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.
“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
Nicole Angeli and Joel Moses in “Lungs” (Albion Theatre)
John Riddle and Jordan Donica in “Les Miserables” (The Muny)
Christopher Harris and Dustin Petrillo in “Red” (New Jewish Theatre)
Nancy Bell and Kelley Weber in “The Roommate” (The Rep)
Jacob Schmidt and Bryce A. Miller in “Trayf” (New Jewish Theatre)
Andre Navid Eslamian and Leta DeBardeleben in “Longing”
Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock in “Blues in the Night” (The Black Rep)
Cameron Jamarr Davis and Eileen Engel in “Dutchman” (Soul Siren Playhouse)
Mitch Henry-Eagles and Molly Wennstrom in “First Date” (New Jewish Theatre)
Kari Ely and Peter Mayer in “Cat on a Hot Tin Roof” (Tennessee Williams Festival St. Louis)
Isaiah Henry and Bianca Sanborn in “As You Like It” (St Louis Shakespeare Festival)
Rachel Tibbetts and Ellie Schwetye in “Romanov Family Yard Sale” (ERA)
Hailey Medrano and Bridgette Bassa in “We All Fall Down” (New Jewish Theatre)
Greg Hunsaker and Jane Paradise in “Love in the Time of Nothing,” LaBute New Play Festival.
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
Tiffany Mann as Effie singing “And I’m Telling You I’m Not Going” in “Dreamgirls,” The Muny
Tamar Greene and Shereen Pimentel as Coalhouse Walker and Sarah singing “Wheels of a Dream” in “Ragtime,” Stages St. Louis
John Riddle as Jean Valjean singing “Bring Him Home” in “Les Miserables,” The Muny
Jessica Vosk as Jenna singing “She Used to be Mine” in “Waitress,” The Muny
Shereen Pimentel as Sarah singing “Your Daddy’s Son” in “Ragtime,” Stages St. Louis
Jordan Donica as Javert singing “Stars” and “Soliloquy” in “Les Miserables” at The Muny.
Aaron Fischer as Dimitry singing “Everything to Win” in Anastasia,” Tesseract Theatre Company
Katerina McCrimmon as Fanny Brice singing “Don’t Rain on My Parade” in “Funny Girl” at The Fox.
The Women (Adrianna Jones, Amber Alexandria Rose and De-Rance Blaylock) singing “Take It Right Back” in “Blues in the Night,” The Black Rep.
Matthew Cox as Crutchie singing “Letter from the Refuge” in “Newsies” at Stages St. Louis
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
Will Schulte, “Les Miserables,” The Muny
Zoe Klevorn, “Ragtime,” Stages St Louis
Shane Rose, “All My Sons,” New Jewish Theatre
Riley Carter Adams, “As You Like It,” St. Louis Shakespeare Festival
Vivian Helena Himes, “Wedding Band,” The Black Repertory Theatre
Lucy Miller, “Wedding Band,” The Black Repertory Theatre
Davin Wade, “Newsies,” Stages St. Louis
Maliah Strawbridge, “Big Machine,” Fly North Theatricals
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.
“Longing” by Lize Lewy
“Elephants’ Graveyard” by Marjorie Williamson, First Run Theatre
“Love in the Time of Nothing” by Jayne Hannah, St. Louis Actors’ Studio, LaBute New Play Festival
“Don’t Be a Hero, Thank You” by Katherine Leemon, Prison Performing Arts
“Romanov Family Yard Sale” by Courtney Bailey, ERA
“Wolf Kings” by Chuck Harper and Maggie Conroy, Young Liars
“Am I Dangerous” by e.k. doolin, Contraband Theatre
“Who’s on First” by Neil LaBute, St. Louis Actors’ Studio, LaBute New Play Festival
“Cash Flow,” Marjorie Williamson, First Run Theatre
“Sandra’s Son,” Cbabi Bayoc (work in progress)
As You Like It. Photo by Phillip Hamer.
BEST COMEDY PRODUCTIONS
“As You Like It,” St. Louis Shakespeare Festival
“Trayf,” New Jewish Theatre
“The Roommate,” The Repertory Theatre of St. Louis
“Woman in Mind (December Bee),” Albion Theatre
“Steel Magnolias,” Stages St. Louis
“Spirits to Enforce,” The Midnight Company
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“The Tempest,” St. Louis Shakespeare Festival, Tour Co.
