A story of uncommon courage and grace while facing deeply rooted cruelty and oppression, “The Color Purple” is a momentous achievement for the Black Rep.
Through Celie’s harrowing emotional journey, a stunning Angela Wildflower leads a passionate ensemble who gives it all through the musical’s sorrows, love, pain and ultimately, triumph.
In a tour de force performance, Wildflower is the heart and soul of this deeply felt production, directed with considerable flair and impact by Daniel Bryant.
In the St. Louis Black Repertory Theatre’s premier that opened its landmark 50th season, the affection for the storytelling was palpable between the audience and the artists. The spirited cast’s voices soared, starting with powerhouse Anita Jackson and the other two ebullient Church Ladies Amber Rose and Olivia Neal with the opening.
The vibrant, roots-infused score includes gospel, jazz, ragtime, blues, and African beats, with songs by Brenda Russell, Allee Willis, and Stephen Bray that bring out the purpose and yearnings.
The Church Ladies Amber Rose, Anita Jackson, Olivia Neale. Photo by Arieona Phillips
In 1909, Celie, 14, is a humble, hard-working poor black girl living in rural Georgia, who has delivered two babies whose father is her father, and Pa (J. Samuel Davis) has taken them away.
Several years later, he makes a deal to give Celie to Albert “Mister” Johnson (sturdy Kelvin Roston Jr.), an emotionally and physically abusive widower and farmer, to care for his unruly children and serve him.
By her sacrifice, she spared her sister, Nettie (a tender Morgan Taylor), so that she could follow her dream of being a teacher. Unbeknownst to Celie, for many years, the compassionate Nettie winds up with a missionary family in Africa. When Morgan and Angela sing together, it’s magical, especially “Our Prayer.”
Celie has gone from one house of horror to another. But her faith sees her through, as do the people who raise her up. That community will return her kindness.
Push Da Button. Photo by Arieona Phillips
While taking care of Mister’s home, the nurturing Celie meets the glamorous and worldly nightclub chanteuse Shug Avery (dynamic Alexis J. Roston). They share romance and a deep bond.
Wearing a snazzy red outfit, Roston sashays with confidence in “Push Da Button” and she shines in “Too Beautiful for Words” and “What About Love?”
One of Mister’s grown children, Harpo (versatile Brian McKinley), marries Sofia (powerhouse Adrienne Spann). Spann, impressive in her Black Rep debut, is strong as the feisty free spirit, known for her independence and speaking her mind. She stands out with her phrase (and song) “Hell, no!”
Tyler White is comical as the irrepressible Squeak and Olajuwon Davis, Dajuan Davis and Samantha Madison are well-rounded, adaptable ensemble members.
Marsha Norman wrote this musical adaptation of Alice Walker’s Pulitzer Prize-winning touchstone novel, a National Book Award winner in 1982. It debuted on Broadway in 2005 and then was revived in 2015.
Photo by Arieona Phillips
In the two film adaptations, first in 1985 by Steven Spielberg, which garnered 11 Academy Award nominations, and then a 2023 musical version, they brought out the dignity and virtues of a trauma survivor.
Wildflower brought down the house with “I’m Here” – which was interrupted three times by applause, a goosebump moment.
With this stellar cast, the finale, reprising “The Color Purple,” is heartfelt and affecting, reminding us of the mighty power of love, healing and resilience.
The staging is simple and Heather Beal’s choreography is supple, well-suited for this nimble ensemble. They have fun with the juke joint dance – and ‘Uh Oh.” Special mention to fight choreographer Paul Steger. The energetic African dance number is an ideal way to open the second act.
Photo by Arieona Phillips
Using cultural soundscapes beautifully, Music Director Jermaine Manor fluidly leads an eight-piece orchestra, with Zach Neumann on keyboards, Stan Coleman and Alex Macke on reeds, Dennis Brock on guitar, Willem von Hombracht on bass, Des Jones on drums, Gerald “Babtunde” Williams on percussion, and Manor on keyboards, too.
Resourceful scenic designer Tim Jones’ flexible scenic design uses an ancestral tree as a backdrop focal point, with nods to 20 Century South and Africa, and lighting designer Michael Sullivan created atmospheric notes, as did Justin Schmitz’ sound design. Mikhail Lynn did his customary excellent work on props.
With a story spanning 40 years, costume designer Jarrod Barnes’s stylish vintage wear reflects the periods and the economic level of the characters, with Sunday best church clothes and fancier juke joint attire. Nettie’s gorgeous white Victorian dress rivals Shug’s dazzling pieces, and all the trousers are fun for “In Miss Celie’s Pants.”
African Dance. Photo by Arieona Phillips
Of note, purple symbolizes strength, transformation, power, wisdom, bravery — and all meanings can be applied here.
What is most personal is also the most universal, and it shows in The Black Rep’s expertly produced, very moving musical.
The Black Rep presents “The Color Purple” Sept. 9 – 27 at The Edison Theatre at Washington University in St. Louis. For tickets, visit The Black Rep’s website, 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.
With a vivacious cast of relatable relatives, The Black Rep delivers a sassy, spirited and sometimes silly “Fat Ham,” which is a modern humorous reinterpretation of Shakespeare’s “Hamlet.”
Surprising in its fresh spin of the play’s universal themes, the 2022 Pulitzer Prize-winner by James Ijames replaces royal revenge with a look at black masculinity, queer identity and cycles of generational trauma — but flips it as a comedy, not tragedy.
This production, deftly directed by Geovanday Jones, focuses on unpredictable storytelling. Jones brought out the playfulness of the performers, who sometimes mirror the Bard’s iconic roles, but mostly differ in humorous delivery and make them broader in body language.
Set at a backyard barbecue in the American South, the key points of Hamlet’s torment, confusion and the weight of heritage play heavily on the mind of gay college student Juicy, who is visited by his deceased father’s ghost. Pap seeks revenge, Juicy wrestles with that directive.
Enoch King as the ghost of Pap, with Marshall W. Mabry IV as Juicy. Photo by Howard Ash.
Pap (Enoch King) was murdered in prison and reveals to his son that his brother Rev (King, in a dual role) arranged the hit. The Rev quickly married Juicy’s livewire mother Tedra (firecracker Angela Wildflower), and disturbed Juicy sorts out a tangled web of betrayal, anger and legacy.
Blustery King capably plays two sides of the coin – the hot-tempered wronged brother Pap and the entitled, selfish bully Rev., whose toxicity signals danger.
But sweet, sensitive Juicy, masterfully portrayed by Marshall W. Mabry IV as an old soul, isn’t keen on vengeance. He summons an inner strength, shows how mature he is, and opts out.
Despite her questionable choices, his Gertrude-like mother relies on him to be steady – “You don’t get to go crazy,” she says when everything seems topsy-turvy.
Juicy breaks the fourth wall to comment on what we’re seeing and what expectations we might have, which is another departure from tradition.
Marshall W. Mabry IV as Juicy, now dressed for the party, with Angela Wildflower as Tedra on the porch. Photo by Howard Ash.
Friends and neighbors come to the party with their own baggage. The only real tragedy is that the characters are types who have never been allowed to be themselves. Tension escalates between the mean-dog uncle/stepfather and Juicy can’t relax and be true to himself.
