The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

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.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link: https://repstl.my.salesforce-sites.com/ticket/#/events/a0SVI0000040h4J2AQ

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 Scene on Substack); Mark Bretz (Ladue News); 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); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, visit www.stltheatercircle.org, contact stltheatercircle@gmail.com, or ‘like’ the St. Louis Theater Circle on Facebook.

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Community Celebration Will Honor the Life, Legacy of Ken Page

Community Celebration Will Honor the Life, Legacy of Ken Page

Friends, family and fans are invited to take part in a Community Celebration & Memorial for Ken Page, honoring the extraordinary life and work of St. Louis’ beloved theatre legend.

The joyous evening of music and memories will be held Friday, April 11, at 7:30 p.m. at The Sheldon Concert Hall in Grand Center. This ticketed event is free and open to the public; ticket information will be available March 3.

Page, a beloved actor and lifelong St. Louisan, died Sept. 30, 2024, at age 70.

A Bishop DuBourg High School graduate, Page made his Muny debut in 1972 in the ensemble of South Pacific. He went from St. Louis to starring roles on Broadway, in London and in film, and his work was heralded throughout.

He made his Broadway debut as Nicely-Nicely Johnson in the all-Black revival of Guys and Dolls and starred as Old Deuteronomy in the original Broadway company of Cats. Other Broadway credits include Ain’t Misbehavin’ (Ken) and The Wiz (Lion). In London’s West End, he performed in Children of Eden (Father) and My One and Only in Concert (London Palladium).

Page provided the voice for Mr. Oogie Boogie in the Disney/Tim Burton animated film The Nightmare Before Christmas and performed the score live around the world. His other film credits include Dreamgirls, Torch Song Trilogy and All Dogs Go to Heaven.

The Muny was Page’s artistic home, and he graced the stage in more than 45 shows, most recently as the Bishop of Digne in Les Misérables (2024). Since 2013, Page served as “the voice of The Muny,” his singular baritone welcoming audience members before each performance. He also voiced the theatre’s TV and radio advertisements.

Page received lifetime achievement awards from the Manhattan Association of Cabaret Artists, Project One Voice/Black Theatre, and the St. Louis Arts and Education Council.

The Community Celebration & Memorial for Ken Page, produced by The Muny, is organized by a friends committee that includes Carrie Houk, Mike Isaacson, Lana Pepper, Laura Peters, Greg Schweizer, Mary Strauss and Pat Vogelsang. 

About The Muny

Now entering its 107th season in St. Louis, The Muny is a 501(c)(3) nonprofit dedicated to enriching lives by producing exceptional musical theatre, accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org.

Lynn’s Annual Love of Theatre Awards (LOTTIES) Celebrating 2024

Lynn’s Annual Love of Theatre Awards (LOTTIES) Celebrating 2024

By Lynn Venhaus

“Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

An abundance of new voices and fresh faces mixed with familiar stories and reliable veterans to give us another compelling year of theater among regional professional groups.

Sometimes, there were so many offerings, one couldn’t get to them opening weekend, or my schedule prevented me from early viewing. I attended around 80 eligible shows and am grateful for the theater companies accommodating me. This does not include touring, school or community theatre productions.

I am enriched and in awe of the talent in our midst. And sharing what it feels like to be human in the 21st century is a very wonderful experience. That sense of belonging and community abounds. Onward to a magical year ahead.

As a local theater critic and writer about arts and entertainment, here’s my highly personal annual assessments on 2024 output – my “LOTTIES” – Lynn’s Love of Theatre Awards, as I announce every year. They are not set at five, but categories vary. If I wanted to recognize a performer or a show, I did (my rules).

This is separate from the St. Louis Theater Circle, of which I am a founding member. My esteemed colleagues and I will present our annual awards at a gala ceremony, aka theater prom, on Monday, March 24, at the Loretto-Hilton Center on the Webster University campus. Nominations will be revealed soon.

“The Inheritance, Parts I and II.” Provided by Tesseract Theatre Company.

Production of the Year:
“The Inheritance, Parts I and II” by Tesseract Theatre Company

A 7-hour commitment but worth every minute, riveting from start to finish, with everyone giving their all. Epic in scope and intimate in execution, Tesseract Theatre Company’s production was exhilarating.

Playwright Matthew Lopez wrote a vivid and perceptive rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love. Surprising in its wit and depth of feeling, this Tony and Olivier-Award winning play is a magnum opus on what it’s like to be gay in America.

Boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble, they each met their moments. Intertwining a sprawling cast of 13, Lopez examined healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

In an uncommon structure, Lopez tackled the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastic way. It is specific to the LGBTQIA+ experience, but allies could relate.

Companies of the Year:
The Repertory Theatre of St. Louis (large) and Tesseract Theatre Company (small)

Danny Williams and Kate Bergstrom. Provided.

The Rep gets the honor, turning around the venerable institution in spectacular fashion after it was on the brink of not surviving in 2023. A change in direction and a rallying community – both faithful and skeptical – helped the reset. So did new Artistic Director Kate Bergstrom, a sunny collaborative charmer whose efforts have been nothing short of astounding, along with managing director Danny Williams, who came aboard in 2022.
Two absolute stunners – “Moby Dick” and “August: Osage County” helped restore the luster in early 2024 while The Studio returned with “The Roommate” and a new partnership with Stages St. Louis for the crowd-pleasing “Million Dollar Quartet Christmas” followed a classic “Dial M for Murder” to deliver on its promises. Enthusiasm and goodwill is palpable at every function.

At the Tesseract Theatre Company, Kevin Corpuz and Brittanie Gunn took over operations, and continued bold moves started by founder Taylor Gruenloh in 2010. “The Inheritance, Part 1 and 2” was a landmark achievement, they shifted to musicals for the summer new play festival, and then their ambitious production of “Anastasia: The Musicals” in the fall cemented the statement that they have arrived. Can’t wait to see what is ahead.

Alan Knoll

Artist of the Year:
Alan Knoll

Actor-Director Alan Knoll is such a St. Louis fixture that it would be easy to take him for granted, but we never ever do. He’s not one to phone it in, always finds an entry point for us, and continues to stretch his capabilities. Last year, he did some of his finest work yet – as flawed dads in “We All Fall Down” and “August: Osage County,” and as a loyal servant in “Life Is a Dream.”

He also directed the acclaimed drama “Red” for New Jewish Theatre, where he previously helmed “Brighton Beach Memoirs” and “Broadway Bound,” part of Neil Simon’s Eugene trilogy.

In a 40-plus year career, he estimates he has been in more than 150 productions. He has worked at the Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory in St. Louis, and at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and is about 160 miles from St. Louis.

With his name in the ensemble, you can be assured of a first-rate performance, and with him in the director’s seat, you know you are in for a thoughtful, insightful production.

Tom Ridgely. Photo by Kevin Roberts.

Producers of the Year

Tom Ridgely, Sr. Louis Shakespeare Festival

As the producing artistic director of the St. Louis Shakespeare Festival since 2018, Tom Ridgely has expanded offerings and community partnerships, and taken an innovative, collaborative approach to their mission. In 2024, he oversaw one of the freshest summer productions yet in Forest Park’s Shakespeare Glen – “As You Like It,” and their TourCo’s “The Tempest” broke attendance records in multiple city parks and outdoor venues. Their work in schools and with young artists is an important component as well. Under his leadership, the organization thrives on reinvention and keeps its audiences engaged. The Shakespeare in the Streets events are eagerly anticipated, and they always attempt new ground.

Andrew Kuhlman and Gayle Seay

Andrew Kuhlman and Gayle Seay, Stages St. Louis

Andrew Kuhlman is the homegrown element as executive producer, rose through the ranks, while Gayle Seay brings an astute experienced eye as artistic director at Stages St. Louis. With two seasons under their belt, they showed Stages St. Louis’ audiences that they were moving forward while not messing with the recipe for success that co-founders Jack Lane and the late Michael Hamilton focused on when they started the company in 1987. Andrew, who was mentored by both Jack and Michael, continues to build partnerships while Gayle, familiar with the Stages’ family as a longtime casting director, knows the right people to go to in mounting their shows. They’ve demonstrated that theirs is a strong match, and they build on recent successes. Last season’s “Steel Magnolias,” “Newsies” and “Ragtime” continued the legacy.

Touring Production of the Year: (tie) “The Cher Show,” The Broadway Series at Stifel, and “Jagged Little Pill” at The Fox.

Jacob Schmitt and Bryce Miller in “Trayf”

THE MVPs

(Must have excelled in two or more shows this year, not a rookie, and whose presence made a difference)

Rachel Bailey
Ann Hier Brown
Matthew Cox
Jerome (J Samuel) Davis
Isaiah DiLorenzo
Jayson Heil
Bryce Miller
Drew Mizell
Joel Moses
Dustin Petrillo
Ben Ritchie
Jacob Schmidt
Molly Wennstrom
Eric Dean White
Sarah Wilkinson

ONES TO WATCH
Ashwini Aurora
Cory Burke
Jade Cash
Tyson Cole
Rafael Da Costa
Dominic Di Ciccio
Andre Eslamian
Aaron Fischer
Nadja Kapetanovich
Gabriel Paul
Allison Sexton

Nicole Angeli and Joel Moses in “Lungs”

DYNAMIC DUOS /TRIOS

  1. Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
  2. John Riddle and Jordan Donica in “Les Miserables” (The Muny)
  3. Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
  4. Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
  5. Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
  6. Andre Navid Eslamian and Leta DeBardeleben in “Longing”
  7. Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
  8. Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
  9. Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
  10. Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
  11. Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
  12. Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
  13. Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
  14. Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
  15. Matt Anderson, Jeremy Goldmeier, and Donna Parrone as Haunted House actors in “Ripcord” (Stray Dog Theatre)

BRINGING THE HOUSE DOWN

(Best Musical Numbers)

Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
  1. Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
  2. Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
  3. John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
  4. Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
  5. Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
  6. Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
  7. Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
  8. Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
  9. The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
  10. Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
  11. Jamaal Fields-Green as Michael Jackson in the “MJ – The Musical” finale in the touring production at The Fox. Whatever that ‘surprise’ move he concocted for the 1992 “Dangerous” World Tour was. One of the most exhilarating things I’ve ever seen in a musical.

