When Disney’s Frozen opened Sunday night on the James S. McDonnell Stage in Forest Park, the production debuted cutting-edge digital mapping projections, lasers and other technologies never before used at The Muny.
These stunning, cinematic innovations blend seamlessly with The Muny’s three existing LED walls, hand-painted scenery and other more traditional storytelling techniques to transport theatregoers to the kingdom of Arendelle.
The Muny premiere of Disney’s Frozen is presented by Edward Jones and runs through July 14. Performances begin at 8:15 p.m. nightly.
“This is Muny history — it’s another game changer for the kind of storytelling we’re able to do,” said Muny Artistic Director & Executive Producer Mike Isaacson. “I’m so grateful to our lighting department, led by Rob Denton, our set designers and our creative team for their two-year effort on this production. I’m gobsmacked by the results. St. Louis must come see this magical creation.”
Digital mapping projection transforms ordinary surfaces into dynamic display areas by projecting video or other visual content onto them. For Disney’s Frozen, four 40,000-lumen laser projectors at the back of the theatre are used to create snow, ice, wind and other effects on the booms, stage floor and other pieces of scenery designed by Tijana Bjelajac. The two sets of booms — The Muny’s handpainted backdrops that open and close — are 72 feet wide and 23 feet high.
Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer
“On a Broadway show, projectors are typically about 20,000 lumens,” said Rob Denton, lighting department lead at The Muny. “But these projections are traveling a distance of about 400 feet, and the images are being laid on top of one another to achieve the intensity we need to be visible before sunset.”
The use of projections at The Muny has been in the works for about two years, and the technology is integrated with existing onstage automation systems — the digital images are able to track the movement of the booms, the turntable and other elements.
In addition to projections, four powerful lasers — positioned onstage and focused on structures at the back of the theatre — help to underscore key magical moments in the production. These lasers are significantly brighter than those typically seen in theatrical or concert settings.
Because The Muny sits beneath multiple flight paths for nearby airports, the use of lasers required approval from the Federal Aviation Administration.
“We’ve known for a few years that Disney’s Frozen was coming down the pipeline, so we took steps early to hit the benchmarks we needed to be able to pull this off,” Denton said. “It’s exciting that we’re ready to make that leap and that we have the right production to debut this technology.”
The company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer
The lighting/video team for the Muny production of Disney’s Frozen includes Jason Lyons (lighting designer), Kylee Loera (projection/video designer), Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).
Disney’s Frozen is led by John Tartaglia (director). The Muny artistic staff includes Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production).
Projectors were rented from St. Louis-based Gateway Studios & Production Services. Lasers are rented from Squeek Lights.
The successful introduction of projections and lasers in Disney’s Frozen opens the door to incorporate this technology in future Muny productions.
Over the years, The Muny has continually evolved with the times and technology — from pioneering a revolutionary 48-foot turntable in 1930 to installing its first LED wall in 2012, and culminating in a 2018 stage rebuild that introduced three LED walls, automation tracks to move scenery, and a cutting-edge lighting system designed to deliver both grand spectacle and intimate storytelling. In 2024, the sound system was upgraded, ensuring that each note of every show is crystal clear — from the boxes to the free seats.
Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
About Disney’s ‘Frozen’
Full of magic and humor, Disney’s Frozen features beloved songs from the Oscar-winning 2013 film, along with a dozen new songs written for the stage. In the kingdom of Arendelle, sisters Anna and Elsa grow increasingly distant. When Elsa becomes queen and her hidden powers spiral out of control, she flees, plunging the kingdom into an eternal winter. Determined to bring Elsa home to the castle, Anna embarks on an epic adventure with friends. It’s a powerful tale of sisterhood, acceptance and the meaning of true love. Disney’s Frozen includes music and lyrics by Kristen Anderson-Lopez and Robert Lopez, with a book by Jennifer Lee.
Season 107 at The Muny also includes Evita (July 18-24), Dear Evan Hansen (July 28-Aug. 3), La Cage aux Folles (Aug. 8-14) and Jersey Boys (Aug. 18-24).
Single-performance tickets start at just $21 and are on sale now at muny.org or metrotix.com, by calling (314) 534-1111 and at the Muny Box Office, located at 1 Theatre Drive in Forest Park.
A 20% group discount is available for parties of 15 or more. To start the free reservation process, visit muny.org/groups or call (314) 595-5708.
Visit muny.org/frozen to read content notes and more for Disney’s Frozen; watch In Focus , a Muny original series; and hear Muny Unscripted, a new podcast available exclusively on Spotify.
About The Muny
Now in its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is 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, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
With groundbreaking visual effects and enough eye-popping sparkle to elicit thunderous roars, the Muny premiere of Disney’s “Frozen” delivers a magical spectacle.
Master storyteller John Tartaglia reimagined the stage musical to capture more of the animated film’s childlike wonder, and the Muny manufactured snow, and incorporated lasers, video projections and resplendent radiance in unprecedented ways
Elsa’s exhilarating rendition of the signature bestselling award-winning song, “Let It Go,” is achieved in such a dazzling presentation that it should induce chills. The Muny’s team has topped themselves, blending in visual storytelling through digital technology as Elsa builds her ice castle and determines to set her own course.
Feeling an electric surge, the awestruck audience reacted enthusiastically to the spellbinding number with loud cheers and a buzzy wowed ovation. Talk about an extraordinary Muny moment – and what a powerhouse vocalist Hannah Corneau is!
Maliah Strawbridge (left) and Isla Turner in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
As a beloved director and often go-to for the annual kid-friendly show (last year’s shimmering “The Little Mermaid,” 2023’s grand “Beauty and the Beast,” and 2022’s sweet “Mary Poppins,” among others), Tartaglia also captivates by drawing out the heart and humor as part of the razzle-dazzle.
To bring this fantasy-adventure to life, the Muny’s stars shine as bright as the icy kingdom of Arendelle, where princesses Elsa and Anna were forced to be separated because of the oldest sister’s unexplained chilling powers she can’t control.
The Oscar-winning film that became an instant Disney classic in 2013, loosely based on Hans Christian Andersen’s 19th century Danish fairy tale “The Snow Queen,” was instead about the power of sisterly love, self-acceptance and facing your fears. Animator and screenwriter Jennifer Lee deservedly won an Oscar for her take, and was Tony nominated for the book.
