chorus Line,” Stages St. Louis “Assassins,” Fly North Theatricals “Urinetown!”, New Line Theatre “Ordinary Days,” Tesseract Theatre Company “Something Rotten!” New Line Theatre “A Little Night Music,” Stray Dog Theatre
“The Christians,” West End Players Guild. Photo by John Lamb
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
LIVE STREAMING:NASA’s Double Asteroid Redirection Test Spacecraft (DART)
DART is set to collide with a small asteroid that is the moon of a larger space rock, Dimorphos. NASA launched the DART mission last year to see if this technique could one day be used for planetary defense.
DART is set to crash into Dimorphos at 14,000 miles per hour at 6:14 p.m. Central time on Monday.
NASA Television will broadcast coverage of the end of this mission beginning at 5 p.m. You can watch it here on YouTube: https://www.youtube.com/watch?v=21X5lGlDOfg
If you want to watch a stream of photos from the spacecraft as it closes in on the asteroid, NASA’s media channel will begin broadcasting those at 4:30 p.m. https://www.youtube.com/watch?v=nA9UZF-SZoQ
From the New York Times:
The DART mission isn’t like the movie “Armageddon.” Blowing up an asteroid generally would not be a good thing to do. Rather, the mission is a proof-of-principle demonstration that hitting an oncoming asteroid with a projectile can nudge it into a different orbit.
For a dangerous oncoming asteroid, that nudge could be enough to change the trajectory from a direct hit to a near miss.
TV: “tasteMAKERS,” PBS Nine, 8 p.m.
In an hour-long documentary, “Winemaking in Missouri: A Well-Cultivated History,” Emmy-winning producer and host Catherine Neville (cover photo, above) dives deep to uncover the roots of one of the U.S.’s most storied wine regions, which at one time was the second largest wine—producing state in the country.
The documentary traces the nearly 200-year history of Missouri’s rich winemaking past and discusses its present as one of the state’s leading industries.
The series “Taste Makers” explores the local food movement, and the show can also be found on Amazon Prime.
(Besides Monday, it will be on Sept. 27 at 10 p.m., Oct. 1 at 2:30 p.m., and Oct. 2 at 2 p.m. on Nine PBS)
A Chorus Line at Stages St. Louis. Photo by Phillip Hamer.
LIVE THEATRE: “A Chorus Line,” Stages St. Louis, Kirkwood Performing Arts Center. Stages St. Louis closes out its ground-breaking 36th season with “A Chorus Line,” ending on Oct. 9. The show is not performed on Mondays, but you can see it Tuesday through Sunday (with 2 shows on Wednesday, a matinee at 2 p.m. and an evening show). It’s directed by Stages’ artistic director Gayle Seay, who knows that story well – she’s appeared in Broadway shows and on tour, including several stints in “A Chorus Line.”
Tasty: Sugar Fire Smokehouse is celebrating its 10th anniversary
In a space in a strip center in Olivette on Sept. 26, 2012, Charlie Downs and chef Mike Johnson opened Sugarfire Smoke House, and it didn’t take long before the lines formed.
They eventually opened 12 more in Missouri and Illinois, and have three more in Colorado, Iowa and Texas. To see the locations and hours, visit: https://sugarfiresmokehouse.com/locations/
Their RIBBLE ME THIS special today had pulled rib, mac and cheese, fried pickles, and honey badger sauce in a flour tortilla.
Check out their Facebook page and Instagram for their daily specials and what’s happening.
ON THIS DAY: “West Side Story” debuts at the Winter Garden Theatre, 1957
The Leonard Bernstein-Stephen Sondheim-Jerome Robbins’ musical “West Side Story” premiered in Broadway. The original, directed and choreographed by Robbins, was Sondheim’s Broadway debut. It ran for 732 performances before going on tour.
Nominated for six Tony Awards, it won two (lost to “The Music Man” for Best Musical). It ran in London’s West End, has had a number of revivals. The 1961 movie was nominated for 11 Academy Awards, winning 10. The 2021 film, nominated for seven Oscars, features Oscar winner Adriana DeBose as Anita.
Spielberg’s film is currently available streaming on HBOMax.