“Romanov Family Yard Sale,” ERA
“Red Jasper,” Michael Madden Productions
BEST DRAMA PRODUCTIONS
“The Inheritance, Part 1 and 2,” Tesseract Theatre Company
“Moby Dick,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“August: Osage County,” The Repertory Theatre of St. Louis
“Red,” New Jewish Theatre
“The Whale,” St. Louis Actors’ Studio
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis,
“Life is a Dream,” Upstream Theater
“Hold On!” The Black Rep
“Dutchman,” Soul Siren Playhouse
Adrianna Hicks in “Anything Goes” at The Muny. Philip Hamer photo.
BEST MUSICAL PRODUCTIONS
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“Newsies,” Stages St. Louis
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Blues in the Night, “The Black Rep
“(Title of Show),” Prism Theatre
“Waitress,” The Muny
BEST SUPPORTING ACTRESS IN A COMEDY
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Michelle Hand, “As You Like It,” St. Louis Shakespeare Festival
Kari Ely, “Steel Magnolias,” Stages St Louis
Molly Wennstrom, “As You Like It,” St Louis Shakespeare Festival
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Anna Blair, “The Butcher of Baraboo,” West End Players Guild
Liz Mischel, “Bell, Book & Candle,” Stray Dog Theatre
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
Spencer Sickmann, “Trayf,” New Jewish Theatre
Chuck Winning, “Grief & Woe,” LaBute New Play Festival,
Isaiah DiLorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),” Albion Theatre
Cassidy Flynn, “Romanov Family Yard Sale,” ERA
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
BEST ACTRESS IN A COMEDY
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Kelley Weber, “The Roommate,” The Repertory Theatre of St. Louis
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Nancy Nigh, “Red Jasper,” Michael Madden Productions
Joy Christina Turner, “The Tempest,” St. Louis Shakespeare Festival
Claire Coffey, “Bell, Book & Candle,” Stray Dog Theatre
Gwynneth Rausch, “Elephants’ Graveyard,” First Run Theatre
Jan Meyer, “Elephants’ Graveyard,” First Run Theatre 10. (tie) Annie Baker, “Ripcord,” Stray Dog Theatre
(tie) Julie Layton, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
BEST ACTOR IN A COMEDY
Jacob Schmidt, “Trayf,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie “Red Jasper,” Michael Madden Productions
Alan Knoll, “We All Fall Down,” New Jewish Theatre
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
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” The Repertory Theatre of St. Louis
Alex Jay, “King Hedley II,” The Black Rep
Evann De-Bose, “Hold On!” The Black Rep
Kari Ely, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Denise Thimes, “King Hedley II,” The Black Rep
Astrid Van Wieren, “August: Osage County,” The Repertory Theatre of St. Louis
Margery Handy, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Kristen Joy Lintvedt, “All My Sons,” New Jewish Theatre
Kari Ely, “Wedding Band,” The Black Rep
BEST ACTRESS IN A DRAMA
Maggie Wininger, “Molly Sweeney,” Albion Theatre
Ellen McLaughlin, “August: Osage County,” The Repertory Theatre of St. Louis
Amy Loui, “All My Sons,” New Jewish Theatre
Nicole Angeli, “Lungs,” Albion Theatre
Jacqueline Thompson, “Wedding Band,” The Black Repertory
Eileen Engel, “Dutchman,” Soul Siren Playhouse
Jennifer Theby-Quinn, “Life is a Dream,” Upstream Theater
BEST SUPPORTING ACTOR IN A DRAMA
Alan Knoll, “August: Osage County,” The Repertory Theatre of St. Louis
Jayson Heil, “All My Sons,” New Jewish Theatre
Dustin Petrillo, “Red,” New Jewish Theatre
Eric Dean White, “Hold On!” The Black Rep
Jerome Davis, ‘King Hedley II,” The Black Rep
Alex C. Moore, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
Michael James Reed, “August: Osage County,” The Repertory Theatre of St. Louis
Tyson Cole, “The Inheritance, Parts I and 2,’ Tesseract Theatre Company