BEST YOUTH PERFORMERS

  1. Will Schulte, “Les Miserables,” The Muny
  2. Zoe Klevorn, “Ragtime,” Stages St Louis
  3. Shane Rose, “All My Sons,” New Jewish Theatre
  4. Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
  5. Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
  6. Lucy Miller, “Wedding Band,” The Black Repertory Theatre
  7. Davin Wade, “Newsies,” Stages St. Louis
  8. Maliah Strawbridge, “Big Machine,” Fly North Theatricals
  9. Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke) in “Fiddler on the Roof,” The Muny

BEST NEW PLAYS

Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing” at the LaBute New Play Festival. Patrick Huber photo.

  1. “Longing” by Lize Lewy
  2. “Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
  3. “Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
  4. “Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
  5. “Romanov Family Yard Sale” by Courtney Bailey, ERA
  6. “Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
  7. “Am I Dangerous” by e.k. doolin, Contraband Theatre
  8. “Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
  9. “Cash Flow,” Marjorie Williamson, First Run Theatre
  10. “Sandra’s Son,” Cbabi Bayoc (work in progress)

As You Like It. Photo by Phillip Hamer.

BEST COMEDY PRODUCTIONS

  1. “As You Like It,” St. Louis Shakespeare Festival
  2. “Trayf,” New Jewish Theatre
  3. “The Roommate,” The Repertory Theatre of St. Louis
  4. “Woman in Mind (December Bee),” Albion Theatre
  5. “Steel Magnolias,” Stages St. Louis
  6. “Spirits to Enforce,” The Midnight Company
  7. “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  8. “The Tempest,” St. Louis Shakespeare Festival, Tour Co.
  9.  “Romanov Family Yard Sale,” ERA
  10. “Red Jasper,” Michael Madden Productions

BEST DRAMA PRODUCTIONS

  1. “The Inheritance, Part 1 and 2,” Tesseract Theatre Company
  2. “Moby Dick,” The Repertory Theatre of St. Louis
  3. “All My Sons,” New Jewish Theatre
  4. “August: Osage County,” The Repertory Theatre of St. Louis
  5. “Red,” New Jewish Theatre
  6. “The Whale,” St. Louis Actors’ Studio
  7. “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
  8. “Life is a Dream,” Upstream Theater
  9. “Hold On!” The Black Rep
  10. “Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.

BEST MUSICAL PRODUCTIONS

  1. “Anything Goes,” The Muny
  2. “Ragtime,” Stages St. Louis
  3. “Fiddler on the Roof,” The Muny
  4. “Anastasia,” Tesseract Theatre Company
  5. “Newsies,” Stages St. Louis
  6. “First Date,” New Jewish Theatre
  7. “In the Heights,” The Muny
  8. “Blues in the Night, “The Black Rep
  9. “(Title of Show),” Prism Theatre
  10. “Waitress,” The Muny

BEST SUPPORTING ACTRESS IN A COMEDY

  1. Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
  2. Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
  3. Kari Ely, “Steel Magnolias,” Stages St Louis
  4. Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
  5. Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
  6. Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
  7. Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
  8. Anna Blair, “The Butcher of Baraboo,” West End Players Guild
  9. Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
  10. Ami Loui, “Steel Magnolias,” Stages St. Louis
Emily Baker and Isaiah Di Lorenzo in “Woman in Mind (December Bee).” Albion Theatre.

BEST SUPPORTING ACTOR IN A COMEDY

  1. Spencer Sickmann, “Trayf,” New Jewish Theatre
  2. Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
  3. Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
  4. Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
  5. Cassidy Flynn, “Romanov Family Yard Sale,” ERA
  6. Danny Brown, “Woman in Mind (December Bee),” Albion Theatre

BEST ACTRESS IN A COMEDY

  1. Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
  2. Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
  3. Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
  4. LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
  5. Nancy Nigh, “Red Jasper,” Michael Madden Productions
  6. Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
  7. Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
  8. Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
  9. Jan Meyer, “Elephants’ Graveyard,” First Run Theatre
    10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
  10.  (tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis

BEST ACTOR IN A COMEDY

  1. Jacob Schmidt, “Trayf,” New Jewish Theatre
  2. Bryce A. Miller, “Trayf,” New Jewish Theatre
  3. Ben Ritchie “Red Jasper,” Michael Madden Productions
  4. Alan Knoll, “We All Fall Down,” New Jewish Theatre
  5. Joel Wilper, “Bell, Book & Candle,” Stray Dog Theatre
Denise Thimes and Alex Jay in “King Hedley II” at The Black Rep.

BEST SUPPORTING ACTRESS IN A DRAMA

  1. Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
  2. Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
  3. Alex Jay, “King Hedley II,” The Black Rep
  4. Evann De-Bose, “Hold On!” The Black Rep
  5. Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
  6. Denise Thimes, “King Hedley II,” The Black Rep
  7. Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
  8. Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
  9. Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
  10. Kari Ely, “Wedding Band,” The Black Rep

BEST ACTRESS IN A DRAMA

  1. Maggie Wininger, “Molly Sweeney,” Albion Theatre
  2. Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
  3. Amy Loui, “All My Sons,” New Jewish Theatre
  4. Nicole Angeli, “Lungs,” Albion Theatre
  5. Jacqueline Thompson, “Wedding Band,” The Black Repertory
  6. Eileen Engel, “Dutchman,” Soul Siren Playhouse
  7. Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater

BEST SUPPORTING ACTOR IN A DRAMA

  1. Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
  2. Jayson Heil, “All My Sons,” New Jewish Theatre
  3. Dustin Petrillo, “Red,” New Jewish Theatre
  4. Eric Dean White, “Hold On!” The Black Rep
  5. Jerome Davis, ‘King Hedley II,” The Black Rep
  6. Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
  7. Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
  8. Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
  9. Joseph Garner, “Dark Matters,” West End Players Guild
  10. Jerry Vogel, “Life is a Dream,” Upstream Theater
  11. Gary Glasgow, “Life is a Dream,” Upstream Theater
Greg Johnston and Jayson Heil in “All My Sons.” New Jewish Theatre.

BEST ACTOR IN A DRAMA

  1. Greg Johnston, “All My Sons,” New Jewish Theatre
  2. Christopher Harris, “Red,” New Jewish Theatre
  3. William Roth, “The Whale,” St. Louis Actos’ Studio
  4. Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
  5. Joel Moses, “Lungs,” Albion Theatre
  6. Reginald Pierre, “Life is a Dream,” Upstream Theatre
  7. Andre Eslamian, “Longing”
  8. Enoch King, “Hold On!” The Black Rep
  9. Cameron Jamarr Davis, “Dutchman,” Soul Siren Playhouse

BEST SUPPORTING ACTRESS IN A MUSICAL

  1. Lissa De Guzman, “Waitress,” The Muny
  2. Nicole Michelle Haskins, “Waitress,” The Muny
  3. Sarajane Clark, “Ruthless,” Stray Dog Theatre
  4. Rachel Bailey, “Title of Show,” Prism Theatre Company
  5. Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
  6. Shereen Pimentel, “Ragtime,” Stages St. Louis
  7. Lauren Tenenbaum, “American Idiot,” New Line Theatre
  8. Emily Bautista, “Les Miserables,” The Muny
  9. Samantha Massell, “Fiddler on the Roof,” The Muny
  10. Nancy Ticotin, “In the Heights,” The Muny
  11. Adrianna Hicks “Anything Goes,” The Muny
Tamar Greene and Shereen Pimentel in “Ragtime” at Stages St. Louis. Phillip Hamer photo.

BEST SUPPORTING ACTOR IN A MUSICAL

  1. Matthew Cox, “Ragtime,” Stages St. Louis
  2. George Abud, “Anything Goes,” The Muny
  3. Matthew Cox, “Newsies,” Stages St Louis
  4. Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
  5. Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
  6. James D. Gish, “Les Miserables,” The Muny
  7. Nick Rashad Burroughs, “Dreamgirls,” The Muny
  8. Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
  9. Kevin Chamberlin, “Anything Goes,” The Muny
  10. Will Bonfiglio, “First Date,” New Jewish Theatre
  11. Jayson Heil, “First Date,” New Jewish Theatre
  12. Troy Iwata, “Waitress,” The Muny
  13. Rafael DaCosta, “Dracula,” New Line Theatre

BEST ACTRESS IN A MUSICAL

  1. Jessica Vosk, “Waitress,” The Muny
  2. Tiffany Mann, “Dreamgirls,” The Muny
  3. Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
  4. Marissa McGowan, “Ragtime,” Stages St. Louis
  5. Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
  6. Jill Abramovitz, “Fiddler on the Roof,” The Muny
  7. Jaelyn Hawkins, “(title of show),” Prism Theatre
  8. Taylor Quick, “Newsies,” Stages St. Louis
  9. Katie Orr, “(title of show),” Prism Theatre
  10. Savy Jackson, “Disney’s The Little Mermaid,” The Muny
Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

BEST ACTOR IN A MUSICAL (Male or Non-binary)

  1. Adam Heller, “Fiddler on the Roof.” The Muny
  2. John Riddle, “Les Miserables,” The Muny
  3. Jordan Donica, “Les Miserables,” The Muny
  4. Aaron Fischer, “Anastasia,” Tesseract Theatre Company
  5. Tamar Greene, “Ragtime,” Stages St. Louis
  6. Benji Santiago, “In the Heights,” The Muny
  7. Drew Mizell, “Nevermore,” Stray Dog Theatre
  8. Jay Armstrong Johnson, “Anything Goes,” The Muny
  9. Al Bastin, “The Big Machine,” Fly North Theatricals
  10. Clayton Humburg, “American Idiot,” New Line Theatre

BEST ENSEMBLE IN A COMEDY

  1. “Romanov Family Yard Sale,” ERA
  2. “Spirits to Enforce,” Midnight Company
  3. “As You Like It, St. Louis,” Shakespeare Festival
  4. “Woman in Mind (December Bee),” Albion Theare
  5. “Red Jasper,” Michael Madden Productions
  6. “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  7. “Ripcord, “Stray Dog Theatre
  8. “Steel Magnolias,” Stages St. Louis

BEST ENSEMBLE IN A DRAMA

  1. “The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
  2. “August: Osage County,” The Repertory Theatre of St. Louis
  3. “All My Sons,” New Jewish Theatre
  4. “Hold On!” The Black Rep
  5. “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
  6. “The Whale,” St. Louis Actors’ Studio
  7. “Moby Dick,” The Rep
  8. Life is a Dream,” Upstream Theatre
  9. “King Hedley II,” The Black Rep
  10. “Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.

