A saucy, sultry and soulful trio of supremely talented women take us on their rocky road of hard-fought life lessons in a stylishly framed musical “Blues in the Night.” They sure have earned the right to sing the blues, and the Black Rep’s polished gem of a show is evocative of divine romance and the light that breaks through after darkness.
The enchanting Adrianna Jones as “The Woman,” Amber Alexandria Rose as “The Girl,’ and De-Rance Blaylock as “The Lady” conjure up past lives of sorrows, heartbreak and triumphs as they take us through an appealing catalogue of 27 classic blues and jazz songs.
In their skilled delivery, while projecting attitude and emotion, they bring those experiences to life with a vitality that’s mesmerizing. These songs may have been written in days gone by, but there is a freshness because the numbers are presented with a vibrancy and good nature.
The time is the 1930s and the place is Chicago. And we are swept away to an era immortalized in music and movies. I can see/hear images of Duke Ellington, Bessie Smith, Louie Armstrong and Ella Fitzgerald.
The women get to shine in solos – think of their voices as the luxurious textures of silk, satin and velvet.
De-Rance Blaylock as “The Lady.” Photo by Keshon Campbell.
As the eldest woman “The Lady,” Blaylock, who won the St. Louis Theater Circle Award for Best Performance in a Musical, Female or Non-Binary Role, last year for “Caroline, or Change,” imbues Bessie Smith’s dramatic standards “New Orleans Hop Scop Blues,” “Dirty No-Gooder’s Blues” and “Wasted Life Blues” with grit, then is playful in “Take Me for a Buggy Ride” and “Kitchen Man.” She’s sorrowful in Billie Holiday’s “Lover Man.”
As “The Woman” in her prime, Jones makes a memorable Black Rep debut, swinging in the famous Benny Goodman song named after the famous Harlem nightspot, “Stompin’ at the Savoy,” and Billy Strayhorn’s jazz standard “Lush Life.” She’s longing – and assertive –in “Rough and Ready Man.”
As the youngest “The Girl,” Amber Alexandria Rose is already a veteran of multiple musicals produced at The Black Rep and was part of the noteworthy Fisk Jubilee Singers at the Tennessee university. She’s dynamic in the Big Band favorite “Taking a Chance on Love,” “Willow Weep for Me” and “Reckless Blues.” Jones and Rose duet in the great torch song “When Your Lover Is Gone.”
However, the women aren’t the only ones adding sass and class to the show. As “The Man,” J Samuel Davis displays a remarkable gift for singing – who knew? (I mean he’s one of our finest dramatic actors, but an accomplished vocalist? Heck, yeah! More, please).
J Samuel Davis as “The Man.” Photo by Keshon Campbell.
Well, he gets to play the cad, the guy who done them wrong, but also a fellow with considerable charm. He opens with a rousing “T-Bone Walker’s “The Blues Is a Woman” and has fun with Louie Armstrong’s “I’m Just a Lucky So-and-So” and “Wild Women Don’t Have No Blues.” Davis is a two-time St. Louis Theater Circle Award winner, for performances in “Bashir Lazhar” at Upstream Theater and “District Merchants” at New Jewish Theatre. He’s recently been seen in “Cat on a Hot Tin Roof” at the Tennessee Williams Festival St. Louis and in The Black Rep’s “King Hedley II.”
A tight quintet of superb musicians makes the magic happen, with music director Khalid McGee giving the piano a mighty fine workout, along with Willem von Hombracht on bass, Brady Lewis on trumpet, Stan Coleman on reeds and Bernard Long Jr. on drums smoothly jiving, wailing and scorching the compositions.
The original vocal arrangements were by Chapman Roberts, with orchestrations and additional vocal arrangements by Sy Johnson. It’s a satiny-smooth trip through the best representations of the genre.
Their second act opening jam session to “Wild Women Don’t Get the Blues” gets the joint a jumping, while their Exit Music at the show’s end is enough to keep you in your seats. What a delight they are to listen to all evening. And special shout-out to sound designer Justin Schmitz on his outstanding work.
The way the set is structured, with Davis often presiding over a bar, you feel like the musicians are masters of their destination nightclub, and you feel part of a very ‘inside’ cool experience.
Adrianna Jones as “The Girl.” Photo by Keshon Campbell
The women are placed in individual rooms that appear to be the same floor of a hotel — each of various ages and different reasons to be home alone.
Scenic designer Jamie Bullins’ attention to detail is admirable and sets a terrific nostalgic tone, which is carried through by prop designer Mikhail Lynn.
Travis Richardson’s lighting design enhances those spaces and adds so much to the shifting moods. It feels elegant despite hearing tales of woe (but often resilience and strength, too).
Director Ron Himes has enlivened this show – part jukebox musical, part revue and totally entertaining with a breezy staging that also offers comfort, joy and inspiration.
Sheldon Epps, well-known for his work as artistic director at the Pasadena Playhouse, earned Tony nominations and much acclaim for his musical on Duke Ellington called “Play On!” He then conceived and put together “Blues in the Night,” which opened off-Broadway in 1980 before it moved to Broadway in 1982. It was nominated for a Tony as best musical but mostly (inexplicably) has had short runs.
It deserves to be noticed, for its depth of material and sharp execution are worth seeing because of the band’s rhythms and the cast’s vocal power and emotional intensity. It results in a charming evening of good tunes, sumptuous vocals and a fun atmosphere.
Amber Alexandria Rose as “The Girl.” Photo by Keshon Campbell.
The company’s group numbers showcase their abilities to harmonize beautifully, with “It Makes My Love Come Down” and a feisty “Take It All Back” wrapping up the first act.
Decked out in shades of blue, the women coming out swinging in the second act with “Blues in the Night,” followed by stellar renditions of “When A Woman Loves a Man” and “Am I Blue?” and a wistful “Nobody Knows You When You’re Down and Out” with the entire company.
After baring their souls and singing their hearts out, the women present a moving “I Gotta Right to Sing the Blues,” the well-known Harold Arlen standard, before the “Four Walls Blues” encore/finale.
Heather Beal’s light touch on choreography is well-suited to this show, and the characters. For the most movements, the women sashay, the man struts, and any dance is attuned to the times.
Gregory J. Horton’s gorgeous selection of vintage formal attire, cocktail dresses, and loungewear provides a sumptuous assortment of fabrics and styles ideally representing time periods and happenings.
The Women. Photo by Keshon Campbell.
Tracy Holliway-Wiggins is the stage manager with Daija Jones as assistant stage manager.
The blues provide a universal language into the soul, and the Black Rep has splendidly guided us through a pleasurable excursion into the urban blues of Chicago and a post-Great Depression America.
Photo by Keshon Campbell.
The Black Rep presents the musical “Blues in the Night” Sept. 4 through Sept. 29 at the Edison Theatre on the Washington University campus. Performances are at 7 p.m. Wednesday and Thursday, 8 p.m. Friday and Saturday, and 3 p.m. Sunday. The show is recommended for mature audiences ages 14 and up. Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. For more information: www.theblackrep.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.
