By Lynn Venhaus
With magic to do and the ‘Lou turning its lonely eyes to them, the Muny blazed
another trail Monday with its introduction of “The Muny Summer Variety Hour
Live!”
The first episode was a nifty package of show tunes,
personalities, bouncy sing-a-longs, behind the scenes with dedicated staff and
several special live moments, all shared on social media in real time by an
audience spanning coast to coast. (Latest figures: 25,000 tuned in!).
Oh, what a treat to be reminded of what makes the Municipal
Opera so special for 102 years – and not only because it is the oldest and
largest outdoor theater in the country, but because it is “our Muny,” right
here in St. Louis. And summer isn’t really summer until the Muny opens.
Two of our hometown’s greatest showmen – Lara Teeter and
Ken Page – entertained us in royal fashion, with Tony nominee Lara recreating a
vintage musical dance he called “Take Me Away!” as his fleet feet took him
throughout the great expanse of the Muny grounds one sunny day. He was joined
by his son Charlie in the segment.
And live, from the Culver Pavilion, with four musicians
socially distanced, the regal Ken Page sang “Memory,” the signature song from
“Cats,” in a showstopper that was one for the ages. Night had fallen, and this
stage legend gave an emotional powerful rendition. Chills. Leaky eyes.
Add it to the countless memorable Muny moments we have
experienced over the years, even though it was remote. We all felt it sitting
in our living rooms.
When host Mike Isaacson, Muny executive producer and
artistic director, began this maiden voyage from backstage, he said: “We are
together in real time.” He is always mindful of being entrusted with the Muny
legacy.
I literally burst into tears. I didn’t realize how badly we, well me, needed such a pick-me-up. Oh sure, I have been a realist as to the why, but still wistful: “This would be opening night at the Muny,” I said to myself June 15, remembering the rainbow that came out after intense rainstorm right before the opening of ‘The Wizard of Oz” in 2016.
Tammy Duensing and I at the Muny 2017
And there are those Facebook memories that pop up, recalling how I felt about a production or selfies with my frequent Plus One, Tammy Duensing, whose belting rendition of the national anthem always gets compliments from the people in the seats around us.
In a year that is all about Plan B while trying to be safe
and adapt to unprecedented times during a public health crisis, this savvy move
to online specials was a ‘next best thing’ scenario, a balm for disappointment.
And spoiler alert – this starburst of a show is longer than an hour (thank
you!) and it has a 7-minute intermission. What a grand night for singing! And
dancing. And laughs.
What a jolly time the “Munywood Squares” trivia interlude
was, hosted by the outstanding director Gordon Greenberg, with such good sports
as E. Faye Butler, Ann Harada, Vicki Lewis, John Scherer, Christopher Sieber,
Steve Rosen, Raymond J. Lee, all Muny favorites. I was able to see contestants staffer
Jaclyn Sales and Leon Dobkowski for the first time, who has designed some of
the best costumes in recent years (Tarzan! The Wiz! Hairspray! Mamma Mia!
Seussical!) and on the panel Jeffrey Schecter (Schecky) when he is not a
whirling dervish being Scuttle or Cosmo or filling in as Pseudolus in “Forum.”
And J. Harrison Ghee, who was so memorable as Lola in “Kinky Boots” last
summer, looked like a million dollars. No signs of Quarantine 15.
E Faye Butler in “The Wiz.” Photo by Phillip Hamer
Because the world turned upside down six months ago when
the coronavirus spread became a global pandemic, life as we know it has changed
in nearly every aspect. “The new normal” means live theater is on hold, for the
most part, and that meant postponing the Muny’s 102nd season line-up to 2021.
While the extended break is another sad sign of many life changes in 2020, that
didn’t stop the creative minds churning to see how little bits of summer
tradition could be rescued.
Online programming became the go-to, and the Cast Party reunion
gatherings on Monday were a wonderful opportunity to connect with people who
have given me a great deal of joy that is etched in my memories. The Muny TV YouTube
channel is a treasure trove of spectacular dance moments and lustrous voices on
a warm summer night. They brought us the Muny Magic concerts from the Sheldon,
which were a showcase for the incredible talent that graces the Muny stage, and
exciting show/cast announcements the past few years.
Using playful retro colors and designs, this “Summer
Variety Hour” throwback to 1970s staple TV programs was a merry way to
celebrate the good times we share with family and friends – only they used
modern technology to make it happen. Zoom and other virtual platforms have been
our saving grace during the lockdown.
Through the Brady Bunch grid of the Zoom, The buoyant Muny
Kids sang “Happiness” from “You’re a Good Man, Charlie Brown,” demonstrating
the exuberance of young talent. Not to be outdone, the gifted and energetic
performers, often seen in the ensemble, under the helm of the Colby Dezelick
Dancers, came together from their home spaces, to perform a lively “We Go
Together” from “Grease.” Colby’s been a fun fixture on the Muny stage – last
seen as Angie the Ox in “Guys and Dolls” and the doctor in “Matilda” in ’19.
Muny veterans Jen Cody and Hunter Foster, who have been
married for 23 years, performed “The Doctor Is In,” from “You’re a Good Man,
Charlie Brown.” Scenes of their past work – including Jen as the Grandma in
“The Addams Family” with Puggsley (Michael Harp) in one of that show’s funniest
exchanges, and Hunter in a new production of “Pirates!” were shown.
Of course, you couldn’t have a Muny show without displaying
the exquisite voices that fill the back rows of the 11,000 seats, and Emma Degerstedt as
Ariel certainly did in the inspired “The Little Mermaid” in 2017, one of my
favorite productions in the past decade. Her “Fathoms Below/Where I Belong” evoked
my water-colored memories of a sweet shimmering show. It was lovely to see the lithe
Muny ensemble dancers as well.
Ashley
Brown, a Muny player during her college years who originated the role of “Mary
Poppins” on Broadway, has a glorious voice, as exemplified in “The Sound of
Music” and “Cinderella” at the Muny. She sang “Climb Ev’ry Mountain” from her
mother’s home in Florida, as her infant daughter napped.
Through archived clips, we saw a rousing “A Brand New Day” from the resurgent “The Wiz” in 2018, featuring Danyel Fulton as Dorothy, Jared Grimes as the Scarecrow, James T. Lane as the Tin Man and Darius de Haas as the Cowardly Lion. And “Lida Rose” from “The Music Man” with the Barbershop Quartet of Ben Nordstrom, Adam Halpin, J.D. Daw and Joseph Torello harmonizing beautifully.
Mamie Parris and Matt Bogart in “Paint Your Wagon” Photo by Phillip Hamer
To
close, 18 cast members of last summer’s reimagined robust “Paint Your Wagon!” sang
a vigorous “How Can I Wait?” from all over America, including leads Matt Bogart
and Mamie Parris, and supporting players Omar Lopez-Cepero, Bobby Conte
Thornton, Maya Keleher, Allan K. Washington, Andrew Kober, Austin Ku, Raymond
J. Lee, Rodney Hicks and others. What a perfect song to end an enchanted
evening with hope and love. (And it knocked the score of “Hamilton,” which has
been playing on constant loop in my brain, since July 3, out and became my new
ear worm. Go to Muny TV to hear Mamie Parris in the show.)
This monumental effort to pull all these segments together
is applause-worthy – and the hours it took to plan and executive I can only
imagine. Everyone was in high spirits – connecting us all in a new, and
welcome, way.
If you missed the first one, you have one more opportunity to see it, for Episode 1 will be re-broadcast at 8:15 p.m. Thursday, July 23. There will be four more episodes shown every Monday, then repeated Thursday. On Wednesdays, they will announce the plans for the next episode on social media.
I took this photo during the Birthday Bash, when we could go on stage. May 2018.
We are not sitting under the stars in Forest Park, but Munygoers share a special bond, and this endeavor was a unique experience that brought back fond memories. Like many of you, I have a lifetime of them, starting when my grandma took me when I was 10, a poor kid from a big family in Belleville, watching live theater in wide-eyed wonder. Theater would become a major part of my life, and my appreciation began across the river on those warm summer nights.
One of my favorite things about Episode 1 was how they
highlighted the many employees who make Muny nights happen by their tremendous
commitment to this outdoor slice of theater heaven. There is such passion in
their work. I enjoyed the back story of triple-threat Corbin Bleu, as Don
Lockwood in the splendid “Singin’ in the Rain” in 2018, getting to dance in the
rain for the first time in his rubber shoes, as told by production manager
Tracy Utzmyers. And for technical director Tim McDonald explaining how they
make the rain happen for that show, and the previous two, in 2005 and 2011.
And my favorite thing about the Muny since 2009, when a
Belleville News-Democrat editor asked me to review the season and I
enthusiastically said yes, is the possibilities that a new opening night brings
seven times a summer. Will they pull off a premiere or classic with uncommon
flair? Will everyone rise to the occasion? What will be the night’s “Wow” moments?
I remain in awe of the talent and sweat equity it takes to put on a show, and I
am enriched by the storytelling and the performers who connect with me, no
matter where I am sitting.
And some have become familiar faces that I look forward to
seeking out on stage, and I am grateful for these opportunities to see where
the directors’ and production team vision takes me. It’s a all about a community
coming together in collaboration – that’s what live theater is and what we miss.
(That, and the hugs!).
And thanks to some shining moments Monday night, I was transported
to a happy place — and just being able to think about the possibilities ahead,
is reason to smile. This is only intermission.
Take care. Stay safe. Be strong.
And thank you Muny and your sponsors, for serving us a refreshing summer tonic that was part nostalgia and part pizzazz, and all heart. It might not be perfect – what live event is? – but it’s important.
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 has announced that it will offer 10 weeks of free online Muny entertainment for the summer of 2020. For 10 consecutive Monday nights, with a single repeat stream on the subsequent Thursday, audiences and fans can experience the magic of their Muny summer online at muny.org with both curated and newly created entertainment. The Muny’s free online season is proudly sponsored by World Wide Technology.
Beginning Monday, June 15 through Monday, July 13 fans can enjoy five weeks of Muny Magic in Your Home. This new series will feature exclusive, never-before-seen footage of the The Muny’s concert series Muny Magic at The Sheldon. Launched in 2015, the popular off-season series hosts Muny fan-favorites for intimate evenings of music, song and story.
The online season launches this Monday, June 15 at 8:15 p.m. CDT with Muny favorite, and Tony and Drama Desk Award-winner, Beth Leavel. The first Muny Magic in Your Home will also feature a guest appearance from Tony Award nominee Lara Teeter, as well as other very special surprise artists. Ms. Leavel’s music director is Phil Reno and she is joined by Vince Clark on bass and Nick Savage on drums.
The complete Muny Magic in Your Home schedule is: Beth Leavel (June 15 and 18), A Night with the Buddy Holly Boys (June 22 and 25), Our Leading Ladies (June 29 and July 2), Our Leading Men (July 6 and 9) and Mikaela Bennett and Alex Prakken (July 13 and 16). For descriptions of each show, please see below.
Beginning Monday, July 20 through Monday, August 17 the Muny will produce five online variety shows featuring Muny friends and family from around the world. The full schedule and weekly lineup will be announced in early July.