Joseph Garner, “Dark Matters,” West End Players Guild
Jerry Vogel, “Life is a Dream,” Upstream Theater
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
Greg Johnston, “All My Sons,” New Jewish Theatre
Christopher Harris, “Red,” New Jewish Theatre
William Roth, “The Whale,” St. Louis Actos’ Studio
Gabriel Paul, “The Inheritance, Parts 1 and 2,” Tesseract Theatre Company
Joel Moses, “Lungs,” Albion Theatre
Reginald Pierre, “Life is a Dream,” Upstream Theatre
Rachel Bailey, “Title of Show,” Prism Theatre Company
Kimmie Kidd-Booker, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis
Lauren Tenenbaum, “American Idiot,” New Line Theatre
Emily Bautista, “Les Miserables,” The Muny
Samantha Massell, “Fiddler on the Roof,” The Muny
Nancy Ticotin, “In the Heights,” The Muny
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
Matthew Cox, “Ragtime,” Stages St. Louis
George Abud, “Anything Goes,” The Muny
Matthew Cox, “Newsies,” Stages St Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Donald Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
James D. Gish, “Les Miserables,” The Muny
Nick Rashad Burroughs, “Dreamgirls,” The Muny
Aaron Kamphoefner, “Sweet Potato Queens,” New Line Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Will Bonfiglio, “First Date,” New Jewish Theatre
Jayson Heil, “First Date,” New Jewish Theatre
Troy Iwata, “Waitress,” The Muny
Rafael DaCosta, “Dracula,” New Line Theatre
BEST ACTRESS IN A MUSICAL
Jessica Vosk, “Waitress,” The Muny
Tiffany Mann, “Dreamgirls,” The Muny
Sarah Wilkinson, “Anastasia,” Tesseract Theatre Company
Marissa McGowan, “Ragtime,” Stages St. Louis
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Jill Abramovitz, “Fiddler on the Roof,” The Muny
Jaelyn Hawkins, “(title of show),” Prism Theatre
Taylor Quick, “Newsies,” Stages St. Louis
Katie Orr, “(title of show),” Prism Theatre
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)
Adam Heller, “Fiddler on the Roof.” The Muny
John Riddle, “Les Miserables,” The Muny
Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Benji Santiago, “In the Heights,” The Muny
Drew Mizell, “Nevermore,” Stray Dog Theatre
Jay Armstrong Johnson, “Anything Goes,” The Muny
Al Bastin, “The Big Machine,” Fly North Theatricals
Clayton Humburg, “American Idiot,” New Line Theatre
BEST ENSEMBLE IN A COMEDY
“Romanov Family Yard Sale,” ERA
“Spirits to Enforce,” Midnight Company
“As You Like It, St. Louis,” Shakespeare Festival
“Woman in Mind (December Bee),” Albion Theare
“Red Jasper,” Michael Madden Productions
“Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Ripcord, “Stray Dog Theatre
“Steel Magnolias,” Stages St. Louis
BEST ENSEMBLE IN A DRAMA
“The Inheritance, Parts I and 2,” Tesseract Theatre Company2.
“August: Osage County,” The Repertory Theatre of St. Louis
“All My Sons,” New Jewish Theatre
“Hold On!” The Black Rep
“Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
“The Whale,” St. Louis Actors’ Studio
“Moby Dick,” The Rep
Life is a Dream,” Upstream Theatre
“King Hedley II,” The Black Rep
“Hamlet,” St Louis Shakespeare
“August: Osage County” at The Rep.
BEST ENSEMBLE IN A MUSICAL
“Anything Goes,” The Muny
“Ragtime,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Anastasia,” Tesseract Theatre Company
“First Date,” New Jewish Theatre
“In the Heights,” The Muny
“Newsies,” Stages St. Louis
“Les Miserables,” The Muny
‘(Title of Show),: Prism Theatre Company
BEST LIGHTING DESIGN IN A PLAY
Jayson M. Lawshee, “Red,” New Jewish Theatre
Minjoo Kim, “Dial M for Murder,” The Repertory Theatre of St. Louis
Sean Savoie, “Hold On!” The Black Rep
William C. Kirkham, “Moby Dick,” The Repertory Theatre of St. Louis
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Denisse Chavez, “All My Sons,” New Jewish Theatre
“The Little Mermaid” at the Muny. Photo by Philip Hamer.