Pass the potato salad as insights are revealed and the core group question their choices. Nods to the Bard’s great tragedy are in the form of a clever game of charades instead of an elaborate wedding banquet entertainment.
Patrick Huber’s scenic design is a marvel of form and function, creating a porch and yard with nooks and crannies for action – an adjacent shed, lawn chairs for tete a tetes, picnic tables to dance on top of while using a karaoke machine.
Huber’s crisp lighting design boosted key transitions while Tre’von Griffith’s sound design punctuated the action. Music is a key component in the presentation, and Heather Himes’ choreography brings out the show’s celebratory themes.
Olajuwon Davis as Tio, Mabry, Brian McKinley as Larry and Raevyn Ferguson as Opal. Photo by Howard Ash.
Two other stagecraft veterans added oomph, too – Andre Harrington’s costumes smartly conveyed characters and Mikhail Lynn’s props accented the social interactions.
An undercurrent simmers as more truths are exposed – Larry and Opal (aka Laertes and Ophelia) are the children of Rabby, a stylish but bossy busybody version of Polonius, who pushes her children to succeed. In another feisty role, Margery Handy lays it on thick as a boisterous social butterfly while her children are reluctant to fit into polite society.
Brian McKinley is misleading as the rigid, reserved Larry, a Marine in uniform, who needs to break free from societal expectations. He’s the epitome of duty, honor, service. As a fierce Opal, Raevyn Ferguson is mopey, forced to wear a dress, but lets loose as a lesbian who gets louder and prouder. Opal has nothing in common with Shakespeare’s Ophelia, and proclaims: “I ain’t dying for nobody.”
These siblings are the most obvious characters subverting expectations. But the major source of comic relief is naturalistic actor Olajuwon Davis as Tio, a chatty, porn-addicted stoner who serves as Juicy’s unfiltered best friend, like the Bard’s Horatio.
Fat Ham Black Rep. Photo by Howard Ash.
Observing Juicy’s melancholy, he remarks: “Your Pop went to jail, his Pop went to jail, his Pop went to jail, his Pop went to jail and what’s before that? Slavery.”
While action gets heated, don’t expect a bloodbath or even tragic deaths. Even with the tamped-down violence, the legacy between fathers and sons’ bristles, as it should for effect.
Hamlet (Juicy) isn’t home from college but attends an online school instead, majoring in human resources, and he is mocked for his goals.
What might life be like if we chose pleasure over harm? That’s the core of Ijames’ work. The younger generation wants to break the cycles of violence and trauma, opting for emancipation and joy.
The ensemble leans into these timeless elements, finding their voices and defying stereotypes. Juicy would rather live his truth out loud and doesn’t need to conform. The best thing about this twist? We are allowed to revel in his hard-fought victory — and in other characters’ liberations as well.
Mabry in the Hamlet role as Juicy. Photo by Howard Ash.
The St. Louis Black Repertory Company presents “Fat Ham” from May 20 through June 7 at The Edison Theatre on the campus of Washington University in St. Louis. The play is 1 hour and 45 minutes, without intermission. This production concludes the 49thseason.Tickets and information for performances 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
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.
New Jewish Theatre’s ‘Cabaret” tops shows with 13 nominations Event March 23 Will Honor Outstanding Work in Local Professional Theater in 2025
ST. LOUIS, February 3, 2026 – The Repertory Theatre of St. Louis (The Rep), with 38 nominations covering six different productions in the 2025 calendar year, leads the field at the 13th annual St. Louis Theater Circle Awards. “Cabaret,” which was performed by New Jewish Theatre, garnered the most nominations for an individual production with a total of 13. In all, 38 local, professional productions representing 20 theater companies received at least one nomination.
The annual gala will take place on Monday, March 23, 2026, at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. https://www.repstl.org/events/detail/st-louis-theatre-circle-awards 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 34 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2025. Approximately 87 productions were considered for nominations for this year’s event.
Additionally, there will be three special awards. Opera Theatre of Saint Louis will be honored for 50 years of operatic excellence that have brought the company local, national and international recognition. Wayne Salomon, a founding member of Theatre Project Company, will be recognized with a lifetime achievement award for his contributions to the St. Louis theater community. Bob Trump, head draper of The Rep, who retired in 2025, will be lauded for 40 years of work in The Rep’s costume shop.
The Muny last autumn asked that it not be considered for any nominations for the 2025 calendar year. Reluctantly, the St. Louis Theater Circle has honored The Muny’s request.
The nominees for the 13th annual St. Louis Theater Circle Awards are:
Baskerville. New Jewish. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Nancy Bell, “Emma,” The Repertory Theatre of St. Louis Lindsey Grojean, “The Curious Savage,” Stray Dog Theatre Lize Lewy, “Emma,” The Repertory Theatre of St. Louis Alicia Revé Like, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre Essence Anisa Tyler, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Louis Reyes McWilliams, “Emma,” The Repertory Theatre of St. Louis Michael James Reed, “Ken Ludwig’s Sherwood: The Adventures of Robin Hood,” The Repertory Theatre of St. Louis Jacob Schmidt, “Romeo & Zooliet,” St. Louis Shakespeare Festival Sean C. Seifert, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre John Wilson, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Michelle Hand, “The Search for Signs of Intelligent Life in the Universe,” St. Louis Actors’ Studio Heather Matthews, “The Beauty Queen of Leenane,” Albion Theatre Company Andrea San Miguel, “The Cottage,” The Repertory Theatre of St. Louis Adelin Phelps, “Emma,” The Repertory Theatre of St. Louis Phyllis Yvonne Stickney, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Performer in a Comedy, Male or Non-Binary Role
Jordan Coughtry, “The Cottage,” The Repertory Theatre of St. Louis Nick Freed, “The Minutes,” Stray Dog Theatre Gary Glasgow, “Two Jews Walk into a War: A Comedy,” New Jewish Theatre Ron Himes, “Clyde’s,” The Repertory Theatre of St. Louis Bryce A. Miller, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Clyde’s. The Rep. Photo by Jon Gitchoff.
Outstanding Lighting Design in a Play
Denisse Chavez, “Hamlet,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Athena,” The Repertory Theatre of St. Louis Jason Lynch, “Emma,” The Repertory Theatre of St. Louis Matthew McCarthy, “A Streetcar Named Desire,” Tennessee Williams Festival St. Louis Christina Watanabe, “Clyde’s,” The Repertory Theatre of St. Louis
Outstanding Sound Design
Jimmy Bernatowicz, “Athena,” The Repertory Theatre of St. Louis Kareem Deanes, “Two Jews Walk into a War: A Comedy,” New Jewish Theatre Tre’von Griffith, “The Brothers Size,” The Repertory Theatre of St. Louis John Gromada, “Emma,” The Repertory Theatre of St. Louis Ellie Schwetye, “Professor House,” Contraband Theatre
Outstanding Costume Design in a Play
Oana Botez, “Hamlet,” St. Louis Shakespeare Festival Dorothy Marshall Englis, “Emma,” The Repertory Theatre of St. Louis Renee Garcia, “The Cottage,” The Repertory Theatre of St. Louis Tracey Newcomb, “I Have Been Here Before,” Albion Theatre Company Michele Friedman Siler, “The Heidi Chronicles,” New Jewish Theatre
The Heidi Chronicles. New Jewish Theatre. Photo by Jon Gitchoff.