All Muny online performances can be streamed on Monday and Thursday evenings at no cost via muny.org. These are exclusive, one-time-only streams and will not be available after the Thursday night airing.
“While we can’t be together in Forest Park this summer, we wanted to have a 102nd season to bring our community and our audiences together in whatever manner we can,” said Muny Artistic Director and Executive Producer, Mike Isaacson. “One of the reasons The Muny has survived and thrived for more than a century is because we’ve been a wonderful ritual, a life bookmark, for generations of St. Louisans. With our online season, we can keep and honor that beautiful tradition. We hope everyone will gather and enjoy these terrific Muny shows.
“Our teams have been hard at work putting together 10 incredible nights of programming that will hopefully help simulate a small piece of the Muny magic audiences feel each summer in Forest Park,” said Muny President and CEO, Denny Reagan. “To kick off our online season with beloved, longtime Muny favorite Beth Leavel is nothing short of exciting. Her Muny Magic in Your Home performance sets the bar for a great online summer season ahead. We are sad that we won’t see our Muny friends and family in person, but we are eager to spend 10 nights together virtually.”
Beth Leavel, The Buddy Holly Boys, Our Leading Ladies, Our Leading Men, Mykeala Bennett and Alex Prakken
Beth Leavel | June 15 and 18 Sponsored by World Wide Technology
Beth Leavel received Tony, Drama Desk, Outer Critics Circle and L.A. Drama Critics Awards for her performance as the title character in The Drowsy Chaperone. Other Broadway: Dee Dee Allen in The Prom (2019 Tony Award nomination), Florence Greenberg in Baby It’s You! (Tony, Drama Desk, OCC nominations); Bandstand, Elf, Mamma Mia!; Young Frankenstein, 42nd Street (original and revival), Crazy for You, The Civil War, Show Boat. Numerous credits off-Broadway, regional theatre, commercials and television, including the Paper Mill Playhouse production of The Bandstand. MFA from University of North Carolina, Greensboro.
Beth’s Muny credits include: inaugural Muny Magic at The Sheldon featured artist (2015), Mama Rose in Gypsy (2018), Aunt Eller in Oklahoma! (2015); Mrs. Dolly Gallagher Levi in Hello, Dolly! (2014); Sister Robert Anne in Nunsense: Muny Style! (2013); Mrs. Meers in Thoroughly Modern Millie (2012), Miss Hannigan in Annie (2009), Vera Charles in Mame (2005), Dorothy Brock in 42nd Street (2004) and Betty Rizzo in Grease (1988). She has also served as an understudy for some of the greatest Muny leading ladies in 1983: Judy Kaye in Can-Can; Lucie Arnaz in I Do! I Do!; Lynn Redgrave in The King and I and Susan Powell in Promises, Promises.
The Buddy Holly Boys | June 22 and 25 Sponsored by Cardinal Glennon Children’s Hospital, Drury Hotels, Safety National and Welsch Heating and Cooling Company
After starring as Buddy and the Crickets in The Muny’s 2015 summer blockbuster Buddy: The Buddy Holly Story, Andy Christopher, Joe Cosmo Cogen, Kyle Lacy and Nathan Yates Douglass give an electrifying performance in the highest-attended Muny Magic at The Sheldon to date.
Our Leading Ladies | June 29 and July 2 Sponsored by Augusta Winery and Montelle Winery
Danielle Bowen (Dorothy in The Wizard of Oz, 2016), Ali Ewoldt (Martha Jefferson in 1776, 2019; Philia in A Funny Thing Happened on the Way to the Forum, 2017; Maria in West Side Story, 2013), Stephanie Gibson (Gabrielle in Cinderella, 2019; Inga in Young Frankenstein, 2016; Gertie Cummings in Oklahoma!, 2007), and Elena Shaddow (Marian in The Music Man, 2016; Cinderella in Into the Woods, 2015) give heart-stirring tributes to leading ladies of past Muny seasons, including Ethel Merman, Shirley Jones and Bernadette Peters.
Our Leading Men | July 6 and 9 Sponsored by Centene Charitable Foundation
Ben Davis (John Dickinson in 1776, 2019; Sky Masterson in Guys and Dolls, 2019; Pilate in Jesus Christ Superstar, 2017; Curly in Oklahoma!, 2015; Emile de Becque in South Pacific, 2013; Galahad in Spamalot, 2013), Davis Gaines (Joseph Pulitzer in Newsies, 2017), Jay Armstrong Johnson (Jack Kelly in Newsies, 2017, Billy Lawlor in 42nd Street, 2016; Barnaby Tucker in Hello, Dolly!, 2014) and Mykal Kilgore (Annas in Jesus Christ Superstar, 2017) celebrate iconic men from past Muny seasons.
Mikaela Bennett and Alex Prakken | July 13 and 16 Sponsored by U.S. Bank
Muny newcomer Mikaela Bennett (Ella in Cinderella, 2019) and St. Louis native, and former Muny Kid and Teen, Alex Prakken (Courier in 1776, 2019; Marius in Les Misérables, 2013) take audiences on an enchanted journey through the musical theatre songbook.
For digital assets, including the Muny Magic in Your Home logo and b-roll of Beth Leavel, please click here World Wide Technology (WWT) became the first overall season sponsor in the history of The Muny in 2014. They are committed to continuing in this role with their leadership gift as The Muny’s 2020 Online Season Presenting Sponsor To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit 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.
15 arts organizations will join forces with OTSL and RAC to present a streamed concert in support of artists whose livelihoods have been directly impacted by COVID-19.
Together with 14 other arts organizations and the Regional Arts Commission (RAC), Opera Theatre of Saint Louis (OTSL) is proud to announce “Arts United STL,” a free virtual benefit in support of RAC’s Artist Relief Fund, which provides critical aid to St. Louis working artists whose livelihoods have been critically interrupted by the pandemic. Produced by OTSL in partnership with the St. Louis Shakespeare Festival, this benefit will take place at 7 p.m. on Sunday, May 31st and present performances from local arts organizations, including The Big Muddy Dance Company, The Black Rep, Circus Flora, COCA, Jazz St. Louis, The Muny, Opera Theatre of Saint Louis, Repertory Theatre of St. Louis, St. Louis Ballet, St. Louis Children’s Choirs, St. Louis Shakespeare Festival, St. Louis Symphony Orchestra, The Sheldon, STAGES St. Louis, the Tennessee Williams Festival St. Louis, and more.
Arts United STL was first envisioned by OTSL General Director Andrew Jorgensen as a way for St. Louis’ established arts institutions to help support the community’s vibrant arts ecosystem. After an initial consultation between OTSL, RAC, and the St. Louis Shakespeare Festival, a consortium of 15 organizations was invited across an array of arts mediums. In the coming days, RAC will also encourage open submissions from independent artists and other arts organizations to further highlight the artistic diversity of the city.
More information about Arts United STL can be found on Opera Theatre’s website at ExperienceOpera.org/ArtsUnited, which will also host the live video stream on Sunday, May 31st. In addition, viewers may watch the livestream via YouTube on Opera Theatre’s channel. Viewers will be encouraged to donate to the RAC Artist Relief Fund during the concert. To date, the Artist Relief Fund has distributed $136,500 in direct support to individual artists. The goal of Arts United STL is to raise an additional $250,000 through 1,000 individual donations and sponsorships. Supporters may donate to the Artist Relief Fund at ExperienceOpera.org/ArtsUnited at any time before, during, or after the live event.
The arts and culture sector is an important driver for the St. Louis economy. According to the 2015 Americans for the Arts Economic Prosperity 5 study commissioned by RAC, the nonprofit arts and culture sector generated $590.9 million and 19,129 full-time equivalent jobs for the greater St. Louis area during that same year. Since the start of the pandemic, based on research conducted by Americans for the Arts, 89% of St. Louis City and County arts institutions have canceled events that would have reached more than 285,000 individuals.
“This benefit represents an exciting and collaborative effort to respond to the global crisis affecting the arts and culture sector in our region,” said Mont Levy, chair of the board of commissioners at RAC. “As the major public funder of arts in the region with a mandate to support individual artists, we know it is RAC’s responsibility to provide emergency support during this time of great need. We could not be more grateful to Opera Theatre of Saint Louis for spearheading this event, or to the St. Louis Shakespeare Festival and every participating organization for their work to highlight the rich cultural tapestry of our region and support their fellow artists.”
The Regional Arts Commission of St. Louis is the largest annual funder of non-profit arts in the region, providing grants to individual artists, arts and culture organizations, and other programs since 1985. RAC established the Artist Relief Fund through the St. Louis Community Foundation on April 1st to help working artists who have lost income due to the pandemic. So far, the fund has distributed $500 and $1,000 grants to more than 130 artists and will resume accepting new relief applications once additional funds have been secured.
OTSL General Director Andrew Jorgensen says of the effort, “We are thrilled to be collaborating with so many other arts organizations to help local artists, whose work makes St. Louis an immeasurably vibrant, special place. OTSL couldn’t be happier to produce this concert in support of artists during these difficult times. This benefit will highlight a fantastic array of art from different genres that reflect the artistic diversity and traditions of this community. I am so grateful to all my many colleagues who are uniting in this remarkable way to support one another and our entire arts ecosystem.”
All participating organizations are donating their time, with production costs and staffing needs covered by Opera Theatre of Saint Louis, additional staffing needs covered by St. Louis Shakespeare Festival, and an in-kind donation from Switch. The program will be directed by St. Louis Shakespeare Festival Artistic Director Tom Ridgely. Arts United STL is produced in partnership with the Regional Arts Commission, and the following arts partners: The Big Muddy Dance Company, The Black Rep, Circus Flora, COCA, Jazz St. Louis, The Muny, Opera Theatre of Saint Louis, Repertory Theatre of St. Louis, St. Louis Ballet, St. Louis Children’s Choirs, St. Louis Shakespeare Festival, St. Louis Symphony Orchestra, The Sheldon, STAGES St. Louis, and the Tennessee Williams Festival St. Louis.
Here is the HEC featurette piece: https://youtu.be/Upzz841hHX4
# #
About Regional Arts Commission
The Regional Arts Commission of St. Louis (RAC) supports artists and arts organizations through grantmaking, strategic initiatives and other programs that build capacity, improve quality and advance diversity, equity and inclusion within the region’s arts and culture sector. Celebrating its 35th anniversary in 2020, RAC has been pivotal in nurturing the vibrant art scene throughout St. Louis, awarding more than 7,000 grants totaling over $100 million since its inception in 1985. Directed by a board of 15 commissioners appointed by the chief executives of St. Louis City and St. Louis County, RAC prioritizes quality in its support of nonprofit arts organizations, individual artists, and programs and promotes partnerships that strengthen the sector and drive progress throughout the region. RAC receives its funding from hotel/motel room sales tax revenue from St. Louis City and County. Visit www.racstl.org for more information, or follow us on Facebook at Regional Arts Commission or Twitter @RACStLouis.