Fun Fact: The 2021 film features several Muny alums, including: Sean Harrison Jones as Action (Mike in “A Chorus Line” 2016, “Newsies” 2016); Jonalyn Saxer (Peggy Sawyer in 2017’s “42nd Street”); Eloise Krupp (Minnie Faye in 2014’s “Hello, Dolly!”); Halli Toland (), Kyle Coffman (“Seven Brides for Seven Brothers”2021, “Newsies”2016, “West Side Story” 2013); Garrett Hawe (“Seven Brides for Seven Brothers”2021) and Gaby Diaz (“West Side Story” 2013.
The popular sitcoms “The Beverly Hillbillies” (1962, featuring Belleville’s own Buddy Ebsen), “Gilligan’s Island” (1964) and “The Brady Bunch” (1969) premiered today. Their theme songs are among the most iconic. Here they are:
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
STAGES St. Louis has announced that current Associate Producer, Andrew Kuhlman, will succeed Jack Lane as Executive Producer beginning January 2023.
“I cannot think of anyone more fully prepared to assume the position of Executive Producer of STAGES St. Louis. Andrew will no doubt continue to build upon the legacy of STAGES for many years to come,” Mosbacher Family Executive Producer Jack Lane said.
Kuhlman started with the organization as an intern in 2012, gradually attaining more responsibilities and eventually joining the three person leadership team that included founders Jack Lane and Michael Hamilton.
“It was very important that we choose an individual who will honor and respect the legacy of Jack and Michael while keeping STAGES St. Louis moving forward for the benefit of performing arts in the St. Louis region,” Board President David White said. “Andrew is professional, an excellent communicator, and a strategic thinker who, along with our new Artistic Director Gayle Seay, will continue to grow STAGES as an arts institution.”
Kuhlman will assume the Executive Producer role effective January 1, 2023. Lane will transition into a consulting role in the organization while also pursuing new projects in New York and beyond.
“I consider myself equal parts lucky and honored to take on the role of Executive Producer at STAGES St. Louis following in the incredible footsteps of Jack Lane. I believe in STAGES, its mission and programs, and most importantly the amazing people that make the work of this organization possible,” Kuhlman said.
“I am looking forward to leading STAGES into this new era with Gayle as we ensure that this wonderful company continues to play an integral role in the St. Louis and national arts communities.”
In 2022, STAGES St. Louis proudly presented the Pre-Broadway World Premiere of THE KARATE KID – The Musical and is currently presenting Lin-Manuel Miranda’s Tony Award-Winning Best Musical, IN THE HEIGHTS. Beginning September 9, the grand finale of the STAGES 2022 Season, A CHORUS LINE, will begin performances.
The 2023 Season is expected to be announced in early September.
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STAGES St. Louis performs in The Ross Family Theatre at the Kirkwood Performing Arts Center. 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 Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.
This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.
The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.
From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.
This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.
As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).
Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.
Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”
Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”
However, Salgado isn’t the only original connection involved at Stages.
Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.
This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.
Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.
Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.
The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.
Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.
Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.
His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”
Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.
Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.
Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.
Robles, Alvarado, Garcia. Photo by Phillip Hamer.
While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”
The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.
Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.
Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).
Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.
Leoni and Hipps. Photo by Phillip Hamer.
The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”
Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.
As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).
Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).
Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.
And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.
The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.
Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.
As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.
Hagans and Juvier. Photo by Phillip Hamer.
Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.
Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries.
Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.
This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”
Amanda Robles as Vanessa. Photo by Phillip Hamer.
Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
The Muny, the St. Louis Shakespeare Festival and The Midnight Company, with nine, eight and six awards, respectively, led the way at the 2022 St. Louis Theater Circle Awards, which were held in a virtual, streaming ceremony on HEC Media on Monday, March 28, 2022.
The Muny’s 2021 production of “Chicago,” which returns to open its 2022 season, took top honors for an individual show with seven awards. Denis Jones, director and choreographer of “Chicago,” and Joe Hanrahan, artistic director of The Midnight Company, each was honored with two individual awards to lead all honorees.
Nominees in more than 30 categories vied 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.
Because the coronavirus pandemic brought about the cancellation of so many productions by nearly all local professional theater companies, approximately 75 productions were considered for nominations for the combined years of 2020 and 2021. This compares to roughly 120 to 130 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 canceled 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 YouTube channel, Facebook page and web site, as was this ninth annual event. There was no ceremony of any type by the Theater Circle in 2021.
