Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”
Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.
Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.
The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.
The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)
“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.
That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”
(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.
Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.
The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.
The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.
The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).
The Witch makes a deal – bring her four ingredients “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” in three days’ time – and she’ll reverse it.
And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.
The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).
The Wolf, Little Red. Photo by John Lamb
As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”
The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.
This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.
In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.
The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”
Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.
Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.
Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.
Photo by John Lamb
Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.
The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.
The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.
Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.
Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.
Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.
And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.
Photo by John Lamb
Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.
The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Stray Dog Theatre goes for the gusto in a blistering, shattering “Who’s Afraid of Virginia Woolf?” that features bravura performances and a fresh perspective on one of the landmark intellectual works of the 20th century.
Edward Albee’s 1962 dramatic comedy is divided into three acts that bristle with tension and increasingly unsettling confrontations are staged during a long night’s journey as two married couples peer into the abyss.
Passive-aggressive George (Stephen Peirick), an associate history professor at a small New England college, appears to be a milquetoast foil for his brassy and sassy wife, Martha (Mara Bollini), the attention-seeking daughter of the college president. After a faculty party, she has invited another couple back to their home on campus for more cocktails and conversation.
Nick (Stephen Henley) is an ambitious biology professor who is married to a sweet and naïve Honey (Claire Wenzel). They become ensnared in their dysfunctional hosts’ “Fun and Games” in Act One, as drinks flow into the wee hours of the morning and the booze-influenced patter grows uglier.
Wenzel, Henley. Photo by John Lamb
As the volatile middle-aged George and Martha viciously taunt each other, cracks in the young couple’s seemingly pleasant life are revealed, and the older couple is ready to pounce for sport. This isn’t their first rodeo. He seethes, she rages.
Everyone’s had a similar uncomfortable feeling around a bickering couple before, uneasy about the lack of a filter and polite behavior. Eager to please, the young folk stay, but as it gets later, it’s to their detriment – Nick is too power-hungry and Honey too vulnerable. Because the next act gets more disturbing, and the regrets start to pile up.
Act Two, titled “Walpurgisnacht,” is a reference to Christian missionary Saint Walpurga, who was known to repel witchcraft and helped convert Germany from heathenism. Known as an annual witches meeting, it typically takes place April 30, and there is a much longer backstory to know. Albee uses it for satirical reference. Of course.
Albee has the men argue more, and the insults begin. Martha will embarrass George’s literary efforts – with Bollini employing a haughty, degrading laugh meant to ridicule her husband. In turn, George becomes more contemptuous of the couple, devising a new game, “Get the Guests.”
Honey, drinking too much brandy, has a finicky stomach and becomes sick a couple times during these alarming encounters. Martha starts acting seductively towards Nick, which brings up more concerns.
Act Three, bluntly titled “The Exorcism,” is a devastating showcase of pain, pride, and purgatory. It takes on an eeriness not unlike a horror thriller, and sound designer Justin Been helps enhance a sense of danger and drama through cinematic score snippets that separate each act.
“Bringing Up Baby” is the next cruel game George demands they play. And they will reveal details about their son, which is complicated. This is by far the most destructive segment of the show, but also a twisted form of catharsis.
Using his wit and clever wordplay, Albee crafted a tragic circumstance around everyone’s illusions – how they see the world and how their inadequacies are part of their daily codependent lives. Their falsehoods are at times unclear, as Albee wanted to point out how society’s norms impede honesty. And their failures affect their mental health.
Wenzel, Bollini. Photo by John Lamb
The fact that a play written 60 years earlier holds up so well is a testament to Director Gary F. Bell’s vision.
He has masterfully dissected this emotionally intense play, having the actors fully realize their characters’ psychological portraits by creating more layers and nuance.
These are demanding and difficult incendiary roles, ultimately about survivors, and the actors are up for the challenges, nimble in delivering Albee’s bitter and brittle dialogue. Not a one makes a false move – everyone defines their intentions clearly.