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 COVID-19 pandemic presents a multitude of obstacles to overcome for organizations of all types, and theater groups are no exception. Sharon Hunter, Artistic Director-Producer of Moonstone Theatre Company, aims to help address some of the virus-related challenges that the St. Louis theatre community faces by forming the St. Louis Theatre Community Task Force.
“As I was thinking about how to proceed with my own company in the wake of the pandemic, I started thinking it would be helpful to get a lot of the theaters to sit down via Zoom and discuss concerns, ideas and solutions for moving forward as we navigate the future of theatre in St. Louis,” Hunter explains.
Sharon Hunter
The Task Force will address concerns including conducting safe auditions, rehearsals and performances, finding new ways to seat audiences, maintaining the visibility of the St. Louis theatre community, new ways to offer theatre experiences and recommendations for the use of personal protective equipment.
Hunter said the Task Force, which is the first of its kind in the St. Louis area, welcomes local theatre groups of all sizes. In addition to these organizations, representatives from the St. Louis County Department of Health and the Center For Disease Control have also been invited to the first online meeting to address questions and concerns.
Theatre companies invited to participate include R-S Theatrics, The Q Collective, The Midnight Company, Slightly Askew Theatre Ensemble, Upstream Theater, Repertory Theatre of St. Louis, COCA, Shakespeare Festival STL, Black Rep, Stray Dog Theatre, Stages St. Louis, St. Louis Actors’ Studio, The Muny, Opera Theatre of Saint Louis, New Jewish Theatre, Cherokee Street Theatre, The Cabaret Project of St. Louis, Max & Louie Productions, Black Mirror Theatre, Young Liars, West End Players Guild, Tennessee Williams Festival St Louis, New Line Theatre, ERA Theatre Company, STL Fringe Festival, St Louis Shakespeare, Metro Theatre Company, That Uppity Theatre Company and the Tesseract Theatre Company.
The initial meeting of the Task Force is scheduled for Thursday, April 23, at 7 p.m. Theatre groups interested in interested in participating should contact Hunter at moonstonetheatrestl@gmail.com to get access to the Zoom link. For more info, check their Facebook page for updates: https://www.facebook.com/STLTheatre/.
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.
As a regional surge in COVID-19 cases grips the area, more local arts and entertainment events have either been cancelled or postponed in the St. Louis metropolitan area. The month-long “Hamilton” national tour stop at the Fox is now postponed, the Opera Theatre of St. Louis has cancelled its festival season and people are now moving dates from spring to either later in the year or 2021.
Based on the Centers for Disease Control and World Health Organization’s recommendations on social distancing and against large group gatherings, St. Louis city and county, St. Charles County and Illinois put a public health emergency plan in place. They have shutdown gatherings of 10 or more, encouraged social distancing and ordered everyone to Stay-at-Home. Announced dates: St. Louis quarantine is through April 22; Illinois is through April April 30; Missouri is through April 24; and the nation is recommended until April 30.
Here is a round-up of the latest on community theater, regional professional theater, national touring shows, certain events and venues. If alternate programming has been put into place, it’s mentioned. As everyone knows by now, things change daily, so check with websites to see the latest. I’ll update as groups provide new information.
PROFESSIONAL VENUES
Kranzberg Arts Foundation
All Kranzberg Arts Foundation venue operations have been temporarily shut down.
This includes theatres, galleries, clubs, restaurants, cafes, and libraries.
These closures will remain in place until at least May 11.
This includes the Kranzberg Arts Center, The Marcelle
Theatre, The .Zack Theatre, The Big Top, The Grandel Theatre, The Dark Room,
Sophie’s Artist Lounge and the High-Low building.
Fox Theatre Performances at the Fabulous Fox have been postponed through April 30 and tours have been cancelled through June 7.
On April 10, the Fox announced that “Hamilton” has been postponed but no date has been set yet. It was scheduled to play at The Fox May 5 – June 7.
“The Fox is in discussion with the HAMILTON producers to reschedule the engagement and hopes to announce that information soon. said spokesman Megan Ketcherside.
Ticket holders should
keep their tickets until new dates are announced. More information will be
available once new dates are secured.
The Fabulous Fox Theatre hopes to bring the show to St. Louis in 2020, but as with all things related to COVID-19 and the social distancing necessary to keep guests and associates safe, theatre management will follow the lead of government and health officials in this matter> Ketcherside said.
The other shows that have been postponed: “Charlie and the Chocolate Factory” originally scheduled for March 17-29; Teen Talent Competition originally scheduled for April 4; “Cats,” originally scheduled for April 7-19; Celtic Woman has been rescheduled for April 20, 2021; and Chaka Khan, originally scheduled for April 24.
“Charlie and the Chocolate Factory” will now be Dec. 22 – 27. “Cats” can’t be rescheduled for 2019-2020 but Fox is working on a future date.
Plans to reschedule other postponed shows are currently underway. Ticket holders should hold on to their tickets – they will be honored on the new dates.
Decisions about other future shows will be made as we
follow the evolving situation with the COVID-19 virus and the City of St.
Louis’ determination of the length of this prohibition, public relations
manager Megan Ketcherside said.
Operational hours are subject to change based on the
COVID-19 situation. For now, the Fox Box Office is temporarily closed. The MetroTix
314-534-1111 phone hours are now from Monday to Friday from 10 a.m. to 5 p.m.,
closed on Saturday and Sunday.
Visit the website, www.fabulousfox.com/coronavirus
Family Arena
As of March 25, the Family Arena and The Family Arena Box
Office is closed to the public until such time as the limit on public
gatherings is lifted in St. Charles County.
Tickets are still available for purchase at
Ticketmaster.com.
Manager Tom O’Keefe said if you purchased tickets at the
box office for an upcoming rescheduled event that you would like a refund for,
please hold on to your tickets until they re-open and they will refund your
tickets at that time.
They have partnered with Ticketmaster to address all fan
questions regarding the cancellation and rescheduling of live events. Visit the
Ticketmaster Help Center for guidance and check back regularly for additional
information and status updates, www.familyarena.com.
Stifel Theatre
The Stifel Theatre and Enterprise Center Box Offices will
not open until further notice. For guests who purchased tickets to an upcoming
show through the box office that has been cancelled, please hold on to your
tickets until we re-open and are able to assist with your questions.
These events at Stifel Theatre have been postponed. Ticket
holders should hold on to their tickets, as all tickets will be honored on the
rescheduled dates.
Here are rescheduled dates:
Gabriel Iglesias, from March 13 to Oct. 15 and from March 15 to Oct. 14; Franco
Escamilla, from March 14 to Nov. 13; Bob Weir and Wolf Brothers from March 18
to Oct. 14; Nathaniel Rateliff from March 19 to Nov. 14; Ron White from March
20 to Sept. 11; Bert Kreischer from April 5 to July 30; Iliza: The Forever Tour
from April 23 to Sept. 24; and Trolls LIVE! From May 15-17 to Oct. 2-4.
The following events have been cancelled and refunds will
be available at original point of purchase:
“Sesame Street Live,” March 27-29; TD Jakes, April 10; The
Color Purple, April 11; Variety Children’s Charity featuring Steely Dan, April
23; The Spongebob Musical, May 2-3; and Mother’s Day Soul Jam, May 8.
Decisions about other future shows will be made as they continue
to monitor this rapidly evolving situation. Visit www.stifeltheatre.com
Chaifetz Arena
The arena is closed until further notice and in an abundance of caution, the
venue will be thoroughly cleaned while closed.
They are currently working to reschedule all impacted
events and will provide updates as quickly as possible. We ask all current
ticket-holders to retain their tickets for these events until such time when a
new date is determined as your current ticket will be valid for the new date. “Please
be patient and hang tight as we work through this unprecedented time,” a
spokesman said.
Additionally, they have partnered with Ticketmaster to
address all fan questions regarding the cancellation and rescheduling of live
events. Visit the Ticketmaster Help Center by clicking here for guidance and
check back regularly for additional information and status updates as they
become available.
Impacted Events: Festival Of Laughs from March 20 to Sept.
26; Sturgill Simpson from March 21 to TBD; Gateway Blues Festival from March 28
to TBD; AEW Dynamite from April 8 to Oct. 7; NF from April 11 to Aug. 15;
Legends of Hip Hop, from April 17 to Nov. 7; The Millennium Tour, from April 24
to Aug. 8; Three 6 Mafia, from May 23 to Oct. 2; and Lauren Daigle, from May 29
to TBD.
The Playhouse at Westport
All March/April events were cancelled, including “Flanagan’s Wake,” which had
been extended to mid-April.
John Denver Tribute May 7-10 and Rockin’ Chair June 5-6 remain
scheduled.
Off the Page is launching a new way to keep making art together, in this time of separation. Please head over to ART APART, TOGETHER to help us make a new work together: https://www.offthepageeducation.org/art-apart-together/
EVERYONE is encourage to participate–kids, adults, teachers, students, artists, people who don’t yet identify as artists! You read or watch the prompt and then respond immediately in the art form of your choice. We work with amazing collaborators to shape your responses in to a new work and have actors record it. We make a video of our brand new, collaborative work!
New prompts each week, so you can keep generating material while we work on new scripts. We want to hear from you.
The Muny
The
Muny administrative offices and box office are closed through late April.
Ticketing services for the 2020 season are available online at any time.Ticketing
related questions can be sent to boxoffice@muny.org
“We are closely monitoring all developments regarding the
COVID-19 outbreak and will continue to follow the guidance of health and
government officials with the goal of keeping our staff and community as safe
and healthy as possible,” the Muny statement reads on their website.
“With the start of our 2020 season still months away, we
remain optimistic that the season will proceed as planned and hope the
restrictions on gatherings are lifted in early May, as scheduled. If that
changes, we will adjust accordingly. Meanwhile, we continue communicating with
health officials on all levels to stay fully informed and responsive to this
unprecedented situation,” the statement reads.
Given the Stay at Home order for St. Louis City and County,
and for the health and safety of our team, The Muny Offices are currently
closed and some ticketing dates have changed. However, we’re still busy getting
ready for the 2020 summer season, and we can’t wait to meet you at The Muny
this summer!
Ticketing Update as of March 26 – These dates are subject
to change.
Muny Season Tickets will be mailed in early May
Season Ticket Exchanges: May 26 – 29
Single Ticket on Sale: June 1
To purchase new season tickets, or pay a current balance on
existing season tickets, please visit:
muny.org/buy-tickets
To purchase season tickets with a gift card you currently
have in-hand, please email The Muny Box Office at boxoffice@muny.org and a Muny
Ticketing agent will contact you to process
your request. If you wish to purchase a gift card, it will not be mailed until
the restrictions on gatherings have been lifted.
Also, if you are looking for a way to stay entertained
during these “quiet days,” we encourage you to enjoy a specially curated set of
video clips from our previous productions on our social media channels. You can
follow us on Facebook, Twitter and Instagram.
The Repertory Theatre of St. Louis
The Cake starring Rigel Harris, Denny Dillon and Dria Brown. Photo by Phillip Hamer.
The Repertory Theatre had to cancel the run of “The Cake,”
which began in the Studio Theatre on March 14, but was forced to be shutdown
March 16, and to postpone our Mainstage world premiere of “Dreaming Zenzile” from
March 21, with the goal of mounting it this summer.