Outstanding Set Design in a Play
Jean Kim, “Clyde’s,” The Repertory Theatre of St. Louis Robert Mark Morgan, “The Cottage,” The Repertory Theatre of St. Louis Scott C. Neale, “Hamlet,” St. Louis Shakespeare Festival Scott C. Neale, “Romeo & Zooliet,” St. Louis Shakespeare Festival Margery Spack & Peter Spack, “Emma,” The Repertory Theatre of St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Jade Cash, “The Wanderers,” New Jewish Theatre Sarah Chalfie, “Hamlet,” St. Louis Shakespeare Festival Jennifer Ikeda, “Hamlet,” St. Louis Shakespeare Festival Isa Venere, “A Streetcar Named Desire,” Tennessee Williams Festival St. Louis Maggie Wininger, “The Wanderers,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Grayson DeJesus, “Hamlet,” St. Louis Shakespeare Festival Ron Himes, “Radio Golf,” The Black Rep Donald Jones Jr., “The Brothers Size,” The Repertory Theatre of St. Louis Bryce A. Miller, “The Wanderers,” New Jewish Theatre Reginald Pierre, “Hamlet,” St. Louis Shakespeare Festival
Outstanding Performer in a Drama, Female or Non-Binary Role
Mara Bollini, “Frankie and Johnny in the Clair de Lune,” Stray Dog Theatre Wendy Renée Greenwood, “The Wanderers,” New Jewish Theatre Michelle Hand, “Meet Me at Dawn,” Upstream Theater Lizi Watt, “Meet Me at Dawn,” Upstream Theater Donna Weinsting, “With,” St. Louis Actors’ Studio
Meet Me at Dawn. Upstream Theater. Photo by ProPhotoSTL
Outstanding Performer in a Drama, Male or Non-Binary Role
Nic Few, “The Brothers Size,” The Repertory Theatre of St. Louis Michael Khalid Karadsheh, “Hamlet,” St. Louis Shakespeare Festival Christian Kitchens, “The Brothers Size,” The Repertory Theatre of St. Louis Joel Moses, “The Wanderers,” New Jewish Theatre Whit Reichert, “With,” St. Louis Actors’ Studio
Outstanding New Play
“John Hughes Your Own Adventure,” by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie, Cherokee Street Theatre Company “The Pavement Kingdom: A Clinic Escort Play,” by Courtney Bailey, Chorus of Fools “Romeo & Zooliet,” by Jennifer Joan Thompson, St. Louis Shakespeare Festival Professor House,” by Jacob Juntunen, Contraband Theatre “Scream, Echo. Scream.,” written and produced by Summer Baer
Outstanding Achievement in Opera
Christopher Alden, “Don Pasquale,” Opera Theatre of Saint Louis Susanne Burgess, “Don Pasquale,” Opera Theatre of Saint Louis John Gerdes, “The Second Hurricane,” Stray Dog Theatre Daniel Scofield, “Salome,” Union Avenue Opera Leonard Slatkin, “A Midsummer Night’s Dream,” Opera Theatre of Saint Louis
Outstanding Production of an Opera
“A Midsummer Night’s Dream,” Opera Theatre of Saint Louis “Don Pasquale,” Opera Theatre of Saint Louis “My Fair Lady,” Union Avenue Opera “The Second Hurricane,” Stray Dog Theatre “This House,” Opera Theatre of Saint Louis
Superhero. Stray Dog Theatre.
Outstanding Musical Director
Jeremiah Ginn, “Murder for Two,” Stages St. Louis Mallory Golden, “Superhero,” Stray Dog Theatre Carter Haney, “Cabaret,” New Jewish Theatre Jermaine Manor, “Raisin (The Musical),” The Black Rep David Nehls, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Choreographer
Kirven Douthit-Boyd, “Raisin (The Musical),” The Black Rep Kirven Douthit-Boyd, “The Brothers Size,” The Repertory Theatre of St. Louis Ellen Isom, “Cabaret,” New Jewish Theatre Lisa Shriver, “Austen’s Pride,” Stages St. Louis Jennifer Werner, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Projections or Special Effects
Justin Been, “Superhero,” Stray Dog Theatre Kareem Deanes, “The Heidi Chronicles,” New Jewish Theatre Kareem Deanes, “The Wash,” The Black Rep Michael Curry Design, “Romeo & Zooliet,” St. Louis Shakespeare Festival Joe Taylor, “Dollhouse by Three Manufacturers,” Equally Represented Arts (ERA)
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Kailey Boyle, “Beautiful: The Carole King Musical,” Stages St. Louis Marsiya Miller, “Legally Blonde, The Musical,” Tesseract Theatre Company Jane Paradise, “Cabaret,” New Jewish Theatre Dianica Phelan, “Austen’s Pride,” Stages St. Louis Sarah Polizzi, “Rock of Ages,” Stray Dog Theatre
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Dave Cooperstein, “Cabaret,” New Jewish Theatre Aaron Fischer, “Superhero,” Stray Dog Theatre Aaron Fischer, “Cabaret,” New Jewish Theatre Dustin Petrillo, “Madam,” Fly North Theatricals David Socolar, “Beautiful: The Carole King Musical,” Stages St. Louis
Murder for Two. Stages St Louis. Photo by Phillip Hamer.
Outstanding Lighting Design in a Musical
Tony Anselmo, “Raisin (The Musical),” The Black Rep Denisse Chavez, “Cabaret,” New Jewish Theatre Tyler Duenow, “Superhero,” Stray Dog Theatre Jason Lyons, “Austen’s Pride,” Stages St. Louis Sean M. Savoie, “Beautiful: The Carole King Musical,” Stages St. Louis
Outstanding Set Design in a Musical
Peter Barbieri, “Beautiful: The Carole King Musical,” Stages St. Louis Ann Beyersdorfer, “Murder for Two,” Stages St. Louis David Blake, “Cabaret,” New Jewish Theatre Bradley Rohlf and Colin Healey, “Madam,” Fly North Theatricals Rob Lippert, “Superhero,” Stray Dog Theatre
Outstanding Costume Design in a Musical
Sam Hayes, “Madam,” Fly North Theatricals Colleen Michelson, “Rock of Ages,” Stray Dog Theatre Johanna Pan, “Beautiful: The Carole King Musical,” Stages St. Louis Emily Rebholz, “Austen’s Pride,” Stages St. Louis Michele Friedman Siler, “Cabaret,” New Jewish Theatre
Outstanding Performer in a Musical, Female or Non-Binary Role
Brianna Kothari Barnes, “Beautiful: The Carole King Musical,” Stages St. Louis Sarah Gene Dowling, “Superhero,” Stray Dog Theatre Olivia Hernandez, “Austen’s Pride,” Stages St. Louis Anita Michelle Jackson, “Raisin (The Musical),” The Black Rep Hailey Medrano, “Cabaret,” New Jewish Theatre
Anita Jackson. Raisin. The Black Rep. Phillip Hamer photo.