These are four characters with dashed dreams and multiple frustrations, and they take turns being defiant and trying to cling to their dignity.
Establishing a tempestuous dynamic, Peirick and Bollini dig deep for their revelatory gut-wrenching performances, and both are at their career best. Henley provides yet another interesting characterization as confident Nick who finds himself eviscerated. Newcomer Wenzel is impressive in her local debut as the impressionable young wife trying to meet the expectations of an American nuclear family.
The scale of each character’s dreams are vastly different, and it’s stunning to see how quickly things get out of control. The truths are harsh, the partying hard, and the humiliations fester.
Photo by John Lamb
As scenic designer, Bell also capably created the modest worn living room where he fluidly moved the characters so nobody is static – and the bar gets a workout. As costume designer, he aptly outfitted the characters in appropriate career and party attire from that era. Lighting designer Tyler Duenow focuses on lighting several lamps in the interior.
The 1963 winner of the Tony Award for Best Play has enjoyed multiple revivals on Broadway, and this particular version produced by Stray Dog is the published 2005 revised script that starred Kathleen Turner as Martha, Bill Irwin as George, Mireille Enos as Honey and David Harbour as Nick.
This emotional roller-coaster of a production, certain to leave a lasting impression, is riveting throughout – even with its more than three-hour runtime. Adult themes are explored, and profanity is used. There are two 10-minute intermissions.
Stray Dog Theatre presents Edward Albee’s “Who’s Afraid of Virginia Woolf?” from Feb. 9 to Feb. 25, Thursday to Saturday at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104. There will be a Sunday matinee at 2 p.m. on Feb. 19. For more information, visit www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
ST. LOUIS 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 (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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 (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A little bit of horror and a lot of hilarity ensues in the madcap cult musical “Ride the Cyclone: The Musical,” now playing in a festive amusement park-like atmosphere at the Tower Grove Abbey.
For those unfamiliar with this musical comedy by Jacob Richmond and Brooke Maxwell, six peppy performers portray teenagers from a Canadian parochial school chamber choir whose lives are cut short in a freak accident aboard a roller coaster.
And that’s not the only thing freaky in this zany production that has a distinct viewpoint about the universal mysteries of life, death, and the afterlife – mostly funny, but sometimes sad, and surprisingly touching.
After they wind up in Limbo, a mechanical fortune teller, The Amazing Karnak, offers the dead kids a chance to return to life – but only one will be selected in this strange game of survivor. So, each tells their stories of living in Uranium City, Saskatchewan, and of their experiences at St. Cassian High School.
Five are kooky variations of John Hughes-like characters while the sixth, Jane Doe, was decapitated in the calamity and her body wasn’t claimed. Dawn Schmid plays the mysterious and ethereal outlier, showcasing her elegant voice in the opening number “Dream of Life” and later, “The Ballad of Jane Doe,” in which she talks about not knowing her identity.
The other five try to set themselves apart, and they accomplish that. This is a merry band of accomplished performers who make each character their own.
Photo by John Lamb
Eileen Engel, channeling Reese Witherspoon’s Tracy Flick character in “Election,” is the classic annoying over-achiever who is so certain she should be spared – and is snide in her comments to others, her entitlement front and center. Her name Ocean O’Connell Rosenberg. Seriously. Her catch phrase is “Democracy rocks!”
Her number, “What the World Needs,” brings out her personality traits and she leads the ensemble on “Every Story’s Got a Lesson.”
Riley Dunn may be having the most fun on stage as a very angry adopted young man, Mischa Bachinski, from the Ukraine. He’s an aspiring rapper, so of course, he must show off in “This Song is Awesome” and then display his softer side when recalling his internet girlfriend “Talia.”
In death, Stephen Henley’s earnest Ricky Potts, mute with a degenerative disease — catch phrase “Level Up!” — apparently has a new lease on life, as he is no longer disabled, and thrives with his discovered abilities. Part mensch, and pure team player with an overactive imagination, he sure has fun in his fantasies with “Space Age Bachelor Man.”