“The Cake”
An online stream of “The Cake” has been made available to all
Studio Theatre patrons who previously purchased tickets at no additional cost.
There are a limited number of streaming tickets available
for purchase for those who are interested in viewing the final performance of the
Steve Woolf Studio Series this season. That is available through April 24.
Additionally, The Rep is collaborating with a national
group of theatres to commission a series of short plays specifically developed
to spark joy and connection among people who are sheltering in place. These
initiatives are designed to keep the art alive and vital, even in a time of
isolating quarantines.
“Keep an eye out for more entertaining content and
educational resources from The Rep and our local and national partners by
following us on social media,” spokesman Jeremy Goldmeier said.
On March 27, The Rep announced that they have honored the entire contracts of
the guest artists who devoted their talents to “Dreaming Zenzile” and “The
Cake,” despite their runs being delayed or cut short.
“In these uncertain times, The Rep felt it was imperative
that these artists, whose livelihoods depend on their contracts, not bear the
additional burden of lost wages in this pandemic,” a statement said.
“As you know, The Rep has an extraordinarily talented and
dedicated staff that works year-round to support the productions, education,
and community initiatives to serve the greater St. Louis region. We have
continued to pay the full salaries of our full-time, year-round administrative
staff, with no furloughs or other lapses in pay. We have moved our
administrative and box office teams to work remotely to serve you during this
period,” a statement said.
Play at Home
The Repertory Theatre of St. Louis has teamed with
Baltimore Center Stage, Long Wharf Theatre, The Public Theater and Woolly
Mammoth Theatre Company to present Play at Home, a series of micro-commissioned
short plays from some of the American theatre’s most exciting and prominent
playwrights.
These new plays – which all run 10 minutes or less – are
available for the public to download, read and perform at home for free at
playathome.org.
In the wake of widespread event cancellations following the
spread of the coronavirus (COVID-19), the participating theatres conceived Play
at Home as a way to support artists, connect people to theatre, and to ignite
imagination and joy in these uncertain times.
Each organization commissioned multiple playwrights – most
of whom had plays canceled due to the coronavirus outbreak – to create new
works that were big, joyful and not bound by the constraints of what might be
“possible” on a traditional stage.
The Rep’s commissioned playwrights feature:
Regina Taylor (playwright of The Rep’s 2020-2021 production
of Oo-Bla-Dee)
Karen Zacarias (playwright of The Rep’s 2020-2021
production of Native Gardens)
Steph Del Rosso (playwright of The Rep’s 2020-2021 world
premiere of The Gradient)
Guadalís Del Carmen (who appeared at The Rep as an actor in
2020’s Mojada: A Medea in Los Angeles)
Tre’von Griffith (a St. Louis performer and playwright,
co-founder of TLT Productions)
These plays are meant to be read at home among family and friends, and we highly encourage readers to share photos or videos of their home performances on social media using the hashtag #playathome.
Max and Louie Productions
Estelle Siteman of Max & Louie Productions said they optimistically look forward to bringing the second play of our 2020 season,”Looking for Normal” by Jane Anderson to the Marcelle. “This beautiful ,moving play full of wit and wisdom opens July 16 through the 26.2020,” she said.
Moonstone Theatre Company Sharon Hunter said Moonstone Theatre Company has postponed their July opening of “The House of Blue Leaves” to July of 2021 at the Wool Studio Theatre at the J. They will announce our season shortly. which will now begin in November 2020 with a Neil Simon comedy.
Joe Hanrahan of The Midnight Company
The Midnight Company Midnight Artistic Director Joe Hanrahan has moved his one-man play from May 28 – June 13 to a June 4 – 20 run. This is the premiere of the full version of “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” which will be at The Chapel, 4238 Alexander Drive, 63105. Performances are Thursdays through Saturdays at 8 p.m., with a matinee on Sunday at 2 p.m.
It was performed in a shortened version at the 2018 St. Louis Fringe Festival, and audiences responded enthusiastically and critics raved. Snoops Theatre Thoughts said “A delightful show that’s part personal memoir, part history lesson, part nostalgia, and all fascinating. A difficult show to describe but what it is is excellent.” Limelight said “Hanrahan jumps from omniscient narrator to 15-year old movie fanatic to baseball and theatre historian, the audience hanging on every word. The Cardinals are the talk of the town again. This show should be the talk of the town, too!” Hanrahan said, “There’s never been a play we’ve done that’s received such enthusiastic, visceral reaction, due, surely, to the St. Louis history of the show. At the Fringe, productions are limited to one-hour playing time, and this new version will allow us to incorporate new material that should make the show ever more entertaining and informative.” “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” concerns a teen-age boy in 1964. JFK’s assassination still casts a pall on the nation. The Beatles’ emergence in February of ’64 starts to lighten the mood of the nation. The Cardinals continue the good times in St. Louis with a mad dash toward the pennant. And when a new movie hero hits the screens that summer, a bunch of boys on a baseball field have their first theatre experience when one of their gang offers a 30-minute one-man show of “From Russia with Love.” Throughout, the playwright draws links between what’s happened and happening – from JFK to James Bond, from segregation in St. Louis to segregation in baseball’s Southern Leagues and Florida stadiums where The Beatles were supposed to play, from WWII to British film production crews and JFK hit squads, from the first cave man who stood up by the fire to the theatre musings of Peter Brook…all of it swirling in front of the eyes of a young boy, and the memory of that time. Shane Signorino will direct the show as he did at The Fringe (Shane just received a Theatre Critics Circle nomination as Best Supporting Actor in a Comedy for Midnight’s POPCORN FALLS), Kevin Bowman will serve as Production Designer, Michael B. Perkins will design video support (as he did for Midnight productions of A MODEL FOR MATISSE, JUDGMENT AT NUREMBERG, and LITTLE THING BIG THING), and Elizabeth Henning will be Stage Manager.
There will also be a concurrent exhibit in The Chapel lobby of memorabilia from 1950’s/60’s baseball and James Bond films, presented by George Venegoni.
Grace Langford and Jaclyn Amber in “Head Over Heels” Photo by Jill Ritter Lindberg
New Line Theatre
New Line managed to get two weekends of performances of “Head Over Heels” before the local government mandates of crowd size forced it to close early in mid-March.
Its June production of “Urinetown” has been cancelled.
Stray Dog Theatre
“Annie,” which was to open April 9, has been postponed,
with dates to be announced.
“We will honor all tickets already purchased to any of the
new performance dates once they are announced. To purchase tickets to any other
future productions, please call our box office directly at (314) 865-1995.
“We are currently planning to hold the remainder of the
2019-2020 season as scheduled. Any changes or additional information will be
shared as soon as possible. If you have any questions, please feel free to
contact us,” said Artistic Director Gary F. Bell.
“We would like to thank everyone for the hard work they’ve
already put into the production and we would like to thank you for your
patience as we work to bring you the quality story telling you, our family,
deserve. Annie is that bit of light we all need right now, ‘the sun will come
out tomorrow’ and we will overcome anything,” Bell said.
“We know we are not the only organization dealing with
these difficult decisions and we stand with them, ready to come back stronger.
Your continued support of all arts organizations is always appreciated but
never more than in times like these. We look forward to seeing you soon,” he
said. “Please stay safe and be kind to one another.”
Kenneth Lonergan’s “Lobby Hero” is set to run June 4
– June 20
“However, due to the extreme strain currently being faced
by many organizations we have made the decision to halt online sales of
upcoming productions. We will resume online sales once matters have settled and
the timeline of events moving forward becomes more defined,” Bell said.
“You may continue to purchase tickets for upcoming shows by calling our Box
Office at (314) 856-1995 or emailing us at boxoffice@straydogtheatre.org. Thank
you for your patience and your continued support as we manage these unfortunate
events.”
Neil LaBute’s Ten X Ten Series 2nd Week free Video is now availalbe! Check our Twitter account for the link (http://twitter.com/STLAS1)LaBute’s Ten X Ten Series is offered as free content weekly via @STLAS1. It is a collection of original monologues initially written for AUDIENCE CHANNEL#LaBute10x10
This is in response to the cancellation of LaBute’s new play, “Comfort,” which STLAS was to stage this spring.
New Jewish Theatre
Judi Mann, Kelly Weber and Joneal Joplin in “We Are the Levinsons”
Initially, New Jewish rescheduled “We Are the Levinsons”
from March 19 to May, but now they have pushed it back, along with their
Sondheim musical revue, “Putting It Together.” They would like to reschedule later this
summer.
All activities at the JCCA have been suspended during the
public health crisis.
For more information, please contact them by email or by
phone, 314-442-3283.
Opera Theatre of St. Louis
Opera Theatre of Saint Louis has canceled its season. On April 7, Andrew Jorgensen, general director of Opera Theatre, announced the cancellation of the 2020 festival season that was to open May 23 and run through June 28 with this repertory: the world premiere of Tobias Picker and Aryeh Lev Stollman’s Awakenings, Bizet’s gripping opera Carmen, Strauss’ effervescent comedy Die Fledermaus, and the long-awaited company premiere of Carlisle Floyd’s Susannah.
Unfortunately, due to the size of seasonal staff required to produce each opera season, it is not possible for us to assemble the same casts, creative teams, and backstage artisans at any other point in the next several months. Even if we could postpone our season by a month, we simply don’t know when it will be safe for groups to gather again.
At this time, there is no active plan in place to move any of the 2020 productions into the 2021 Festival Season. However, they are still evaluating various options and scenarios — stay tuned for more!
For a complete list of all affected programs and public events, including information on whether an event is canceled or postponed, visit the website and scroll down for a complete list:
This page will be updated frequently in the weeks ahead as new information becomes available regarding the status of events, including possible rescheduling or digital streaming.
“As always, our highest priority is the health of the entire OTSL family — patrons, staff, and artists,” the statement reads.
Shakespeare Festival St. Louis
The 2020 Shakespeare in the Park production of “Much Ado
About Nothing” has been moved to Aug. 12 – Sept. 6. Producing Artistic Director
Tom Ridgely said it was in order to provide the best possible chance of safely
gathering artists and audiences for its 20th anniversary season. It
is to be directed by Bruce Longworth.
“For the past 20 years in St. Louis, the opening of
Shakespeare in the Park has helped to mark the unofficial start of summer,” Ridgely
said. “This year it’s clear that the only way to care for our actors, crew,
volunteers and community is to give as much time as possible for social distancing
measures to take effect and hope to be one of the ways we all bring our summer
2020 to a much happier close.”
The previously announced creative team of Matt Pace &
Brien Seyle (Original Music), Josh Smith (Scenic Design), Dorothy Englis
(Costume Design), John Wylie (Lighting Design) and Kathy Ruvuna (Sound Design)
remains the same.
In response to the widespread cancellation of live events,
the Festival has already shifted to generating a full schedule of new and
original content for the online and social media platforms under the umbrella
of “ShakespeareTV.”