BEST ENSEMBLE IN A MUSICAL

  1. “Anything Goes,” The Muny
  2. “Ragtime,” Stages St. Louis
  3. “Fiddler on the Roof,” The Muny
  4. “Anastasia,” Tesseract Theatre Company
  5. “First Date,” New Jewish Theatre
  6. “In the Heights,” The Muny
  7. “Newsies,” Stages St. Louis
  8. “Les Miserables,” The Muny
  9. ‘(Title of Show),: Prism Theatre Company

BEST LIGHTING DESIGN IN A PLAY

  1. Jayson M. Lawshee, “Red,” New Jewish Theatre
  2.  Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
  3. Sean Savoie, “Hold On!” The Black Rep
  4. William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
  5. Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
  6. Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.

BEST LIGHTING DESIGN IN A MUSICAL

  1. John Lasiter, “Fiddler on the Roof,” The Muny
  2. Rob Denton, “Anything Goes,” The Muny
  3. Sean Savoie, “Ragtime,” Stages St. Louis
  4. Jason Lyons, “Disney’s The Little Mermaid,” The Muny
  5. Tyler Duenow, “Nevermore,” Stray Dog Theatre
  6. Travis Richardson, “Blues in the Night,” The Black Rep
  7. Jason Lyons, “Les Miserables,” The Muny

BEST VISUAL PROJECTIONS/DESIGN
 1. Zachary Grimm, “Longing”
 2. Kylee Loera, “Anything Goes,” The Muny
 3. Katherine Freer, “Disney’s The Little Mermaid,” The Muny
 4. Zach Cohn, “Hold On!” The Black Rep
 5. Joe Taylor, “Romanov Family Yard Sale,” ERA
 6. Mike Tutaj, ‘Waitress,” The Muny

BEST SOUND DESIGN IN A PLAY
1. Rick Sims, “Moby Dick,” The Repertory Theatre of St. Louis
2. Zachary Grimm, “Longing”
3. Michael Musgrave-Perkins and Philip Boehm, “Don’t Wait for the Marlboro Man,” Upstream Theater
4. Chuck Harper, “Wolf Kings,” Young Liars
5. Kareem Deanes, “The Roommate,” The Rep
6. Amanda Werre, “All My Sons,” New Jewish Theatre
7. Amanda Were, “Dial M for Murder,” The Rep

BEST COSTUME DESIGN IN A PLAY

“Romanov Family Yard Sale.” ERA.
  1. Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
  2. Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
  3. Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
  4. Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
  5. Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
  6. Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
  7. Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival

BEST COSTUME DESIGN IN A MUSICAL

  1. Leon Dobkowski, “Dreamgirls,” The Muny
  2. Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
  3. Brad Musgrove, “Ragtime,” Stages St. Louis
  4. Tristan Raines, “Anything Goes,” The Muny
  5. Brad Musgrove, “Newsies,” Stages St. Louis
  6. Eileen Engel, “Big Machine,” Fly North Theatricals
  7. Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre

BEST SCENIC DESIGN IN A COMEDY
1. Scott Neale, “As You Like It,” St. Louis Shakespeare Festival
2.  Kate Rance, “Steel Magnolias,” Stages St. Louis
3. Andrea Ball, “We All Fall Down,” New Jewish Theatre
4. Gary F. Bell, “Bell, Book & Candle,” Stray Dog Theatre
5. Robert Mark Morgan, “The Roommate,” The Repertory Theatre of St. Louis

“Red” at New Jewish Theatre.

BEST SCENIC DESIGN IN A DRAMA

1, Margery Spack and Peter Spack, “Red,” New Jewish Theatre
2. Margery Spack and Peter Spack, “Dial M for Murder,” The Repertory Theatre of St. Louis
3. C. Otis Sweezey, “All My Sons,” New Jewish Theatre
4. Courtney O’Neill, “Moby Dick,” The Repertory Theatre of St. Louis
5. Rob Corbett, “Elephants’ Graveyard,” First Run Theatre
6. Timothy Jones, “King Hedley II,” The Black Rep

BEST SCENIC DESIGN IN A MUSICAL

  1. Wilson Chin, “Waitress,” The Muny
  2. Ann Beyersdorfer, “Newsies,” Stages St. Louis
  3. Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
  4. Arnel Sancianco, “In the Heights,” The Muny
  5. Edward E. Haynes Jr., “Anything Goes,” The Muny
  6. Jamie Bullins, “Blues in the Night,” The Black Rep
  7. Adam Koch, “Million Dollar Quartet Christmas,” The Rep and Stages St. Louis
Alysia Velez and the company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

BEST CHOREOGRAPHY

  1. Jared Grimes, “Anything Goes,” The Muny
  2. Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
  3. William Carlos Angulo, “In the Heights,” The Muny
  4. Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
  5. Mike Hodges, “Xanadu,” Stray Dog Theatre
  6. Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
  7. Lesia Kaye, “Dreamgirls,” The Muny
  8. Chelsie Johnston, “American Idiot,” New Line Theatre
  9. Parker Esse (original choreography by Jerome Robbins), “Fiddler on the Roof,” The Muny
    10. Patrick O’Neill, “Disney’s The Little Mermaid,” The Muny

BEST MUSICAL DIRECTOR

  1. James Moore, “Les Miserables,” The Muny
  2. Khalid McGee, “Blues in the Night,” Black Rep
  3. Roberto Sinha, “In the Heights,” The Muny
  4. Darryl Archibald, “Fiddler on the Roof,” The Muny
  5. E. Renee Gamez, “Ragtime,” Stages St. Louis
  6. Zach Neumann, “Anastasia,” Tesseract Theatre Company
  7. John Gerdes, “American Idiot,” New Line Theatre
  8. Mallory Golden, “Title of Show,” Prism Theatre Company
  9. Larry Pry, “First Date,” New Jewish Theatre
  10.  Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages

BEST DIRECTOR OF A COMEDY

  1. Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
  2. Aaron Sparks, “Trayf,” New Jewish Theatre
  3. Rebekah Scallet, “The Roommate,” The Rep
  4. Lucy Cashion, “Spirits to Enforce,” The Midnight Company
  5. Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
  6. Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep

BEST DIRECTOR OF A DRAMA

  1. Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
  2. David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
  3. Alan Knoll, “Red,” New Jewish Theatre
  4. Gary Wayne Barker, “All My Sons,” New Jewish Theatre
  5. Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
  6. Ron Himes, “Hold On!” The Black Rep
  7. Philip Boehm, “Life is a Dream,” Upstream Theater
  8. Ellie Schwetye, “Lungs,” Albion Theatre
  9. Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.

BEST DIRECTOR OF A MUSICAL

  1. Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
  2. Marcia Milgrom Dodge, “Anything Goes,” The Muny
  3. Rob Ruggiero, “Fiddler on the Roof,” The Muny
  4. Sam Hayes, “(Title of Show),” Prism Theatre Company
  5. William Carlos Angulo, “In the Heights,” The Muny
  6. Lee Ann Mathews, “First Date,” New Jewish Theatre
  7. Deidre Goodwin, “Ragtime,” Stages St. Louis
  8. Lili-Anne Brown, “Waitress,” The Muny
  9. John Tartaglia, “Disney’s The Little Mermaid,” The Muny
  10. Justin Been, “Nevermore,” Stray Dog Theatre
From left: Cleavant Derricks, Jonah D. Winston, Nicole Michelle Haskins, Jessica Vosk and Lissa deGuzman in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Feel the Joy in The Muny’s Sizzling ‘In The Heights’ That Celebrates Home

Feel the Joy in The Muny’s Sizzling ‘In The Heights’ That Celebrates Home

By Lynn Venhaus

A big-hearted love letter to roots and the people who shape us, “In the Heights” sizzles with a refreshing spark that lights up the expansive Muny stage. You feel the joy.

In an exciting and much-anticipated Muny premiere, this 2009 Tony-winning musical bursts with high-spirited performances and exuberant, inventive choreography that combines salsa, hip-hop, jazz, ballet and Afro-Cuban moves.

Using all the exceptional production tools available at America’s largest outdoor theater, this “In the Heights” will wow the unfamiliar and satisfy its devotees. You can feel a connection form as the show unfolds for the first time in this environment.

While honoring his Latin heritage and traditions, creative force of nature Lin-Manuel Miranda’s inspirational scenario, lyrics and music about people chasing their dreams related in such a universal way that it ushered in a directional change in music theater storytelling.

Miranda, who went on to worldwide acclaim with the cultural phenomenon “Hamilton” and the smash hit Disney film “Encanto,” conceived the musical while still in college, wrote the songs, and originated the lead role, but the book was written by Quiara Alegria Hudes.

From left: Alysia Velez, Marlene Fernandez and Darilyn Castillo in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

Hudes has included strong women characters, which is rare and impactful. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009 (the show was nominated for 13 awards), and his influence continues to grow. He breaks barriers, and the Muny is mindful of marking historic milestones too.

Set in the Washington Heights neighborhood in New York City, where he grew up, the story takes place over three days during a blistering summer heat wave in the barrio. This is a neighborhood on the brink of change – businesses face economic uncertainty, tensions rise.

This ultimately jubilant celebration of Latin heritage and identity includes family ties to the Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, and a highlight is when the cast displays flags from their characters’ countries of origin.

In the vigorous opening title number, we are introduced to the personalities and places that are woven together in this corner of the world. The Muny has been transformed by the colorful sights and sounds as the characters deal with everyday realities hoping for a better day.

In a warm, welcoming debut, Benji Santiago endears as lovable hard-working Usnavi de la Vega, who operates the corner bodega. A community hub, he sells coffee, sodas, snacks and lottery tickets while he dreams of moving to somewhere tropical where he thinks he can find happiness. When his store is notified a winning lottery ticket has been sold, things may change.

Usnavi describes himself as “a streetlight, chillin’ in the heat/ I illuminate the stories of the people on the street!”

Benji Santiago and Nancy Ticotin in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

The appealing young performer is nimble in guiding the action as we move from store to Rosario’s car service to Daniela’s beauty salon, homes, balconies and the bustling streets – on a nifty gritty grid design by Arnel Sancianco that captured the distinct ambiance and sleekly used the asset that is the monstrous turntable for deft transitions. He was the set designer for last year’s “Rent” and the year before’s “The Color Purple.”