Grace Langford is eager-to-please Constance Blackwood, who is upset that she’s always labeled “nice,” has a love-hate relationship with her hometown and has a secret to later share. (And it’s a doozy). She belts out “Jawbreaker” and then after she changes her mind, “Sugarcloud.”
Mike Hodges has done double-duty as choreography and performer, and he gets to be outrageous as a gay kid in a small town who has never encountered anyone in his tribe. His saucy “Noel’s Lament” is the bawdiest number.
“The Other Side” is a spirited introduction.
The choreography is a delightful mix of “High School Musical,” “Cabaret,” “La Cage aux Folles,” even shades of “Cats,” and contemporary music videos.
The kids take a break from their “Look at Me!”attitudes to sing the tender “The New Birthday Song” to Jane Doe.
Engel also does double duty, as costume designer, with looks that run the gamut from the drab Catholic school jumpers to Hodges’ more risqué outfits
A well-known local actor voices Karnak, and his narration is superb. The program doesn’t reveal who he is, so I’ll keep that quiet until we’re allowed to share, no spoiler from me.
The musical was first performed in 2008, but did not have its American premiere, in Chicago, until 2015, and then mounted off-Broadway the next year.
It has developed a cult following, somewhat like “The Rocky Horror Show,” and audience members came from several different states, whooping it up, their enthusiasm contagious.
This is a fast-paced show – 90 minutes without an intermission. While it flows smoothly, a tremendous amount of difficulty is apparent because of the level of stage craft, but it’s all handled with aplomb.
Photo by John Lamb
Director Justin Been has cleverly staged the intricate movements, with timing a crucial element, and skillfully coordinated the moving parts – as there are many cues for sound, lights, and special effects. Many video projections are used, too, snapshots from their lives.
Longtime tech creative Tyler Duenow has masterfully taken the lighting design to new heights — a terrific mix of spooky, strange and status quo, while sound designer Jacob Baxley’s crisp work is noteworthy too.
Scenic designer Josh Smith has appointed the small space well, with the Karnak a creepy standout (not confined to a glass case like in “Big.”)
The witty script leans towards the sarcastic, with some laugh-out-loud observations, Been, along with his cast, has enlivened the show with up-to-date references (script allows it)
The band is onstage and appears to be having fun. Led by music director Leah Schultz, who also plays piano and recorder, musicians include Michaela Kuba on bass and cello, Adam Rugo on guitar and Joe Winters on percussion.
A macabre and mirthful show might not evoke the spirit of Christmas, but it sure spread joy to the world in Tower Grove Abbey – a cheering audience, exuberant cast and top-of-their game creative team made it a pleasant holiday-time diversion.
Stray Dog Theatre presents “Ride the Cyclone: The Musical” Thursdays through Saturdays December 1-17, with additional performances on Sunday, Dec. 11, and Wednesday, Dec. 14, both at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. This show contains mature language, smoke effects, strobing lights, and sudden loud noises. Masks are not required but encouraged. For more information or for tickets, visit www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Local Spotlight: Ian Coulter-Buford, formerly of Belleville, Ill., and now on the national tour of “Hadestown” currently at the Fox Theatre in St. Louis through Oct. 23, is the dance captain, understudy for Hermes and a swing in the show.
Here’s a Fabulous Fox video in which he shares a few moves from the Tony-winning Best Musical.
Host Phil Rosenthal opens the sixth season of the Emmy-nominated food/travel series “Somebody Feed Phil” on Netflix. The new episodes take Phil to Philadelphia, Nashville and Austin in the U.S., and Croatia and Santiago across the universe.
A special tribute to his late parents, Helen and Max, is featured as well. The pair inspired their fair share of “Everybody Loves Raymond” moments, which Rosenthal created and was the executive producer from 1996 to 2005 (he also wrote 23 episodes).