These include the previously aired “watch party” of its
canceled regional tour of Cymbeline, a live reading of “Venus and Adonis”
(which Shakespeare wrote during a plague-induced theater closure) and a
five-night reading of Albert Camus’ postwar masterpiece “The Plague.” Together
they’ve already been viewed 10,000 times.
Now through May 29 on ShakespeareTV, which can be accessed
on their Facebook page:
THE ZOOM PLAYS: a weekly series of 20- to 30-minute
original plays written especially to be performed live over the
videoconferencing app Zoom. Created and performed by local playwrights,
directors and actors.
GREEN SHOW MONDAYS: an eclectic variety program featuring
music, comedy and performance from Festival favorites.
SHAKESPEARE AND CHILL: a special selection of
Shakespeare-inspired movies featuring live commentary from artists and
scholars, co-curated by Cinema St. Louis.
Other one-night only events to be announced.
May 29 – June 21 is SHAKE20
A 20th anniversary reboot of the beloved engagement program
SHAKE38 featuring community responses to 20 of Shakespeare’s plays streaming on
Facebook and Instagram Tuesdays through Sundays 8 p.m. during the Festival’s
originally scheduled run, May 29-June 21.
Like the original, SHAKE20 will be a region-wide
collaboration involving artists and organizations including SHAKE38 alumni:
Slightly Askew Theater, Prison Performing Arts: The Alumni Group, RS-Theatrics,
Poor Monsters and Theater Nuevo. More details about the program and how to
apply will be shared soon.
“In the meantime, we
hope that you and yours stay well. We have planned an incredible season of free
Shakespeare, and we cannot wait to share it with you. It’s an interesting time
to be in the business of live theatre and touring productions, but the Festival
is committed to paying our artists and staff throughout this crisis,” Ridgely
said.
So, if you have ever considered becoming a member, know
that we are always grateful for your support—but especially so at this time,” he
said.
“During this crisis, we feel more connected to Shakespeare
and his contemporaries than ever before. Biographer Jonathan Bate wrote, ‘The
Plague was the single most powerful force shaping [Shakespeare’s] life and
those of his contemporaries.’ During times of quarantine, Shakespeare wrote
some of his most important sonnets and plays,” Ridgely said.
“We can’t claim to have his genius, but we will take
inspiration from his dedication and from artists around the world that are
stepping up to create, facilitate, and share stories in new and exciting ways.
Stay tuned for updates on new and existing Festival programs,” he said.
For more information, visit the website sfstl.com and on
social media. Visit https://www.facebook.com/shakesfestSTL
Stages St. Louis
While Stages St. Louis continues to follow guidance from the CDC as well as
mandates from both local and national government, for the time being, they have
made no adjustments to the schedule for our upcoming 2020 Season.
However, here are some changes regarding tickets, activities
and outreach:
Single tickets for the 2020 Season will now go on sale
beginning Monday, April 27.
All in-person activities with the Stages Performing Arts
Academy will be canceled until the start of our Summer Semester on Monday, June
1.
The Stages administrative, production, and academy offices
will remain closed until Thursday, April 23.
In the meantime, the Box Office is still open for questions
or subscription ticket sales online at www.StagesStLouis.org or by phone at
(314) 821-2407.
The Stages Performing Arts Academy will continue to offer
digital and streaming content in order to continue performing arts education
for students at home and can answer any and all questions by phone at (636)
449-5775.
Shows are: “A Chorus Line,” May 29 – June 28; Disney’s Alice in Wonderland,” June 16 – June 28, “La Cage Aux Folles,” July 17 – Aug. 16; and “Always…Patsy Cline,” Sept. 4 – Oct. 4.
Tennessee Williams Festival St. Louis
Executive Artistic Director Carrie Houk said after careful deliberation, they find it necessary to push the 5th Annual Tennessee Williams Festival St. Louis to summer due to the outbreak of COVID-19. Our first commitment is to keeping the company and community safe. The dates were May 10-17.
The Tesseract Theatre Company Plans are underway to present the 2020 Festival of New Plays June 11 – 28 at the .Zack Theatre. The four plays are “Last Night” by Rachel Lynett, “All That Remains” by J.M. Chambers, “Feast” by Megan Gogerty and “The Length of a Pop Song” by Taylor Gruenloh.
For more information, contact: brittaniegunn@gmail.com or visit the website, www.tesseracttheatre.com
That Uppity Theatre Company Joan Lipkin said they we had hoped to do a new devised piece Crossing Borders/Chasing Freedom May 2-3, “but of course that is on hold. We are still planning to do Dance the Vote Sept 26 at the Missouri History Museum,” she said.
Upstream Theater In keeping with the evolving response to the current public health crisis, Upstream Theater is postponing our premiere of IPHIGENIA IN SPLOTT until next season. The play is now scheduled to run from October 9-25.If you have purchased single tickets or a season passport we will be happy to honor your ticket at that time.
West End Players Guild
Steven Dietz’s “Bloomsday” set to open April 17 and run through
April 26 has been cancelled. It was the final production of the group’s 109th
season.
“As our country copes with the growing threat of the
Coronavirus, one of the most important steps we must take to protect ourselves
and each other is the kind of “social distancing” that is impossible at a
theatrical production. Our Board of Directors believes it is highly unlikely
that the need for social distancing will be any less in April than it is today,
and decided that the best course of action for our company and our patrons was
to act now to cancel the show,” a statement reads.
Patrons who have purchased advance tickets through Brown
Paper Tickets will be issued automatic refunds. WEPG will reach out to season
ticket holders in the near future with refund options.
WEPG will begin its 110th season in September.
Alfresco Productions Auditions
for “Hairspray Jr.” will be by video for the Granite City community theater
production. The show is to run July 24-26 and deadline for video submissions is
April 19. The age limit is from 6th grade to 18 years old. For more
information, visit: https://www.alfrescoproductions.org/auditions
Alton Little Theatre
All productions and concert events through May 1 have been
cancelled. Ticket holders for “Holy Laughter” and Todd Oliver and
“Broadway Salutes America” may be refunded or transferred. Call
618-462-3205 for options.
“Brigadoon” has been moved from May to June, with plans for
a June 5 opening, with eight performances through June 14. Season ticket
holders can follow the same schedule but can call the office at 618-462-3205 anytime
in May.
“Shrek” auditions have been rescheduled for Saturday, May
10, at 10 a.m. and Sunday, May 3, at 2 p.m. Director Kevin Frakes will be casting
at least 30 characters. The show will run July 31-Aug. 9 for eight
performances.
Clayton Community Theatre “The
Philadelphia Story” was to run March 12-22 but was cancelled after opening
weekend.
They hope to premiere “Broadway Bound” July 9 -14
Curtain’s Up Theater Company
The group based in Edwardsville has postponed its production of “1776” for a
future date in 2020, to be determined, and cancelled March 28 auditions. The musical
was to be performed June 26-28 at The Wildey Theatre in Edwardsville. To keep
informed of updates, visit www.curtainsuptheater.com
Kirkwood Theatre Guild
Kirkwood Theatre Guild cancelled its remaining two shows: “On Golden Pond” and “Shrek:
The Musical,” which were set to run in April and May.
Hawthorne Players
The run of “Picnic,” set for March 27, 28 and April 3-5, was cancelled.
Auditions for “A Chorus Line,” which were scheduled March 29 have been put on
hold. More information will be forthcoming. Please follow or check out website
www.HawthornePlayers.com for any further announcements.
Looking Glass Playhouse
LGP began the March 12-22 run of “It’s Only a Play” but was forced to cancel it
after state and local mandates due to the COVID-19 pandemic.
They have cancelled the rest of the season, including “Rock
of Ages” in May and have moved it to the opening slot in the fall.
“We are reaching out to the publishers to reschedule and are hopeful that we
will be able to still perform the show in September,” he said.
They hope to announce the full season soon and for patrons
who renew their season tickets for next year, they will receive a 10 percent
discount.
“Currently, we are still planning our summer youth
production “Alice in Wonderland Jr.” and summer fundraiser “The Rocky Horror
Show.”
Monroe Actors Stage Company
The current production of “Watch Over the Rhine,” which was to run April 17-19
and 24-26, has been postponed.
Due to the current health crisis in our area, all MASC rehearsals and
activities at the Capitol Theater have been postponed effective Monday, March
16.
“The MASC Board will be discussing the plan of action
moving forward regarding Watch on the Rhine, the current show in production,
and the remainder of the 2019-2020 season, as we monitor the progression of
this crisis. Specific information regarding these two shows will be sent out
accordingly. The health and safety of our membership and patrons is our highest
priority,” a statement read.
O’Fallon Theatre Works
The group cancelled “Man from Earth” in March.
“The Curious Incident of the Dog in the Nighttime” is planned for July, and auditions
were recently handled by video.
Over Due Theatre Company
The group in Olivette has postponed “My Fair Lady.” It was
to run April 24-26 and May 1-3.
For the time being, they are still planning on holding auditions for “Bye Bye
Birdie” May 9 and 10. The show is set for July 24-26 and July 31, Aug. 1 and 2.
The Theatre Guild of Webster Groves
They have postponed our May production of “Rehearsal for Murder.”
“We are hopeful and fully intend to mount this production
at a later date,” a statement read.
AWARDS EVENTS
St. Louis Theater Circle
Often referred to as “Theater Prom,” the eighth annual St. Louis Theater Circle
Awards were to take place on March 30 at the Loretto-Hilton Center on the
campus of Webster University, but the event has been cancelled. Local theater
critics will still honor outstanding regional professional theater, however.
Instead, HEC will provide a streamcast of the awards on
Tuesday, April 7, at 7 p.m. on their Facebook page. So, instead of fancy
outfits and schmoozing, the event will be downscaled reading of the nominations
and awards.
The theater critic members of the St. Louis Theater Circle
have recorded the nominations, and their voice-overs will run over photos of
the nominees. Then HEC announcer Rod will announce the winner. There are 34
categories to give awards in, which cover dramas, comedies and musicals. A
special award is being given to Ken and Nancy Kranzberg for their tremendous
support and commitment to the arts.
Visit the Theater Circle’s Facebook page for more
information.
If you would like to see who was nominated, here is the
PopLifeSTL article:
https://www.poplifestl.com/brighton-beach-memoirs-kinky-boots-and-man-of-la-mancha-lead-8th-annual-st-louis-theater-circle-awards/
Arts For Life
In community theater, the Arts For Life board of directors
presents two awards events each year, the Best Performance Awards honor musical
theater and youth productions, and the Theatre Mask Awards honor straight
plays.
The fifth annual Theatre Mask Awards, which honors both
dramas and comedies, was to take place at a brunch on Saturday, April 4, at The
Atrium Center at Christian Hospital. However, it has been rescheduled for July
18.
The 21st annual Best Performance Awards is scheduled for
Sunday, June 14, at 2 p.m. at the Skip Viragh Center for the Performing Arts at
Chaminade. However, the AFL board of directors will decide shortly on whether
the event will be moved. Stay tuned.
For more information and to see lists of nominations, visit
www.artsforlife.org.
You can get tickets to both events for the special price of
$40. Visit www.artsforlife.org for more information and to see a complete list
of nominees.