Outstanding Performer in a Musical, Male or Non-Binary Role
Jabari Boykin, “Superhero,” Stray Dog Theatre Rafael DaCosta, “Bat Boy,” New Line Theatre Jeremiah Ginn, “Murder for Two,” Stages St. Louis Dan Hoy, “Austen’s Pride,” Stages St. Louis Spencer Davis Milford, “Cabaret,” New Jewish Theatre
Outstanding Ensemble in a Comedy
“Clyde’s,” The Repertory Theatre of St. Loui “Emma,” The Repertory Theatre of St. Louis “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre “The Cottage,” The Repertory Theatre of St. Louis “Romeo & Zooliet,” St. Louis Shakespeare Festival
Outstanding Ensemble in a Drama
“Hamlet,” St. Louis Shakespeare Festival “I Have Been Here Before,” Albion Theatre Company “The Brothers Size,” The Repertory Theatre of St. Louis “The Wanderers,” New Jewish Theatre “The Wash,” The Black Rep
Outstanding Ensemble in a Musical
“Austen’s Pride,” Stages St. Louis “Beautiful: The Carole King Musical,” Stages St. Louis “Cabaret,” New Jewish Theatre “Raisin (The Musical),” The Black Rep “Superhero,” Stray Dog Theatre
Romeo and Zooliet. St Louis Shakespeare Festival. Photo by Phillip Hamer.
Outstanding Director of a Comedy
Risa Brainin, “The Cottage,” The Repertory Theatre of St. Louis Tracy Brigden, “Emma,” The Repertory Theatre of St. Louis Josiah Davis, “Clyde’s,” The Repertory Theatre of St. Louis Tom Ridgely, “Romeo & Zooliet,” St. Louis Shakespeare Festival Nisi Sturgis, “Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,” New Jewish Theatre
Outstanding Director of a Drama
Nancy Bell, “Athena,” The Repertory Theatre of St. Louis Annamaria Pileggi, “With,” St. Louis Actors’ Studio Robert Quinlan, “The Wanderers,” New Jewish Theatre Michael Sexton, “Hamlet,” St. Louis Shakespeare Festival Jacqueline Thompson, “The Brothers Size,” The Repertory Theatre of St. Louis
Outstanding Director of a Musical
Justin Been, “Superhero,” Stray Dog Theatre Igor Goldin, “Austen’s Pride,” Stages St. Louis Michael Kostroff, “Murder for Two,” Stages St. Louis Rebekah Scallet, “Cabaret,” New Jewish Theatre Jennifer Werner, “Beautiful: The Carole King Musical,” Stages St. Louis
The Brothers Size. The Rep. Photo by Jon Gitchoff.
Outstanding Production of a Comedy
“Clyde’s,” The Repertory Theatre of St. Louis “Emma,” The Repertory Theatre of St. Louis “Romeo & Zooliet,” St. Louis Shakespeare Festival “The Beauty Queen of Leenane,” Albion Theatre Company “The Cottage,” The Repertory Theatre of St. Louis
Outstanding Production of a Drama
“Hamlet,” St. Louis Shakespeare Festival “Meet Me at Dawn,” Upstream Theater “The Brothers Size,” The Repertory Theatre of St. Louis “The Wanderers,” New Jewish Theatre “With,” St. Louis Actors’ Studio
Outstanding Production of a Musical
“Austen’s Pride,” Stages St. Louis “Beautiful: The Carole King Musical,” Stages St. Louis “Cabaret,” New Jewish Theatre “Raisin (The Musical),” The Black Rep “Superhero,” Stray Dog Theatre
The Wanderers. New Jewish Theatre. Photo by Jon Gitchoff.
Special Award for Lifetime Achievement
Wayne Salomon, early member and associate artistic director of Theatre Project Company, St. Louis theater community educator, director, actor
Milestone Anniversary
Opera Theatre of Saint Louis, for its 50th anniversary as an opera of local, national and international acclaim
Special Award for Lifetime Achievement
Bob Trump, Head Draper at The Repertory Theatre of St. Louis, retired in 2025 after 40 years of work in The Rep’s costume shop
A Midsummer Night’s Dream. Opera Theatre of St. Louis. Photo by Eric Woolsey.
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.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, St. Louis Arts Scene on Substack, STL Stage Snaps); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); Rob Levy (Broadwayworld.com, Review STL, The Arts STL); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack; Lynn Venhaus (PopLifeSTL.com, KTRS); 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.
Wackiness will ensue. Four women with very distinct personalities, under suspicion for their husbands’ mysterious deaths, throw a party to socialize with eligible bachelors of a certain age. Everyone’s looking for companionship and whatever that might lead to, so what could go wrong?
Of course, nothing goes according to how the ladies and gentlemen imagined as secrets spill and drinks flow in the amusing “The Dance on Widow’s Row,” playwright Samm-Art Williams’ clever dark comedy about death, dating and superstition.
Mystery elements are also mixed in, so it keeps us guessing. The four Southern widows all live on the same street and between them have nine dead husbands. That’s a source of many jokes, but that’s not all that elicits laughs.
Williams’ wit shines through in light-hearted fashion, and the two-act play is familiar like a television situation comedy. In the hands of a very likeable cast, who have a ball with each other, the play has enough mischief and merriment to make a dreary winter more palatable.
It’s such a crowd-pleaser that this is the third production the Black Rep has mounted over its 49th season. Director Ron Himes, the founder and producing director, assembled an elite ensemble of veteran actors (I think casting is his superpower).
Denise Thimes, as Magnolia, and A.C. Smith, as Deacon Hudson. Photo by The Black Rep.
The seven performers – including Denise Thimes, A.C. Smith, Velma Austin, Margery Handy, Tiffany Tenille and Isaiah Di Lorenzo – know how to make the most of an entrance and exit. They sashay, strut and scamper easily across the well-appointed stage.
On opening night, Jan. 9, J. Samuel Davis was replaced as Newly Benson by Ron Himes, who admirably filled the role. Himes, adept at both drama and comedy, immediately connects because he’s so jittery about coming to the party.
The women are trying to revive their reputations in a fictional North Carolina coastal community, Port Town. They know they are the subject of gossip and inuendo, but that’s the chance they are willing to take.
These are full-bodied women, full of sass and spirit. Romance takes a back seat to the comedy, but it’s not for lack of trying to score Mr. Right.
Ready for a good time. Photo by the Black Rep.
Thimes, who is a formidable leading lady, plays the sophisticated Magnolia Ellis, the hostess in her elegant home. Set designer Tim J. Jones mirrored Ellis’ style in chic décor, and prop designer Mikhail Lynn followed suit.
As she prepares for the party, she removes her late husband’s photo, saying: “I gave you a good funeral, so we’re even.”
Always excellent Velma Austin portrays the bold and audacious Simone Jackson, who has an attitude and speaks her mind, but is willing to play along for the ladies’ benefit.
Tiffany Tenille makes her Black Rep debut as the pious Annie Talbot, who doesn’t necessarily practice what she preaches. She’s outlived four husbands and professes to be lonely. As mousy as she appears, she sees an opportunity and strikes while the iron is hot, so to speak.
Margery Handy, also making her Black Rep debut, portrays the saucy Lois Miller, and she is ready to party heartily. Two of her husbands may have died from food poisoning, but that doesn’t prevent her from bringing her specialties – chicken wings and potato salad.
Party time. Photo by the Black Rep.
For the confident ladies, costume designer Brandin Vaughn has blended alluring upscale finery with some va-va-voom outfits emphasizing curves to make eye-catching statements. The men are sharply dressed, reflecting their personalities.
Himes knows how to mine laughs out of movement, and the cast is smooth in their shenanigans.