Book: Phil Again
“Somebody Feel Phil: The Book” is available in bookstores and online today. It includes recipes, production photos and stories from the first four season.
Rosenthal will be at the St. Louis Jewish Book Festival at 7:30 p.m. on Saturday, Nov. 5 with a presentation called – Somebody Feed Phil the Book: Untold Stories, Behind-the-Scenes Photos and Favorite Recipes: A Cookbook
The ultimate collection of must-have recipes, stories, and behind-the-scenes photos from the beloved Netflix show Somebody Feed Phil.
“Wherever I travel, be it a different state, country, or continent, I always call Phil when I need to know where and what to eat. He’s the food guru of the world.” —Ray Romano
From the JBF: Phil Rosenthal, host of the beloved Netflix series Somebody Feed Phil, really loves food and learning about global cultures, and he makes sure to bring that passion to every episode of the show. Whether he’s traveling stateside to foodie-favorite cities such as San Francisco or New Orleans or around the world to locations like Ho Chi Minh City, Tel Aviv, Rio de Janeiro, Mexico City, or Marrakesh, Rosenthal includes a healthy dose of humor to every episode—and now to this book.”
For tickets or more information and the complete schedule, visit: https://jccstl.com/festival-events-schedule/
Trailer: “Creed III” Released Today!
Follow-up to “Creed” in 2015 and “Creed II” in 2018, star and director Michael B. Jordan introduced the trailer to the third installment yesterday to critics (more on that later), and it came out today.
It will be released in theaters and IMAX on March 3, 2023.
Synopsis: After dominating the boxing world, Adonis Creed (Michael B. Jordan) has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face-off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian – a fighter who has nothing to lose.
The screenplay is by Keenan Coogler and Zach Baylin, with story by them and originator Ryan Coogler.
Besides Jordan and Majors, cast includes Tessa Thompson, Wood Harris, Florian Munteanu, Mila Davis-Kent, and Phylicia Rashad.
Premium Video on Demand: “The Good House”
Sigourney Weaver and Kevin Kline reunite for the third time in this adult romantic drama, based on the novel by Ann Leary. Weaver is Hildy Good, a realtor in a small New England town, and she rekindles a romance with Frank Getchell (Kline), But she needs to take care of a buried past, for her drinking is getting out of control again. It’s a portrait of a proud woman who wouldn’t think of asking for help, but whose life won’t change until she does.
Premium Video on Demand is $19.99.
On Nov. 22, the movie will be available video on demand for $5.99, and rental as DVD. It’s available for purchase as a Blu-ray + Digital combo or DVD.
Notes: The pair were in “Dave” (1993) and “The Ice Storm” (1997). Kline, 74, from St. Louis, has won an Oscar for “A Fish Called Wanda” in 1989. For his work on Broadway, he has won three Tony Awards — for two musicals, “The Pirates of Penzance” in 1981 and “On the Twentieth Century” in 1978, and the comedy “Present Laughter” in 2017.
Blackberry Telecaster
Drink: Purple Power
It’s Domestic Violence Awareness Month, and the Fountain on Locust is hoping to see St. Louis turn purple in support!
Order the Blackberry Telecaster or Le Fleur at the Fountain from today through Sunday, Oct. 18 – 23, and half the profits will go to help local St. Louis non-profit ALIVE provide shelter, healing and hope to domestic violence survivors in need.
For more info, visit ww.fountainonlocust.com
Word: The origin of the cocktail
On this day in 1776: In a bar decorated with bird tail in Elmsford, New York, a customer requests a glassful of “those cock tails” from bartender Betsy Flanagan.
Playlist: Chuck Berry
It’s Chuck Berry’s birthday – he was born Oct. 18, 1926, in St. Louis and died on March 18, 2017.
As part of his 60th birthday celebration, parts of the film, “Hail! Hail! Rock ‘n’ Roll” was recorded at the Fox Theatre on Oct. 16, 1986.