Usnavi’s devotion to his family and friends is evident throughout, even when he’s grumbling. Santiago masterfully anchored this show that seems to be perpetually in motion, and he is joined by an equally dynamic ensemble, all but two new to the Muny..

Nancy Ticotin is a sensational Abuela Claudia, Usnavi’s beloved confidante, who is heart-tugging in “Paciencia y Fe (Patience and Faith)” and “Hundreds of Stories.” She’s everybody’s ‘grandma,’ dispensing love and advice.

Ariana Burks as sweet Nina, a standout student who feels she has let everyone down by dropping out of a prestigious college, gains sympathy by explaining her sad situation in “Respira (Breathe).” She is soulful in her tender ballad “Everything I Know” (tissue time) that’s a tribute to Abuela Claudia.

In a romantic arc, she pairs well with earnest Benny, and Alex Joseph Grayson is likeable from his introduction number “Benny’s Dispatch.” They are affecting in “When You’re Home,” which maps out their long-distance relationship, and the Act Two opener “Sunrise.” And Burks robustly leads the group in “When the Sun Goes Down.”

Ariana Burks and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

Alysia Velez is a memorable Vanessa, Usnavi’s crush who is striving for a better life and planning to move to Manhattan. She’s an ebullient presence with Usnavi and Sonny in the charming “It Won’t Be Long Now” that addresses aspirations while they go through daily tasks, and has fun in the “Champagne” duet with Usnavi.

Martin Sola and Karmine Alers are strong in portraying Kevin and Camila Rosario, who are Nina’s parents and own the limo service. They both have knockout numbers – he “Inutil(Useless)” and “Atencion,” and she pours out her soul in “Enough” and “Siempre (Always).” The ballads help define the characters’ uncertainty and hopes. The pair were in the Muny’s dazzling “On Your Feet!” in 2021, and Sola, who played Gloria Estefan’s father Jose, originated the role on Broadway.

While poignant moments, such as the sad, sentimental “Alabanza (Praise),” and the calamitous “Blackout” that ends first act, bring everyone together, so do the animated dance numbers “The Club” and “Carnaval del Barrio,” and the catchy earworm “96,000.”

Several amusing characters each have moments to shine – including the vivacious hairstylists Daniela (Darilyn Castillo) and Carla (Marlene Fernandez), who join Vanessa in “No Mi Diga (You Don’t Say!)” and lead the raucous “Carnaval” number.

Miguel Gil is delightful as Usnavi’s goofy cousin Sonny, so are Eddie Martin Morales as the Piragua Guy and U.J. Mangune as Graffiti Pete.

From left: Karmine Alers, Martín Solá and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

William Carlos Angulo, serving as director and choreographer, has achieved a laudable synergy, creating a swirling kaleidoscope of movement and rhythm, performed with contagious joie de vivre.

Angulo, who has previously choreographed three Muny shows – the electrifying “On Your Feet!”, “Legally Blonde” and “Little Shop of Horrors,” shows his mettle in managing such a big-deal premiere. He has authentically represented three generations with spry staging and engaging characterizations.

The high-energy numbers alternate with the more intimate scenes of relationship conflicts and resolutions for people at crossroads, and he finds a suitable balance.

His collaboration with associate choreographer Shani Talmor, a world-renowned performer and choreographer, is ingenious. Special shout-outs to dance captain Emily Madigan, production stage manager Jhanae K-C Bonnick, and assistant stage managers Hope Michelson, Kentrell Jamison and Alycia Martin for their brisk navigation skills.

The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

The ensemble kept the tempo lively, bringing the heat and the heart: Marissa Barragán, Angelica Maria Beliard, Ixchel Cuellar, Ralphie Rivera De Jesús, Adriel Flete, Reyna Guerra, Emily Madigan, Sebastian Martinez, Eddie Martin Morales, José J. Muñoz, Matthew Rivera, Kiana Coryn Rodriguez, Francisco Javier Thurston and Alora Tonielle. They were joined by the Muny youth and teen ensembles.

Music Director Roberto Sinha’s dexterous conducting of the 25-piece orchestra added a brightness to the pulsating score, which is a hybrid of Latin, urban, hip-hop and salsa beats. They elevated the music’s rich texture.

The Muny’s outdoor setting was ideal for this modern story, with brilliant bursts of fireworks for the July 4th celebration enthralling. The creative team leaned into this new landscape, and Rob Denton’s lighting design, affecting shades of day and night, and Leon Dobkowski’s bright and bold costume design expertly reflected the location’s contemporary outfits. Kelley Jordan’s wig design was unobtrusive. John Shivers and David Patridge’s layered sound design included the cacophony of the urban tableau.

The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

Much has been said about the themes of community in each of the Muny’s shows this season, and you feel the audience embrace that connection in “In the Heights.” After the isolation of the pandemic, and struggles in a dark time, the urge to find comfort and examples of our humanity is tangible.

When I first saw this on its national tour at the Fox Theatre in November 2009, I was struck by its universality, the unique new voice in the creative genius that is Lin-Manuel Miranda, and its ability to create deeper meanings through its emotional connection. I still feel this way, after seeing other regional professional theaters undertake it, and Miranda’s subsequent extraordinary works. It’s been on my list for each Muny season survey for years, and was ecstatic to learn of its inclusion this year.

The timing is right, the message is clear, and the wave of hope and dreams it inspires makes it a special experience.

To get that many people in an audience unified is remarkable, and you could feel the uplift in real time during the performance. For 15 years, “In the Heights” has reinforced the enduring theme “There’s no place like home.” And whatever that means individually and collectively vibrantly echoed through Forest Park on Saturday.

The Muny presents “In the Heights” at 8:15 p.m. nightly, Aug. 9-15, on the outdoor stage in Forest Park. The musical is 2 hours and 23 minutes, with one 15-minute intermission. Tickets are on sale at muny.org, by calling MetroTix at (314) 534-1111 or at the Muny Box Office in Forest Park.

From left: Benji Santiago, Alysia Velez and Miguel Gil in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer

Zesty ‘Waitress’ Serves Up Sisterhood and a Cozy, Savory Slice of Community

Zesty ‘Waitress’ Serves Up Sisterhood and a Cozy, Savory Slice of Community

By Lynn Venhaus

I’ll take a big ol’ slice of Live Your Life pie, please and thank you.

The winds of change were blowing at the Muny this week, a welcome force like the powerful fans cooling the audience. From my vantage point, “Waitress” was a breath of fresh air.

The musical equivalent of comfort food has delivered a tasty combination of love, hope and inspiration since its Broadway debut in 2016.

Blazing trails, the musical’s Muny and Midwest regional premiere opened as an intimate slice-of-life heart-tugger. Scores of young women filled seats, and it was refreshing to see this show’s next generations appeal.

They can be inspired by this show by women about women – and most importantly, believe in their dreams and their voice.

Patrons were greeted with a cozy, comfortable stop on the open road, where down-home folks gathered at picnic tables for eggs, coffee, and a slice of expert baker Jenna Hunterson’s delicious pies, an inviting rustic tableau – complete with cars parked on stage.

With its big heart baked into a buttery shell, the production moves with an appetizing naturalism.

As Jenna made magic out of flour, butter and sugar, so did the ceiling-breaking all-female creative team — Lili-Anne Brown directing her third show here after rattling the rafters with “The Color Purple” and “Rent”; first-time music director Andra Velis Simon; and choreographer Chloe O. Davis.

From left: Nicole Michelle Haskins, Lissa deGuzman and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A sturdy ensemble, representing a small-town milieu, was outfitted in work and casual attire by costume designer Raquel Adorno.

In an interesting twist, they moved in unison to “What’s Inside” and “Opening Up,” creating a rhythm that would reflect ultramodern sensibilities, thanks to Davis’ sleek choreography.

Some nifty touches include the chorus clapping like flamenco dancers to add beats to the robust duet “Bad Idea” that ends Act I. (And will be stuck in your head the rest of the night).

Taking a closer look, my fellow theatergoers, means “Waitress” is one of the two most recent contemporary hits produced at the Muny. In the pandemic-shortened 2021 season, “On Your Feet! The Story of Emilio & Gloria Estefan” played six years after it ran on Broadway in 2015, and “Waitress” arrives nine years after it opened.

Take note, those who complain about the lack of variety or too-few 21st century pieces. (2025 season survey now online (www.muny.org/showsurvey).

Talk about an auspicious Muny moment!

The biggest draw is pop star Sara Bareilles’ perceptive score, with its catchy hooks and poignant lyrics, but also the female empowerment story evokes warm feelings about family, friends, and the people who carry us through tough times.

Bareilles, a Gen X singer-songwriter and actress, has been a hit-record making machine since 2007, and her piano-based pop soul music has sold more than 3 million albums and 15 million singles.

Jessica Vosk and Clevant Derricks in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

Her fresh sounds flavor the lives of these ordinary people, and Simon’s conducting brings out the music’s luscious beats.

The joy for the material is substantial, led by a tactile and plucky tight trio of waitresses. In a rural Southern setting, sassy Becky (Nicole Michelle Haskins) and nerdy Dawn (Lissa deGuzman) plus silky-smooth Jessica Vosk as self-doubting Jenna — make Joe’s Diner their home away from home.

Each bona fide stars, they form an ‘all for one’ attitude like those rogue French musketeers, holding on to dreams and keep each other going, displaying beautiful harmonies in “A Soft Place to Land” and a spirited “The Negative.”

Jenna is surprised by an unplanned pregnancy, for she feels trapped in an unhappy marriage to the controlling, abusive Earl (Ben Crawford). Boss Joe (Tony winner Cleavant Derricks) tells her about a pie-baking contest with a hefty grand prize, and that gives her hope for a fresh start.

She also begins a startling affair with her doctor, Dr. James “Jim” Pomatter (Devin DeSantis). The show’s adulting is complicated, with Becky getting frisky at work with grouchy Cal (Jonah D. Winston) and Dawn finding true love online with eccentric soulmate Ogie (Troy Iwata).

Devin DeSantis and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

These aren’t your typical romantic entanglements, and this isn’t your usual musical template. It’s for mature audiences, and this creative team hasn’t messed with the candid storytelling. (I’d rate it PG-13, suitable for teens but not youngsters).