The stage adaptation opened on Broadway in 2018, its run cut short by the pandemic in 2020. While the film featured seven and a half songs, the original award-winning songwriting team of Kristen Anderson-Lopez and Robert Lopez wrote 14 new ones for this version.
Bobby Conte, Patti Murin, and Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
A standout last year as Hodel in “Fiddler on the Roof,” Corneau is luminous as conflicted Elsa while Patti Murin demonstrates her flair for comedy as vivacious Anna, recreating the role she originated on Broadway.
They offer a portrait of towering female strength and powerful connection, and blend beautifully in “For the First Time in Forever” and “I Can’t Lose You.” Both can belt, adding emotional intensity.
Equally enchanting are the spunky adolescents playing young Elsa and Anna – Maliah Strawbridge and Isla Turner, themselves rays of sunshine who perform “Let the Sunshine In,” “A Little Bit of You,” and “Do You Want to Build a Snowman” with aplomb.
Now grown and facing an eternal winter, newly crowned Queen Elsa is frightened and in hiding while loyal sister Anna searches for her. The youngest sister teams up with a rugged mountain man Kristoff, his faithful reindeer Sven, and the adorable snowman Olaf. It’s easy to warm up to these characters.
From left: Patti Murin, Jared Gertner, Ryan Lambert and Nathaniel Mahone in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
The too-good-to-be-true charismatic Prince Hans is played by Bobby Conte, whose luxuriant tenor is always memorable. It’s a welcome return after some big shows on the Muny stage – as Enjolras in 2013 “Les Miserables,” and Bob Gaudio in 2018’s “Jersey Boys,” and Edgar Rutledge in “1776,” and “Paint Your Wagon,” both in 2019, before appearing on Broadway as PJ in the gender-flipped revival “Company” and Cousin Kevin in last year’s revival of “The Who’s Tommy.”
His introduction is the charmer “Hans of the Southern Isles” and then engaging with smitten Anna in “Love Is an Open Door,” plus the darker “Monster” and “Colder by the Minute.”
High-spirited Jelani Remy makes a noteworthy debut as Kristoff, both charming and funny. He buoyantly sings “Reindeer(s) Are Better Than People” with Sven and “What Do You Know About Love?” with Anna.
The wizardry of Eric Wright at Puppet Kitchen means that Andrew A. Cano as Sven and Kennedy Kanagawa as comical Olaf endear themselves to young and old alike, stealing a scene or two. Olaf’s anthem “In Summer” is as joyful as that lovable warm hugger is.
Jelani Remy in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
Scenic designer Tijana Bjelajac has created a winter wonderland that glistens with blue and silver backdrops, and you also feel like you are in the fresh mountain air – in the July summer heat! (What magic trick or illusion did she use? Remarkable!). She also fashioned a palatial living space as well.
Those also sprinkling the pixie dust were video designer Kylee Loera, whose work here is her finest hour, topping her previous fine achievements; lighting designer Jason Lyons’ exquisite illuminations – and Northern Lights; and sound designers David Patridge and John Shivers, whose work never sounded better.
The lighting/video team included Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).
Costume designer Robin L. McGee, who has put her award-winning stamp on the past two “The Little Mermaid” productions as well as “Mary Poppins,” “Aida,” and “The Beauty and the Beast,” has an affinity for dressing Disney princesses, aided by fine work from wig designer Ashley Rae Callahan.
Elsa’s glittery ice blue satin gown is a stunner. Working with a primary palette of blues and greens, McGee and her team have crafted elegant ballgowns, warm winter wear, royal finery, military uniforms, townsfolk attire, and the naturalistic “Hidden Folk.” Plus hats, gloves, mittens, scarves and coats.
The Hidden Folk are based on Scandinavian folklore – “huldufolk,” and are mystical, animalistic creatures, led by parental figures Grand Pabbie (Chris Stevens) and Bulda (Cecilia Snow). In the stage version, they replaced the rock trolls from the film.
Jelani Remy (center) and the company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer
Also standing out are hilarious Jared Gertner as Duke of Weselton, a cross between Austin Powers and Dr. Evil, and Ann Sanders and Jonah D. Winston regal as Queen Iduna and King Agnarr of Arendelle, Anna and Elsa’s parents.
The vibrant ensemble is joined by a 13-member teen ensemble and a 29-member youth ensemble. Tartaglia knows how to stage a large group and make it fluid. After all, he managed to place 85 people in a robust “Be Our Guest” two summers ago, which had, in addition to oversized cutlery, fireworks.
Bobby Conte and Patti Murin in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel
He also directed exceptional versions of “Tarzan,” “Seussical” and “Annie,” and starred as the Cat in the Hat, the Genie in “Aladdin,” and won the St. Louis Theater Circle Award for Supporting as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” The actor-writer-director-puppeteer could survive on his wit alone but thank goodness he knows how to extract the very best from everyone involved.
(Casting update: As of July 8, Tartaglia has taken over the role of Oaken, who leads the ensemble in ‘Hygge!,” a musical number opening the second act as a replacement for the original actor who is recovering from an injury.).
Darryl Archibald, who flawlessly conducted a 32-piece orchestra for last season’s triumphant “Fiddler on the Roof,” returns to bring out this score’s velvety textures. He even wrote a special overture that is heard first at the Muny.
Some of the musical numbers felt like superfluous padding when I saw the (underwhelming) national tour at the Fox in November 2022. However, choreographer Patrick O’Neill has injected more whimsy and playfulness, and the dance numbers are entertaining overall.
Special mention to the team guiding the magic-making — Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production).
I felt like a child again, catching a snowflake in my hand, and taking in the frosty opulence, the wonderment of the virtuoso creative contributions and the cast’s splendid vocal strengths.
The Muny’s marvel of next-level tech meets old-fashioned storytelling, “Frozen” will melt hearts and can bring out the kid in all of us.
Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer
The Muny presents “Disney’s Frozen” July 6-14 at 8:15 p.m. nightly on the outdoor stage in Forest Park. The show is 2 hours, 20 minutes with intermission. Concessions are cashless payments.Preshow entertainment starts at 6:45 p.m. The theatre opens at 7:30 p.m.For more information, visit www.muny.org
The company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“Come From Away” wraps you in a warm hug and doesn’t let go.
Brimming with heart, humor and humanity, the 2017 musical arrived for its highly anticipated Muny debut with all the feels intact, making clever use of the expansive stage and its dynamic ensemble demonstrating the extraordinary power of kindness during adversity.