For a look back at that experience, the St. Louis Post-Dispatch has an article today:
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Based on a true story, “The Watcher” is seven episodes of a mystery-thriller about a couple who moves into their suburban dream home, only to discover a haunting figure is watching them. The cast includes Bobby Cannavale, Naomi Watts, Jennifer Coolidge, Terry Kinney (my ISU classmate), and Michael Nouri.
Stray Dog Theatre’s second weekend of “A Little Night Music” begins tonight at 8 p.m. at the Tower Grove Abbey, and continues Friday and Saturday. On Sunday,the only matineewill be presented at 2 p.m., and there will be a show on Wednesday at 8 p.m.
A bucolic setting for romantic entanglements is the premise, and this triple-threat cast has fun singing, dancing, and emoting in turn-of-the-20th-century Sweden.
Coming Soon: A holiday musical twist on ‘A Christmas Carol’
Are you ready for Christmas movies? Here’s the trailer for “Spirited,” a musical comedy starring Will Ferrell and Ryan Reynolds that will open in theaters on Nov. 11 and streaming on Apple TV+. It’s a new take on Dickens’ classic, but from the ghosts’ point of view. Original songs by Benji Pasek and Justin Paul.
Playlist: Rhymin’ Simon
It’s Paul Simon’s 81st birthday. He was born on Oct. 13, 1941, in Newark, NJ. He met his longtime music collaborator Art Garfunkel when they performed in a school production of ‘Alice in Wonderful” in sixth grade. They produced their first record in 1964.
Four years ago, on his 77th birthday, he appeared as the musical guest on “Saturday Night Live” for the ninth time (he hosted 4 times).
Here’s a three-minute compilation of some iconic moments on “Saturday Night Live,” including his performance of “The Boxer” on the first episode after 9-11.
Word: Ed Sullivan
On this date in 1974, the famous host died of esophageal cancer at age 73.
During his 23 years hosting “The Ed Sullivan Show,” the seminal Sunday night variety cavalcade, he said some very funny things to guests on the show and backstage. Here’s some of my favorites:
Here are some of my favorite things he ever said to music artists:
Ed Sullivan
“You boys look great, [but] you ought to smile a little more.” –speaking backstage with Jim Morrison and the band before The Doors performance
“I wanted to say to Elvis Presley and the country that this is a real decent, fine boy, and wherever you go, Elvis, we want to say we’ve never had a pleasanter experience on our show with a big name than we’ve had with you. So now let’s have a tremendous hand for a very nice person!” –complimenting Elvis Presley following his last performance.
“The little fella in front is incredible.” – Ed Sullivan talking about Michael Jackson following the first performance by The Jackson
“Before even discussing the possibility of a contract, I would like to learn from you, whether your young men have reformed in the matter of dress and shampoo.” Ed Sullivan’s response to a request by The Rolling Stones’ manager for a contract for a second appearance
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Infused with humor and a breezy charm, Stray Dog Theatre’s enchanting interpretation of Stephen Sondheim’s “A Little Night Music” brings out starlit summer imagery, the glory and glimmer of love, and the best in a resplendent cast.
On opening night, nature supplied a full moon on a crisp autumn evening outside the Tower Grove Abbey, a serendipitous touch. Imagine the golden glow of a warm, fragrant moonlit midsummer night – and you’ll easily slip into the mood for this sophisticated romp.
Set in Sweden at the turn of the 20th century, “A Little Night Music” concerns several pairs in various stages of romance or uncoupling – and what entanglements transpire during a summer sojourn in the country.
Liz Mischel is amusingly sarcastic as the unfiltered Madame Leonora Armfeldt, a wealthy matriarch who had colorful liaisons as a courtesan. She is schooling her innocent granddaughter Fredrika (a sweet and assured Adeline Perry) on the ways of the world – and men. She tells her the summer night ‘smiles’ three times: first on the young, second on fools, and third on the old.