Because they are lonely, the men bravely take the plunge – even though Newly is very apprehensive and nervous – and show up for a night of drinks and dancing.
Isaiah Di Lorenzo is laugh-out loud hilarious as the oldest gentleman, Randall Spears, dapper and mannerly, but ready for a good time. Maybe he has too good of a time, and Di Lorenzo is a master of comic timing and body language on stage.
A.C. Smith, who was very funny as the blustery church pastor in “Chicken & Biscuits” a year ago, slips into another comedic role effortlessly, trying to be suave. Deacon Hudson is a leader of his flock – and a leader of this wolf pack.
The women flit about, trying to connect and boost the ‘oomph’ as the night progresses, but the best-laid plans…not divulging too much of the plot, so people can enjoy the twists.
While trying to sparkle, the feisty females get aggravated at one’s attempt to outshine the others, and that leads to some caustic, catty remarks that are rapidly fired at the “inappropriate woman.”
Between the women going at it and the men fretting about being present possibly backfiring, the humor doesn’t slow down.
The technical crew has remarkably created a lived-in interior, and lighting designer Sean Savoie and sound designer Kareem Deanes expertly tailored sights and sounds for the occasion. The party music is quite appealing, and Smith displays some spry dance moves, and so does Thimes.
With such a fearless ensemble amplifying their characters’ quirks and Williams’ snappy dialogue, “The Dance on Widow’s Row” delivers the warmth and genuine humor much welcome in January.
The Black Rep presents “The Dance on Widow’s Row” Jan. 9 through Jan. 25. at The Edison Theater on the campus of Washington University in St. Louis.
Single tickets and subscriptions for Season 49 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.
By Lynn Venhaus What happens to a dream deferred? Does it dry up like a raisin in the sun? Or fester like a sore— And then run? Does it stink like rotten meat? Or crust and sugar over— like a syrupy sweet? Maybe it just sags like a heavy load. Or does it explode? – “Harlem,” Langston Hughes, 1951
Where are we now, 74 years later? Timely and timeless, the musical “Raisin” is a vibrant exploration of the class, gender and racial divides that have become a dominant part of American life.
The Black Rep’s sensitive, thoughtful production pulses with its character-driven work that hopefully resonates and renews pleas for social justice in today’s divided times.
The iconic poem, “Harlem,” shared above, was an inspiration for playwright Lorraine Hansberry to explore deferred dreams and class divides in 1951 segregated Chicago in her groundbreaking drama, “A Raisin in the Sun.”
Anita Michelle Jackson and Andrea Mouton. Photo by Keshon Campbell.
The matriarch is expecting a $10,000 life insurance check in the mail after her hard-working husband’s passing. She wants to move the family from the South Side to Clybourne Park, a nicer neighborhood, where she has put a down payment on a 3-bedroom, 2-bathroom house. She sees this home as a foundation to build everyone’s dreams on, a door to new opportunities.
Hansberry was the first black female playwright on Broadway – the show debuted in 1959, and it was a new look at black life in America in a way that had not been represented. Think of the dialogues it may have started!
While the musical has hiccups based on its construction, not the singing, dancing or acting, the Black Rep’s stylistic choices and casting decisions are highlights.
The Younger family leaves an indelible impression in the hands of Anita Michelle Jackson (Mama Lena), Duane Martin Foster, (her son Walter Lee), Adrianna Jones (his wife Ruth), their young son Travis (Jaron Bentley), and Walter’s sister Beneatha (Andrea Mouton).
Duane Martin Foster and Jaron Bentley. Photo by Keshon Campbell.
The 1973 musical adaptation, “Raisin,” won the Tony Award for Best Musical in 1974, as well as Virginia Capers winning Best Actress in a Musical for playing Mama Lena, out of nine nominations. It also won the Grammy Award for best musical theater album.
But it has largely been forgotten over time. Landmark musicals of that era – “Purlie” in 1970, “The Wiz” in 1975 and “Dreamgirls” in 1981, signaling a new wave of creative artists, have been produced many times.
The book was co-written by the late Hansberry’s husband, Robert Nemiroff, and Charlotte Zaltzberg. The themes are the same — a family dares to dream of a better life that has been denied them and threatens to fall apart.
The music score by composer Judd Woldin, with lyrics by Robert Brittan, is an intimate story of a family, their daily and big-picture struggles, and real ongoing conversations. That was rare then and remains an unusual approach now.
This musical is an ambitious undertaking, and while the story is absorbing, faithful to Hansberry’s intentions, this isn’t a splashy, bombastic score with extravagant numbers. Still, there is much heart and soul to be discovered.
“He Came Down This Morning” – ensemble church number. Photo by Keshon Campbell.
Emphasizing authenticity and empathy, director Ron Himes depicts the Youngers’ struggles with the help of the creative stage work from sound designer Kareem Deanes and lighting designer Tony Anselmo.
The setting is their cramped, roach-infested apartment, effectively visually realized by scenic designer Tim Jones. But it opens beyond those walls – to a church, bar and streetscape. Mikhail Lynn contributed as a props designer, too.
The exceptional orchestra, led by music director Jermaine Manor, robustly brings out the jazz, gospel, blues and soul. William Von Hombract is on bass, James Belk on percussion, Des Jones on drums, Mary Weber and Brady Lewis on trumpet, Stan Coleman on reed, Monet Royal and Adrian Walker on viola, David Glenn on guitar, and Manor on keyboard.
Choreographer Kirven Douthit-Boyd’s inspired dance work adds so much to the street life, with expressive moves to the musical beats of the city. Dancers Jorrell Lawyer-Jefferson, Demetrius Malik Lee and Aaliyah Weston are extraordinary in their pieces and group numbers.
Adrianna Jones and Duane Martin Foster. Photo by Keshon Campbell.
The gritty, bustling “Streets of Chicago” and “Runnin’ to Meet the Man” are livelier company numbers because of the choreography, and so is “Booze,” traditional “African Dance” and the ebullient spiritual gospel song “He Come Down This Morning.”
Walter Lee is a chauffeur but wants to open a liquor store and go into business with two other friends. Walter’s restlessness and growing resentments cause more fights between him and his wife and mother, mostly about the money. Mama Lena also wants to put money aside for Beneatha’s studies because she’s attending medical school.
Accomplished, acclaimed singers Jackson and Foster are the epitome of powerhouse vocalists, but to see them slip into the roles of Lena and Walter Lee with all their well-honed skills is to marvel at how natural their acting abilities are as well.
Jackson, who has a song full of hope as the prayerful Lena – “A Whole Lotta Sunlight,” and then a power ballad about resilience “Measure the Valleys” that’s a showstopper.
Jaron Bentley and Adrianna Jones. Photo by Keshon Campbell.
Foster’s sarcastic, bitter “Man Say” with his wife Ruth sets his tone, tired of playing by the rules while his aspirations are dismissed. while he seethes with rage in “You Done Right.”
In a tender moment, Foster and Jones pair on a lovely duet “Sweet Time,” while Jones shines in “Whose Angry Little Man,” a tribute to their son Travis.
In the second act, Foster shows a wider range of emotions, from an ebullient “It’s a Deal” to his anger that can’t be contained in the satirical “Not Anymore,” after a lifetime of disappointment and the bigotry they’ve endured, with his wife and sister participating, too.