BEST LIGHTING DESIGN IN A MUSICAL
John Lasiter, “Fiddler on the Roof,” The Muny
Rob Denton, “Anything Goes,” The Muny
Sean Savoie, “Ragtime,” Stages St. Louis
Jason Lyons, “Disney’s The Little Mermaid,” The Muny
Tyler Duenow, “Nevermore,” Stray Dog Theatre
Travis Richardson, “Blues in the Night,” The Black Rep
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.
Carolyn “Sully” Ratke, “Moby Dick,” The Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Colleen Michelson, “Bell, Book and Candle,” Stray Dog Theatre
Teresa Doggett, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
Sam Hayes, The Tempest TourCo, Shakespeare Festival St. Louis
Marcy Wiegert, “Romanov Family Yard Sale,” ERA.
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
BEST COSTUME DESIGN IN A MUSICAL
Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia,” Tesseract Theatre Company
Brad Musgrove, “Ragtime,” Stages St. Louis
Tristan Raines, “Anything Goes,” The Muny
Brad Musgrove, “Newsies,” Stages St. Louis
Eileen Engel, “Big Machine,” Fly North Theatricals
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
Wilson Chin, “Waitress,” The Muny
Ann Beyersdorfer, “Newsies,” Stages St. Louis
Ann Beyersdorfer, “Disney’s The Little Mermaid,” The Muny
Arnel Sancianco, “In the Heights,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Jamie Bullins, “Blues in the Night,” The Black Rep
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
Jared Grimes, “Anything Goes,” The Muny
Lindsay Joy Lancaster, “Newsies,” Stages St. Louis
William Carlos Angulo, “In the Heights,” The Muny
Sylvia Hernandez-DiStasi, “Moby Dick,” The Rep
Mike Hodges, “Xanadu,” Stray Dog Theatre
Michelle Sauer, “AnastasiaL The Musical,” Tesseract Theatre Company
Lesia Kaye, “Dreamgirls,” The Muny
Chelsie Johnston, “American Idiot,” New Line Theatre
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
James Moore, “Les Miserables,” The Muny
Khalid McGee, “Blues in the Night,” Black Rep
Roberto Sinha, “In the Heights,” The Muny
Darryl Archibald, “Fiddler on the Roof,” The Muny
E. Renee Gamez, “Ragtime,” Stages St. Louis
Zach Neumann, “Anastasia,” Tesseract Theatre Company
John Gerdes, “American Idiot,” New Line Theatre
Mallory Golden, “Title of Show,” Prism Theatre Company
Larry Pry, “First Date,” New Jewish Theatre
Dave Sonneborn, “Million Dollar Quartet Christmas,” The Rep and Stages
BEST DIRECTOR OF A COMEDY
Nancy Bell, “As You Like It.” St. Louis Shakespeare Festival
Aaron Sparks, “Trayf,” New Jewish Theatre
Rebekah Scallet, “The Roommate,” The Rep
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Gary F. Bell, “Bell, Book and Candle,” Stray Dog Theatre
Brian Hohlfeld, “Life Upon the Wicked Stage,” Tennessee Williams Festival St. Louis
“Hold On!” The Black Rep
BEST DIRECTOR OF A DRAMA
Stephen Peirick, “The Inheritance, Parts I and 2,” Tesseract Theatre Company
David Catlin, “Moby Dick,” The Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Gary Wayne Barker, “All My Sons,” New Jewish Theatre
Annamaria Pileggi, “The Whale,” St. Louis Actors’ Studio
Ron Himes, “Hold On!” The Black Rep
Philip Boehm, “Life is a Dream,” Upstream Theater
Ellie Schwetye, “Lungs,” Albion Theatre
Kay Ailee Bush, “Longing,”
“Anastasia: The Musical” at Tesseract.
BEST DIRECTOR OF A MUSICAL
Brittanie Gunn, “Anastasia,” Tesseract Theatre Company
Marcia Milgrom Dodge, “Anything Goes,” The Muny
Rob Ruggiero, “Fiddler on the Roof,” The Muny
Sam Hayes, “(Title of Show),” Prism Theatre Company
William Carlos Angulo, “In the Heights,” The Muny
Lee Ann Mathews, “First Date,” New Jewish Theatre
Deidre Goodwin, “Ragtime,” Stages St. Louis
Lili-Anne Brown, “Waitress,” The Muny
John Tartaglia, “Disney’s The Little Mermaid,” The Muny
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
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 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
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 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
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.