Emcees are Donna Northcott, a theater professor at
Lindenwood University – St. Charles, for the TMAs, and local singer-actress
Karen Fulks for the BPAs.
AFL President Mary McCreight has suspended all public
activities of the AFL organization, effective until at least May 1. This
includes all judging activities of the Theatre Recognition Guild.
“As our world, our nation and our region face a major
health threat, it falls upon us as a community to adopt measures that will both
foster the protection of those who work and ‘play’ in Metro St. Louis community
theatre and ultimately allow AFL to continue our charitable mission of service
and recognition once the threat passes,” she said.
(Full disclosure: I am a founding member of the St. Louis Theater Circle and I am on the Board of Directors of Arts For Life).
ST LOUIS HIGH SCHOOL MUSICAL THEATRE AWARDS
In partnership with The Fabulous Fox, The Muny and The Fox Performing Arts Charitable Foundation, the St. Louis High School Musical Theatre Awards announced today the shift from in-person celebrations to virtual for their 2019-2020 season.
The new date for this year’s medallion ceremony, also known as the nomination ceremony, will be April 28, 2020 with the awards ceremony slated for May 24, 2020. Both streamed live online at no charge, these virtual celebrations will honor each of the 42 participating schools in the 2019-2020 season, including the schools who were unable to produce their productions due to the unprecedented circumstances associated with COVID-19. Exact times and streaming information will be released at a later date.
ARTS CENTERS AND CONCERT HALLS
The Hettenhausen Center for the Arts
All events and performances scheduled through June 1 have
been cancelled at “The Hett,” which is located on the campus of McKendree
University.
“TAO Drum” has been
rescheduled from March 24 for 7:30 p.m. Monday, Sept. 14; and “Ishmael Beah”
has been rescheduled from April 15 for 7:30 p.m. Thursday, March 4, 2021.
The ReMINDers has been cancelled for April 6.
They are offering patrons the possibility of applying their
tickets to a future event at the Hett, donating the ticket value to the
University or contacting them for a full refund, less any original mailing
fees. Please contact the box office during operating hours to discuss ticket
disposition at 618-537-6863. The box office is open from noon to 4 p.m.
Monday-Friday.
Hettenhausen Center for the Arts is located at 701 College Road in Lebanon. For
more information, please contact thehett@mckendree.edu.
St. Louis Symphony Orchestra
All performances through April 12 are postponed or
canceled. For information regarding tickets and schedules, visit slso.org.
The Sheldon Concert Hall & Art Galleries
All Sheldon-presented concerts and other events through May
10 have been postponed or canceled. Plans to reschedule are underway, and
ticket buyer should retain their current tickets – they will be honored for the
new dates. Additional information will be provided to ticket buyers as events
are rescheduled. Affected concerts include: Ian Walsh and Kevin Buckley,
“Keepin’ It Reel,” March 17-18; Honoring Our Own, Miz Renee Smith, March 17;
David Halen, violin, April 1; Brothers Lazaroff, April 4. Scheduling changes
for events presented by non-Sheldon promoters will be handled on a case by case
basis. All updates can be found at TheSheldon.org or at MetroTix.com.
The Sheldon is located at 3648 Washington Blvd., St. Louis.
Fair Saint Louis
Fair Saint Louis and America’s
Birthday Parade events have been canceled this year due to concerns about the
COVID-19 pandemic.
Fair Saint Louis was set to run July 2-4 at the Gateway Arch
with concerts, air show, and fireworks each night.
“While we are saddened to cancel two of our region’s most
popular and free Fourth of July celebrations, the safety of our community is of
utmost importance to us,” said David Estes, Chairman, Fair Saint Louis. “Fair
Saint Louis and America’s Birthday Parade embody the prideful spirit of our
city, and over the past few weeks, we’ve seen that spirit shine so brightly
within our community as we face this unthinkable challenge together.”
This year would have marked the 40th Fair Saint Louis and 138th
America’s Birthday Parade.
“We look forward to returning to downtown St. Louis and celebrating
with our community in the future when the time is right,” said David Plufka,
Chairman, America’s Birthday Parade.
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.
COVID-19
Pandemic Results in Production Streamcast by HEC Media
New Jewish Theatre led the way with six awards at the eighth annual St. Louis Theater Circle Awards ceremony on Tuesday, April 7, 2020. Max & Louie Productions’ performance of Indecent garnered five awards, followed by four awards to The Tennessee Williams Festival St. Louis for its production of A Lovely Sunday forCreveCoeur.
Because of the COVID-19 pandemic, the Circle’s gala event for this year’s award ceremony, originally scheduled for March 30, 2020 at the Loretto-Hilton Center, was canceled. Instead, HEC Media produced a version of the ceremonies that was streamcast on HEC Media’s Facebook page (https://www.facebook.com/hectv/live/) as well as telecast on Spectrum channel 989 and AT&T U-verse channel 99. Here is the YouTube link: https://www.youtube.com/embed/tCo0AFHbChE
Awards were given in 31 categories covering comedies, dramas
and musicals as well as two categories for opera. In addition, Ken and Nancy
Kranzberg received a special award for their philanthropic contributions to the
arts and theater in the St. Louis area, including many developments in Grand
Center. The awards honored outstanding achievement in locally produced professional
theater for the calendar year 2019.
A total of 21 productions and 14 companies were recognized by the awards, including eight individuals who have received honors in previous years. Will Bonfiglio, honored as Outstanding Actor in a Comedy for his performance in New Jewish Theatre’s production of Fully Committed, received an award for the third time in the last four years.
The 2020 presentation featured nominees from two companies,
Black Mirror Theatre and The Q Collective, which were represented for the first
time in consideration of St. Louis Theater Circle Awards. Each company received an award for
outstanding achievement.
In all, 25 local companies received nominations in 33
categories for comedy, drama, musical and opera, as well as 125 individuals up
for awards. Honorees who have previously received St. Louis Theater Circle
Awards include Will Bonfiglio, J. Samuel Davis, Kari Ely, Michael Hamilton,
Patrick Huber, Sean M. Savoie, Margery and Peter Spack, and Maggie Wininger.
The mission of the St. Louis Theater Circle is simple: To
honor 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.
Nominations for the St. Louis Theater Circle Awards were
divided into categories for musicals, dramas, comedies and operas. More than 120 local professional theatrical
productions were staged in the St. Louis area in 2019.
Honorees of the eighth annual St. Louis Theater Circle
Awards are:
Outstanding
Ensemble in a Comedy
A
Lovely Sunday for Creve Coeur, Tennessee Williams Festival St. Louis
Outstanding
Supporting Actress in a Comedy
Kelley Weber, A Lovely Sunday for Creve
Coeur, Tennessee Williams Festival St. Louis
Outstanding
Supporting Actor in a Comedy
Patrick Blindauer, Love’s Labors Lost, Shakespeare Festival St. Louis
Outstanding
Actress in a Comedy (tie)
Katie Kleiger, Pride and Prejudice, Repertory Theatre
of St. Louis
Maggie Wininger, A Lovely Sunday for Creve Coeur, Tennessee Williams Festival St.
Louis
Outstanding Actor
in a Comedy
Will Bonfiglio, Fully Committed, New Jewish Theatre
Outstanding
Director of a Comedy
Kari Ely, A Lovely Sunday for Creve Coeur,
Tennessee Williams Festival St. Louis
Outstanding
Production of a Comedy
Brighton
Beach Memoirs, New Jewish Theatre
Indecent
Outstanding
Ensemble in a Drama
Indecent,
Max & Louie Productions
Outstanding
Supporting Actress in a Drama
Carly Uding, Translations,
Black Mirror Theatre
Outstanding
Supporting Actor in a Drama
J. Samuel Davis, District Merchants,
New Jewish Theatre
Outstanding
Actress in a Drama
Donna Weinsting, Salt, Root and Roe,
Upstream Theater
Outstanding Actor
in a Drama
Gary Wayne Barker, District Merchants, New Jewish
Theatre
Outstanding
Director of a Drama
Joanne Gordon, Indecent, Max &
Louie Productions
Outstanding
Production of a Drama
Indecent,
Max & Louie Productions
Outstanding Set
Design in a Play
Margery and Peter Spack, Brighton Beach Memoirs,
New Jewish Theatre
Outstanding
Costume Design in a Play
Felia Davenport, District Merchants,
New Jewish Theatre
Outstanding
Lighting Design in a Play
Patrick Huber,
Indecent, Max & Louie Productions
Outstanding Sound
Design
Phillip Evans, Indecent, Max &
Louie Productions
Outstanding Set
Design in a Musical
Mary Engelbreit and Paige Hathaway, Matilda, The Muny
Outstanding
Costume Design in a Musical
Sarah Porter, La Cage aux Folles, New
Line Theatre
Outstanding
Lighting Design in a Musical
Sean M. Savoie, Man of La Mancha,
Stages St. Louis
Outstanding
Musical Director
Charles Creath, Don’t Bother Me, I Can’t
Cope, The Black Rep
Outstanding
Choreographer
Dexandro Montalvo, Such Sweet Thunder, Shakespeare
Festival St. Louis,
Big Muddy Dance Company, Jazz St. Louis, Nine
Network of Public Media
Outstanding
Ensemble in a Musical
Matilda,
The Muny
Outstanding
Supporting Actress in a Musical
Taylor Louderman, Kinky Boots, The
Muny
Outstanding
Supporting Actor in a Musical
Tielere Cheatem, La Cage aux Folles,
New Line Theatre
Outstanding
Actress in a Musical
Kendra Kassebaum, Guys and Dolls, The
Muny
Outstanding Actor
in a Musical
Luke Steingruby, Hedwig and the Angry
Inch, The Q Collective
Outstanding
Director of a Musical
Michael Hamilton, Man of La Mancha,
Stages St. Louis
Outstanding
Production of a Musical
Such
Sweet Thunder, Shakespeare Festival St. Louis,
Big Muddy Dance Company, Jazz St. Louis, Nine
Network of Public Media
Outstanding New
Play
Nonsense and Beauty, by Scott C.
Sickles, Repertory Theatre of St. Louis
La Boheme
Outstanding
Achievement in Opera (tie)
Terence Blanchard and Kasi Lemmons, Fire
Shut Up in My Bones, Opera Theatre of Saint Louis
Roland Wood, Rigoletto, Opera Theatre
of St. Louis
Outstanding
Production of an Opera
La
Boheme, Union Avenue Opera
Special Award
Ken and Nancy Kranzberg
Members of the St. Louis Theater Circle include Steve Allen,
stagedoorstl.com; Mark Bretz, Ladue News;
Bob Cohn, St. Louis Jewish Light;
Tina Farmer, KDHX; Michelle Kenyon, snoopstheatrethoughts.com; Gerry Kowarsky, Two on the Aisle (HEC Media); Chuck
Lavazzi, KDHX; Sarah Bryan Miller, St.Louis
Post-Dispatch; Judith Newmark, judyacttwo.com; Ann Lemons Pollack,
stlouiseats.typepadcom; Tanya Seale,
Broadwayworld.com; Lynn Venhaus, PopLifeSTL.com;
Bob Wilcox, Two on theAisle (HEC Media); and Calvin Wilson, St.