The Armfeldts and servants picnicking. Photo by John Lamb
Madame’s daughter, the alluring, touring stage actress Desiree Armfeldt (Paula Stoff Dean) is a force of nature known for not playing by the rules. Her old lover, attorney Fredrik Egerman (Jon Hey), married a naïve young woman Anne (Eileen Engel) about 30 years his junior 11 months ago, and their union has not been consummated (her issues).
The coquettish but inexperienced wife teases her serious husband’s awkward son, Henrik (Bryce A. Miller), by his late first wife, who is studying for the ministry but has feelings for her, his stepmother. Although clumsy, he is not impervious to desire and has a dalliance with her maid, an older and wiser Petra (a brassy Sarah Gene Dowling making her character’s worldliness obvious).
Miller has to demonstrate the widest emotional range as the confused and ready-to-explode Henrik, and he effectively finesses the fine line between the melodramatic and the comedic to distinguish himself in a cast of veterans.
Desiree is currently the mistress of self-absorbed Count Carl-Magnus Malcolm (Scott Degitz-Fries), a buffoon whose jealous wife, Countess Charlotte (Madeline Black), is in on the charade. Degitz-Fries plays the military royal as an obnoxious, arrogant chauvinist who is not used to ‘no.’ Black channels her rage into a scheme – you know the adage about women scorned – but keeps her character’s refinement intact.
They all circle around and back to each other. Fredrik has taken Anne to see Desiree’s latest play, which eventually leads to an invitation for a country excursion. The complications culminate in the anticipation, flirting, fighting, and fleeing that takes place in the second act. Does love win in the end?
Hey, Dean. Photo by John Lamb.
One look at the waltzing quintet in their summer whites that starts this elegant show, and you’re transported back to a different era. Splendidly delivering “Night Waltz,” Cory Anthony, Shannon Lampkin Campbell, Jess McCawley, Kevin O’ Brien and Dawn Schmid glide across the stage as the Liebeslieder Singers, astutely controlling the tempo.
They act like a Greek chorus, and their lush harmonies soar in “The Glamorous Life,” “Remember?” and “The Sun Won’t Set.”
The entire cast’s strong vocal prowess is noteworthy throughout, but a masterfully arranged “Weekend in the Country” is a triumph.
Dean has decided to belt the signature song, “Send in the Clowns,” instead of reciting nearly all of it, as others have done, and it’s a fine rendition. Another highpoint is Dowling’s “The Miller’s Son,” emphatically sung as a mix of longing and reflection.
Whether they are singing solo or in duets, or at the same time with different songs (“Now” by Fredrik, “Later” by Henrik and “Soon” by Anne), you’ll marvel at how seamless the numbers are performed.
Black and Engel lament together on infidelity, smoothly combining in “Every Day a Little Death,” and Degitz-Fries has his moment with “In Praise of Women.”
Photo by John Lamb
Employing the beautiful orchestrations of Jonathan Tunick, Music Director Leah Schultz uses three string players that elevate the sumptuous sound. The orchestra is prominently placed on stage, and their work is exquisite.
Schultz, also playing piano, expertly conducts the seven-piece orchestra that includes a cello (Michaela Kuba), a violin (Steve Frisbee) and a bass (M. Joshua Ryan), along with Ian Hayden and David Metzger on reeds and Joe Winters on percussion.
The way director Justin Been has shaken off the stodginess and stuffiness of a high society period piece is impressive. He’s embraced the farcical aspect of revolving romantic hook-ups, sleekly moving the characters through a country estate, the grounds, and an adjacent forest
Looking at the book by Hugh Wheeler with a fresh set of eyes gave it needed oomph, and the ensemble, nimble in comedy, conveys a playfulness that endears. Been has brilliantly adapted the very theatrical and somewhat operetta-ish work for the small stage.
The original 1973 Broadway production won six Tony Awards, including Best Musical, book, and score, and has had revivals in London’s West End and Broadway, adapted into a 1977 film starring Elizabeth Taylor, and has been performed by opera companies around the world – including this summer’s traditional format at Union Avenue Opera in St. Louis.
Anne and Henrik. Photo by John Lamb
With a minimum of set pieces, Been has depicted the states of different affairs well. He designed modern Scandinavian impressionistic slats that hang above the orchestra, perhaps as a nod to magic realism. Jacob Baxley’s sound design and Tyler Duenow’s lighting design add to the imagery.
The creators claim the musical was suggested by Ingmar Bergman’s romantic comedy, “Smiles of a Summer Night,” which premiered in 1955, and is a staple at film retrospectives.
You might not think of Bergman as a merry sort of guy, particularly if you’ve seen his critically acclaimed classics “The Seventh Seal,” “Persona,” “Cries and Whispers,” and “Through a Glass Darkly.” But he mixed sugar and spice to come up with a confection that’s been ‘borrowed’ more than a few times. (Woody Allen’s 1982 “A Midsummer Night’s Sex Comedy,” to name one, which also references Shakespeare’s “A Midsummer Night’s Dream.”).
But this Bergman-inspired fantasia is much lighter, and Been has brought out the laughter, easy on the melancholy – yet has middle-agers expressing regrets.
Dean, Hey. Photo by John Lamb
Hey, as Fredrik, and Dean, as Desiree, portray a rueful pair, looking back wistfully and rediscovering their spark. The accomplished actors display a natural rhythm with each other, especially in “You Must Meet My Wife.”
Like the music, the dance numbers are polished, choreographed by Michael Hodges with an emphasis on regal posture — although, at first, notice how awkward the pairings are – it’s on purpose, ahem).
Engel, who is delightful as the conflicted Anne, designed the costumes – and they are a mix of ethereal and chic, conveying the social status of each character. The hair and wig design by Dowling suitably complimented the looks.
Hey and Engel were part of Stray Dog’s “Sweeney Todd” in spring 2017, he in the title role and she as daughter Johanna, and know the challenges Sondheim presents, and their experience serves them well.
Sondheim’s work is getting a lot of posthumous attention – but that’s a good thing, never enough Sondheim done well. Like the recently revived “Into the Woods,” some of his musicals take on richer, more contemplative meaning as one ages and revisits them again.
Stray Dog’s superb “A Little Night Music” is worth the immersion, featuring a triple-threat cast in fine form and an inspired creative team.
The Liebeslieder Singers. Photo by John Lamb.
Stray Dog Theatre presents the Stephen Sondheim’s “A Little Night Music” at 8 p.m. Thursdays through Saturdays through Oct. 22, with additional performances at 2 pm Sunday, Oct. 16 and 8 pm Wednesday Oct.19. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org
Hey and Degitz “It Would Have Been Wonderful.” Photo by John Lamb
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.
A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.
At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.
And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.
However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.
In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.
The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.
Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.
Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.
Photo by John Lamb
While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”
Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.
The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand. Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.
The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’
Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.
She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).
Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.
Photo by John Lamb
Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).
The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.
The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.
Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.
The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”
Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”
The troupe’s strong voices harmonize well in the group numbers, too.
Photo by John Lamb
Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.
Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.
Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.
The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.
For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.
My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.
It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.
Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org
Note: Tickets are only offered in physically distanced groups of two or four.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus At once an urgent call to action, historical political drama, and heart-wrenching story of love and friendship, “The Normal Heart” captures a specific time and place while resonating as a cautionary tale.
With an ensemble cast devoted to making every emotional beat authentic, Stray Dog Theatre’s brave and fearless production chronicles the growing AIDS crisis in New York City from 1981 through 1984, and how badly it was bungled.
It was a harrowing time, and gay activist Larry Kramer’s 1985 mostly autobiographical play is haunting as it conveys the confusion and chaos.
This work is a gripping account of how leaders in the gay community fought an indifferent, inefficient, and ineffective political system that ignored their plight until they couldn’t, as deaths were escalating in alarming way.