Based on writer-director-actress Adrienne Shelly’s 2007 independent film starring Keri Russell, Nathan Fillion and Andy Griffith as Joe, it touches on a fierce sisterhood and their thorny problems.

(A tragic note: The creator Shelly was murdered in 2006 before the film was released. A construction worker who had been working in her office apartment building was convicted of first-degree manslaughter. Her husband gave writer Jessie Nelson some of his wife’s notes to use for the adaptation.)

The Muny’s fearless female force leans into the friendship bonds just as the original’s rare historic team did – besides Bareilles and Nelson, Diane Paulus was the director and Lorin Latarro choreographer. (First ever musical to have women in top four slots).

The feisty women characters, who are tangy in conversations and occasionally curse, are ones you root for, and even though Jenna’s life is a hot mess, they will eventually concoct their own recipes for success.

These are women who don’t think they deserve their dreams, but oh, as the comedy and drama unfold, we see the power of community lift them up.

Kaitlyn Louise Smith (left), Jessica Vosk and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

If there is one overarching theme this season it is “Community.” How fortunate we can celebrate the things that unite us, from the potent cries for mercy and freedom in “Les Miserables,” the aspirations to be somebody in “Dreamgirls,” the enchanting world of make-believe in “The Little Mermaid” where fairy tales come true, and the unwavering bonds of faith and family in “Fiddler on the Roof.”

And now, with “Waitress,” you detect that important sense of community that never goes out of style – and especially with fired-up women. As Eleanor Roosevelt so eloquently put it: “A woman is like a tea bag – you can’t tell how strong she is until you put her in hot water.”

Because of their bodies, women have their own specific viewpoints on pregnancy, and the female-centric jokes are amusing in “Club Knocked Up” and “The Contraction Ballet.”

Yes, the Muny goes there, honestly. The frank subject matter regarding relationships is a risk that reflects moving the needle forward, like “The Color Purple,” “Rent,” “Kinky Boots,” “Sweeney Todd,” “Chess,” and even “Young Frankenstein” did when they finally arrived on the Muny stage.

And kudos for the insight on how pregnant women walk, move and look that adds authenticity to the performances.

Vosk, so impressive last summer in “Chess” and two years ago as the Narrator in “Joseph and the Amazing Technicolor Dreamcoat,” is a powerful, emotional vocalist in the upper echelon of professional talent. As Jenna, she shows vulnerability and resolve.

When she lovingly tells her baby girl, “We’re going to be happy, little girl, and not just happy enough” – you believe in Jenna’s tremendous strength – and she does too.

Her soul-baring “She Used to Be Mine” is a stunner, the show’s knockout punch. And the motherhood anthem, “Everything Changes,” stands out too, with an uplifting company reprise.

From left: Lissa deGuzman, Jessica Vosk and Nicole Michelle Haskins in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

“Waitress” ran for four years on Broadway, from 2016 to 2020, with 33 previews and 1,544 performances. It was nominated for four Tony Awards, including Best Musical, but that was the year “Hamilton” was the runaway train, winning 11.

After seeing the 2007 movie, a national tour at the Fox Theatre in 2019 and the filmed version of its 2021 limited engagement return, which came out in December 2023 (and is available on digital platforms), I’ve increased my appreciation on subsequent viewings. I’ve always been captivated by the score and the performances, but still think the book has some problems, particularly the awful Earl character.

Lazy, selfish, and brutish, he’s such an insufferable jerk without any redeeming qualities that it can be difficult waiting for Jenna to act in her best interest. Ben Crawford, entirely sympathetic as The Beast last year in “Disney’s Beauty and the Beast,” accomplishes quite a reversal by going full junkyard dog mean.

Dr. Pomatter, the dreamy OB/gyn, is married to a perfectly fine woman who is working her residency at the hospital; therefore, the infidelity is a sticking point. The show glosses over the consequences of cheating, and trust. We’re not talking Disney princesses. (Although she did win him over with her Mermaid Marshmallow Pie).

“Waitress” isn’t the first musical to address married people fooling around. (Hello, “The Bridges of Madison County,” “A Little Night Music,” and “Into the Woods,” to name a few.) It’s those gray areas of life…real people problems, rooted in reality that creates endless plot variations. After all, misery loves company.

And then there is that very human spice that brings passion to the forefront when added to the mix.

Jessica Vosk and Devin DeSantis in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

DeSantis, whose velvety tenor pairs well with Vosk’s commanding range, delivers their misbehaving dilemma duet “Bad Idea” superbly and continues to display his conflicted heart in “You Matter to Me.” Their connection is palpable, sprinkled with heat, and reduced through conscience-wrangling.

The humor satisfies and sustains the show. Flaky Ogie’s numbers “Never Ever Getting Rid of Me” and “I Love You Like a Table” show off Troy Iwata’s impeccable comic timing. He’s a fun fireball on stage, stealing every scene he is in, and delightful when paired with DeGuzman. They embrace their peculiarities, endearing them to the audience.

Nicole Michelle Haskins, who won a St. Louis Theater Circle Award for her role as Sofia in “The Color Purple” in 2022, is forceful as the tart-tongued Becky. Her comedic timing is also flawless. And Winston, funny as all-bark-no-bite Cal, is a formidable foil for her.

The renowned Cleavant Derricks finds the sweet spot between the curmudgeonly crusty customer Joe and the compassionate boss Joe, delivering a moving “Take It from an Old Man.” Derricks won a Tony Award for originating the role of James Thunder Early in “Dreamgirls.”

The arrival of Lulu in the final scene is the full-circle cherry on top, with charming Torri Tripoli sparkling as the light of Jenna’s life.

Also noteworthy were Patricia Jewel, a real gem, as quippy Nurse Norma and dance captain Kaitlyn Louise Smith as Jenna’s mother (in flashback).

Troy Iwata, Lissa deGuzman and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A marvel in motion, Wilson Chin’s ingenious set design, combining diner, doctor’s office, and the Hutcherson home is as eye-catching as it is functional. Smoothly turning for each transition, his interesting take on freeing up a diner’s interior added much to the atmosphere.

Chin’s making his Muny debut, but his stunning set for “Angel Street” at The Repertory Theatre in St. Louis in 2015 won a St. Louis Theater Circle Award.

Lighting designer Heather Gilbert enhanced the cordial feeling, with festive lights strung for a distinctive look.

Cravings for pie are inevitable, and video designer Mike Tutaj, new to the Muny, dispenses pie recipes on clever menu ticket graphics. Getting Out of the Mud Pie is just one of many innovative takes on the American classic dessert. Sure, she makes an apple version, but with cocoa chiffon and rose petals.

I believe, like Gary Johnson, Glen Powell’s character in the Netflix movie “Hit Man,” who says “All pie is good pie”  as his signature opening statement. Food always brings people together, and so does live theater – hence, the earthy alchemy of “Waitress.”

And dessert alert, as a special treat, the Muny has teamed up with Ted Drewes to offer Jenna’s Apple Pie Concrete only this week at the concession stands. Another St. Louis institution making its debut.

Ben Crawford and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A theater insider note: Another confectionary delight was added to the script when the musical returned to Broadway in 2021 for a limited engagement (filmed at this time to release as a movie musical) – “A Big Ol Slice of Live Your Life Pie.”

That is a tribute to the late actor Nick Cordero, who originated the role of Earl on Broadway. He died in July 2020 at the age of 41 after a brutal fatal battle with COVID-19. His song “Live Your Life” became an anthem, and that reference is now included for all companies.

A bountiful feast for the eyes and ears, “Waitress” is a pleasant pop experience with enough zip to sweeten a sweltering summer night. This production has effectively created common ground for an enduring theme of community, and what a delightful spritz it is..

The Muny presents “Waitress” July 30 – Aug. 5 at 8:15 p.m. nightly at the outdoor stage in Forest Park. For more information, visit www.muny.org.

The company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

The Muny’s Resplendent ‘Fiddler’ Laden with Happiness and Tears

The Muny’s Resplendent ‘Fiddler’ Laden with Happiness and Tears


By Lynn Venhaus

The Muny’s warm, wondrous and deeply affecting production of “Fiddler on the Roof” grabs your heart from the moment you hear a solo violin when an invigorated Adam Heller makes his entrance as Tevye and never lets us go.

An emotional powerhouse, this cherished musical premiered on Broadway 60 years ago, and remains beguiling with its universal story of faith and family that is both timeless and timely.

Since 1970, the Muny has staged this favorite 11 times, and while I haven’t been to all of them, I count at least six, and the current run will stand the test of time as one of its most uplifting and heartfelt.

This “Fiddler” is distinguished by an extraordinary ensemble, electrifying dance, life-affirming music, tender story and illustrious creative team.

With its everlasting theme of how our shared humanity unites us all, at this perilous time of oppression, tyranny and increased anti-Semitic hate crimes around the world, this version hits close to home.

Max Chernin and Samantha Massell in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

We are reminded why this resplendent musical not only has endured, but how it endears to new generations. The cultural heritage is emphasized in the book by Joseph Stein, and the sumptuous music by Jerry Bock and ardent lyrics by Sheldon Harnick indicate resilience, compassion, love and community.

Set in imperial Russia around 1905, the Jewish village of Anatevka is where Tevye the dairyman, his wife Golde and his five daughters live, and the show is based on tales in Yiddish by Sholem Aleichem.

Tevye values “the old ways” but is tested when his children want to pursue their own definition of happiness, and they confound him with their modern views on love and marriage.

Forced to deal with change while unsettling times are at hand, he and his family must seek new homes after being evicted by the czar’s edict, as the country is on the brink of revolution.

What parent doesn’t tear-up relating to “Sunrise, Sunset” or feel the palpable joy of Motel the Tailor (a sublime Max Chernin) in “Miracle of Miracles”? Who doesn’t have a big grin watching The Dream Sequence or the Wedding celebration?

Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The second act songs always tug at my heartstrings – starting with Perchik’s elation “Now I Have Everything,” the touching Tevye-Golde duet “Do You Love Me?” and Hodel’s agonizing “Far from the Home I Love.” I started blubbering during the heartbreaking Chava sequence and tears continued to flow through the mournful “Anatevka” and that gut-wrenching exodus. That finale is eerily common in parts of the world today.

The plight of people making do, and that needing to belong, is part of this show’s appeal, and with hostile world conflicts heavy on our minds, the feelings well up automatically.