Louis Post-Dispatch.Eleanor
Mullin, local actress and arts supporter, is the group’s 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.
In partnership with The Fabulous Fox, The Muny and The Fox Performing Arts Charitable Foundation, the St. Louis High School Musical Theatre Awards announced today the shift from in-person celebrations to virtual for their 2019-2020 season.
The new date for this year’s medallion ceremony, also known as the nomination ceremony, will be April 28, 2020 with the awards ceremony slated for May 24, 2020. Both streamed live online at no charge, these virtual celebrations will honor each of the 42 participating schools in the 2019-2020 season, including the schools who were unable to produce their productions due to the unprecedented circumstances associated with COVID-19. Exact times and streaming information will be released at a later date.
The St. Louis High School Musical Theatre Awards are proudly sponsored by Carol B. Loeb. KTVI FOX2 and KPLR 11 are the proud media sponsors of the St. Louis High School Musical Theatre Awards. For more information about the St. Louis High School Musical Theatre Awards and this year’s virtual celebrations, please visit slhsmta.org.
### About The St. Louis High School Musical Theatre Awards The St. Louis High School Musical Theatre Awards (SLHSMTA) are produced by The Fabulous Fox, The Muny and The Fox Performing Arts Charitable Foundation. This program is designed to celebrate outstanding achievement in high school musical theatre. Participating schools will have their productions evaluated by a panel of theatre professionals. The year-long adjudication process culminates in an awards ceremony modeled on the Tony Awards®.
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 eighth annual St. Louis Theater Circle Awards are taking place in cyberspace on Tuesday, April 7, rather than at the Loretto-Hilton Center on the campus of Webster University. That March 30 event was cancelled because of the current public health crisis. The COVID-19 global pandemic has affected the St. Louis region, with government quarantine orders in both St. Louis city and county through April 22.
The awards honoring excellence in professional regional theater for the 2019 season are being made available by the Higher Education Channel at 7 p.m. on their platforms. Their link is: Higher Education Channel TV (HEC-TV)
The streamcast will be able to be seen on HEC Media’s Facebook page, channel 989 on Spectrum (Charter) and channel 99 on AT&T U-verse.
HEC Announcer Rod Milam will state the winner after the Circle members voice-over the nominations in 33 categories. It is expected to take a half-hour.
The Muny, now in its second century of performances at its outdoor amphitheater in Forest Park, leads the way with a total of 25 nominations, followed by 24 for The Repertory Theatre of St. Louis (The Rep) and 21 for New Jewish Theatre. Stages St. Louis follows with 13 nominations, West End Players Guild with 10 and Stray Dog Theatre with a total of eight nominees.
In all, 25 local professional companies received nominations for 51 different shows. Lighting designer Sean M. Savoie leads all nominees with three different nominations out of a total of 125 nominated artists, including six who received two nominations apiece. The awards honor outstanding achievement in locally produced professional theater for the calendar year 2019.
More than 120 locally produced professional theatrical productions were presented in the St. Louis area last year.
Ken and Nancy Kranzberg will be honored with a Lifetime Achievement Award in recognition of their long-standing commitment to the arts and theater in St. Louis, including Grand Center.
The official hashtag for the event, to be used on Twitter and Facebook, is: #TCA20
The St. Louis Theater Circle would like to thank the folks at HEC Media, including Dennis Riggs, Boyd Pickup, Rod Milam, Paul Langdon, Christina Chastain and their colleagues, for stepping up and making this streamcast production possible after the COVID-19 pandemic caused the cancellation of our eighth annual gala.
The St. Louis Theater Circle includes Calvin Wilson, St. Louis Post-Dispatch; Tanya Seale, Broadway World; Judith Newmark, Judy’s Second Act: Mark Bretz, Ladue News; Tina Farmer, KDHX; Gerry Kowarsky, “Two on the Aisle” HEC; Bob Wilcox “Two on the Aisle” HEC: Ann Lemons Pollack, St Louis Eats; Steve Allen, Stage Door STL; Chuck Lavazzi, KDHX; Michelle Kenyon, Snoop’s Theatre Thoughts; Bob Cohn, St. Louis Jewish Light; and Lynn Venhaus, PopLifeSTL.com. Eleanor Mullin is the administrator.
For more information, visit the Circle’s Facebook page.
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.
Or, Theater interrupted by life…or something like that. Awards and reflections on the year.
By Lynn Venhaus Often times, the wise words of others are in a loop playing in my head.
“I want life to imitate art,” Carrie Fisher wrote in
“Postcards from the Edge,” and I often share that same sentiment. Particularly
in 2019, which will always be labeled an “annus horribilis” for personal
reasons.
Although John Lennon is attributed to have said “Life is what happens to you while you’re busy making other plans,” he really just quoted it in one of his songs on “Double Fantasy.” That one I put in regular rotation.
When times were really rough last year, I thought of
Courtney Love’s band Hole and their album cover “Live Through This,” which was
made after Kurt Cobain died. I kept repeating that phrase over and over.
Now 65, I know all too well the ebbs and flows of life, but last year seemed unusually mired in the deep end. You see, without going into lengthy details, I lost my cherished oldest son in December 2018 and my only surviving brother, who was terminally ill, Labor Day weekend on his 57th birthday; my two sisters and I lost our other brother years ago. Life is filled with loss, and I made it through all the ‘firsts’ with a lot of help from my friends and family. But pain, anguish and sorrow were/are unfathomable and the tsunami of grief is as unpredictable as anything in life.
My brother honored as a Legacy Coach at his alma mater, Belleville West, in January, eight months before his death. You can’t see his walker. He was a coach and junior high science teacher for 35 years.
As Matt went steadily downhill last summer, I decided I
would spend more time with him, and I was already cooking his meals. So that
meant missing some theater, and I have no regrets on that decision.
We all must prioritize what’s important in our lives. Theater
has always brought me great joy and illuminated life in an exhilarating way,
and last year, sometimes it was a lifeline.
I am grateful for the opportunities to see so much
worthwhile theater, and I appreciate the theater community for being so understanding
and patient last year on my circumstances and my crazy work schedule.
The upside to tragedy is the outpouring of kindness and
concern from people – it was a comforting blanket I wrapped myself in, and was
able to get up and get going because I knew I wasn’t alone, and that there were
so many others to lean on and raise me up.
I can’t thank people enough and I am forever grateful – it means so much. Now, back to work. Words matter – I’m a writer, after all. A few years ago, as I was dropping Tim off at Union Station to visit some out-of-town friends after a break-up blindsided him, I mentioned ye olde chestnut about using what you learn at a later time, and he replied: “Like you say, Mom, everything’s copy.” I learned that from Nora Ephron. And it’s true.
Tim
Well maybe some day. Right now, I prefer to immerse myself in other’s words. Seeing how people take fresh pages of a script, how eloquent it can be, how well it can be interpreted – that is the task of the creative souls. And it’s so fun to see what can be crafted on a stage in town, whether it’s a small black box or the immense Muny stage.
Sitting in the dark, sharing a moment – that’s what it’s all about, and we sure shared some outstanding moments in 2019. The eternal optimist, I am looking forward to another exciting year.
And as we all know, there will be more times we’re knocked down. And being helped up is one of the best things in life. And when you open yourself up — be it in conversation, writing or on stage, you feel human and whole.
How art enriches us is truly inspiring. 2019 was a good year for theater, particularly dramas, which were often inspired. It was important to have somewhere to go and something else to think about, as I continue to marvel at the accomplishments – passionate people behind their visions, strong talent and a desire to do good work, that it is about the work.
I like when people take risks, when they present new ways of doing things, and don’t rely on the same-old casting. My biggest pet peeves are miscasting and lack of character development/prep work/vision. If you are going to invest the time and want people to give up their time and money, then do the work, go above and beyond, and not just slide by. Hire who is right for the part, not just because they are a friend.
OK, off my soapbox.
I have now launched my longtime-coming website, and we
should be full speed ahead in 2020, www.PopLifeSTL.com. I haven’t launched its
daily and weekly features yet, but reviews and news releases are up. All in due
time.
So, my awards this year are based on the 79 regional
professional plays I did see, and not the touring shows nor community theater. That
would add about 16 more shows. There is no way to see everything.
This is the year I gave up reviewing opera and let another
reviewer go in my place. I needed to make some changes, and sadly, that had to
be dropped. Maybe another work. I have been in awe of what Opera Theatre of St.
Louis, Union Avenue Opera and Winter Opera achieve year after year.
My brother’s memorial service was the weekend of Shakespeare in the Streets, so I had to cancel, and he died the weekend I had RSVP’d for “The 39 Steps.” I saw “The Night of the Iguana” but left the next day to spend Mother’s Day with my youngest son in New York City, so missed “A Lovely Sunday Afternoon for Creve Coeur” and the other programming. I was on my way to the final matinee of “Death Tax” when an accident closed three lanes of I-64. Life…
I also traveled quite a bit this year, some for work, some for play. Tim was working on his MFA in screenwriting at DePaul University at the time of his death. He was home on holiday break. His professors named an award for him at their annual film festival, so I went up to Chicago the first weekend in June to see it happen.
However, I was fortunate to spend Mother’s Day watching
Jeff Daniels as Atticus Finch in “To Kill a Mockingbird” in the sold-out
acclaimed Bartlett Sher-Aaron Sorkin production in the Shubert Theatre. You
could have heard a pin drop and the standing ovation was immediate, loud and
long. Meeting the star afterwards was an unexpected thrill.
“To Kill a Mockingbird” brilliant production at the Shubert. Photo Credit: Julieta Cervantes
The week I was in NYC I also saw the fabulous and fun “The Prom,” which was produced by local folks and had a book and lyrics by Centralia’s own Chad Beguelin, who I had the good fortune to meet in 2010 and have been writing about his triumphs ever since.
I did something new, too — I revised my late son’s last script, a comedy short that his DePaul professor raved about, A for the trimester. And we had a team shoot it in late September over a weekend, a real challenge and labor of love. As Eleanor Roosevelt said: “You must do the thing you think that you cannot do.”
Unfortunate, but sadly not considered in voting here: “The Revolutionists” and “Shakespeare in Love” at Insight; “Equivocation,” “Exit, Pursued by a Bear” and “Cricket on a Hearth” at West End Players Guild; “Such Sweet Thunder,” Shakespeare Festival St. Louis; “Nina Simone: Four Women” and “Milk Like Sugar,” The Black Rep; Black Mirror Theatre’s “Translations”; ERA’s “Never Let Go”; “Salt, Root and Roe,” Upstream Theatre; “Karmatic” TLT Productions; “The Merchant of Venice” and “The 39 Steps” at St. Louis Shakespeare; “Leaving Iowa” and “Travels with My Aunt” at Act Inc.; “The Hundred Dresses” at Metro Theatre Company; “Disenchanted” at Stray Dog, the parodies of “Jaws” and ‘Gremlins,” and the second leg of the LaBute New Play Festival at St. Louis Actors’ Studio.