The hopeful solo “Sidewalk Tree” is a special moment for the poised and talented Jaron Bentley, who delivers a dynamic performance as young Travis. He stood out at the Muny this summer in “Frozen” and “Evita” as part of the youth ensembles, and he has a bright future ahead with his remarkable stage presence.
A superb Robert McNichols is potent as Nigerian student Asagai, who is a friend seeing Beneatha. His charm shines through in the number “Alaiyo.” Beneatha’s exploration of her cultural awakening is another highlight, as illustrated in her fashion choices – fine work from costume designer Gregory Horton.
Singing in church. Photo by Keshon Campbell.
Supporting roles also include Will Bonfiglio as weaselly Karl Lindner, not exactly a Welcome Wagon for Clybourne Park., and De-Rance Blaylock as neighbor Mrs. Johnson, who literally takes us to church in the spirited number “He Come Down This Morning.”
The ensemble also includes Dwayne Moss III as Willie Harris, Adrian Rice as Bobo, Damari Padilla and Tia Renee Williams.
The ensemble moves well, their passion obvious.
The hope is that spotlighting this work will introduce a new generation to the play or at least remind others of work that still needs to be done.
The Black Rep presents “Raisin” as their 49th season opener from Sept. 3 through Sunday, Sept. 21 at the Edison Theater on the campus of Washington University in St. Louis. 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.
With its superlative cast, August Wilson’s powerful storytelling, and impressive milestones, “Radio Golf” is a triumph in all aspects.
Thoughtfully presented by the Black Repertory Theatre of St. Louis through June 8 in the Edison Theatre, this shrewdly observant play says so much about at what cost is doing the right thing vs. getting ahead. While it is set 1997, it speaks to issues for the ages.
The premise of Wilson’s 10th and final play is about a real estate entrepreneur who is determined to become Pittsburgh’s first black mayor. Set in the Hill District, Harmond Wilks and his business partner Roosevelt Hicks are golf enthusiasts with big plans for the neighborhood, and their future. But at what risk?
Their office, Bedford Hills Redevelopment Inc., is a storefront on Centre Avenue. The two partners talk of their hopes and dreams as they work on a modern housing and shopping development that will include Whole Foods and Starbucks.
Ronald L. Conner, a St. Louis native now living in Chicago, is a fiery, slick, upwardly mobile Roosevelt who is a bank vice-president and plays golf games to get ahead. Being accepted by the Country Club movers-and-shakers is a goal that he feels is within reach.
Ronald L. Conner and Reginald L. Wilson as business partners Roosevelt and Harmond. Photo by Keshon Campbell
Reginald L. Wilson, in a slow-burn riveting performance, views the development as a way to lift people up. But a block of the Hill District must be torn down. It’s his Black Rep debut but he has immersed himself in Wilson’s works, and previously starred in “Ma Rainey’s Black Bottom” and “Fences.”
Where Harmond and Roosevelt see blight, others see the heritage that marks the tight-knit families who grew up there. He isn’t looking at the other side – and both a cranky yet wise Old Joe Barlow and no-nonsense handyman-contractor Sterling Johnson remind him of people’s worth, no matter their economic means or position.
Himes is unabashedly brilliant and the audience’s favorite character as Joe, a neighborhood elder who knows its history. He also remembers Harmond’s father who was in the real estate business. Blunt and smart like a fox, Joe tells it like it is.
As street-smart Sterling, Kelvin Roston Jr. is the play’s conscience. A good judge of people and their motives, he warns Harmond about neglecting the reasons why people value their history and turning his back on his neighbors. An ex-con who has lived a colorful life, and his dialogue just sings with authenticity, thanks to Roston.
Savvy Velma Austin is the lone female in the cast, portraying Mame, Harmond’s ambitious wife and public relations professional. She is looking ahead and extremely conscious of image. She doesn’t want him to jeopardize the path they envision for their future.
The conflicts occur organically because the ensemble is skilled in delivering Wilson’s rhythmic prose, making their characters’ struggles well-grounded.
Ron Himes as Old Joe Barlow. Photo by Keshon Campbell.
Director Jon Royal’s layered approach allows Wilson’s realistic dialogue to breathe and to build with tense clashes.
Jim Burwinkel’s scenic design aptly encapsulates Wilks’ needs and his hopes – an MLK poster is near his desk and a Tiger Woods poster is near Roosevelt’s. Lighting designer Jayson Lawshee captures times of day through the windows and Justin Schmitz’ astute sound design includes a terrific soundtrack.
Also setting the moods were costume designer Shevare Perry, who fits the period well, and Mikhail Lynn, who nailed the props, such as stolen golf clubs.
In “Radio Golf,” like he has touched on so eloquently before, Wilson examines the lifelong practices of white-run institutions, and whether minorities getting a place at the table was lip service, or another way for control, or an opportunity. And what would you do to ensure that opportunity?
All good, thoughtful points. As Martin Luther King once said, “The time is always right to do the right thing.”
Wilson published the play before his death in 2005, long before social media could have exploited the efforts of people involved to do the right thing vs. the corporate and political spins of the day. However, at that time, the outrage that is the norm when righteous dudes stand up for rights and beliefs now is sadly absent.
Reginald L Wilson and Velma Austin as Harmond and Mame. Photo by Keshon Campbell.
Wilson’s monumental American Century Cycle covers 100 years of the Black experience in America, chronicling social and historical changes in his remarkable style. He won Pulitzer Prizes for two of the plays – “Fences” and “The Piano Lesson.”
“Radio Golf” is the Black Rep’s second completion of the cycle, which took them 18 years to achieve. The Black Rep first completed it – only the third company in the U.S. to do so – from 1988 to 2003.
Starting in 2007, they have presented Wilson’s collection in chronological order. Thanks to the Black Rep, since 2012, I have seen seven of Wilson’s works, and each one has been a gem to treasure.
“Radio Golf” is also a record for actors Himes, founder and producing artistic director of the Black Rep, and Conner, who complete their own personal cycle this go-round.
They have earned St. Louis Theater Circle awards for outstanding production of a drama with Wilson’s “Two Trains Running” in 2022 and “Jitney” in 2023, and Ron Himes won best actor for “Fences.”
All 10 powerful in their own ways, these finely acted and impeccably produced shows illuminate black heritage and specific challenges as only Wilson can, and it’s always the right time to be reminded of his humanity.
With vibrant performances, The Black Rep’s “Radio Golf” is a masterful production that elevates its timeless message for today.
Kelvin Roston Jr as Sterling talks to Harmond.
The St. Louis Black Repertory Company presents “Radio Golf” through June 8. The opening weekend of May 16 – 18 was cancelled because of tornado damage, and performances have been added from Thursday, June 5 to Sunday, June 8. A portion of those ticket sales will support tornado relief. Performances take place in the Edison Theatre on the campus of Washington University with support from The Whitaker Foundation. For more information: www.theblackrep.org Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more.
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.
One encounter with Robert Crenshaw, and you can tell that he is a bright light chasing his dream. Currently on tour in the smash hit Broadway musical “Ain’t Too Proud: The Life and Times of the Temptations,” he will be coming home to perform May 9-11 at the Fox Theatre in St. Louis.
Robert said he is eager to see his family and friends — and enjoy his mom’s home-cooking. A recent guest on our PopLifeSTL Presents podcast, he shared his joy in being part of this high-energy production as well as his life story.