The casting is faultless, and to date this season, has been impeccable, so bravo, Michael Baxter, associate artistic director, for his guidance and instinctual eye.

Adam Heller is revelatory as Tevye. Oh, sure, Muny audiences love him – he was a dandy Herbie to his wife Beth Leavel’s Mama Rose in “Gypsy” in 2018 and St. Louis Theater Circle Award winner for his supporting performance as cuckolded husband Amos in “Chicago” in 2021. But here, he commands the stage as the larger-than-life lead, and is high-powered in song, dance and spirited line delivery. His comic timing is ideal.

From left: Hannah Corneau, Samantha Massell and Emerson Glick in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Jill Abramovitz is a feisty foil as his hard-working wife Golde and holds her own as Heller’s scene partner. Her howl of pain at Chava’s rebellion and Tevye’s reaction pierces your heart.

Samantha Massell excels as dutiful eldest daughter Tzeitel who must challenge the rules for love, taking a big risk. She played Hodel in the most recent Broadway revival and is genuine in portraying these sisters changing their times. She has appeared in nine shows at the Muny, and these are her finest moments to date. She superbly layers Tzeitel’s hopes so that you feel her connections to her family and the love of her life.

Massell leads a delightful “Matchmaker,” and Hannah Corneau, as a fiery and devoted Hodel, and Emerson Glick, as a smart and caring Chava, demonstrate their bright vocal strengths as well. The trio add oomph to these women as they are adamant about their choices.

The family scene in “Sabbath Prayer” is poignantly staged, and the sweet younger daughters are played with relish by Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke).

Andrew Alstat and Emerson Glick in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The eldest daughters’ life partners are terrific matches, too –besides Chernin as lovable Motel, Clay Singer is engaging as the fervid radical Perchik, and so is Andrew Alstat as the kind Russian soldier Fyedka. The men demonstrate they are skilled dancers as well.

Adding to the colorful cadre of villagers are Jeremy Radin as gruff butcher Lazar Wolf – outstanding in “To Life!”, Cheryl Stern hilarious as busybody Yente, Bob Amaral amusing as the respected Rabbi, and Zoe Vonder Haar as Motel’s mother Shaindel.

Susan J. Jacks and Blair Goldberg are quite a dynamic duo as Grandma Tzeitel and Fruma-Sarah in the Dream, always a highlight.

Max Chucker is a splendid Fiddler, and Jim Butz is imposing as a Russian constable, sympathetic to a certain extent.

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Bottle Dancers Ze’ev Barmor, Michael Bullard, Derek Ege, Michal Kolaczkowski, Nick Nazzard and Nick Raynor deliver a sensational crowd-pleaser during the festive wedding, and Bullard, Kolaczkowski and Raynor, along with Jonathan Bryant, are equally muscular in the Russian dance portion of “To Life!”

Of special note for this production is the fine work by fight choreographer Bart Williams, who worked on last season’s “West Side Story,” “Little Shop of Horrors” and Disney’s “Beauty and the Beast,” and the contributions of dialect and culture coach Barrie Kreinik, who was also in the ensemble and one of the solos in “The Rumor” gossip song.

The musical is so well-constructed that there isn’t a wasted song or a moment, not a false move. Director Rob Ruggiero, a master at deconstructing classic musicals, injects this version with a fresh outlook and renewed vigor.

Through his many shows in St. Louis, at both the Muny (“Sweeney Todd,” “West Side Story,” “Gypsy,” “Hello, Dolly!”, “South Pacific,” and “Oklahoma!” and others), and the Repertory Theatre of St. Louis (“Follies,” “Sunday in the Park with George” and “Evita” – St. Louis Theater Circle Awards for directing) his commitment to artistic excellence never wavers nor does his belief in the transformative power of the arts.

His expert touch is evident here, for every facet is a polished gem and seamless in its execution.

Hannah Corneau and Clay Singer in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

In his Muny debut, music director Darryl Archibald flawlessly conducts a robust 32-piece Muny orchestra, bringing out the score’s lush textures and punctuating the lovely, lyrical songs.

Noteworthy are concertmaster Tova Braitberg and eight violinists, who are exquisite in delivering every emotional beat, aided by three cellos, bass and a harp. (And of course, the gorgeous sounds blending woodwinds, trumpets, French horns, percussion, guitar, bassoon, flute, piccolo, clarinet, and drums.)

The exuberant and athletic choreography, based on the original 1964 work by Jerome Robbins, his final musical theater dance for Broadway, has been adapted for the Muny stage by Parker Esse, who did the same thing for the Muny’s transcendent “West Side Story” last year.

The creative team must be lauded for their efforts. The sparse effective set design by Tijana Bjelajac is a marvel of smooth flow, and striking atmosphere.

The layered Eastern European peasant looks of award-winning costume designer Alejo Vietti differentiates each character and captures the turn-of-the-century period and culture perfectly, as does Tommy Kurzman’s wig design.

Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The lighting design by John Lasiter is crisp in definition, meticulously shifting Tevye’s inner thoughts and the show’s swift mood changes. The Dream sequence is particularly striking, and Kevan Loney’s creative video design adds a spooky element to ‘the nightmare.’. John Shivers and David Patridge’s sound design is immaculate.

The original Broadway production in 1964 was the first musical to surpass 3,000 performances and held the record for the longest-running musical on Broadway for nearly 10 years until “Grease” took over. Today, it is ranked 18th, with “The Phantom of the Opera,” “Chicago,” “The Lion King,” “Wicked” and “Cats” the top five.

Winner of nine Tony Awards in 1965, including best musical, score, book, direction and choreography, it has been revived five times – won a Tony for the 1990 revival starring Chaim Topol, who also starred in the critically acclaimed 1971 film that is known as one of the best musical-to-movie adaptations. The most recent triumph was a 2015 production starring Danny Burstein and directed by Bartlett Sher.

“Fiddler on the Roof” retains its zest, sincerity, charm and abundance of heart that made us fall in love with it the first time. There are moments that take your breath away. Did I mention how funny it is? It is one of those ‘forever Muny shows’ that is welcome any time, but chillingly relevant this summer.

Go. See. Enjoy. Now! (And bring tissues).

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The Muny presents “Fiddler on the Roof” from July 19 – 25 nightly at 8:15 p.m. at the outdoor stage in Forest Park. The production is 2 hours, 45 minutes, with a 15 minute intermission. For more information and tickets, visit www.muny.org.

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

By Lynn Venhaus

When the Muny teams up with visionary director John Tartaglia, they create a magical world, and it always takes us to a happy place.

Enamored by only a few chords of “The Little Mermaid” score’s breezy calypso music, the luscious blue green turquoise palette of scenic designer Ann Beyersdorfer’s dazzling seascape and video designer Katherine Freer’s vibrant underwater kingdom teeming with marine life, and we’re eager to dive into this glistening fairy tale fantasia.

With his track record of infusing shows with whimsy and wonder, one expects Tartaglia to achieve new heights for the Muny’s third presentation of Disney’s cherished musical – and wow does he.

Imaginatively staged and seamlessly incorporating all the wizardry available – including innovative use of puppetry from revered Puppet Kitchen International, with designs by Eric Wright, and stunning aerials by ZFX, Hans Christian Andersen’s fish-out-of-water romance enchants in exciting new ways.

If you took away the bells and whistles, this Douglas Wright book adaptation of the Dane’s 1837 short story would still tug on your heartstrings, because stripped down, it is ultimately about families giving each other the greatest gifts –roots and wings.

Rich Pisarkiewicz (left) and Michael Maliakel in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Headstrong Ariel has an insatiable wanderlust, as does Prince Eric, whose zest for adventure pulls him away from his birthright. They disobey to chart their own course, and that comes with risks. She rescues him from drowning, and that remarkable visualization involving flying apparatus is thrilling.

All Disney princes and princesses yearn – and these restless royals must triumph. (And Michael Maliakel knows about being a hero — he played “Aladdin” for three years on Broadway.) The handsome heir is bewitched by the mermaid’s beautiful voice, and the spunky teen falls hard for a forbidden but enticing human world.

With their appealing ardor, Savy Brown and Maliakel are adorable as the made-for-each-other pair. Both have lush voices, and they convey their longing through his fervent renditions of “Her Voice” and “One Step Closer” and her luxe delivery of the iconic “Part of Your World” plus the engaging opener “The World Above.”

The classic true love’s kiss trope is significant because it will break dastardly Ursula the Sea Witch’s curse, so that Ariel can keep her voice and become human. And there isn’t a more intoxicating love song than “Kiss the Girl,” especially with the moonlit romantic mood achieved in the second act.

Ever since lyricist Howard Ashman and composer Alan Menken wrote the game-changing music for the 1989 animated film, generally regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance of the 1990s, “The Little Mermaid” has endured as a beloved pop culture fixture.

Books, videos, merchandise, the stage musical in 2007, and a live-action remake film in 2023 continue to entertain fans around the world.

From left: Adam Fane, Nicole Parker and Kennedy Kanagawa in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

The Muny presented this wildly popular Disney title in 2011 and 2017, and costume designer Robin L. McGee is back from the latter’s creative team seven years later to put a fresh spin on a wide range of colorful outfits.

In a pivotal scene, an iridescent seafoam green dress makes Ariel even more radiant, and in a sixth-time collaboration with Puppet Kitchen International, Ursula’s octopus tentacles (real guys inside) remain a marvel in motion.

Tartaglia has opted for the villain to be more cartoonish rather than menacing, and newcomer Nicole Parker is campy, wears garish makeup, and alternates between exaggerated cackling and screeching as the slinky wicked witch.

Gearing it towards a younger audience, the director made it less dark, although “Poor Unfortunate Souls” makes her intentions clear, and “Daddy’s Little Girl,” alongside her henchmen, oozes spite.

Her electric eel minions, Flotsam and Jetsam, are also softened. Kennedy Kanagawa and Adam Fane are nimble in their slithery headdresses and eerie in their numbers, especially “Sweet Child.”

The three standout comical characters — confidante fish Flounder, silly seagull Scuttle and skittish sidekick Sebastian the crab – ingratiated themselves quickly with the audience.

From left: Leia Rhiannon Yogi, Jen Cody and Savy Jackson in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Leia Rhiannon Yogi is a cheerful Flounder, demonstrating her dexterity with the bright-hued puppet, while the sublime Fergie L. Philippe, so memorable as Emmett in “Legally Blonde” two summers ago, steals every scene he is in as the lovable calypso-singing crustacean.