When you see actor Eric Dean White’s name in a cast, you know that he will deliver an authentic performance. His latest role as Gooper, the resentful and ruthless son of Big Daddy, who schemes to control his family’s fortune, in “Cat on a Hot Tin Roof,” is a fine example of his commitment to a character.
Displaying a big chip on his shoulder because his handsome and athletic brother Brick was favored by his parents, White is smooth and shrewd in the supporting role.
This delectable story of big drama, big money and big lies, presented by the Tennessee Williams Festival St. Louis Aug. 8 – 18, is a Southern Gothic excursion into an American dysfunctional family, 1950s style, that won a Pulitzer Prize for Drama in 1955, and Williams considered it his favorite.
From left: Kari Ely, Eric Dean White, Roxanne Wellington, J Samuel Davis, Peter Mayer, Kiah McKirnan, and Brian Slaten in “Cat on a Hot Tin Roof.” Photo by Suzy Gorman.
White is thrilled to be in this ensemble.
“Simply put, ‘Cat’ is one of the greatest American plays by one of the greatest American playwrights, and it’s just an honor to be part of it,” White said. “We have a fantastic cast, and we are being led by director Michael Wilson, who is a renowned Tennessee Williams expert…It has been an honor and a pleasure to work with this team.”
White’s love for the material is evident, and he has previously been part of the Tennessee Williams Festival St. Louis, from its first year, performing in “The Rooming House Plays” in 2016, and in “Small Craft Warnings” in 2017.
Eric Dean White as Satan, with Courtney Bailey and Carl Overly Jr. in “The Last Days of Judas Iscariot.” Photo by Ann K. Aurbach
Throughout his career, he has moved easily between hero and villain roles, showing his versatility, and becoming a reliable fixture of the professional regional theater community. He is a member of Actors’ Equity Association and SAG-AFTRA.
Relishing a unique opportunity to play the most evil villain of them all, he won a St. Louis Theater Circle Award as an arrogant calculating Satan in “The Last Days of Judas Iscariot,” presented by Mustard Seed Theatre in 2018.
He has been nominated four other times, his first nod for playing Felix Turner, the doomed New York Times fashion reporter and activist Ned Weeks’ lover who succumbs to AIDS, in “The Normal Heart” at HotCity Theatre in 2014, which also won the award for outstanding production of a drama.
His other nominations show his impressive range. Earning three nominations in a row, he played a brash guy whose encounter with a stranger on a walk leads to more conversations in “The Kiss” at Upstream Theatre in 2015; Daisy’s exasperated son Boolie in “Driving Miss Daisy” at the New Jewish Theatre in 2016; and recognized as a conflicted fundamentalist Christian minister in the puppet comedy “Hand to God” at St. Louis Actors’ Studio in 2022.
Eric Dean White with Colleen Baker in “Hand to God at STLAS. Photo by Patrick Huber.
Earlier this year, he stood out in dual roles in The Black Repertory Theatre’s “Hold On!” as hot-headed intolerant bigots Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark. The play was about the landmark Voting Rights Act of 1965 after the Selma to Montgomery March organized by civil rights activists.
He has played a cruel racist before, as impresario Stephen Price in “The African Company Presents Richard III” at the Black Rep in 2022, and as a Hitler apologist in Neil LaBute’s one-act “The Fourth Reich” that was presented in 2018 during the LaBute New Theater Festival and off-Broadway in January 2019. (He’s been a frequent contributor in the LaBute Festival).
His work in “Hold On!” was in January, soon after delighting audiences as a seasoned radio announcer in The Repertory Theatre’s triumphant comeback “It’s a Wonderful Life! – A Live Radio Play” in December.
With his mellifluous voice, he played Freddie Filmore and amusingly delivered commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and other St. Louis notables.
Eric Dean White and J Samuel Davis in “It’s a Wonderful Life – Live Radio Play” at The Rep. Photo by Jon Gitchoff.
This fall, he returns to The Rep in their season opener, the classic mystery “Dial M for Murder.” He will play the eccentric but thorough Inspector Hubbard. In announcing the cast, they described him as a “Rep favorite.”
The play, to be directed by Melissa Rain Anderson, who deftly helmed “The Play That Goes Wrong” in 2019, will run Sept. 18 – Oct. 13 at the Loretto-Hilton Center on the campus of Webster University.
He joins the cast that includes Jenelle Chu as Margot, Jordan Coughtry as her former tennis pro husband Tony, Jayson Heil as their friend Max, Ethan Dunne Stewart as police officer Thompson and David Diaz Weynand as Lesgate, Tony’s old schoolmate.
Frederick Knott’s play, which inspired Alfred Hitchcock’s 1954 cinematic thriller, combines passion, blackmail and revenge into an edge-of-your-seat murder mystery when a gold-digging husband’s perfect crime misfires, trapping all parties in a sinister and dangerous web of lies.
He is home on The Rep’s mainstage, for he appeared as the Ghost of Christmas Future in “A Christmas Carol” and as Mrs. Bennett’s brother Mr. Gardiner in “Pride and Prejudice.”
With John Flack in “The Normal Heart” at HotCity Theatre.
He has also performed in other regional theaters around the country, including Houston and Arkansas. He appeared on an episode of “Chicago Fire” in 2015, and has acted in locally shot films, including “Finch,” “Penitentia,” “Cringe” and “Belleville.”
For White, keeping busy in an industry in flux is gratifying. When he’s not working on stage or off, he’s husband to Wendy and dad to daughters Payton and Cassidy.
Take Ten Q & A with Eric Dean White
1.Why did you choose your profession/pursue the arts?
“That’s a very good question and I ask myself that all the time. It’s almost absurd in a way how difficult it is to work professionally in any form of the arts. The rejection and inconsistency of work takes its toll on you. But the simple fact is I love it and maybe more importantly, I’m fascinated by it. Plus, people keep hiring me, so I keep saying yes!”
Eric Dean White in “The Fourth Reich” by Neil LaBute. Photo by Patrick Huber.
2. How would your friends describe you?
“Eric Dean White? Never heard of him.”
3. How do you like to spend your spare time?
“What is this “spare time” you speak of?”
4. What is your current obsession?
(This was asked before it concluded). “The 2024 Summer Olympics in Paris! Specifically, men’s and women’s soccer and women’s gymnastics.”
5. What would people be surprised to find out about you?
“I’m extremely sensitive to — and irritated by — certain sounds and noises. Often to the point that I have to leave the room.”
6. Can you share one of your most defining moments in life?
“Meeting Wendy.”
At the St. Louis Theater Circle Awards in 2017, with Jason Contini, J. Samuel Davis, and his wife Wendy.
7. Who do you admire most?
“I’m hesitant to place too much admiration on individual people. I’m very moved by acts of selflessness and grace — especially when no one is watching.”
8. What is at the top of your bucket list?
“I’d like to travel more in the coming years. Haven’t been able to do much of that as of late.”
9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“The pandemic was terrible for the live arts. There is no way to sugar coat it. I’m not sure if we will ever get back to where we were before the pandemic. There is very little interest in public funding of the arts via state and federal governments and corporate funding has also dried up. I don’t know what the path forward is. There are arts leaders much smarter than me doing all they can to try and figure out a path forward. I wish them luck. I encourage individuals to buy tickets to see live theatre and other performances.”