Crenshaw plays founding member Al Bryant and Motown songwriter Norm Whitfield in the musical. The musical explores their brotherhood, family ties, loyalty and betrayals, and includes the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and many more.
He said he chose to pursue the arts because he’s been performing since elementary school.
“I’ve always had dreams of becoming a superstar and leaving my stamp on the world. I went to performing arts school my entire life and attended arts programs as well. I’ve always had fun being on stage! I love portraying different characters and putting my own spin on it,” he said.
“Ain’t Too Proud: The Life and Times of the Temptations” national touring cast
Recognized as a promising young artist when he was in third grade at Ames Elementary School in the Old North neighborhood, Robert began taking classes at COCA (Center of Creative Arts). He studied ballet, hip-hop, tap and jazz.
He graduated from Central Visual and Performing Arts High School, was a Muny Teen, and appeared in shows at COCA, including “Memphis” and “The Wiz,” and The Black Rep.
He was also part of The Dancing Six featuring Channce Williams, David McCall, Daryon Kent, Joshua Hall, Jacob Dorsey and Crenshaw that were part of the St. Louis Teen Talent Competition two years in a row through the Fox Performing Arts Charitable Foundation.
He credits his COCA faculty member Lee Nolting for helping to develop his talents and voice teacher Dr. Philip Woodmore as a big part of his success, as well as Ron Himes, founder of the Black Rep, who has become a mentor to him.
Describing him as a “true triple threat,” Himes commented: “Robert is living his dream now because he worked hard to be ready for the opportunity. He is super talented, humble and dedicated to growing in the craft. He’s a true triple threat with a magnetic smile.”
Robert Crenshaw, left, in “Eubie!: The Musical” at the Black Rep in 2023. Philip Hamer Photo.
At the Black Rep, Robert starred in “Don’t Bother Me, I Can’t Cope” in 2019 and in “Eubie!” in 2023. At Stray Dog Theatre, he was in the “Dreamgirls” ensemble in 2019.
He also was the youth choreographer for “A Christmas Carol” in 2022 at The Repertory Theatre of St. Louis and received an Arts For Life Best Performance Award nomination for his choreography in “Little Shop of Horrors” at Kirkwood Theatre Guild.
In my May 15, 2023, review of “Eubie!”, I wrote: “Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography. He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”
He was part of the choreography team that won the 2024 St. Louis Theater Circle Award for Best Choreography for “Eubie!” (produced in 2023) – including Heather Beal and Vivian Watt.
After a year at the Chicago College of Performing Arts, he returned home to St. Louis, then moved to New York in 2023 to follow his dream.
Performing at COCA.
For 10 months, he hadn’t landed a role yet until he was cast in the musical “Forever Motown.” Then, he cast in the national touring company for “Ain’t Too Proud: The Life and Times of the Temptations” musical, based on Otis Williams’ personal journey, and has been traveling across the U.S.
“What makes being on tour so special is that it’s one of my dream jobs. I put on a showcase where I displayed all of my talents to raise money to move to New York from St. Louis. I moved September 13, 2023, and after 10 months of auditioning, receiving callbacks, and working other jobs to survive in New York, I booked ‘Ain’t Too Proud,’” he said.
The musical, which chronicles The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame, first opened at the Imperial Theatre on March 19, 2019, and received 12 Tony nominations, including Best Musical. It won the Tony Award for Best Choreography for Sergio Trujillo’s electrifying work recreating the group’s signature dance moves.
Robert as the Tin Man in “The Wiz” at COCA, one of his favorite roles.
The first national tour began in 2021, and the second one started in 2024, showcasing the group’s unmistakable harmonies. They topped the charts with 14 of their 42 Top Ten hits reaching number one.
The story explores their heritage and influence — how they met, their successes, and how conflicts derailed people in the group.
His advice to young artists is to work hard, stay prepared and open-minded, be humble, and don’t let negativity get to you.
The Fabulous Fox’s presentation of “Ain’t Too Proud: The Life and Times of The Temptations” will take place from May 9 – 11th at The Fox Theatre. For tickets, showtimes or additional information, visit www.fabulousfox.com.
“My friends would say that I am hardworking, talented, humble and full of love. They would also say that I am an inspiration for so many.”
2. How do you like to spend your spare time?
“I really enjoy reading, taking classes (anything arts related), working out, and doing some kind of activity that makes me feel like I’m touching grass.”
3. What is your current obsession?
“My current obsession is Duolingo! I’ve been wanting to learn Spanish so that I could connect with other people. Another thing I’m obsessed with right now is practicing self-awareness, self-improvement, and self-love. Lastly, different foods! I want to expand my palate and try things outside of my comfort zone.”
4. What would people be surprised to find out about you?
“People are always so stunned when they find out that I am allergic to shellfish.”
5. Can you share one of your most defining moments in life?
“My most defining moment is when I put on a showcase to raise money for Central Visual & Performing Arts High School after the school shooting that took place in 2022. I graduated from CVPA, and my brother was shot in the tragedy. I collaborated with community arts organizations, the SLPS foundation, CVPA alumni and current students to raise money in support. The showcase was a little over a month after the tragedy and took place at The Center of Creative Arts (COCA). There were performances and donations from so many organizations. I called it ‘The CVPA Relief Showcase’.”
6. Who do you admire most?
“My mom and Jesus along with some mentors, teachers and peers from my village in St. Louis.”
7. What is at the top of your bucket list?
“Sit amongst other celebrities and feel/know that I belong in those circles. I would like to travel to Africa, Tokyo, and Jamaica. Create a family of my own. Be wealthy in knowledge, finances, and health. Perform a one-man show in a sold out a building.”
8. What is your favorite thing to do in St. Louis?
“My favorite things to do in St. Louis is to spend time with family and friends, take classes, and eat home cooked meals!”
9. What’s next for you?
“Let me start by saying I am open to whatever God has in store for me. My plan is to make it back to New York City and audition as much as I can. I have to get my face back in those rooms. If I spend time in St. Louis after touring it will be teaching master classes and taking a few dance classes and voice lessons before going back to NYC. I’m also searching for representation so that I have someone else advocating for me in the business.”
Benefit performance at COCA.
More Info on Robert Crenshaw:
Age: 28 Birthplace: St. Louis Education: Central VPA, Center of Creative Arts, Chicago College of Performing Arts Day job: Broadway National Tour: Ain’t Too Proud (AL Bryant & Norman Whitfield) First job: Journey’s First play or movie you were involved in or made: “The Music Man” Favorite jobs/roles/plays or work in your medium? Seaweed in “Hairspray,” Tin Man in “The Wiz,” and Gregory Hines in “Eubie: The Musical” Dream job/opportunity: Aaron Burr in “Hamilton,” Lead in a Broadway Musical, Movie with Denzel Washington, Kevin Hart, or star in my own. Awards/Honors/Achievements: St. Louis Theatre Circle Award for Best Choreography: Eubie Favorite quote/words to live by: “Don’t ever say you can’t, and if you fail, try again.” A song that makes you happy: Anything by Michael Jackson, Chris Brown, or Kendrick Lamar.
Cover photo courtesy of Robert Crenshaw’s Instagram
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 will host playwright and Journalist Kelundra Smith for the opening weekend of the Rolling World Premiere of THE WASH, directed by Chris Anthony.