He joyously leads the vivacious super-sized spectacle, “Under the Sea,” complete with swirling sea creatures including jellyfish, swimming turtles and Pufferfish. The Oscar-winning Best Song is arguably the show’s best number on the gigantic stage.

Muny fan favorites Jen Cody, Ben Davis and Christopher Sieber each bring their own distinct interpretation to their integral supporting roles.

A limber comedienne, Cody does backflips and handsprings as firecracker Scuttle, mangling English and denoting her crisp comic timing. She blithely leads a rollicking “Positoovity” and “Positaggity.” She has previously delighted audiences as the grandma in “The Addams Family,” Elizabeth in “Young Frankenstein” and stripper Tessie Tura in “Gypsy,” among other amusing roles.

Natural leading man Davis, last seen in his virtuoso St. Louis Theater Circle Award-winning performance as “Sweeney Todd,” is an imposing regal – and buff – King Triton, who must put aside his prejudices and doubts for his daughter’s happiness.

He brings necessary gravitas to the role, although the glow-in-the-dark scepter seems cumbersome at times. His rich baritone is such a pleasure, and he imbues his song “If Only (Triton’s Lament)” with real emotional heft. The reprise with the quartet of Ariel, Eric, Sebastian and Triton is quite lovely.

Christopher Sieber in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Emily Santel

Christopher Sieber, who was a terrific Daddy Warbucks in the charming “Annie” directed by Tartaglia in 2018, has fun being over-the-top as the fussy French Chef Louis in his signature number “Les Poissons.”

The actor has been nominated for the Tony Award twice, as the original Lord Farquaad in “Shrek the Musical” (Fun fact: Tartaglia was Pinocchio) and Sir Dennis Galahad in “Spamalot” (More fun facts: Ben Davis played Galahad in the 2013 Muny production, and both Sieber and Davis were in the Muny’s 2017 “Jesus Christ Superstar,” with Sieber as King Herod and Davis Pontius Pilate).

Versatile veteran actor Rich Pisarkiewicz gets an opportunity to shine in a role well-suited to his talents – Prince Eric’s loyal guardian Grimsby. He is in his 44th season at the Muny, and this is his 87th show.

Some of the creative team worked with Tartaglia on last year’s extraordinary “Disney’s Beauty and the Beast,” including McGee, Beyersdorfer, lighting designer Jason Lyons, wig designer Ashley Rae Callahan, sound designers John Shivers and David Patridge, and ebullient choreographer Patrick O’Neill. His movements reflect people moving as if in water.

Tartaglia’s background includes puppetry with Jim Henson on “Sesame Street,” and is back working on “Fraggle Rock” on Disney Plus these days. His artistry is obvious, and this joins his other unique Muny productions “Mary Poppins,” “Matilda,” “The Wizard of Oz,” and “Tarzan” in recent years as examples of his unmistakable playfulness and indomitable spirit. He kept the tempo lively and brisk.

Savy Jackson and Ben Davis in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Music Director Michael Horsley’s elegance is noteworthy too. The hummable tunes and featured personalities keep us interested, easily earning smiles on a summer night from lots of families in attendance.

The creative artists’ inspired flourishes refreshed this chestnut, with the most striking aspect the constantly moving aquatic tableau – Beyersdorfer’s neon-splashed set, Freer’s mesmerizing video, Lyons’ sumptuous illuminations, McGee’s striking looks, Wright’s original puppets, O’Neill’s dance steps and the belief that the whole team could produce the impossible.

Everyone involved brought the best parts of themselves to this project, and its splendor shines brightly.

The Muny presents “Disney’s The Little Mermaid” July 8 through July 16 nightly at 8:15 p.m. on the outdoor stage in Forest Park. The runtime is nearly 2 hours and 20 minutes, including one 15-minute intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Fergie L. Philippe and Jen Cody in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Bursting with Vitality, the Muny’s Exultant ‘Dreamgirls’ Electrifies

Bursting with Vitality, the Muny’s Exultant ‘Dreamgirls’ Electrifies

By Lynn Venhaus

Let’s cut to the chase. Tiffany Mann’s electrifying rendition of the signature song, “And I Am Telling You I’m Not Going,” is everything you want it to be and more, exceeding the highest expectations.

If The Muny had a roof, she would have smashed it to smithereens. She met her Muny moment by unleashing a torrent of fury, hurt, pain and devotion with such ferocity – and control – that the only one not breathless after listening was Ms. Mann. She was stunning in her range and vocal reservoirs.

It was truly one of the most spectacular powerhouse performances in my 60 years of attending Muny shows. She received thunderous ovations throughout, with some of us leaping to our feet as we applauded at the finish.

It’s no wonder she took us to church, for she’s been doing that for a long time. Her parents are nationally renowned gospel singers and actors David and Tamela Mann. You may recall Tiffany bringing the house down in “Smokey Joe’s Café” in the Muny’s first post-pandemic show in 2021.

Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

That “Dreamgirls” showstopping first act closer has been thrilling audiences since its debut in 1981 and was ranked the no. 1 rhythm-and-blues song of 1982 on the Billboard chart. It’s an intimidating one to master, even for the most gifted vocalists.

Tony winner Jennifer Holliday’s career took off after originating the role of Effie White on Broadway, winning a separate Grammy for best vocal performance, and Jennifer Hudson won an Oscar as Best Supporting Actress for the 2006 movie adaptation.

This rags-to-riches showbiz musical stands out because it delves into the complexities of gender and race at a time when pop music was going through a seismic cultural shift, with changing times and tastes.

Black singers were breaking down racial barriers with ‘crossover’ music, yet often compromised in a live music and recording business hierarchy.

These are subjects explored in such crowd-pleasing jukebox musicals as “Motown: The Musical,” “Memphis,” and “Tina – The Tina Turner Musical,” but “Dreamgirls” was among the first, marked by its style and sophistication.

The book and lyrics by Tom Eyen and music by Henry Krieger focuses on an all-girl singing group – think Diana Ross and the Supremes, the Shirelles, Martha and the Vandellas, and the Chiffons — as they rocket to superstardom in the 1960s and 1970s.

From left: Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

They must learn the ins and outs of a cutthroat system while not having much control over their contracts or lives. The soul sounds recall the Motown music trajectory of 1962-1976 in a peppy upbeat score, with meaningful emotional ballads to reflect character transitions.

It’s the kind of big splashy production that lends itself well to the glitz and glamour that the Muny can dazzle us with – and the creative team worked its customary magic to generate.

The look is super-sleek, with chic fashions from indomitable costume designer Leon Dobkowski, trendy wig designs from master stylist Kelley Jordan, ritzy set designs from ever-sharp Edward E. Haynes Jr., and perceptive bygone era video design from clever Elaine J. McCarthy.

Now in his 12th season, lighting designer extraordinaire Rob Denton enhances the in-vogue parade of fashions, glittery nightclub settings and mod TV appearances.

In 2012, the Muny staged a robust production featuring Holliday as Effie – and future “Hamilton” star Christopher Jackson as unscrupulous manager Curtis Taylor Jr.

Tiffany Mann and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

In this dynamic reprise, Mann makes Effie her own – and the high-spirited ensemble comes together seamlessly as a family along to an effervescent pulsating rhythm.

The principal characters are an impressive gathering of seasoned pros who’ve made a name for themselves on Broadway.

Immensely likable performers Aisha Jackson is classy Deena Jones and Courtnee Carter is flashy Lorrell Robinson, with the later addition of Effie’s replacement, Natalie Kaye Clater as charming Michelle Morris. They bring a lot of sparkle and pizzazz to the ambitious and naïve rising trio The Dreamettes.

They beautifully blend harmonies, and you root for them and their big dreams. Making their Muny debuts, Jackson was the first black woman to play the role of Anna in the Broadway production of “Frozen” and Carter was recently in the Tony-winning revival of “Parade.”

And the male leads are equally strong – silky-smooth Charl Brown is again impressive as the ethically challenged Curtis Taylor Jr., the Svengali manager-producer, after his memorable turn in the aforementioned “Smokey Joe’s Café” the summer of 2021. He was Tony nominated as pioneering Smokey Robinson in “Motown: The Musical.”

From left: Aisha Jackson, Nick Rashad Burroughs, Tiffany Mann, Courtnee Carter and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

With the theatricality and bluster of James Brown and Little Richard, Nick Rashad Burroughs is on fire as live-wire star Jimmy “Thunder” Early. He quickly won over the audience with his brash charm and high energy.

Burroughs originated the role of Ike Turner in “Tina – The Tina Turner Musical” on Broadway and was recently seen as Henri de Toulouse-Lautrec in the touring production of “Moulin Rouge” that came to the Fox this spring.

Aramie Payton is warm and personable as the talented songwriter C.C. White, Effie’s brother. He was the original Michael Jackson standby in “MJ – The Musical.”

Local treasure Ron Himes is a formidable Marty, an early mover and shaker who helps the group navigate the biz and tries to keep Curtis in check.

They are a tight-knit unit gliding through the ups and downs of fame.

Director Robert Clater makes sure we feel the heart along with the soul as a whirlwind rise marks Act One. His vivacious staging of the Apollo Amateur Night line-up opening and a supercool “Steppin’ to the Bad Side” gets us off to a rousing start.

The company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The momentum keeps going with “Dreamgirls” and “Party Party,” followed by the serious “Heavy” and that soul-stirring rafter-shaking hit song.

Highlights also include the ironic white milquetoast rendition of “Cadillac Car” by Dave and the Sweethearts – really hammering a serious point with humor – and one of the most poignant numbers, “Family.” That is the enduring theme that ultimately saves some of them from themselves.

Choreographer Lesia Kaye keeps the dancers moving while music director/conductor Anne Shuttlesworth ensures everybody’s grooving, although I did feel at times the orchestra overpowered the vocals..

The late great legend Michael Bennett, fresh from the phenomenon that was “A Chorus Line,” directed and choreographed the original “Dreamgirls” 43 years ago, and Kaye honors that legacy with vigor.

Because of the heady mix of achieving their dreams in Act One, there is a believable joy throughout – until Effie’s heartbreaking personal and professional betrayal, although her erratic unprofessionalism and off-putting diva behavior precipitates her inevitable downfall.