For the 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 winners for the ninth annual St. Louis Theater Circle Awards are:
Michelle Hand and Nicole Angeli in “It Is Magic”
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Nicole Angeli, “It Is Magic,” The Midnight Company
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role (Tie)
Joe Hanrahan, “It Is Magic,” The Midnight Company
Carl Overly, Jr., “It Is Magic,” The Midnight Company
Outstanding Leading Performer in a Comedy, Female or Non-Binary Role
Ellie Schwetye, “Tinsel Town,” The Midnight Company
Outstanding Leading Performer in a Comedy, Male or Non-Binary Role
Adam Flores, “The Thanksgiving Play,” Repertory Theatre of St. Louis
Outstanding Lighting Design in a Play
Seth Reiser, “A Christmas Carol,” Repertory Theatre of St. Louis
Outstanding Sound Design
David R. Molina, “King Lear,” St. Louis Shakespeare Festival
“Dress the Part”
Outstanding Costume Design in a Play
Christina Leinecke, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Set Design in a Play
Margery and Peter Spack, “The Ville: Avengeance,” St. Louis Shakespeare Festival
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Elizabeth Teeter, “The Glass Menagerie,” Tennessee Williams Festival St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Brian McKinley, “Spell #7,” The Black Rep
Outstanding Leading Performer in a Drama, Female or Non-Binary Role
Laurie McConnell, “Annapurna,” St. Louis Actors’ Studio
Outstanding Leading Performer in a Drama, Male or Non-Binary Role
Andre De Shields, “King Lear,” St. Louis Shakespeare Festival
Outstanding New Play
“Tinsel Town,” by Joe Hanrahan, The Midnight Company
“Tinsel Town” by Joe Hanrahan
Outstanding Achievement in Opera
Patricia Racette, “La voix humaine,” Opera Theatre of St. Louis
Outstanding Production of an Opera
“Gianni Schicchi,” Opera Theatre of St. Louis
Outstanding Musical Director
Charlie Alterman, “Chicago,” The Muny
Outstanding Choreographer
Denis Jones,“Chicago,” The Muny
Smokey Joe’s Cafe
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Natascia Diaz, “On Your Feet!,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Adam Heller, “Chicago,” The Muny
Outstanding Lighting Design in a Musical
Sean M. Savoie, “Jersey Boys,” Stages St. Louis
Outstanding Set Design in a Musical
Edward E. Haynes Jr. and Kevan Loney, “Smokey Joe’s Café,” The Muny
Outstanding Costume Design in a Musical
Emily Rebholz, “Chicago,” The Muny
Diana DeGarmo “Always…Patsy Cline”
Outstanding Leading Performer in a Musical, Female or Non-Binary Role
Diana DeGarmo, “Always…Patsy Cline,” Stages St. Louis
Outstanding Leading Performer in a Musical, Male or Non-Binary Role
Christopher Kale Jones, “Jersey Boys,” Stages St. Louis
Outstanding Ensemble in a Comedy (Tie)
“Dress the Part,” St. Louis Shakespeare Festival
“It Is Magic,” The Midnight Company
Outstanding Ensemble in a Drama
“Two Trains Running,” The Black Rep
Outstanding Ensemble in a Musical
“Chicago,” The Muny
Outstanding Director of a Comedy
GQ and JQ, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Director of a Drama
Carl Cofield, “King Lear,” St. Louis Shakespeare Festival
Two Trains Running
Outstanding Director of a Musical
Denis Jones, “Chicago,” The Muny
Outstanding Production of a Comedy
“Dress the Part,” St. Louis Shakespeare Festival
Outstanding Production of a Drama
“Two Trains Running,” The Black Rep
Outstanding Production of a Musical
“Chicago,” The Muny
In addition, arts philanthropists Nancy and Ken Kranzberg were honored with a special award which was originally presented at the 2020 in-person ceremony. Michael Hamilton and Jack Lane, co-founders of Stages St. Louis and the troupe’s recently retired artistic director and executive producer, respectively, were honored as well for their body of work. The Kranzbergs and Lane each gave a recorded acceptance speech during the virtual ceremony.
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.
Andre DeShields in “King Lear”
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 Media); 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 Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. 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, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