This deeply personal, emotionally complex story has resonated strongly with theatregoers, and the Muny’s customary attention to casting and execution put that at the forefront. The first-rate cast projects enthusiasm and affection for this material from start to finish, buoyed by the creative team’s excellence and the audience’s embrace.
The 100-minute show focuses on the town of Gander, Newfoundland, and its hospitable response to 38 planes landing at their airport with 6,122 passengers and 473 crew on Sept. 11, 2001.
After the terrorist attacks on the World Trade Center and the Pentagon, the FAA closed the US airspace and Operation Yellow Ribbon began – a coordinated effort to accommodate diverted flights. Gander was among the towns helping, including nearby Lewisporte and Appleton.
The company of the Muny production of “Come From Away.” Photo by Phillip Hamer
Gander, a Canadian community of about 9,600 and home to the Gander International Airport, opened their homes and converted schools and community buildings into shelters, becoming a beacon of light in the darkest of times.
In the U.S. and for those affected elsewhere, it was an anxious and uncertain period. The fearful passengers had to stay on planes for many hours, without any information other than it was an emergency, until they were officially released and herded into buses with only their carry-ons.
Based on these real people’s stories, the husband-and-wife team of Irene Sankoff and David Hein vividly wove acts of compassion, listening, laughing, hospitality and fellowship into a heart-tugging narrative to accompany their music and lyrics.
They also addressed challenges like culture clashes and language barriers, and how people worked through tense situations.
They focused on a rerouted American Airlines flight from Paris headed to Dallas. Because of Gander’s generosity to strangers who couldn’t leave for five days, lasting friendships formed, resulting in a 10-year reunion in 2011, where the writers interviewed those in attendance.
Heidi Blickenstaff in the Muny production of “Come From Away.” Photo by Phillip Hamer
“Come from Away” truly is a remarkable story, with distinct characters that touch our soul. Thus, a theatrical gem was born with tender loving care – now the longest running musical ever from Canada. The Broadway run, interrupted by COVID, played to sold-out houses for 1,670 regular performances and 25 previews from February 2017 to October 2022.
Nominated for seven Tony Awards, including Best Musical, Christopher Ashley won for directing. (“Dear Evan Hansen” was the big winner that night and will debut at the Muny in July).
A trio from last year’s revered classic “Les Miserables” has returned to craft another powerful tale of enduring connection – director Seth Sklar-Heyn, choreographer Jesse Robb (whose mother was born and raised in Newfoundland), and costume designer Gail Baldoni.
Their meticulous work, along with exemplary essentials from scenic designer Edward E. Haynes Jr., video designer Mike Tutaj, lighting designer Rob Denton, and wig designer Kelley Jordan, created a vibrant tableau that immediately drew the large Muny crowd into the Far North.
Haynes’ ingenious stairs-jet configuration rotated, using the turntable to swiftly create the necessary spaces. Tutaj’s video work uses news footage from Rogers TV and suggests locations like Tim Horton’s and Trailway Pub, to add awareness of time and place. And Denton’s superb lighting gave the show its usual intimate feel.
Alan H. Green in the Muny production of “Come From Away.” Photo by Phillip Hamer
As they seamlessly portray multiple roles – both townsfolks and ‘plane people,’ the players talk directly to us. The proud islanders start their routine on a Tuesday morning, introducing themselves in a chill-inducing “Welcome to the Rock.”
“You are here at the start of a moment…”
Our reaction is immediate, taking us right back to that frightening morning – when we heard, what we saw, how we felt – if you experienced it. If not, its tone is evocative of that tragic day and the aftermath.
Muny stalwart Adam Heller is well-suited to play the take-charge mayor, Claude Elliott, among other characters, leading the opening number and the raucous “Screech In” (involving kissing a codfish and downing rum shots).
Looking back, he tells the audience: “Tonight we honor what was lost, but we also commemorate what we found.”
Abigail Isom and Adam Heller in the Muny production of “Come From Away.” Photo by Phillip Hamer
With her powerhouse mezzo-soprano, Heidi Blickenstaff soars as the trailblazing pilot Beverley Bass in the signature song “Me and the Sky.” Impressive as mom Mary Jane in the national tour of “Jagged Little Pill” (including the Fox in January 2024), she is captivating as Beverley, whose passion for aviation drove her career but she now worries that her workspace has become a weapon.
The dozen performers, appearing like regular folk, clearly delineate multiple characters, whether through accents, wardrobe pieces or personality shifts.
Memorable “come from aways” include two-time Grammy winner Tamika Lawrence as Hannah O’Rourke, who is frantically trying to reach her son, a New York firefighter. Her solo, “I Am Here” is heart-breaking.
Stellar veteran performers John Bolton and Ashley Brown are a delightful duo as the British bachelor Nick Marson and divorced mom Diane Gray, whose budding friendship might be more.
A gay couple, “the two Kevins” – Jason Tam as Kevin Tuerff and Trey DeLuna as Kevin Jung, who seemed to be at odds, disagree often. One’s all in for being a good sport, and the other is not comfortable in the public situation.
Trey DeLuna and the company of the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
DeLuna, who was in the national tour, delivers a gut-wrenching turn as Egyptian chef Ali, who is under suspicion as a Muslim, and prejudice grows.
One of the most moving numbers is “Prayer,” showing travelers practicing their faith – Jews, Christians, Catholics and Muslims.
Alan H. Green is comical as Bob, who is confused by all the nice emanating from the locals. He also plays a pilot and an African traveler who can’t speak English. If he looks familiar, in St. Louis, he starred in “Sister Act” at the Muny and in “The Karate Kid” at Stages.
On the home front, total pro Zoe Vonder Haar is ideal as good-natured Beulah Davis, one of the major caregivers. And she doubles as a nervous flyer who gets tipsy and loudly sings “My Heart Will Go On” from “Titanic,” which they watched as an in-flight movie.
Likable Jacob Keith Watson smoothly transforms into the police constable Oz Fudge, a bar owner, Jewish rabbi, a surly traveler and others.
From left: Zoe Vonder Haar, Jacob Keith Watson and Jason Tam in the Muny production of “Come From Away.” Photo byPhillip Hamer
Seasoned Muny vet Abigail Isom is the amiable TV news reporter Janice, whose first day on the job is 9-11, and easily transitions to a freaking out flight attendant. She also plays a store clerk, getting laughs with: “Thank you for coming to Walmart. Would you like to come back to my house for a shower?”