Aisha Jackson and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The cool and refined Deena becomes the more ‘presentable’ leader of the group, now known as Deena Jones and the Dreams, and is everything hot-headed Effie lacks, so Act Two interjects more of the pitfalls of fame and personal strife as fortunes run high and low.

While the cliched backstage drama also features Effie’s redemption, karma for Curtis, and Jimmy’s career tumbles, the girls’ can’t stop the detrimental cracks in their upward direction.

The consequences of single-minded success are obvious, and the book isn’t as strong in this snapshot, and the pacing sags midway.. You can see the strain of having everything tied up neatly on the page, yet the resolution feels earned for the principals, if rushed..

“And I Am Telling You…” isn’t Mann’s only slam dunk, for her contrite “I Am Changing” and her pensive “One Night Only” soar.

And darn if that long-time-coming reunion doesn’t produce a lump in the throat!

Among noteworthy elements to emphasize, Dobkowski’s elegant interpretations of retro fashions deserve their own standing ovation. His work always suits the characters perfectly, and he’s won two St. Louis Theater Circle Awards, for “Seussical” and “The Wiz.” He is in his 11th season, and brings out a shiny, happy vibe to everything he produces. Remember his jubilant “Sister Act” from last season?

From left: Courtnee Carter, Aisha Jackson, Natalie Kaye Clater and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

And Haynes’ scenic design is so fluid, one must salute his depth – briskly moving scenes in Chicago, Detroit, St. Louis, Miami, Las Vegas, and other cities with remarkable dexterity. Theater Circle winner for “Smokey Joe’s Café,” he created the landmark set for last season’s “Chess.”

One doesn’t achieve this slick sense of time and place with its distinctive sound and fury without prioritizing collaboration. That is what sets this show apart from a typical “Behind the Music” documentary, with a cast and crew determined to razzle dazzle us in a most exuberant triumph.

Come for THE SONG, stay for the teamwork.

From left: Courtnee Carter, Aisha Jackson and Natalie Kaye Clater in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The Muny presents “Dreamgirls” at 8:15 p.m. nightly June 27 – July 3 on the outdoor stage in Forest Park. The run time is nearly 2 hours and 30 minutes, including intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

By Lynn Venhaus

Dream roles, meet dream cast. The highest caliber of vocal excellence on display cannot be understated, for this third mounting of “Les Miserables” at the Muny shimmers with glorious voices.

In the iconic roles of fugitive ex-convict Jean Valjean and his relentless pursuer Inspector Javert, Broadway veterans John Riddle and Jordan Donica surpassed their powerhouse reputations with a fiery tango as the obsessive adversaries.

Riddle, a Muny standout who won the St. Louis Theater Circle Award last year for his tour de force in “Chess,” and Donica, Tony Award nominee as Lancelot in ‘Camelot,” wowed in all aspects.

Let’s put it this way: If they sang the words to websites’ terms and conditions, you’d listen intently to every phrase before clicking ‘accept.’

With his pure, exquisite tenor and nuanced falsetto, Riddle’s stunning rendition of the showstopping emotional ballad “Bring Him Home” ranks among the most heartfelt Muny moments of all time, and his impassioned “Who Am I?” was breathtaking. His performance had to have pierced everyone’s hearts all the way to the back row.

Jordan Donica, John Riddle. Photo by Phillip Hamer.

Donica’s rich baritone intensity on “Stars” and “Soliloquy” depicted Javert’s inner turmoil.

They are the lightning to the chorus’ thunder, as the sprawling ensemble’s lush harmonies soared into the beautiful summer night of June 18.

And the Muny audience – 7,700 on Tuesday – leaned in, its affection palpable. (And more than a few misty eyes noticeable). You could have heard a pin drop during its 2 hours and 45 minutes runtime.

The epic scope of this stirring sung-through adaptation of Victor Hugo’s 1,463-page novel from 1862 on post-Revolutionary France makes for a challenging and daunting production, especially for a Muny-sized version.

With its massive cast, towering multi-level set revolving on the turntable, and complex story to tell, the revered classic requires everyone involved to be at the top of their game.

While a show of this magnitude isn’t without flaws, the achievement of pulling off one of the grandest musicals ever represents the Muny at its finest. Previous acclaimed productions were in 2007 and 2013, and that one remains burned in my brain as among the best.

John Riddle sings “Bring Him Home.” Photo by Phillip Hamer.

First, this is “Les Miserables.” Beloved. Adored. Claude-Michel Schönberg’s and Alain Boublil’s musical sensation started a landmark world-wide run in London in 1985 before it came to Broadway in 1987, packing houses for 16 years. It was revived in 2006 and 2014.

Over three decades, it has been seen by 130 million people in 53 countries and is the sixth longest-running Broadway musical of all-time. Currently, a U.S. national tour is underway.

Fun fact: This company’s director Seth Sklar-Heyn, music director James Moore and choreographer Jesse Robb are the core artistic team behind that current tour. Sklar-Heyn is also executive producer of all “Les Miz” companies in the U.S., on behalf of the legendary impresario Cameron Mackintosh.

The basics are thus: French peasant Jean Valjean served nineteen years for stealing a loaf of bread for his sister’s starving child, and breaks his parole. He is aided by a merciful bishop in Digne (Ken Page) and makes a fresh start, but is hunted by Javert.

Redeeming himself, he has assumed a new identity as Monsieur Madeleine, a wealthy factory owner and mayor of Montreuil-sur-Mer.

Eventually, a group of young idealistic students attempt to overthrow the government at a barricade in Paris. It’s 1832 and the city is in upheaval because General Lamarque, the only official who seems to care about the poor, is about to die.

The Paris Uprising battle scenes are powerful and dramatic, crystallizing several of the plot points.

Emily Bautista in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

There are many moving parts, by virtue of the dense story’s blend of revolution and romance, good and evil. While I’m a fan, some of the subplots can be confusing if you aren’t overly familiar with the source material.

A prerequisite is reading the show synopsis, which takes up a full page in the Muny program. Trust me, you need it. It can be overwhelming for newbies and if it’s been awhile since you saw it, doesn’t hurt to refresh.

It races through many years and multiple locations, so buckle up. One needs to focus on who is propelling the plot forward, and there are times when you can’t necessarily spot that character right away because of the busyness.

For instance, I don’t think this staging made Fantine’s predicament clear in a crowded factory scene, nor was an artistic choice for Javert’s death (spoiler alert) as effective as what I’ve seen before.

Photo by Phillip Hamer.

No matter if it’s your second time or 12th, there are certain expectations every fan has. Not all interpretations can satisfy pre-conditioned notions in one’s head, but no one can quibble with the enthralling vocals.

While most shined in their solo moments, the actors’ emoting varied. Fantine has limited time to establish her plight as a desperate and destitute single mom, although Teal Wicks superbly delivered a touching “I Dreamed a Dream,” if not nailing the role’s set-up.

Red Concepcion and Jade Jones as the Thenardiers were not as funny as they could have been, for a show in need of the broad comic relief that “Master of the House” and “Beggars at the Feast” provides. They were less buffoonish and more pathetic.

A major crowd-pleaser was scene-stealer Will Schulte as the streetwise urchin Gavroche, endearing in his number “Look Down.” Another youngster, Kate Kappel, sweetly sang “Castle on a Cloud” as hopeful Little Cosette.

The young performers acting as rebels were among the most impressive – especially poignant Emily Bautista as the tragic Eponine and James D. Gish a revelation as devoted Enjolras.

She tugged at our heartstrings with “On My Own” and Gish was all vigor and verve in his zealous commitment to the cause in “Red and Black,” “Do You Hear the People Sing?” and the rousing showstopper “One Day More.”

From left: Noah Van Ess, Dan Klimko, Peter Neureuther and the company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Cosette, Fantine’s daughter now living with Valjean, and student leader Marius’ love story is told ardently – with Gracie Annabelle Parker and Peter Neureuther the dashing couple. Marius’ mournful “Empty Chairs at Empty Tables” gets to me every time.

The company of 77 sings their hearts out. Twenty members of the St. Louis Symphony Chorus — soprano, alto, tenor and bass-baritone — joined 35 professional actors and 22 local youth performers on stage (and backstage)

The sumptuous, assured musical direction and conducting by virtuoso James Moore is significant. Working with Schonberg’s music score and lyrics by Herbert Kretzmer, from original French text by Alain Boublil and Jean-Marc Natel, he is using new orchestrations from Christopher Jahnke, Stephen Metcalfe and Stephen Brooker.

Moore’s body of work – 12 shows at the Muny– has been distinctive, bringing out the shadings in Stephen Sondheim’s “Sweeney Todd,” “West Side Story” (fervent Leonard Bernstein-level!)  and “Gypsy,” but his efforts leading an epic “Les Miz” delivers an extraordinary aural treat. Special mention of associate music director Michael Horsley whose contributions are important.

And the exceptional 25-member orchestra, whose musicality is peerless, brings out all the feelings in this music. As a native of Belleville, Ill., I must mention recently deceased Bellevillian Vicky Smolik, who played trumpet in the Muny orchestra for 45 years. This opening production is dedicated to her memory.

Photo by Phillip Hamer.

From the bombastic opening chords and the score’s rich repetitive motifs, through the robust anthems, yearning expressions and tender love songs, the orchestra has produced numerous chill-inducing moments.

DirectorSklar-Heyn has made sure a zippy pace is maintained. Praise must be heaped on the stage manager Willie Porter and her three assistant stage managers Sarah Azizo, Eric Elz, and Joshua Vinik for the smooth flow of action.

The ace technical wizards included lighting designer Jason Lyons, scenic designer Ann Beyersdorfer, video designer Shawn Duan, and sound designers John Shivers and David Patridge.

Gail Baldoni’s costume design was mostly gritty, with class distinctions for the lavish wedding attire, nobility and military uniforms, and Ashley Rae Callahan’s wig design coiffed the characters’ appropriately.

“Les Miz” celebrates courage, conviction and community, and its recurring themes are timeless. You can see why it endures and feel how passionate both the performers and the audience are about it in this Muny opener to the 106th season.

The Muny presents “Les Misérables” at 8:15 p.m. nightly, June 17-23 on the outdoor stage in Forest Park. The show is 2 hours, 45 minutes, with an intermission. For more information, visit www.muny.org.

Teal Wicks in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer