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

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 (Ladue News); 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 the Aisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

By Lynn Venhaus

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

By Lynn Venhaus

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.”

Here is my review in the Webster-Kirkwood Times: https://www.timesnewspapers.com/webster-kirkwoodtimes/a-vibrant-theater-masterpiece/article_83dc9972-3a8d-11ed-8b9c-ff2eebcd1693.ht

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.

My review of 2021 “West Side Story”:  https://www.poplifestl.com/west-side-story-brims-with-vitality/

Playlist: TV Theme Songs

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:

The Beverly Hillbillies: https://youtu.be/OvE9zJgm8OY

Gilligan’s Island: (Second season here) https://youtu.be/-fqXcKFg08w

The Brady Bunch: https://youtu.be/d2JooUMsDdA

Paul Newman

Words for Today
From Paul Newman, who died on this date in 2008 at age 83:
“If you don’t have enemies, you don’t have character.”

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.

By Lynn Venhaus

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

Photo by Phillip Hamer

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 (Ladue News); 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 the Aisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

By Lynn Venhaus
Patsy Cline was that rare artist who made a deep connection with anyone who listened to her sing.

A similar effect happens with actresses Diana DeGarmo and Zoe Vonder Haar, who are a delightful combo of sweet and salty, smooth and sassy, silky and spirited, in the jukebox musical “Always…Patsy Cline,” now playing at Stages St. Louis through Sept. 5.

Raised in Georgia and now living in Nashville, DeGarmo has returned to her country music roots in a thoroughly engaging performance.

She sleekly inhabits Cline, who is considered the most popular female country singer in recording history. DeGarmo emulates Cline’s richly textured, emotive voice, and effortlessly delivers 27 numbers, including five with Vonder Haar, who plays Cline’s fan-turned-friend, Louise Seger.

DeGarmo, who was the runner-up on Season 3 of “American Idol” at age 16 in 2004, which Fantasia Barrino, 19, won (a total of 65 million votes were cast for both), has since pursued a music and musical theatre career, appearing on Broadway and in national tours.

Diana DeGarmo as Patsy Cline, Photographed by ProPhotoSTL

Previously in St. Louis, she was impressive as Doralee Rhodes in the first national tour of “9 to 5: The Musical,” which stopped at the Fox Theatre in February 2011, and also at the Fox in 2014 as the Narrator in the revival tour of “Joseph and the Amazing Technicolor Dreamcoat.” Her husband, Ace Young, was Joseph. (She met Young, who was on American Idol’s fifth season, when they were cast in “Hair” and have been married since 2013).

She is poised and commanding as she interprets one hit song after another, showcasing her range and control. The vocals on the ballads “Crazy,” “I Fall to Pieces” and “Sweet Dreams” are particularly lush, tugging on your heart strings.

She has fun changing tempos with the more down-home numbers, such as “Stupid Cupid” and “Shake Rattle and Roll.”

DeGarmo projects an elegance, which is enhanced by Brad Musgrove’s gorgeous vintage costume designs, and she is exquisitely lit by lighting designer Sean M. Savoie.

She has a dynamic chemistry with feisty firecracker Vonder Haar, the veteran fan favorite who has played Louise twice before. Vonder Haar won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for the first time (and would go on to win that same award for Stages’ “The Full Monty” two years later).

It’s a good match. Seger, a colorful Texas housewife, was a devoted fan who first saw Patsy on “Arthur Godfrey’s Talent Scouts” in 1957, when she won after singing “Walkin’ After Midnight.” Living near Houston, she attended the singer’s show at the Esquire Ballroom in 1961, and they connected as friends, writing letters and talking on the phone until the singer’s tragic death at age 30 in a plane crash in 1963.

Playwright Ted Swindley fashioned the interviews Seger did for the biographies “Patsy Cline: An Intimate Biography” and “Honky Tonk Angel: The Intimate Story of Patsy Cline” into the source material for his 1988 two-woman tribute revue, “Always…Patsy Cline,” which is the epitome of a crowd-pleaser. It is licensed by Cline’s family and estate.

Zoe Vonder Haar as Louise Seger, photographed by ProPhotoSTL

From Seger in “Country Weekly”: “The person inside me recognized the person who lived inside her. It was truly eerie.”

Patsy joined Louise and her friends and after the show accepted an invitation to Louise’s home for a late-night breakfast. “It was like I was living in a dream. There was Patsy Cline in my kitchen helping me fix bacon and eggs. She took her shoes off and wore an apron I gave her.

“She told me about her life, her hopes, her dreams. We discussed loves lost, loves found, loves yet to be.

“We talked about her troubled marriage and the pain she endured being away from her children. It was just two people baring their souls.

“We both sang and harmonized old Gospel songs and hillbilly tunes. We sat there and smoked and sang until 4:00 in the morning.”

Louise rushed Patsy to the airport, expecting never to hear from her again. But within two weeks, Louise received her first in what was to be many letters and phone calls they would exchange.

“I often would receive calls at 1:00 in the morning. She’d be singing in some town wanting a friend to talk to.”

Of course, this was 60 years ago, before entertainers had security, a ‘team’ and ‘people.’ It was just two women bonding at a kitchen table.

While Swindley took some poetic license, the story is true – a glamorous celebrity who grew up without privilege and her plain-spoken, music-lovin’ pal.

From the moment she sashays on to scenic designer James Wolk’s vintage 1950s-era kitchen set, Vonder Haar, a St. Louis treasure, is a funny and sincere Louise. She engages the audience as comic relief with her folksy charm, coming across like a neighbor joining you for a kaffee klatch.

This memoir, which opens the theater company’s 35th anniversary year, is the most popular show in Stages’ history. This is the third time it’s being presented, after back-to-back runs in 2013 and 2014, which demonstrates again how endearing and charming it is. It was as warmly received Aug. 11 as it was seven and eight years ago.

The cozy show, first at Stages’ former home at Kirkwood’s Community Center, then moved intact to The Playhouse at Westport Plaza, is opening their new venue, the Kirkwood Center for the Performing Arts. The Ross Family Theatre seats 529 comfortably.

Artistic Director Michael Hamilton has recreated the production, capitalizing on the actress’s strengths. The premise is simple – showing Cline singing at the Grand Old Opry and other locations, with Louise listening to her on the radio, which was a communication lifeline for people back then.

A simpler time, a touch of nostalgia, admiration for a career cut way too short, but spotlighting music that continues to warm hearts to this day.

The lively band, conducted by music director Jeremy Jacobs, who also plays the piano, is an expert blend of Steve Hitsman on steel pedal guitar, Dave Black on electric and acoustic guitars, Kevin Buckley on acoustic guitar and fiddle, Eric Grossman on bass and Joe Meyer on drums. Their tight sound is mighty in an alcove perched behind a scrim.

Original orchestrations for the band and vocals were crafted by August Eriksmoen and Tony Migliore.

While the songs take center stage, the fascinating tale of a close friendship between kindred spirits is what resonates, drawing an audience in, one who welcomes the warm embrace of harmony in music and life.

Diana DeGarmo as Patsy Cline, photographed by ProPhotoSTL

Stages St. Louis presents “Always…Patsy Cline” through Sept. 5, performance times vary, at the Ross Family Theatre inside the Kirkwood Performing Arts Center at 210 Monroe St. ASL interpreting and audio description by MindsEye will be available for the Aug. 20 show. For more information, call 314-821-2407 or visit www.StagesSt.Louis.org. Follow Stages on Facebook and Instagram.

Stages St. Louis has announced the launch of The STAGES Collection, a creative online shopping division. One of a kind, handmade items designed and built by Stages artists, will be available beginning Sept. 1.

Executive Director Jack Lane said in a time when the creative process must be taken to new heights, we are thrilled to unveil a new line of collectibles hand made by the immensely talented STAGES artisans. Our productions have always been known for their incredible attention to design details, and The STAGES Collection is no exception. As with our productions, we have aimed to create a “jewel box” of quality and aesthetic with this unique Collection.

Living in a new era where traditional fundraising needs to think way outside of the box, we have gathered our designers to create items of both stunning beauty and heart-felt whimsy.  These one-of-a-kind, hand-crafted items are sure to make you, your family, and your friends smile with an appreciation for happier times to come. And why not make them come sooner by purchasing one or more of our original designs from The STAGES Collection. You’ll not only be adding some joy to your life, you’ll also be supporting STAGES St. Louis as we maneuver our way through these challenging financial times.

These items were specifically chosen to create happiness for all those who choose to purchase from the Collection. Whether playing games with loved ones, pushing forward with the upcoming holiday season, or reflecting on stunning home decor, there is truly something for everyone in The STAGES Collection!

We invite you to take a stroll through our online shop and visualize how so many of them would be perfect for you and your loved ones. Personally, I’ve already put in orders for every item we are making. And we also consult on additional special items, such as hand crafted furniture and elaborate sets of jewelry. Our artisans are remarkable and are happy to work with you as you generously support STAGES.

Ordering is easy! Simply follow the instructions on the order form or call 314.604.6127 for any specific questions. Pick up is easy too, as we’ll have specific weekday hours for you to receive your purchases in a safe and timely manner.

Enjoy looking through The STAGES Collection. And thank you for helping to support STAGES as we head into our 35th Anniversary in the beautiful new Kirkwood Performing Arts Center, Lane said.

For more information, visit https://stagesstlouis.org/shop/

The COVID-19 pandemic presents a multitude of obstacles to overcome for organizations of all types, and theater groups are no exception. Sharon Hunter, Artistic Director-Producer of Moonstone Theatre Company, aims to help address some of the virus-related challenges that the St. Louis theatre community faces by forming the St. Louis Theatre Community Task Force.

“As I was thinking about how to proceed with my own company in the wake of the pandemic, I started thinking it would be helpful  to get a lot of the theaters to sit down via Zoom and discuss concerns, ideas and solutions for moving forward as we navigate the future of theatre in St. Louis,” Hunter explains.

Sharon Hunter

The Task Force will address concerns including conducting safe auditions, rehearsals and performances, finding new ways to seat audiences, maintaining the visibility of the St. Louis theatre community, new ways to offer theatre experiences and recommendations for the use of personal protective equipment.

Hunter said the Task Force, which is the first of its kind in the St. Louis area, welcomes local theatre groups of all sizes. In addition to these organizations, representatives from the St. Louis County Department of Health and the Center For Disease Control have also been invited to the first online meeting to address questions and concerns.

Theatre companies invited to participate include R-S Theatrics, The Q Collective, The Midnight Company, Slightly Askew Theatre Ensemble, Upstream Theater, Repertory Theatre of St. Louis, COCA, Shakespeare Festival STL, Black Rep, Stray Dog Theatre, Stages St. Louis, St. Louis Actors’ Studio, The Muny, Opera Theatre of Saint Louis, New Jewish Theatre, Cherokee Street Theatre, The Cabaret Project of St. Louis, Max & Louie Productions, Black Mirror Theatre, Young Liars, West End Players Guild, Tennessee Williams Festival St Louis, New Line Theatre, ERA Theatre Company, STL Fringe Festival, St Louis Shakespeare, Metro Theatre Company, That Uppity Theatre Company and the Tesseract Theatre Company.

The initial meeting of the Task Force is scheduled for Thursday, April 23, at 7 p.m. Theatre groups interested in interested in participating should contact Hunter at moonstonetheatrestl@gmail.com to get access to the Zoom link. For more info, check their Facebook page for updates: https://www.facebook.com/STLTheatre/.