Andrea Burns is the pragmatic SPCA representative, taking care of 19 animals in cargo cages, including endangered Bonobo chimpanzees that are headed to the Columbus Zoo in Ohio.
Dialect coach Joanna Battles helped the cast become Canadians with a specific accent, and their work was impeccable.
The teen ensemble acting as townsfolk and travelers include Chloe Jennings, Grant LaMartina, Annakait Peters-Bahkou, Drew Mathers, Jarod Rhodes, Jameson Roam and Will Schulte.
Standby for the women is Leah Berry and for the men, Spencer Davis Milford.
From left: Ashley Brown, Zoe Vonder Haar, John Bolton and Adam Heller in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
The vocally strong cast harmoniously blends together in the songs that are an integral part of the storytelling – “38 Planes,” “Blankets and Bedding,” “28 Hours/Wherever We Are,” “Darkness and Trees,” “On the Edge,” “Stop the World,” “Somewhere in the Middle of Nowhere,” and “Something’s Missing” – expressing the necessary emotions.
The unifying score reflects the cultural heritage of Newfoundland – using Celtic rhythms and traditional folk, and fuses neatly with emotive modern musical theatre elements.
The robust orchestrations are by Aaron Eriksmoen, with arrangements by Ian Eisendrath, incorporating a fiddle and even an “ugly stick” (household items) on stage.
The Muny orchestra, energetically led by music director Evan Roider, captures the score’s unique sound, adding a harp and whistles to its instruments.
The first national tour came to the Fox Theatre in May 2019, and a return weekend engagement followed in 2023, striking a chord (blubbered throughout, and I wasn’t alone).
With multiple cameras, Apple TV+ filmed the Broadway cast in front of a live audience, including some 9-11 survivors and frontline workers, on Sept. 11, 2021, commemorating the 20th anniversary. It has been available for streaming since Sept. 10, 2022.
Tamika Lawrence in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel
While 9-11 was 24 years ago, that time is etched into our collective memories. After a touching brief display of unity and flag-waving, today’s America is very different.
We now have a divisive political climate that’s mean-spirited and worrisome. Then we were isolated during a global pandemic that impacted our lives, an ever-mutating virus that killed more than 7 million people. More short fuses, more fear of others, anger and outrage are prevailing attitudes.
Recently, in St Louis, the deadliest tornado since 1959 tore apart neighborhoods. Watching a community come together on the Muny stage recalled empathetic responses of the past six weeks here, for people stepped up when called upon to do so.
We’ve been through a lot – as a country and as a region. Yet, glimmers of hope emerge, along with everyday heroes, and it’s gratifying to feel the uplift that “Come from Away” provides.
Mission accomplished. Triumphing with its affecting production that appreciative audiences won’t soon forget, the Muny reminds us why our shared experience is what live theater does best.
The Muny presents “Come from Away” nightly at 8:15 p.m. from June 26 to July 2 at the outdoor theatre in Forest Park. The production is 1 hour, 40 minutes without intermission. For more information, or for tickets, visit www.muny.org
The company of the Muny production of “Come From Away.” Photo by Phillip HamerThe company of the Muny production of “Come From Away.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Before the June 28 performance of Come From Away — the breathtaking musical based on true events in Gander, Newfoundland, in the aftermath of 9/11 — Muny audiences will hear directly from one of the nearly 7,000 airline passengers who found themselves grounded in the tiny Canadian town on an island in the North Atlantic.
Kevin Tuerff, whose real-life experience inspired the character Kevin T. in Come From Away, will speak onstage at the Muny’s Purina Plaza. The preshow event begins at 6:15 p.m. and is open to all ticketholders for that evening’s performance.
Tuerff will share his firsthand account of being stranded in Gander, reflect on the experience of having his story portrayed onstage and share stories from his memoir, Channel of Peace: Stranded in Gander on 9/11.
He is also the founder of Pay It Forward 9/11, a nonprofit dedicated to encouraging kindness and community service in memory of the day’s tragic events. Learn more at payitforward911.org.
Pay It Forward Community Drive
Inspired by the kindness of the people of Gander, The Muny will host a Pay It Forward Community Drive, a MunyCares initiative benefiting the International Institute of St. Louis. During the run of Come From Away, patrons are invited to donate new, unopened hygiene items, cleaning supplies and other essential products. Donations will be accepted at four locations: the Muny Box Office, Purina Plaza, the Lower Muny Lot and Kooyumjian Family Plaza. Contributions can also be made online via a Walmart registry.
The Muny production of Come From Away runs June 26-July 2, with performances at 8:15 p.m. nightly.
Single-performance tickets start at just $21 and are on sale now at muny.org or metrotix.com, by calling (314) 534-1111 and at the Muny Box Office, located at 1 Theatre Drive in Forest Park.
A 20% group discount is available for parties of 15 or more. To start the free reservation process, visit muny.org/groups or call (314) 595-5708.
Visit muny.org/comefromaway to read content notes and more for Come From Away; watch In Focus, a Muny original series; and hear Muny Unscripted, a new podcast available exclusively on Spotify.
Find photos, show logos and other promotional assets in the Muny Press Room.
About The Muny
Now in its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is 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, and follow along at facebook.com/munytheatre, instagram.com/themuny and youtube.com/themunytv .
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A spirited Muny debut that is tailor-made for that grand stage, “Bring It On: The Musical” is a marvel of motion that takes place in the cutthroat world of competitive cheerleading.
An engaging combination of original music, exhilarating dance, spunky multi-skilled performers, slick craftsmanship and a relatable finding-your-place story will win you over.
The sociable story is a teen rivalry set in two diverse socio-economic high school cultures that takes a page from “Legally Blonde” and “Mean Girls,” among others, The popular 2000 movie that inspired it starred Kirsten Dunst and Gabrielle Union, grossed $90 million worldwide and sparked five direct-to-video sequels and a TV movie.
Fun fact: Screenwriter Jessica Bedinger pitched the idea as “Clueless” meets “Strictly Ballroom” after becoming obsessed with cheer competitions on ESPN and having experience as a former music journalist covering hip-hop artists.
Taylor Sage Evans, Kennedy Holmes and Jonalyn Saxer. Photo by Phillip Hamer.
Full of pep, elaborate steps and impressive biceps, the acrobatic achievements are quite a spectacle, and 16 of the nation’s most elite college cheerleaders from the University of Kentucky are part of the energetic ensemble. The school has won 24 national championships.
Count me impressed. Their gasp-inducing athletic leaps, lifts and tumbles choreographed by cheer consultant Ryan Martin O’Connor, Kentucky head coach, combined with Jennifer Weber’s high-octane choreography, are thrilling.
While cheerleaders are a staple of film narratives since the 1950s, it is rarely the focus of traditional musical theater.
Enter a team of Broadway heavyweights who saw its appeal through a different lens – adding a hip-hop beat to a standard musical format, with other modern flourishes. Tony winners Lin-Manuel Miranda and Tom Kitt teamed up for the music, Miranda and Tony nominee Amanda Green collaborated on the lyrics, and Tony winner Jeff Whitty wrote a very funny libretto.
The Truman squad of Regine Sophia, Saxer, Katie Riedel and Evans. Photo by Phillip Hamer.
Back then, Mike Isaacson, the Muny’s executive producer and artistic director, co-produced the show with Kristin Caskey for Fox Partners, which premiered in Atlanta in 2011 and earned a 2013 Tony Award nomination for Best Musical and so did choreographer Andy Blankenbuehler, who also directed.
Missouri native Taylor Louderman and Adrienne Warren, who would later win a Tony as Tina Turner, starred as Campbell and Danielle, Jason Gotay was Randall, and Ariana de Bose made her Broadway debut as Nautica.
When it played at the Fabulous Fox in spring 2012 before its Broadway engagement, I was surprised at how enjoyable it was. With its crisp and snappy dance moves and lively performances, it seemed like a perfect fit for stages.
While a challenging commitment, the show has transferred seamlessly to the Muny’s canvas because of the entire creative team’s dedication to getting it right, from Denis Jones’ briskly paced direction to Caite Hevner’s imaginative video designs that add much to the storytelling.
Kennedy Holmes (left) and Jonalyn Saxer in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Jones, who has helmed 11 shows at the Muny and won three St. Louis Theater Circle awards, has a knack for presenting spry, ebullient shows performed gracefully with remarkable precision.
However, this show is fortified by perky performances and a perennial thoughtful message about friendship. What’s more important than winning? Purpose, self-worth and valuing true-blue relationships.
Saxer is Campbell, a sweet but driven cheerleader who is popular at Truman High School. Her main goal is to be captain and lead the team to Nationals. However, her dreams are dashed when she must transfer high schools because of redistricting.
She’s now at Jackson High School, where the cheerleading squad was disbanded. She convinces some skeptical students that competitive cheerleading would be their ticket to bigger dreams and more opportunities.
Katy Geraghty (center) and members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
She confidently delivers ballads, such as “What I Was Born to Do.” But when she has doubts or shows determination – “One Perfect Moment,” “What Was I Thinking” or even crazy-worry “Something Isn’t Right Here,” that’s when her character’s colors come out.
The clever Whitty, whose irreverent humor helped create “Avenue Q,” has altered the original conflict, dropped and brought in characters and injected Millennial speak.
He added a ruthless schemer “All About Eve” subplot, or more appropriate, “All About Eva,” a two-faced sophomore who masterminds her ascension into cheerleading royalty while orchestrating others’ demise.
Making her Muny debut as villainous Eva, Taylor Sage Evans, who was a standout as the replacement Anne Boleyn in the national tour of “Six” during the Fabulous Fox run in January, is the bouncy plastic blonde wannabe. She reveals her true colors in “Killer Instinct” and “Eva’s Rant.”
From left: Kennedy Holmes, Jonalyn Saxer, Aj Paramo and Ayla Ciccone-Burton in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
While there is much fresh talent to applaud, one of the obvious hallmarks of Muny summers are returning artists who have come back again and again to our “alone in its greatness” experience.
If actors describe Muny shows as “summer camp,” then “Bring It On” is a triumphant homecoming for Kennedy Holmes, who became a star on that stage over the past 10 years.
A Muny Kid, her big break came as Little Inez in “Hairspray” in 2015, and in recent years, she was in “Dreamgirls” and “Beautiful: The Carole King Musical” (as Little Eva). At age 14, she was an early standout on Season 15 of “The Voice” in 2018, but at the finale, came in fourth – the youngest finalist ever (she was robbed!). She’s been in demand ever since.
Jonalyn Saxer and Bryce Williams in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Now 20 and a student at USC, she’s a poised leading lady as Danielle, the ‘crew’ dance team chief at Jackson High. Talk about a Muny moment! It’s so gratifying to see her easily slip into this role that requires her to be a fluid hip-hop dancer and master the vivacious pop and hip-hop lyrics by Miranda and Green..
Saxer, who was an appealing Peggy Sawyer in Jones’ “42nd Street” here in 2016, works well with Kennedy as they navigate their differences, singing together superbly in the touching “We’re Not Done.” Among her credits are multiple Broadway shows, the first national tour of “Mean Girls” and the 2021 Spielberg film of “West Side Story.”
In a scene-stealing performance, Katy Geraghty, as Bridget, is the wackiest sidekick this side of Ethel Mertz. She also endears as a girl who was an ‘outsider’ all her life but finally fits in at her new school.
Geraghty is quickly becoming a Muny favorite, after her hilarious turn as Sister Mary Patrick in “Sister Act” two summers ago. (She was also impressive as Little Red in the 2022 Broadway revival of “Into the Woods.”)
Saxer, Holmes, Geraghty. Photo by Philip Hamer.
Another memorable Muny performer with 11 shows here, Sean Harrison Jones plays Steven, a Truman cheerleader and Campbell’s boyfriend. He was in the original Broadway cast of “The Outsiders,” in “Hamilton” on Broadway and national tour, and was Action in the 2021 film of “West Side Story.”
With his easy-going demeanor and soaring tenor, Bryce Williams stands out as Randall, a popular Jackson student and DJ who befriends Campbell. They share a lovely duet “Enjoy the Trip.” It’s an impressive Muny debut, and he’s still in college.
When Campbell’s first day at the new school is chaotic, the “Do Your Own Thing” number firmly establishes the rules and draw the lines. “Move!” is a savvy directive. Music director Anne Shuttlesworth never lets up.
The scenes at Jackson are where the show gets into a rhythmic groove, and the opening second act number “It’s All Happening” is a rousing fired-up anthem.
The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Supporting players who added much sass and satire were Katie Riedel as the golden girl Skylar, a spot-on Paris Hilton imitation, with terrific comic timing. One of her zingers in an a-ha moment — “Omigod, everyone’s gone through all this, like, personal growth, but I’m exactly the same person I was a year ago. Oh well! I like myself. Always did.”
In contrast, Regine Sophia is a sunny Kylar (real name Inez), who hangs with Skylar.
Danielle’s posse includes Nautica and La Cienega – and Ayla Ciccone-Burton and AJ Paramo are a dynamic duo. Randall’s buddies Twig and Cameron are winsomely played by Kevin Trino Perdido and Brandon O’Neal Bomer.
Special recognition must go to dancer Bailey “Bailrok” Munoz, who wowed the crowd with a spectacular breakdance routine in the Leprechaun mascot outfit during “Friday Night, Jackson.” Munoz won “So You Think You Can Dance” competition show in Season 16, the only breakdancing winner in the show’s 18 seasons.
Dancer Bailey Munoz as the mascot with members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Weber, who was Tony nominated for “& Juliet,” has designed choreography as vibrant as O’Connor’s vigorous cheer routines. Those numbers, including “Bring It On,” “Legendary,” “Crossing the Line” and the finale “I Got You” are dazzling.
To allow for the splashy dance numbers, Ann Beyersdorfer’s scenic design is masterful fluidity and function, efficiently mobile for the major cheer numbers, too. Jason Lyons’ harmonious lighting designs set the scenes and the sound work of John Shivers and David Patridge was clear and cohesive.
Continuing effective design work, Tristan Raines’ costumes were conducive to movement and represented high school fashions while Ashley Rae Callahan’s wig designs blended in well.
With its disarming good-time vibe, “Bring It On” pops with personality, energizing with uplift and inspiration – and is just so darn much fun.
Surprise guests on Wednesday night!From left: Mike Isaacson, Kwofe Coleman, Amanda Green, Lin-Manuel Miranda and Tom Kitt with the company of “Bring It On: The Musical.” Photo by The Muny | Emily Santel
The Muny presents “Bring It On: The Musical” June 16 – June 22 nightly at 8:15 p.m. in Forest Park. The musical is 2 hours and 10 minutes long, with one intermission. For more information, visit www.muny.org
This review is based on Tuesday’s rain-shortened one-act performance and Thursday’s full production
The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Broadway meets community as The Muny, Greater St. Louis Inc., KMOV and Ballpark Village proudly announce a Tony Awards Watch Party on Sunday, June 8, to benefit St. Louis tornado relief efforts. The watch party begins at 5 p.m. CT. The Muny will receive the 2025 Regional Theatre Tony Award as part of The Tony Awards: Act One, a preshow ceremony starting at 5:40 p.m. CT.
The free, public event will take place at Ballpark Village, where guests can watch Broadway’s biggest night live on the big screen, surrounded by fans, friends and fellow supporters of the arts and the St. Louis community.
The watch party will be hosted by Tony nominee, Muny alum and Missouri native Taylor Louderman, along with KMOV’s Great Day St. Louis co-host Laura Hettiger, bringing star power and hometown pride to this celebration of theatre and resilience.
Admission is free, but attendees are asked to bring a nonperishable food item or toiletry donation to support the St. Louis Area Foodbank, or make a monetary gift upon entry to support Urban League of Metropolitan St. Louis, two organizations working tirelessly to assist those impacted by recent severe weather across the region.
Celebrating The Muny’s National Recognition
This year’s celebration holds special significance for St. Louis, as The Muny will be honored during the ceremony as the 2025 recipient of the Regional Theatre Tony Award. The prestigious award recognizes The Muny’s exceptional contribution to the American theatre landscape and its unwavering commitment to artistic excellence and community engagement for over 100 seasons. The award will be presented during The Tony Awards: Act One — a preshow of live, exclusive content leading into the 78th Annual Tony Awards, televised on CBS — streaming exclusively on Pluto TV.
Event Highlights
Live viewing of the 78th Annual Tony Awards and Act One preshow
Hosted by Tony-nominated actress Taylor Louderman and KMOV’s Laura Hettiger
Celebration of The Muny’s Regional Theatre Tony Award win
Food and beverages available for purchase
Special guest appearances, remarks and giveaways
Donation drive supporting tornado relief through the St. Louis Area Foodbank and Urban League of Metropolitan St. Louis
Day: Sunday, June 8, 2025 Time: Event starts at 5 p.m. CT | The Tony Awards: Act One 5:40 p.m. CT | 78th Tony Awards 7 p.m. CT Place: Ballpark Village, 601 Clark Ave., St. Louis Cost: Free and open to the public — but bring a nonperishable food item, toiletry or monetary gift
For more information, follow The Muny on social media.
New season tickets start at just $126 and are on sale now at muny.org/season-tickets and at the Muny Box Office, located at 1 Theatre Drive in Forest Park. Single-performance tickets go on sale May 19.
The 78th Annual Tony Awards will return to the legendary Radio City Music Hall in New York City next month. Hosted by Tony, Emmy and Grammy Award winner and three-time Oscar nominee Cynthia Erivo, The American Theatre Wing’s Tony Awards will broadcast live to both coasts on Sunday, June 8 (7-10 p.m. CT) on CBS and streaming on Paramount+.
Paramount+ With Showtime subscribers will have access to stream via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live but will have access to view on-demand the day after the special airs.
A full list of this year’s nominees and additional honorees is available here.
Taylor Louderman
About The Muny
Now entering its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is 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, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.
About the Tony Awards
The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are executive producers and showrunners for White Cherry Entertainment. Weiss will serve as director. The American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing. At The Broadway League, Kristin Caskey is Chair and Jason Laks is President. At the American Theatre Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO. Learn more at tonyawards.com. Follow @TheTonyAwards on Instagram, TikTok and Facebook.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The St. Louis High School Musical Theatre Awards winners were announced Thursday, May 15 at The Fabulous Fox. The ceremony was hosted by 2019 & 2020 SLHSMTA Outstanding Lead Actor winner Michael Harp and directed by Lee Anne Mathews. The winners were named in 19 categories (plus WOW! Performance Awards and Special Recognition Awards) including the Outstanding Lead Actress and the Outstanding Lead Actor who will go on to compete in the Jimmy Awards/National High School Musical Theatre Awards on Monday, June 23 at the Minskoff Theatre in New York City, presented by The Broadway League Foundation.
Outstanding Musical Level 1: Westminster Christian Academy, Hello, Dolly!
Outstanding Musical Level 2: Lutheran High School South, Little Women
Outstanding Lead Actress, Amelie Lock for her performance as Emma in Ladue High School’s production of The Prom: School Edition Outstanding Lead Actor, Tyler Bugg for his performance as Orpheus in Liberty High School’s production of Hadestown: Teen Edition
Outstanding Lead Actress: Amelie Lock | Ladue Horton Watkins High School
Outstanding Lead Actor: Tyler Bugg | Liberty High School
Outstanding Supporting Actress: Molly Sallaberry | Saint Louis Priory School
Outstanding Supporting Actor: Kevin Friel | Lutheran High School South
Outstanding Student Costume Design & Execution: Clara Walker & Emily Nguyen | Liberty High School
Outstanding Faculty Costume Design & Execution: Jenn Erickson | DaySpring Arts & Education Dianne Mueller | Westminster Christian Academy
Outstanding Ensemble: Lutheran High School South, Little Women
Outstanding Orchestra: Edwardsville High School, Chicago: Teen Edition
Outstanding Student Scenic Design & Execution: Allena Mitchell & Avery Bowen | Liberty High School
Outstanding Faculty Scenic Design & Execution: Eden Hudder | Frist Baptist Academy Rick Christensen | Francis Howell Central High School
Outstanding Student Choreography: Outstanding Faculty Choreography: Sophia Huddleston | Mary Institute and St. Louis Country Day School
Katheryn Pennington | Lutheran High School of St. Charles County
Outstanding Student Technical Execution: Rachel Church | Liberty High School
Outstanding Faculty Technical Execution: Evan Sanft | Lutheran High School South
Outstanding Musical Direction: Carter Datz | Liberty High School
Phylan Peters-Bahkou | Lutheran High School South
Outstanding Direction: Phylan Peters-Bahkou | Lutheran High School South
Student Reporters: Eric Perschbacher Belleville West High School Jane Nordstrom, Visitation Academy
Special Recognition Awards and WOW! Performance Awards for outstanding work in support of the production were also given out.
SPECIAL RECOGNITION: Awarded for an outstanding performance in a role not eligible for a nomination. Bayless High School Christian Brothers College High School Oakville High School St. Joseph’s Academy
WOW! MOMENTS: Awarded to a production for something that goes above and beyond what is expected of a traditional high school production Eureka High School Hazelwood West High School Rockwood Summit High School
CAROL B. LOEB PRODUCTION ENHANCEMENT AWARDS: Created to provide investments in the technical production elements of select High School theatre programs. Incarnate Word Academy University City High School
About The Jimmy Awards® / National High School Musical Theatre Awards® The Jimmy Awards®/The National High School Musical Theatre Awards® (NHSMTA®) program impacts more than 100,000 students who participate in high school musical theatre competitions sponsored by presenters of Touring
Broadway productions throughout the United States. Presented by the Broadway League Foundation, the program sends a Best Actress and Best Actor winner from each of these competitions to New York for a week-long theatre intensive of coaching and rehearsals with industry professionals in preparation for a one-night-only talent showcase on Broadway. Named for Broadway impresario James M. Nederlander, the program has been the catalyst for more than $2,000,000 in educational scholarships.
The fourteenth annual Jimmy Awards® will take place on Monday, June 23, 2025 at the Minskoff Theatre on Broadway. Coaching and rehearsals for this one-of-a-kind event will be held Saturday, June 14, 2025 through Monday, June 23, 2025 in New York City. For more information, please visit www.JimmyAwards.com.
About Carol B. Loeb Carol B. Loeb has a great passion for educating young people. A career mathematician and educator, Carol believes passionately that all areas of study contribute to a student’s success – including the arts and musical theatre. Through her intellect and generosity, she has impacted an untold number of students at all levels of education. She is honored to serve as the presenting sponsor of the St. Louis High School Musical Theatre
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Whether he stands out in a challenging role or disappears into a classic character, Spencer Davis Milford is a familiar presence, having matured on local stages and now recognized nationally.
Fresh from the U.S. and New Zealand premieres of the epic fantasy tale “The Lord of the Rings” musical adaptation as hero Frodo Baggins, the St. Louis native has returned to tackle one of his “dream roles,” as the cunning Master of Ceremonies in New Jewish Theatre’s powerful interpretation of “Cabaret.”
“Getting the chance to tell this story with the passion and creative leadership that Rebekah Scallet, Ellen Isom, and Carter Haney are bringing is incredibly special. I’m grateful that they asked me to be a part of this amazing cast,” he said. “This had always been one of my dream roles when I was younger and became obsessed with musical theater, and I always was on the lookout for an opportunity and I couldn’t pass it up.”
Performances have been selling out (including this upcoming weekend), they’ve extended the run through April 13 for four more performances, and he’s been garnering rave reviews for his magnetic performance as the menacing Emcee with the salacious grin. It’s a departure from anything he’s done before.
“Cabaret.” Photo by Jon Gitchoff.
Director Rebekah Scallet, whom Milford said had a clear vision, was impressed with her cast’s work ethic.
“The entire ensemble of Cabaret, from top to bottom, was a dream to work with. Everyone was incredibly committed to this production and worked their tails off – this was no easy feat, given our short rehearsal schedule and small ensemble (we only had 11 and typically the show is done with more like 18), but this group was up for any challenge. We began the process with a tour of the St. Louis Kaplan Feldman Museum, and I think that really cemented for everyone the important reasons for doing this show now at NJT. I am so grateful for all of their talents and their passion,” she said.
New Jewish Theatre’s production takes on an even greater relevance as rates of anti-Semitism in the United States are reaching all-time highs. The musical illustrates how the Nazis rose to power while the German citizens either ignored what was happening, refused to believe fascism possibly could happen, or chose to go along with it to ensure their own survival.
Milford, as Frodo Baggins, in the touring “The Lord of the Rings” musical. Photo provided.
“The themes of the show are just as prevalent in our society today as they were when the show was written, unfortunately,” he said.
The Wool Studio’s intimate and immersive setting brings the audience right into the Kit Kat Club as they enter the world of 1929 Germany.
Scallet described Milford as a ‘dream to work with’ on “Cabaret.”
“Not only is he a super talented actor, singer, and dancer, he is a thoughtful and sensitive human. The emcee is a challenging character to wrap your head around, both who he is and how he functions in the play, and Spencer and I had wonderful conversations, diving deep to discover his journey. And I absolutely love what he found,” she said.