10. What is your favorite thing to do in St. Louis?
“I love going to Cardinals, St. Louis City SC and Blues games. I love going to all of our parks and museums. I love all the various art, food and cultural festivals we have. Oh – and St. Louis has a fantastic theatre and music scene!”
“The Kiss” with Lisa Tejero at Upstream Theater. Photo by Peter Wochniak.
More About Eric Dean White:
Age: 49 Birthplace: Sikeston, Missouri Current location: St. Louis (City), Family: One wife, two daughters, one pit bull
Education: Studied marketing at the University of Missouri and acting at The American Academy of Dramatic Arts (New York City campus) Day job: Visitor and Member Services at the Saint Louis Art Museum First play or movie you were involved in or made: I didn’t do any acting of any kind until I was about 24 years old. I think my first was a production of the play “June Moon” by George S. Kaufman and Ring Lardner during my first year at The American Academy of Dramatic Arts in New York. Favorite jobs/roles/plays or work in your medium? I’m just lucky to keep getting cast. That’s all that matters. Favorite quote/words to live by: “Did it ever occur to you that no one ever asked us to do this?” – Jack O’Brien at the 2024 Tony Awards. A song that makes you happy: First one that came to mind was Eddie Vedder’s cover of “Save It for Later” that was recently featured in season 3 of “The Bear” (episode 2). Also check out the original version of the song by The English Beat – great as well!
LaBute New Theater Festival in 2016, with Ryan Foizey. Photo by Patrick Huber.
Cover photo with Kari Ely in “Cat on a Hot Tin Roof” by Suzy Gorman.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The St. Louis Black Repertory Company announces the full cast and crew for Sheldon Epps’ BLUES IN THE NIGHT, directed by Founder and Producing Director Ron Himes, with musical director Khalid McGhee. The production opens the 48th Anniversary Season on Friday, September 6, 2024 (with previews September 4-5) through Sunday September 22, 2024 at The Edison Theatre on the campus of Washington University in St. Louis. It is presented with support from Washington University and the Mid- America Arts Alliance.
A dynamic Tony-nominated musical review showcases the universal language of The Blues. Set in 1930s Chicago, the audience is immersed in the stories of three women, told through the music of Bessie Smith, Duke Ellington, Johnny Mercer, Harold Arlen, and many more.
At The Black Rep, the ensemble cast features Adrianna Jones (TBR Debut), Amber Rose (CROSSING OVER, CROWNS, DON’T BOTHER ME I CAN’T COPE), De-Rance Blaylock (TBR Debut), J. Samuel Davis (KING HEDLEY II, CROSSING OVER, TELL ME SOMETHING GOOD, AIN’T MISBEHAVIN’, THE WIZ).
Directed by Ron Himes with Musical Director Khalid McGhee, Scenic Design by Jamie Bullins, Costume Design by Greg J. Horton, Sound Design by Justin Schmitz, Lighting Design by Travis Richardson, and Props Design by Mikhail Lynn. Tracy Holliway-Wiggins is the Stage Manager with Daija Jones as Assistant Stage Manager.
Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. Recommended for mature audiences ages 14 and up.
Support for The Black Rep’s 48th Main Stage Season comes from The Berges Family Foundation, Caleres, Missouri Arts Council, the Regional Arts Commission, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.
The season, announced in mid-July, includes an August Wilson classic, iconic musical and two world premieres.
The 48th Annual Mainstage Season
The St. Louis Black Repertory Company celebrates its 48th main stage season with five compelling works showcasing pivotal moments in the African American experience.
“We’re delighted to be producing the exceptional world premieres of “The Wash” and “Coconut Cake,” said Founder and Producing Director Ron Himes. “Audiences will be captivated by the music that unfolds in “Blues in the Night” and it feels truly timely to be closing out the season with August Wilson’s “Radio Golf,” marking the second time we have produced Wilson’s entire iconic American Century Cycle.“
Sept 4-22, 2024: Blues in the Night, by Sheldon Epps. In the Edison Theatre, Washington University in St. Louis.
This dynamite, dramatic Tony-nominated musical revue thrills audiences with the universal language of the Blues. With little spoken text, interweaving stories of three women are defined through songs that cover the range of the blues from Bessie Smith to Duke Ellington, Johnny Mercer, Harold Arlen, Alberta Hunter, Jimmy Cox, Ida Cox, and more, telling of the pain and misery of life and love — and also of the dogged determination to get through it all — that is the essence of the Blues.
Jan 8-25, 2025: CHICKEN & BISCUITS, By Douglas Lyons. In the Edison Theatre, Washington University in St. Louis.
When the Jenkins family comes together to celebrate the life of their patriarch, rivaling sisters Baneatta and Beverly face a shocking family secret which will either bind them or break them. Who knew a funeral could spark so much laughter? A portrait of family love and commitment, the comedy opened in 2020 at the Queens Theatre in the Park and its 2021 Broadway run was cut short due to the pandemic.
ROLLING WORLD PREMIERE February 5-March 2, 2025: COCONUT CAKE By Melda Beaty. In the Hotchner Theatre, Washington University in St. Louis.
For some, there’s nothing better than retirement, but when Eddie Lee’s wife joins him in retirement, the truth about his “ladies’ man” ways resurface. Eddie retreats to the sanctuary of a McDonald’s where a game of chess teaches life lessons and the rest of his retired friends, with marital problems of their own, wait faithfully for him. The arrival of two mystery women, with daddy issues, medicine cabinet secrets, and melt-in-your-mouth coconut cake, tests their friendship and changes their lives forever. Presented with support from the National Black Theatre Festival’s Sylvia Sprinkle-Hamlin Rolling World Premiere Award.
A NATIONAL NEW PLAY NETWORK ROLLING WORLD PREMIERE March 12-30, 2025: THE WASH, By Kelundra Smith. In The Berges Theatre, COCA-Center of Creative Arts.
Black laundresses took to the streets in 1881 Atlanta leading a strike just weeks before the International Cotton Exposition came to town. Demanding $1/week, the Atlanta Washerwoman’s Strike was the first successful interracial, organized labor strike of the post-Civil War era. Smith’s play offers an intimate and often humorous look at ordinary women who went from workers to fighters– and won. Presented as part of a National New Play Network Rolling World Premiere.
May 14-June 1, 2025, RADIO GOLF, By August Wilson. In the Edison Theatre, Washington University in St. Louis.
Set in Pittsburgh in the late 1990s, it’s the story of a successful entrepreneur who aspires to become the city’s first Black mayor. But when the past begins to catch up with him, secrets get revealed that could be his undoing. The most contemporary of all of August Wilson’s work, Radio Golf is the final play in his unprecedented ten-play American Century Cycle. This bittersweet drama of assimilation and alienation in 90s America traces the forces of change on a neighborhood and its people caught between history and the 21st century.
Each of The Black Rep’s main stage productions feature an Intergenerational Matinee Series that creates access to students from area schools and seniors from residential communities to offer the experience of live theatre at a subsidized ticket price. Select performances also include a post-show talk-back creating a forum for lively relevant discussions.