With a keen eye on the bigger picture, the company’s artistic director, Gary F. Bell, shrewdly directed principal character Ned Weeks’ journey from angry protestor to frustrated and furious advocate demanding change. It’s not just history, it’s personal.
During the early 1980s, Bell lived in New York City as the acquired immunodeficiency syndrome began decimating a terrified gay population. With the early years of another global pandemic not yet in the rearview mirror, Bell builds on that lack of knowledge and awareness to be relatable.
Many homosexuals were forced to live a closeted life, for fear of retaliation and being ostracized, or fired at work, or target of hate crimes. It was a very different time. And then, as the HIV/AIDS outbreak spread, so much fear and ignorance added fuel to the misunderstandings.
For those who remember living in the shadows 40 years ago, the pain of being unseen, unheard and dismissed during a growing public health crisis is palpable. Others who have been marginalized can identify, too.
Sarjane Alverson and Joey Saunders. Photo by John Lamb
Bell’s lean, cut-to-the-chase presentation focuses on perspective for the look back while being mindful of current parallels so that it feels contemporary and fresh.
In his best work to date, Peirick, a Stray Dog regular, brings an in-your-face intensity to Ned’s mission to make sense of what is happening while confusion reigns in the medical, political, and social circles in his orbit.
He shows how frightened Ned is for those around him, and how his laser-beam attention isn’t immediately shared by peers, much to his dismay. He pushes, he’s abrasive, he’s relentless – and eventually, he rattles the right cages and rallies others to see how the clock is ticking.
Newcomer Joey Saunders plays Felix Turner, a New York Times fashion writer who becomes involved in a serious relationship with Ned. When he is diagnosed with AIDS, how he deals with the decline from symptoms to the illness taking over his life is gut-wrenching and makes it deeply personal.
The other guys view their roles as important vessels, a duty they take seriously, as they all “go there,” daring to plumb emotions for a stunning depth of feeling.
In a dramatic turn as banker Bruce Niles, Jeffrey Wright pours out his anguish to tell how his lover died and the humiliation that followed, while Jon Hey melts down as the overwhelmed Mickey Marcus, frustrated by the lack of results.
It’s impossible not to be moved or not care about these people, to get into their heads and hearts as they confront the biggest health crisis of their time.
Stephen Henley, Jeremy Goldmeier, Stephen Peirick and Jon Hey. Photo by John Lamb
Characters get sick and die. Their lovers, co-workers, friends and family show symptoms and it doesn’t end well. Or those people refuse to accept and believe what is really happening.
Stephen Henley brings compassion to the Southern-style Tommy Boatright and Michael Hodges plays the dual roles of Craig Donner and Grady.
Three portray outsiders that are integral to the story.
A perfectly cast Sarajane Alverson is strong as Dr. Emma Brookner, who is in a wheelchair from childhood polio – a powerful visual. She is a crucial character who delivers the medical findings and sounds alarm bells
Jeremy Goldmeier has the thankless task of being the hard-edged municipal assistant Hiram Keebler and David Wassilak is buttoned-up Ben Weeks, Ned’s distant lawyer brother.
The austere set optimizes a growing set of file boxes as the HIV/AIDS cases surge and death toll mounts. Justin Been handled the scenic design and the sound work, punctuating the heightened emotions with dramatic instrumental music.
Kramer, always demanding, wanted to move the needle on tolerance and acceptance, which is why, 40 years later, this play has a far-reaching impact.
It is always hard to see so much time and energy spent on hate, even in historical context, but through art, there is also a glimmer of hope.
A play this pertinent has expanded its purpose at a time when we need to pay attention, for we must never forget. The organizers of today stand on the shoulders of giants, and Stray Dog is providing an important service to a new generation.
Stray Dog Theatre presents “The Normal Heart” from June 9 to 25, Thursday through Saturday at 8 p.m., with a Sunday, June 19, matinee at 2 p.m., at The Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org
Stephen Peirick and Joey Saunders. Photo by John Lamb
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