THE WASH continues The Black Rep’s 48th main stage season March 14 (with previews March 12-13) and runs through March 30, 2025 at the Berges Theatre at COCA-Center for Creative Arts.
Smith’s play follows the lives of several fictional Black laundresses, who at crossroads in their personal lives, fought for higher wages. Their labor action became the first successful interracial, organized labor strike of the post-Civil War era.
Events throughout the opening weekend include: Thursday, March 13 | 7:00 PM Curtain | Post-Show Conversation Following the show, a conversation with Kelundra Smith, Playwright, and Marlon M. Bailey, Professor of African and African American Studies, Women, Gender and Sexuality Studies, and Faculty Affiliate in the Performing Arts Department and the Center for the Study of Race, Ethnicity and Equity at Washington University in St. Louis.
Friday, March 14 | Opening Night | 8:00 PM Curtain | Post-Show Reception Post-Show Reception and Meet & Greet with Playwright Kelundra Smith, Director Chris Anthony, and Cast & Crew of The Wash.
Saturday, March 15 | 8:00 PM Curtain Sunday, March 16 | 3:00 PM Curtain
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.
THE WASH is presented with support from The National Endowment for the Arts, The Black Rep’s Sophisticated Ladies Initiative and Caleres, with support for our visiting director from Ameren. The Playwright Conversation is presented in partnership with the Missouri Humanities and with support from the Missouri Humanities Trust Fund.
It is produced at The Black Rep as part of a National New Play Network Rolling World Premiere. Other Partner Theaters are Synchronicity Theatre and Impact Theatre Atlanta (Atlanta, GA) and Prop Thos with Perceptions Theatre (Chicago, IL). For more information, please visit nnpn.org
Support for The Black Rep’s 48th Main Stage Season comes from The Berges Family Foundation, Caleres, Missouri Arts Council, the National Endowment for the Arts, the Regional Arts Commission’s ARPA for the Arts, The Shubert Foundation, and the Steward Family Foundation.
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. 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.
By Lynn Venhaus Four retired guys sitting around talking and drinking coffee at a Chicago McDonald’s is intriguing food for thought –a delectable slice-of-life scenario that immediately draws us in to the play “Coconut Cake.”
Playwright Melda Beaty’s flair for dialogue, humor and seamlessly integrating social commentary in her dramedy is irresistible in a compelling and thoughtful presentation in The Black Rep’s intimate A.E. Hotchner Studio Theatre at Washington University.
Because of the caliber of its five-male cast, this character-driven work makes a swift and memorable connection. Their nimble delivery and interactions under the skilled direction of Geovonday Jones enhances their personal relationships as their struggles are revealed over the course of the two-act 2-hour show.
As they explore issues of manhood, racism, mental health and offer advice over games of chess, they show genuine affection — and aggravation — with each other but offer convincing immersive characterizations and realistic camaraderie. It’s set in the summer of 2010.
A fifth character, an unhoused man they call Gotdamnit, interrupts their mornings asking for money and offering his philosophical and spiritual words of wisdom. He’s considered a pest, but there is a surprising backstory and as suspected, more to the guy than his appearance indicates. Lawrence Evans is riveting as a marginalized man.
While the women in their lives are discussed, not seen, vivid portraits of the female characters emerge as they factor into the men’s disparate demeanors. Two characters in particular – a classy, attractive woman that has caught their eye, whom they watch as she walks to work from the Mickey D’s window, and property owner Joe’s mysterious new tenant, Ms. Brulee, who is a baker that makes a divine coconut cake, which happens to be Eddie’s nostalgic childhood favorite.
Richard E. Waits and Joe Hanrahan listen to Duane Foster. Photo by Keshon Campbell
Eddie Lee, a handyman, is the most agitated guy – upset about his wife’s escalating threatening behavior and discloses personal details about his troubled marriage. Everyone knows he has not been faithful, and that complicates matters. Duane Foster is strong as a guy whose life is falling apart but he’s not taking responsibility for the reasons why.
Marty is often the voice of reason, and his faith has kept him grounded. He’s a deacon in his church and devoted to his family, friends and congregation. As Marty, Richard E. Waits is firm, but measured, in the advice he gives, and it’s not always welcome.
The characters show different sides of them as husbands, fathers, sons and friends. Their individual stories mesh well, and the play offers unexpected twists and turns that add poignancy.
Each man has a significant emotional journey, and their textured portrayals give us richer story arcs as they bring up cherished memories and confide secrets.
Marty has brought along his brother-in-law Hank, a white guy who was married to his sister, who died a year ago. As played warmly by Joe Hanrahan, the widowed Hank is lonely and comes along for companionship and something to do. He’s learning chess, and he beams talking about his family, as his daughters and granddaughters try to keep him busy.
The outspoken Joe likes to needle Hank, calling him “Republican,” and increases his pot shots and cruel jabs. Richard Harris is a feisty live wire as the loud, swaggering Joe, a flashy blowhard who brags about his money and conquests. He’s never married but has a couple baby mamas.
Richard Harris is the outspoken Joe. Photo by Keshon Campbell.
As the very opinionated Joe, Harris can change his mood quickly. His accusations get heated and personal, especially if the other guys give him some lip about his boasts. His colorful wardrobe, often referred to as ‘fly’ in urban slang, is an indicator of his perceived status (kudos to costume designer Brandin Vaughn for the stylin’ attire).
Because Joe’s disposition can turn on a dime, his pointed barbs take on a hostile, accusatory tone in the second act, after he endures some setbacks.
All accomplished actors, the five bring nuance and shades of gray to our assumptions and give us deeper insight into these complicated men. They eventually must grapple with the consequences of their choices during their lifetimes.
Scenic designer Tammy Honesty has presented elements of a typical nook at a 2010-era McDonald’s, well-lit by designer Tony Anselmo, that allows Jones to move the action to wherever the guys are sitting.
When Joe struts in, he commands attention by seemingly holding court. Eddie is too restless to sit down most of the time, and Marty and Hank are often hunched over their chess board.
Lawrence Evans as Gotdamnit and Joe Hanrahan as Hank. Photo by Keshon Campbell.
Sound designer Alan Phillips incorporated people chattering at times and assembled an appealing soundtrack of catchy pop hits. Christian Kitchens was an assured technical director, and Mikhail Lynn provided the minimal props.
This isn’t the first time The Black Rep has presented the play, because during the pandemic in September 2020, they made a virtual Zoom reading available from The Ensemble Theatre in Houston, which featured founder Ron Himes as a major character, Eddie Lee.
In 2022, Beaty received the second annual Sylvia Sprinkle-Hamlin Rolling Premiere Award by the International Black Theatre Festival. Because of that, this play is being produced by five theaters, including the Black Rep. It is a welcome return.
With its engaging cast, a captivating funny-sad bittersweet narrative, and noteworthy technical know-how, “Coconut Cake” is a satisfying production to savor.
(At intermission, a coconut cream cheese pound cake is available for purchase too, along with other snacks. Just sayin’, if you get a hankering for a sweet treat.)
Richard Waits and Joe Hanrahan are brothers-in-law playing chess. Photo by Keshon Campbell.
The Black Rep presents “Coconut Cake” Feb. 5 – March 2 in the AE Hotchner Studio Theatre at Washington University. For tickets and more information, visit 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.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
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 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
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 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
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.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); 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.