About The Black Rep
The Black Rep, a 48-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.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.
Sins of the past collide with a volatile present in the intense gut-punch that is August Wilson’s “King Hedley II,” part of his American Century Cycle now in return rotation at The Black Rep.
One of the foremost interpreters of Wilson’s work, director Ron Himes superbly creates a powder keg of family secrets, desires for fresh starts, and hopes punctured by despair.
Shaping vivid portrayals, an outstanding ensemble conveys an abundance of passion in a heartbreaking and tragic tale.
The ninth of Wilson’s 10 plays set in the 20th Century, “King Hedley II,” written in 1999, takes place in Reagan’s America 1985, when class struggles were escalating.
This was a fraught time for black men and women trapped by circumstances – few opportunities and an alarming rise in gun violence, teen pregnancies and unemployment. Wilson hammers all those points home in poetic dialogue that spills out in blistering, breathtaking monologues that offer perspective.
Ka’ramuu Kush, J. Samuel Davis and Geovonday Jones. Photo by Keshon Campbell.
Himes understands the rhythms of these individual characters so that their story arcs are distinctive – and the six intertwining connections are convincing. It is masterful, moving work from Ka’ramuu Kush as rage-filled King and Alex Jay as his conflicted wife Tonya, local legends Denise Thimes as matriarch Ruby and J. Samuel Davis as ramblin’, gamblin’ Elmore, with strong support from A.C. Smith as evangelical neighbor Stool Pigeon and Geovonday Jones as King’s pal Mister.
With daily indignities chipping away at his self-respect, King is attempting to overcome a world of hurt to rebuild his life. He just spent seven years in prison for killing a man who disfigured his face. Now, he wants to provide for his family as he hustles stolen refrigerators and dreams of opening a video store with his best friend Mister.
Trouble seems to lurk everywhere, to pull him back, and his life could blow up at any moment because of all these small fires and volatile situations fanning the flames.
Such is the action in a backyard of Pittsburgh’s Hill District, fertile ground for Wilson’s dark, complex story about the widening gulf between the haves and have-nots. Some of the characters we met in his “Seven Guitars” reappear a generation later.
Alex Jay as Tonya. Photo by Keshon Campbell.
“Seven Guitars,” presented in 1995, confronted obstacles faced by a blues musician, Floyd “Schoolboy” Barton, who lived in a boarding house in 1948. In that one, Ruby, visiting from Alabama, is pregnant with the son she names King Hedley II. Hedley is a prominent character, although the father’s paternity is not explained. Stool Pigeon appears as musician Canewell, one of Floyd’s best buds who is now collecting newspapers and trying to maintain historical records in “King Hedley II.” His friend, Red Carter, is Mister’s father.
Wilson’s 10 plays, each exploring the African American experience by decade over the course of 100 years, have been performed by the Black Rep before. During this second go-round for the anthology, I have seen them all since “The Piano Lesson” in 2013, with “Jitney” in 2022 and “Two Trains Running” in 2020 earning outstanding production awards from the St. Louis Theater Circle.
Next season, they will complete this recent cycle with “Radio Golf,” which takes place in the 1990s and was Wilson’s final work, presented in 2005.
All powerful in their own ways, these finely acted and impeccably produced shows illuminate black heritage and specific challenges.
Denise Thimes and J. Samuel Davis. Photo by Keshon Campbell.
This production’s gritty look immerses us into the neighboring row houses’ struggles through scenic designer Timothy Jones’s shabby stoop of Stool Pigeon’s and the grimy back porch of Miss Ruby’s delapidating family home while Travis Richardson’s lighting design, Alan Phillips’ sound design and Mikhail Lynn’s props create an authentic daily atmosphere.
Kush’s King gains our sympathies as he expresses his self-doubts and displays his vulnerabilities, detailing the reasons behind his noticeable facial scar, prison sentence, and his impoverished life to date.
He’s trying to grow flowers in a neighborhood of few success stories, an apt metaphor, but an unwavering sense of community is present, even as they lament the disrespectful thug environment encroaching on their turf they try so hard to protect.
The cast excels in fleshing out their characters’ colorful personalities and backstories so that you understand their motivations and philosophies on life. Stool Pigeon and Mister present some welcome humor, which both Smith and Jones are skilled at providing.
Stool Pigeon’s frequent quoting of the Bible often gives the play a spiritual angle that reveals more as it unfolds. “God got a plan. That medicine can’t go against God. God do what he want to do. He don’t have to ask nobody nothing,” Smith matter-of-factly states.
Denise Thimes, Alex Jay, Ka’ramuu Kush. Photo by Keshon Campbell.
Wilson’s views on disadvantaged lives hit hard as their truths tumble out – exemplified by a fiery outburst from Tonya on why she doesn’t want another child, and we feel all of Jay’s anguish.
Davis, a two-time St. Louis Theater Circle acting award winner, is silky-smooth as the charming Elmore, a rascal and former suitor that reconnects with Ruby. He’s trying to soothe his soul on some of the messes of his life.
Davis’s stellar track record with Wilson’s plays continues in one of his finest portrayals, deftly maneuvering the rapid-fire exchanges of a flashy con artist always trying to score.
Thimes, known as one of the best jazz singers in town, fully embodies Ruby, trying to find peace in her golden years, and looking back at regretful missteps.
Costume designer Kristie Chiyere Osi has outfitted the working-class characters specifically, with Elmore’s slick suits and snazzy hats an interesting contrast to everyone else’s casual attire.
Geovonday Jones, Ka’ramuu Kush, J. Samuel Davis. Photo by Keshon Campbell.
The cast is riveting as the action heats up, leading to an explosive climax that left me shaken. The tension is telegraphed all through Wilson’s exceptional prose, as past violence is recounted, but it still stuns.
Nominated for both the Pulitzer Prize and the 2001 Tony Award for Best Play, “King Hedley II” is impactful in its goal, to better understand behavior when people are robbed of dignity and humanity. That message resonates with The Black Rep’s insightful staging.
The Black Rep presents “King Hedley II” from June 19 to July 14 at the Edison Theatre on the Washington University campus. An intergenerational matinee is June 26. It is 2 hours, 45 minutes, with an intermission, and contains mature language. For more information, www.theblackrep.org.