A veteran of the Muny, Stages St. Louis and the Repertory Theatre of St. Louis, Milford spread his wings on the first national tours of “Billy Elliot” (as the “Tall Boy” and understudy to Michael) and “How the Grinch Stole Christmas.” (as Boo Hoo).
In 2013, he appeared on Broadway in the revival of the 1947 Terrance Rattigan play “The Winslow Boy” as the titular character, Ronnie. The drama, about a family’s fight to clear their son’s name after an unjust expulsion from naval college, is based on a real incident, and starred Tony winner Roger Rees and Oscar nominee Mary Elizabeth Mastrantonio as his parents.
Acting since he was a youngster, he played Michael Darling in The Muny’s “Peter Pan,” Winthrop in “The Music Man” at Stages St. Louis, Rudy in “Over the Tavern” and :”A Boy” (aka Peter) in “Peter and the Starcatcher,” both at The Rep.
Among his recent roles at the Muny, he was Gene Vincent, Dick Clark and part of the ensemble in 2023’s “Beautiful: the Carole King Musical,” Davey in 2017’s “Newsies,” the ensemble in 2016’s “42nd Street” and in the ensemble in 2022’s “Camelot.” He said performing at the Muny in the summer is one of his most favorite things to do in St. Louis.
Spencer Davis Milford, as Davey, Tessa Grady as Katherine, and Gabriel Cytron as Les dance rehearsal for The Muny’s Newsies in 2017. St Louis Post-Dispatch photo.
Michael Baxter, The Muny’s associate artistic director, has worked with Spencer for many years. first as a Muny Teen. Baxter, part of the Muny artistic team since 2012, spearheaded the teen program, revamping it and being director/choreographer, serving eight seasons. He became the resident choreographer in 2015 and promoted to his current position in 2018.
When asked for a comment, he said: “Spencer is an incredible talent, a true ‘song and dance’ man who comes alive in every role. He is valuable in an ensemble because he honors his essence but is a proper actor who is great with language. He lives in the ‘truth’ of the play and activates every role/line with specificity, rhythm and nuance. I trust him implicitly and he always delivers exceptional work.”
In my Aug. 11, 2017 review of “Newsies” for the Belleville News-Democrat, I wrote: “Other standouts include appealing Spencer Davis Milford as the smart go-getter Davey who handles setbacks with great aplomb, scene-stealing rookie sensation Gabriel Cytron as his adorable waif brother Les,,,.”
Photo below is from “Who’s Afraid of Virginia Woolf?” at the Fulton Theatre in 2023, with Spencer as Nick.
He has performed at professional regional theatres, including in Chicago, as Barnaby in “Hello, Dolly!” in 2022, as Rusty Charlie in “Guys and Dolls” in 2024, and as Tony in “Billy Elliot: The Musical” a year ago.
The Chicago Shakespeare Theatre opened “The Lord of the Rings” musical last July before its New Zealand premiere in November 2024. The musical, originally written in 2006, is based on J.R.R. Tolkien’s 1954 novel about a humble hobbit who is asked to play the hero and undertake a treacherous mission to destroy an evil, magical ring. It’s set in the world of Middle-earth. The music is by A.R. Rahman, Vartina and Christopher Nightingale, with the lyrics and book by Shaun McKenna and Matthew Warchus.
The reviews described it as a visual marvel, ambitious and featuring a hard-working cast. “This Lord of the Rings is a memorable piece of work. It is undeniably intense, exciting, and powerful,” wrote Chicago on Stage..
Varsha Anjali, a critic for The New Zealand Herald, said “The cast kicked ass,” describing Milford as “charming.” and the musical as “exhilarating.”
While he is in town, we asked him to answer our Take Ten questionnaire, and we interviewed him on the March 12 PopLifeSTL Presents podcast.
Here are his responses:
Take Ten with Spencer Davis Milford
1. What is special about your latest project?
“Cabaret” is widely considered one of the best musicals of all time. The themes of the show are just as prevalent in our society today as they were when the show was written, unfortunately.”
“Getting the chance to tell this story with the passion and creative leadership that Rebekah Scallet, Ellen Isom, and Carter Haney are bringing is incredibly special. I’m grateful that they asked me to be a part of this amazing cast.”
2. Why did you choose your profession/pursue the arts?
“The first time I was onstage in a musical was at five years old in ‘Little Shop of Horrors’ at Shrewsbury Youth Theater and I’ve been obsessed with performing ever since. I knew very early on that I wanted to be a professional actor.”
3. How would your friends describe you?
“My friends would describe me as mostly laid back and fun, but when I’m passionate about something I am very committed and a little intense.”
4. How do you like to spend your spare time?
“I’m a pretty competitive person and I love sports, so I play a lot of golf and disc golf.”
5. What is your current obsession?
“The green liquidIV packets, electrolytes AND caffeine? Sign me up.”
6. What would people be surprised to find out about you?
“I think Farotto’s has the best t-ravs (toasted ravioli) in STL. Maybe that’s not a surprise.”
With Molly Hogg in “Peter and the Starcatcher” at The Rep in 2015.
7. Can you share one of your most defining moments in life?
“Playing Frodo in the US premiere of ‘The Lord of the Rings’ musical and also doing the show in New Zealand. It was the most challenging and rewarding experience of my life.”
8. Who do you admire most?
“My parents. They’re the hardest working people I know and they’re incredibly supportive of me and my three siblings. I don’t know where I’d be without them.”
9. What is at the top of your bucket list?
“Being in a show that tours all over Europe.”
10. What is your favorite thing to do in St. Louis?
“Performing at The Muny. Going to a Blues playoff game. Eating Imo’s pizza and t-ravs is pretty sweet too. I can’t pick a favorite.”
11. What’s next?
“Nothing I can announce yet but it’s going to be an exciting summer for sure!”
More About Spencer Davis Milford
Birthplace: St. Louis Education: Masters in Acting from the Royal Conservatoire of Scotland Favorite jobs/roles/plays or work in your medium? Lord of the Rings, Buzz directed by Carrie Preston, Who’s Afraid of Virginia Woolf, Billy Elliot Dream job/opportunity: “Hamlet”
Photo at left is curtain call from “The Winslow Boy” on Broadway.
Milford, Jay Armstrong Johnson, Gabriel Cytron and Tessa Grady in the Muny’s “Newsies.” Photo by Phillip Hamer.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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.
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 (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Watch video from opening night of Disney’s Frozen