AC Smith as Stool Pigeon. Photo by Keshon Campbell.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023
ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 11th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival Diana DeGarmo, “Clue,” Stages St. Louis Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival Christina Rios, “Broadway Bound,” The New Jewish Theatre Zoe Vonder Haar, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre Charlie Franklin, “Clue,” Stages St. Louis Nick Freed, “The Birthday Party,” Albion Theatre Bryce A. Miller, “The Nerd,” Moonstone Theatre Company Chuck Winning, “The Birthday Party,” Albion Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role Colleen Backer, “Outside Mullingar,” West End Players Guild Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre Sarah Burke, “Grand Horizons,” Moonstone Theatre Company Teresa Doggett, “The Birthday Party,” Albion Theatre Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild
Outstanding Performer in a Comedy, Male or Non-Binary Role Jacob Flekier, “Broadway Bound,” The New Jewish Theatre Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company Jason Meyers, “Outside Mullingar,” West End Players Guild Mark Price, “Clue,” Stages St. Louis
Outstanding Lighting Design in a Play Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis Jayson M. Lawshee, “Skeleton Crew,” The Black Rep Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Sean M. Savoie, “Clue,” Stages St. Louis Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Outstanding Sound Design G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Beef Gratz, “Clue,” Stages St. Louis Amanda Werre, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Play | Daryl Harris, “Death of a Salesman,” The Black Rep Liz Henning, “The Lion in Winter,” The Midnight Company Brad Musgrove, “Clue,” Stages St. Louis Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Set Design in a Play Nina Ball, “Confederates,” The Repertory Theatre of St. Louis An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Lee Savage, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role Nicole Angeli, “Mindgame,” Albion Theatre Velma Austin, “Death of a Salesman,” The Black Rep Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company Kelly Howe, “See You in a Minute,” Contraband Theatre Mindy Shaw, “The Immigrant,” The New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio Chauncy Thomas, “Death of a Salesman,” The Black Rep David Wassilak, “The Immigrant,” The New Jewish Theatre John Wolbers, “The Lion in Winter,” The Midnight Company
Outstanding Performer in a Drama, Female or Non-Binary Role Lavonne Byers, “The Lion in Winter,” The Midnight Company Kate Durbin, “Doubt: A Parable,” Prism Theatre Company Ricki Franklin, “See You in a Minute,” Contraband Theatre Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Male or Non-Binary Role John Contini, “Barrymore,” St. Louis Actors’ Studio Ron Himes, “Death of a Salesman,” The Black Rep Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding New Play “Action,” by Colin McLaughlin, Action Art Collaborative “In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company “One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio “The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts “See You in a Minute,” by Jacob Juntunen, Contraband Theatre
Outstanding Achievement in Opera Janai Brugger, “Susannah,” Opera Theatre of Saint Louis Teresa Doggett, “Don Pasquale,” Union Avenue Opera Gemma New, “Susannah,” Opera Theatre of Saint Louis Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis Patricia Racette, “Susannah,” Opera Theatre of Saint Louis
Outstanding Production of an Opera “Don Pasquale,” Union Avenue Opera “Ragtime,” Union Avenue Opera “Susannah,” Opera Theatre of Saint Louis “Treemonisha,” Opera Theatre of Saint Louis “The Turn of the Screw,” Union Avenue Opera
Outstanding Musical Director Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny Colin Healy, “Caroline, or Change,” Fly North Theatricals James Moore, “West Side Story,” The Muny Larry D. Pry, “Into the Woods,” The New Jewish Theatre David Sonneborn, “Million Dollar Quartet,” Stages St. Louis
Outstanding Choreographer Denis Jones, “Sister Act,” The Muny Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny Josh Rhodes, “Chess,” The Muny Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role Jackie Burns, “Beautiful: The Carole King Musical,” The Muny Jerusha Cavazos, “West Side Story,” The Muny Diana DeGarmo, “Aida,” Stages St. Louis Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre Taylor Louderman, “Chess,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role Jonathan Hey, “Into the Woods,” Stray Dog Theatre Phil Leveling, “Into the Woods,” The New Jewish Theatre Ken Page, “West Side Story,” The Muny Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny
Outstanding Lighting Design in a Musical Herrick Goldman, “Aida,” Stages St. Louis Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre Jason Lyons, “Disney’s Beauty and the Beast,” The Muny Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis
Outstanding Set Design in a Musical Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny Edward E. Haynes, Jr., “Chess,” The Muny Rob Lippert, “Godspell,” Stray Dog Theatre Kristen Robinson, “Little Shop of Horrors,” The Muny C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Musical Leon Dobkowski, “Little Shop of Horrors,” The Muny Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre Robin McGee, “Disney’s Beauty and the Beast,” The Muny Brad Musgrove, “Aida,” Stages St. Louis Marc. W. Vital III, “Eubie!,” The Black Rep
Outstanding Performer in a Musical, Female or Non-Binary Role De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company Bryonha Marie, “Sister Act,” The Muny Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny Molly Wennstrom, “Into the Woods,” The New Jewish Theatre
Outstanding Performer in a Musical, Male or Non-Binary Role Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company Ben Crawford, “Disney’s Beauty and the Beast,” The Muny Robin de Jesus, “Little Shop of Horrors,” The Muny Kevin O’Brien, “Into the Woods,” The New Jewish Theatre John Riddle, “Chess,” The Muny
Outstanding Ensemble in a Comedy “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “The Brechtfast Club,” ERA “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis
Outstanding Ensemble in a Drama “Death of a Salesman,” The Black Rep “The Immigrant,” The New Jewish Theatre “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Lehman Trilogy,” The Repertory Theatre of St. Louis “The Lion in Winter,” The Midnight Company
Outstanding Ensemble in a Musical “Caroline, or Change,” Fly North Theatricals “Disney’s Beauty and the Beast,” The Muny “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Outstanding Director of a Comedy Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company Steve Bebout, “Clue,” Stages St. Louis Alan Knoll, “Broadway Bound,” The New Jewish Theatre Suki Peters, “The Birthday Party,” Albion Theatre Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Director of a Drama Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio Rebekah Scallet, “The Immigrant,” The New Jewish Theatre Jacqueline Thompson, “Death of a Salesman,” The Black Rep
Outstanding Director of a Musical Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny Brian McKinley, “Caroline, or Change,” Fly North Theatricals Robert Quinlan, “Into the Woods,” The New Jewish Theatre Josh Rhodes, “Chess,” The Muny John Tartaglia, “Disney’s Beauty and the Beast,” The Muny
Outstanding Production of a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Outstanding Production of a Drama “Death of a Salesman” The Black Rep “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Immigrant,” The New Jewish Theatre “The Lehman Trilogy,” The Repertory Theatre of St. Louis “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding Production of a Musical “Aida,” Stages St. Louis “Caroline, or Change,” Fly North Theatricals “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “West Side Story,” The Muny
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com); Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
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 In 1965, the conflict between Dr. Martin Luther King Jr. and President Lyndon Johnson regarding voting rights came to a head because of escalating violence. On the streets of Selma, Alabama, the struggle to end racial discrimination was real. The drive for equality that resulted in the historic march from Selma to Montgomery and the hard-fought triumph that was the Voting Act Rights is depicted in a new historical drama written by British playwright Paul Webb.
The St. Louis Black Repertory Company hosted British playwright Webb for the world premiere of “Hold On!” that began with previews Jan. 10, opening night was Jan. 12, and the show ran Wednesday through Sunday until Jan. 28 in the Edison Theatre on the campus of Washington University in St. Louis. It was the kickoff to their 47th mainstage season and directed by founder and producing director Ron Himes.
“We’re delighted to be producing this exceptional world premiere and we’ve pulled together an extraordinarily talented group of creatives to tell this story, It’s a great way to kick off our 47th Season,” Himes said.
Webb. who wrote the screenplay for the 2014 film “Selma,” was first inspired to write a play focused on the historic events in the Civil Rights Movement that led to the Voting Rights Act of 1965, a year after the landmark Civil Rights Act was passed, and after King won the Nobel Peace Prize.
“What I came to realize was that the Selma voting rights campaign was the pinnacle of the careers for two extraordinary, although extraordinarily different, leaders,” Webb says.
Webb said he has been fascinated with American culture since childhood, and told a group of us at the opening night party about hitchhiking across America for six months. He saw how complicated race relations were in the South. He was intrigued by President Johnson’s efforts during the civil rights area, and his relationship with King. The importance of the demonstrations in Selma was a way to develop the story he wanted to pursue. .
Webb’s other works include “Four Knights in Knaresborough” about the assassination of Thomas Becket, and the BET mini-series “Madiba” about the life of Nelson Mandela.
Paul Webb, standing next to Ron Himes, says a few words about his play’s cast. Lynn Venhaus photo
Conversations with the Webb were included throughout the opening weekend, at the Jan. 11 preview performance at 7 p.m., followed by a post-show discussion, and after opening night Jan. 12, there was a post-show reception and a meet and greet. On Sunday, Jan. 14, there was a pre-show discussion at 2 p.m. before the 3 p.m. matinee performance.,
In 1957, King said: “So long as I do not firmly and irrevocably possess the right to vote, I do not possess myself. I cannot make up my mind; it is made up for me.”
In the 1960s, Americans debated what the “equal protection of the laws” in the 14th Amendment meant. Did the Constitution’s prohibition of denying equal protection always ban the use of racial, ethnic, or gender criteria in an attempt to bring social justice and social benefits?
In June 1963, President John Kennedy asked Congress for a comprehensive civil rights bill. This was after resistance to desegregation and the murder of Medgar Evans, a civil rights activist in Mississippi, who was fatally shot on June 12.
After Kennedy’s assassination in November, President Johnson took up pushing for it, and the Civil Rights Act of 1964, which prohibits discrimination on the basis of race, color, religion, sex or national origin, passed. That forbade using race and sex as reasons in hiring, promoting and firing, and strengthened the enforcement of voting rights and desegregation of schools.
Then, Johnson introduced the Voting Rights Act to Congress in March 1965, the same month that voter registration protests began in Selma.. The violence there added pressure on Congress to act, and the bill passed in four months.
To further learn about King’s journey, here are some resources:
Fifty-nine years ago, Selma became the battleground for Black suffrage, and. the Edmund Pettus Bridge, the site of the brutal Bloody Sunday beatings of civil rights marchers, is now a national historic landmark. Because the attacks were televised, public support for the activists grew, and marches continued for voting rights.
For more information about the landmarks in the historic civil rights efforts, visit the Civil Rights Trail: https://civilrightstrail.com/
The protections that King and his supporters fought for are under actual threat today, with attempts at voter suppression making the Voting Rights Act vulnerable. The Freedom to Vote Act addresses voter registration and voting access, election integrity and security, redistricting, and campaign finance. (Sources: https://www.congress.gov/bill/117th-congress/senate-bill/2747 and https://www.brennancenter.org/freedom-vote-act
Specifically, the bill expands voter registration (e.g., automatic and same-day registration) and voting access (e.g., vote-by-mail and early voting). It also limits removing voters from voter rolls.
Next, the bill establishes Election Day as a federal holiday.
The bill declares that the right of a U.S. citizen to vote in any election for federal office shall not be denied or abridged because that individual has been convicted of a criminal offense unless, at the time of the election, such individual is serving a felony sentence.
The bill establishes certain federal criminal offenses related to voting. In particular, the bill establishes a new criminal offense for conduct (or attempted conduct) to corruptly hinder, interfere with, or prevent another person from registering to vote or helping someone register to vote.
Additionally, the bill sets forth provisions related to election security, including by requiring states to conduct post-election audits for federal elections.
The bill outlines criteria for congressional redistricting and generally prohibits mid-decade redistricting.
The bill addresses campaign finance, including by expanding the prohibition on campaign spending by foreign nationals, requiring additional disclosure of campaign-related fundraising and spending, requiring additional disclaimers regarding certain political advertising, and establishing an alternative campaign funding system for certain federal offices.
‘Hold On!’ at The Black Rep
The Black Rep’s 47th season will continue with “Fly” (Feb. 14 to March 10) in WashU’s A.E. Hotchner Studio Theatre, followed by “Wedding Band” (March 13-31) at COCA, 6880 Washington Ave., and “Timbuktu!” (May 15 to June 9) in Edison. The season will conclude with “King Hedley II” (June 19-July 14), also in Edison.
Single tickets are now available through the Box Office, in person, or at (314) 534.3807. Reduced pricing is available for seniors, educators, students, and groups of 12 or more. Season 47 subscriptions remain on sale at TheBlackRep.org.
Support for The Black Rep’s 47th Main Stage Season comes from The Berges Family Foundation, The Black Seed Initiative, Caleres, Missouri Arts Council, the Regional Arts Commission, Rogers-Townsend, The Shubert Foundation, and the Steward Family Foundation.
Opening Night Meet and Greet: Lynn Venhaus, Playwright Paul Webb, Chas Adams
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The movement is a rhythm to us Freedom is like religion to us Justice is juxtapositionin’ us Justice for all just ain’t specific enough
–“Glory” by Common and John Legend 2015 Oscar winner for Best Song, from the movie “Selma”
A remarkable history lesson more so than a lecture, “Hold On!” features a powerhouse ensemble recreating a pivotal period in 1965 that was a clarion call then and eerily an alarm bell now.
The Black Rep honors Dr. Martin Luther King Jr.’s legacy with the timing of opening weekend to coincide with the federal holiday marking his Jan. 15 birthday, which has taken place on the third Monday of January every year since 1983.
King, the most prominent advocate for nonviolent activism to protest racial discrimination, helped get the Voting Rights Act signed by President Lyndon B. Johnson on Aug. 6, 1965, after convincing the president a year earlier to sign the landmark Civil Rights Act (July 2, 1964), the same year he was awarded the Nobel Peace Prize (Dec. 2, 1964).
Their fascinating relationship was at times contentious but also collaborative, and those power battles royale are embodied by Enoch King as resolute MLK and Brian Dykstra as salty LBJ.
Dykstra easily slips into playing the master politician Johnson, for he has appeared twice before in the role – but in the drama “All the Way” that was produced at the Repertory Theatre of St. Louis in fall 2015, which focuses on the civil rights endeavors in ’64, and as Brian Cox’s understudy in “The Great Society,” playwright Robert Schenkkan’s sequel, on Broadway in 2019
King is tenacious as the motivational visionary, remaining idealistic about moving people to action in divisive times. Both King and Johnson knew they couldn’t advance anything alone but needed supporters to be fervent about progress. The good reverend is a shrewd strategist in getting what he wants with the President, whose legendary battles with the “Dixiecrats” are well-documented.
While both were certainly flawed individuals, they were able to come together and change the course of America, pushing to outlaw discrimination based on race, color, religion, sex, and national origin.
On March 15, 1965, LBJ delivered a speech before Congress on voting rights — stating that the civil rights problems challenged the entire country, not one region. He asked for legislation that dictated clear, uniform guidelines for voting regardless of race or ethnicity, which would allow all citizens to register to vote free from harassment.
Through a turbulent lens, this sobering play looks back when blacks were being murdered in the South, just for daring to register to vote, use their voice to speak up and stand up, and the killers were not punished. These incidents still pack a gut-punch, and this drama, thriller-like, illuminates gathering storms, and as history prompts us, we must be vigilant.
In 1965, Selma represented the epicenter, and in Alabama, the struggle for justice and equality escalated. This well-researched historical work by Paul Webb depicts the drive for voting rights that resulted in the March 7 “Bloody Sunday” where protesters were beaten at the Edmund Pettus Bridge trying to march to Montgomery, the state capital.
Two weeks later, King, James Forman and John Lewis led marchers on that landmark trail after a U.S. District judge upheld the rights of demonstrators.
Webb, a British playwright and screenwriter who is credited with the screenplay for the 2014 film “Selma,” first began the project as a play, then moved forward instead with the film, but in the years since, has revised and finished his play. The Black Rep is the first company to produce it.
The Civil Rights Movement was a long and winding road, starting in 1954 and ending in 1968. Webb, fascinated by the motives of both Johnson and King during the 1964-65 period, has formatted the play as a series of vignettes, with 21 scenes, carried out by a cast of 14.
Ambitious, yes, and director Ron Himes deftly moves along characters and action, focusing on the urgency.
This true story has a lot of moving parts to convey onstage, establishing characters who figure prominently in the tumultuous days highlighted. Scenes are mostly divided between Selma, Atlanta (King’s residence), Brown Chapel and Washington D.C., where Dunsi Dai’s evocative scenic design includes the Oval Office as a focal point, and Meg Brinkley’s prop design conveys.
Because of the nature of a stage play, the action offstage is chronicled through news clippings and video reports, which projections designer Zach Cohn has astutely put together.
The play is dense at first, takes a while to gain momentum, but when it does, it’s riveting and empowering.
Those unfamiliar with this period may need a primer to know who the key players are. People alive then or who remember it from the history books may recall who Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark are, both masterfully played as hot-headed intolerant bigots by Eric Dean White.
The segregationists were firmly entrenched in the power grid during the Jim Crow era, and the selective timeline deepens the storytelling,
Making an impression as racist Al Lingo of the Alabama Highway Patrol and heroic activists Jimmie Lee Jackson and Annie Lee Cooper are Jeff Cummings, Jason Little and Tamara Thomas, who also play another role each.
Little and Thomas are strong in their characterizations of ordinary citizens who represent how despicably treated minorities were – and you’ll remember those names.
Isaiah Di Lorenzo smoothly plays a cruel county courthouse registrar and a redneck state trooper in addition to presidential speech writer Richard N. Goodwin. Thomas Patrick Riley tackles three unflattering roles – the ignorant courthouse worker Leverne, and an unenlightened deputy and state trooper. Tammie Holland is posh as King’s fling Della.
Other dedicated performers resemble the real people of King’s inner circle so we don’t forget their contributions: Greg Carr Sr. as Ralph Abernathy, Olajuwon Davis as James Foreman, Greg Carr II as (future Congressman) John Lewis, Joel Antony as Hosiah Williams and Little doubling as Andrew Young (future Congressman, US Ambassador to the United Nations and Atlanta mayor).
These characters earned a place in history but perhaps are unknown to subsequent generations. (And if history is being rewritten in certain school districts…I digress).
Evann DeBose
For the play version, Webb laudably expanded the role of Coretta Scott King, and Evann DeBose is radiant –and assertive — as a woman working alongside her famous husband on the same goals, a strong force who won’t be diminished or treated callously.
Musically inclined, Coretta is shown singing and playing the piano (kudos to pianist Antonio Foster). DeBose’s soulful and heartfelt renditions of songs associated with the movement — Sam Cooke’s “A Change Is Gonna Come” from 1964 and “Keep Your Eyes on the Prize,” a folk song referencing Biblical passages, also known as “Hold On,” popularized in 1963, remain indelible. The rallying anthem “We Shall Overcome” had to be prominently featured and it is.
One of the highlights of this production is sound designer Lamar Harris’ original music score. His compositions vividly capture the moods and punctuate the action in a notable way.
Some of the horrifying attacks are choreographed movements to represent the explosive violence and shrouded in blue lighting by expert designer Sean M. Savoie. Annie Lee Cooper’s front-page-news punch to the sheriff is well-staged for optimum effect.
Costume designer Marc W. Vital II has put together appropriate vintage looks for the women and standard business attire for the men. Special recognition goes to stage manager Tracy D. Holliway Wiggins and assistant Alan Phillips for maintaining the flow of all the comings and goings, no easy feat.
It’s important to keep this story at the forefront today because of its relevancy to equal rights.
The shock of brutal attacks with prejudice and without accountability reminds us that we are again living in tense times and protections are not absolute. As far as we have come in 59 years, scary to even think suppression is happening again.
It’s difficult to wrap one’s head around that more than 60 years ago, people died for the right to vote, and as I write this, voting rights are being threatened. However, a movement is underway supporting the Freedom to Vote Act of 2021 and the John Lewis Voting Rights Advancement Act of 2023, which would modernize and revitalize the 1965 Voting Rights Act, strengthening legal protections against discriminatory voting policies and practices. Maybe “Hold On!” will be a timely nudge in the right direction.
“Hold On!” is a fine example of people keeping their eye on the prize, illustrating how many marched away from the darkness and into the light because of King’s special skills, and those he passed the torch to during his lifetime and beyond. It’s a refresher course on Selma not being a bridge too far.
Facin’ the league of justice, his power was the people Enemy is lethal, a king became regal Saw the face of Jim Crow under a bald eagle The biggest weapon is to stay peaceful We sing, our music is the cuts that we bleed through Somewhere in the dream we had an epiphany Now we right the wrongs in history No one can win the war individually It takes the wisdom of the elders and young people’s energy One day when the glory comes
–“Glory”
The Black Rep presents the world premiere of “Hold On!” Jan. 10-Jan. 28 with performances Wednesday-Thursday at 7 p.m., Friday-Saturday at 8 p.m. and Sundays at 3 p.m. Performances take place Jan. 10-28. Tickets are $50, or $45 for seniors and $20 for students (17+), with student rush tickets $15. No one aged 5 and under is admitted. Season 47 subscriptions are available. Tickets can be purchased at the Edison Theatre box office; the Black Rep’s box office, 813 N. Skinker Blvd.; or by calling 314-534-3810. For more information, visit: www.theblackrep.org
Cinema St. Louis is pleased to partner with the St. Louis Black Repertory Company for a special screening of the film, “Selma,” on Saturday, Jan. 20, at the Hi-Pointe Theatre at 1 pm. General Admission Tickets are $10, and a discounted ticket of $8 is available for current students and senior citizens aged 55+.” Visit site for tickets: https://www.cinemastlouis.org/selma-screening-black-rep
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.
Singer-actor Kelvin Roston Jr. is a man on a mission, and he pours his heart and soul into a revealing portrait of soul singer Donny Hathaway.
However, his haunting one-man show “Twisted Melodies” is more than a bravura performance – he shines the spotlight on complicated mental health issues to lead us to further understanding.
Sure, you’ve heard Hathaway’s music – at least every holiday season “This Christmas” is playing in stores, on car radios, and at home. His signature cover of Leon Russell’s “A Song for You” is considered one of his finest, as is John Lennon’s “Jealous Guy,” and his duet with Roberta Flack on “Where Is the Love?” won a Grammy Award in 1973.
The audience acknowledged familiarity with his first hit, “The Ghetto,” from his album debut “Everything Is Everything” in 1970 as soon as it played. After all, Hathaway was born in St. Louis on Oct. 1, 1945, and has a deep fan base here.
Hathaway was raised by his grandmother Martha Pitts, a professional gospel singer, in the Carr Square housing project. He graduated from Vashon High School in 1963, and earned a fine arts scholarship to Howard University, where he majored in music theory.
Because of his illustrious career and enduring impact, he was inducted into the St. Louis Walk of Fame in 2013. His star is located at 6165 Delmar Blvd. in University City.
But what was happening behind the music is a tragic story that silenced his expressive voice. The gifted musician and songwriter suffered from mental illness. At age 33, he plunged to his death from an Essex Hotel window in Chicago on Jan. 13, 1979.
Kelvin Roston. Photo by Jon Gitchoff
This captivating, mournful story takes place on that fateful day inside Hathaway’s hotel room — and inside his head – as he battled demons his adult life. A paranoid schizophrenic, he wasn’t keen on keeping up with a rigorous prescription medicine route, and therefore, his behavior became increasingly erratic.
In a devastating scene, he described all the unpleasant side effects of the pills he was prescribed. Those who loved him could not help.
Roston conveys both Hathaway’s talent and his torment in a heartfelt and heartbreaking performance, displaying his expert musicianship and his powerful voice. He deeply feels the music.
Roston, who is also from St. Louis but currently based in Chicago, began shaping the play when he was an intern at the Black Rep. Caring so passionately about this man and his music, he brought this personal story to the Black Rep in 2016 – and was nominated for a St. Louis Theater Circle Award for Outstanding Actor in a Drama. Since the world premiere in 2015 in Chicago, he has taken his show across the country.
Roston, who attended Cardinal Ritter High School, recently won a Joseph Jefferson Award in Chicago for Best Actor for his performance as “King Hedley II,” August Wilson’s play staged at The Court Theatre.
In his courageous portrayal, Roston brings out Hathaway’s caring, vulnerable personality by reminiscing about his childhood, college years, collaboration with Flack, meeting his wife, and the love for his daughter.
He also flips quickly to indicate a darker force, an all-consuming inner turmoil, as he is convinced someone is stealing his music by hooking up his brain to a machine.
As he struggles to maintain sanity, we hear discordant sounds, the lights become harsher, and visuals distort. Projection designer Mike Tutaj provides different images on the hotel room walls. Xavier Pierce’s lighting and G Clausen’s sound design add to the heightened emotions.
Set designer Tim Mackabee’s accurate depiction of a tastefully appointed hotel room 44 years ago can appear spacious, then claustrophobic, almost like a prison, while Roston is presenting composing at his keyboard normally, then switching to the terror of Hathaway’s reality.
Roston as Donny Hathaway. Photo by Jon Gitchoff
Throughout the 90 minutes, while music was integrated into the script, Roston’s focus on the disease’s effects is hard-hitting, robbing Hathaway of everything he valued.
This show speaks volumes in a sincere, direct way, and illuminates a crippling disease and urgent health care crisis. It is a public service announcement as much as an entertaining, thoughtful show.
Director Reggie D. White has emphasized both in this presentation, and he has seamlessly incorporated the technical elements so we could be moved not only by Hathaway’s brilliance as a major R&B talent, but also his hellish psychological state.
On opening night Oct. 6, Hathaway’s youngest daughter, Donnita, came on stage afterwards to talk about her father, and commend Roston’s work. She was 2 years old when her father died.
The Rep is partnering with Donnita’s Donny Hathaway Legacy Project that advocates for holistic mental health and emotional health-related education and resources. The Rep has pledged to partner its onstage work with a necessary offstage issue.
She had said earlier: “I’m in awe of how much care and delicacy the brilliant Kelvin Roston takes in his role as my father while staying true to highlighting mental health issues during this fateful night and balancing the scales by taking us down memory lane by infusing the classic musical catalog that Donny Hathaway left us. I am thrilled that Twisted Melodies is coming to The Rep, a place that both Kelvin Roston and the late Donny Hathaway could call home.”
Post-show discussions are set for Saturday, Oct. 14 at 4 p.m. and Wednesday, Oct. 18 at 2 p. m.
The Repertory Theatre of St. Louis presents “Twisted Melodies” Oct. 4 -22 at the Catherine B. Berges Theatre at COCA, 6880 Washington Avenue. For more information or to purchase tickets, visit: www.repstl.org
The Rep Box Office is available for in-person support at the Loretto-Hilton Center, 130 Edgar Rd., Webster Groves, on Tuesdays and Wednesdays from 10:30 a.m. – 5 p.m, and 2 hours before curtain.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The St. Louis Black Repertory Companyhas named Brian McKinley as Director of Education and Community Programs. The actor, educator, and former intern assumes the role after serving 6 years in various positions at the Company.
“Brian is a talented emerging leader in our field,” said Ron Himes, Founder and Producing Director of The Black Rep. “I am very pleased that he has agreed to continue to bring his innovative and collaborative style to advancing our initiatives in the schools and community.”
Brian came to The Black Rep as an intern in 2017, directly after earning his BFA in Musical Theatre from Western Illinois University. Most recently he has served in the role of executive assistant to Producing Director Ron Himes, where he has coordinated the Black Rep’s Professional Fellow company, ensuring that thousands of local children gain access to quality theatre and engaging them in conversation and inquiry about the world around them.
As an actor, Brian’s talents have taken him to stages across the country. Recent credits include: Skeleton Crew; Sweat (The St. Louis Black Repertory Company), King Lear (St. Louis Shakespeare Festival), The Wizard of Oz (Theatre League, Inc.), A Midsummer Night’s Dream (Minot State University Summer Theatre), and The Wiz (COCA-Center of Creative Arts). He was recognized in 2021 with an award for Outstanding Supporting Performance from the St. Louis Theatre Circle for his role in Spell #7 (The St. Louis Black Repertory Co.) and was among the early-career professionals selected for the Fall 2021 Focus-St. Louis cohort of Emerging Leaders.
As education and community engagement director, McKinley will continue to manage the company’s professional fellow company as well as oversee the Touring Show Productions and growing portfolio of programming for education and community partners.
“I’m excited to continue to spread my wings as an arts leader and to continue to build awareness and partnerships with The Black Rep,” said McKinley. “Thanks to the support of generous donors we are able to bring the arts to more of the St. Louis community and most importantly, to our growing list of school partners.”
McKinley won a St. Louis Theater Circle Award for his performance in “Spell #7” at The Black Rep.
About the Black Rep
The Black Rep, a 46-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.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.