Without further ado, I present my annual “LOTTIES,” which is Lynn’s Love of Theatre Awards, for 2019. These are my opinions alone. As in previous years, I usually name 10 my lists, but this year because of missing what I did, it’s either 8 or 9. Eventually, I will post my other ones, since 2014, in archives. And I intend to archive all the Circle Awards/Nominations for reference.
If you are wondering about the St. Louis Theater Circle
Awards nominations, they will be announced on KWMU around noon on Friday, Feb.
7, with the press releases embargoed until 1 p.m. You can see the nominations
here on PopLifeSTL.com in the afternoon.
I did not want my awards to coincide with the Circle, but
it was not to be this year. However, these are my traditional annual awards, reflect
my personal take on the year that was.
I am a Circle founding member; we began in 2012. The awards
will be presented on Monday, March 30, at the Loretto Hilton Center on the
campus of Webster University, (the Repertory Theatre of St. Louis’ home). More
information will be forthcoming.
The 2019 LOTTIES* (LYNN’S LOVE OF THEATER AWARDS)
Barrett Foa and Meredith Baxter in “Angels in America, Part 2: Perestroika”
PRODUCTION OF THE YEAR: “Angels in America, Parts I and 2.”
Talk about ambitious. But oh, so worthwhile. The Repertory
Theatre of St. Louis’ first show under new artistic director Hana Sharif was an
absolute stunning visceral and artistic work and raised the bar. Not only did
it take risks but its heavyweight cast delivered on its promise.
“Part I: Millennium Approaches” and Part 2: Perestroika”
required a commitment of time but the investment was worth it. How interesting,
too that a 30 year old play could be so relevant today.
“Brighton Beach Memoirs” became New Jewish Theatre’s biggest hit of all-time
COMPANY OF THE YEAR: New Jewish Theatre.
From start to finish, 2019 was a banner year for NJT under
new artistic director Edward Coffield. “District Merchants,” “Time Stands
Still,” “I Now Pronounce,” “Brighton Beach Memoirs” and “Fully Committed” were
extremely well done with outstanding casts and production values.
Ellie in “Antigone: Requiem for Patriarchus”
ARTIST OF THE YEAR: Ellie Schwetye.
Ellie in “A Lovely Sunday for Creve Coeur”
One of the most versatile and accomplished women in town, she’s been honored and nominated by the St. Louis Theater Circle year in and year out. But this year might be her finest – and perhaps busiest – on record. She directed “Photograph 51” at West End Players Guild, “A Model for Matisse” for the Midnight Company and “Fully Committed” at New Jewish Theatre. She acted in “Classic Mystery Game” and “Antigone: Requiem for Patriarchus” at SATE. She did sound for “The Night of the Iguana” at the Tennessee Williams Festival and “The Women of Lockerbie” at SATE. She was involved in SIUE’s Summer Play Festival, with “As You Like It.” Her choices of music for any show are impeccable. I’m likely missing a few things too. She’s always excelled at being a collaborator but she deserves an award all it’s own.
The national tour of “Dear Evan Hansen” came to the Fox.
BEST TOURING SHOWS: “Come from Away” and “Dear Evan Hansen,” both at the Fox.
BEST NEW PLAYS: 1. “Nonsense and Beauty,” Scott C. Sickles, The Repertory Theatre of St. Louis 2. “Canfield Drive,” Kristen Adele Calhoun and Michael Thomas Walker, The Black Rep 3. “It’s a Wonderful Life,” John Wolbers, Metro Theatre Company 4. “Feeding Beatrice,” Kristen Greenidge, The Repertory Theatre of St. Louis 5. (tie) “Kim Jong Rosemary,” Carter Lewis, LaBute New Play Festival, St. Louis Actors’ Studio 5. (tie) “A Model for Matisse,” Barbara F. Freed and Joe Hanrahan, The Midnight Company
Caleb Miofsky in “Cry-Baby” at New Line
FIVE TO WATCH: Summer Baer Tristan Davis Caleb Miofsky Tateonna Thompson Jordan Wolk
Alicen Moser in “District Merchants”
Alicen Moser in “Antigone”
12 ACTING MVPS (For their noteworthy range of work in 2019, and not only St. Louis professional in some cases) Nicole Angeli Will Bonfiglio Kevin Corpuz Eileen Engel Wendy Greenwood Stephen Henley Keating Ryan Lawson-Maeske Stephanie Merritt Alicen Moser Spencer Sickmann Jennifer Theby-Quinn
DYNAMIC DUOS
J. Samuel Davis and Gary Wayne Barker in “District Merchants”
Will Bonfiglio and John Wolbers
Gary Wayne Barker and J. Samuel Davis, “District Merchants,” New Jewish Theatre
Jacob Flekier and Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre
Will Bonfiglio and John Wolbers, “Photograph 51”
Eli Mayer and Khailah Johnson, “Footloose,” The Muny
Kevin O’Brien and Sara Rae Womack, “Guys and Dolls,” Stray Dog Theatre
Ryan Lawson-Maeske and William Roth, “A Life in the Theatre”
Joe Hanrahan and Shane Signorino, “Popcorn Falls,” Midnight Company
Erin Kelley and J. Samuel Davis, “The Agitators,” Upstream Theatre
Jeffrey Heyenga and Robbie Simpson, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Joe Hanrahan and Rachel Hanks, “A Model for Matisse,” Midnight Company
JUVENILE PERFORMANCE AWARDS
Flower girls in “I Now Pronounce” at New Jewish Theatre
Millie Edelman, Abby Goldstein and Lydia Mae
Foss as the flower girls, “I Now Pronounce,” New Jewish Theatre
Leo Taghert as 10 year old Tommy in “The Who’s
Tommy,” Stray Dog Theatre
SPECIAL TECHNICAL ACHIEVEMENT: Michael B. Perkins for his exquisite video projection design in “Love, Linda” and “A Model for Matisse.”
Jane Paradise in “Brighton Beach Memoirs”
COMEDY AWARDS Best Actress in a Comedy
Jane Paradise, “Brighton Beach Memoirs,” New
Jewish Theatre
Laura Sohn, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Kea Trevett, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Susie Lawrence, “Sylvia,” Stray Dog Theatre
Keating, “Well,” Mustard Seed Theatre
Sofia Lidia, “The MotherF**cker with the Hat,”
R-S Theatrics
Perri Gaffney, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Colleen Backer, “Color Timer,” LaBute New Play
Festival, St. Louis Actors’ Studio
Frankie Ferrari and Delaney Piggins in ‘I Now Pronounce”
Best Supporting Actress in a Comedy
Laurie McConnell, “Brighton Beach Memoirs.” New Jewish Theatre
Melissa Harlow, “Sylvia,” Stray Dog
Frankie Ferrari, “I Now Pronounce,” New Jewish Theatre
Delaney Piggins, “I Now Pronounce,” New Jewish Theatre
Lori Adams, “Well,” Mustard Seed Theatre
Ka-Ling Cheung, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis
Michelle Hand, “Pride and Prejudice,” The Repertory Theatre of St. Louis
Taleesha Caturah, “The MotherF**with the Hat,” R-S Theatrics
Caitlin Mickey, “Wittenberg,” Upstream Theatre
Will Bonfiglio in “Fully COmmitted” at New Jewish
Best Actor in a Comedy
Will Bonfiglio, “Fully Committed,” New Jewish
Theatre
Isaiah DiLorenzo, “True West,” St. Louis
Actors’ Studio
Jacob Flekier, “Brighton Beach Memoirs,” New
Jewish Theatre
Steve Isom, “Wittenberg,” Upstream Theatre
Michael Cassidy Flynn, “Classic Mystery Game,”
SATE
Adam Flores, “The MotherF**ker with the Hat,”
R-S Theatrics
Griffin Osborne, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Alan Knoll, “Wittenberg,” Upstream Theatre
Joe Hanrahan, “Charlie Johnson Reads All of
Proust,” Midnight Company
Spencer Kruse and Jacob Flekier in “Brighton Beach Memoirs”
Best Supporting Actor in a Comedy
1. Spencer Kruse, “Brighton Beach Memoirs,” New Jewish Theatre 2. Patrick Blindauer, “Love’s Labors Lost,” Shakespeare Festival St. Louis 3. Shane Signorino, “Popcorn Falls,” Midnight Company 4. Aaron Dodd, “The Motherf**ker with the Hat,” R-S Theatrics 5. Jesse Munoz, The Motherf**ker with the Hat, R-S Theatrics 6. Michael McGloin, “The Play That Goes Wrong,” The Repertory Theatre of St. Louis 7. Chuck Brinkley, “Brighton Beach Memoirs,’ New Jewish Theatre 8. Michael James Reed, “Pride and Prejudice,” The Repertory Theatre of St. Louis
“The Play That Goes Wrong” at The Repertory Theatre of St. Louis
Best Director of a Comedy
Alan Knoll, “Brighton Beach Memoirs,” New
Jewish Theatre
Tom Ridgely, “Love’s Labors Lost,” Shakespeare
Festival St. Louis
Melissa Rain Anderson, “The Play That Goes
Wrong,” The Repertory Theatre of St. Louis
Ellie Schwetye, “Fully Committed,” New Jewish
Theatre
William Whitaker, “True West,” St. Louis Actors
Studio
Meredith McDonough, “The Lifespan of a Fact,” The
Repertory Theatre of St. Louis
Philip Boehm, “Wittenberg,” Upstream Theatre
“It’s a Wonderful Life” at Metro Theatre Company
Best Ensemble in a Comedy
The Play That Goes Wrong, The Repertory Theatre
of St. Louis
Brighton Beach Memoirs, New Jewish Theatre
Love’s Labors Lost, Shakespeare Festival St.
Louis
It’s a Wonderful Life, Metro Theatre Company
(tie) The MotherF**ker with the Hat, R-S
Theatrics
(tie) Well, Mustard Seed Theatre BEST COMEDY PRODUCTION
“True West” at St. Louis Actors’ Studio
Brighton Beach Memoirs, New Jewish Theatre
Love’s Labors Lost, Shakespeare Festival St.
Louis
The Play That Goes Wrong, The Repertory Theatre
of St. Louis
True West, St. Louis Actors’ Studio
Wittenberg,
Upstream Theatre
6. Fully Committed, New Jewish Theatre
DRAMA AWARDS
Ben Ritchie and Nicole Angeli in “Photograph 51”
Best Actress in a Drama
Nicole Angeli, “Photograph 51,” West End
Players Guild
Wendy Greenwood, “Time Stands Still,” New
Jewish Theatre
Jeanne Paulsen, “Alabama Story,” The Repertory
Theatre of St. Louis
Kristen Adele Calhoun, “Canfield Drive,” The
Black Rep
Zoe Farmingdale, “Indecent,” Max and Louie
Productions
Julie Layton, “Fifty Words,” St. Louis Actors’
Studio
Nisi Sturgis in “The Night of the Iguana”
Best Supporting Actress in a Drama
1. Nisi Sturgis, “The Night of the Iguana,” Tennessee Williams Festival St. Louis 2. Eileen Engel, “Time Stands Still,” New Jewish Theatre 3. Rae Davis, “District Merchants,” New Jewish Theatre 4. Donna Weinsting, “Nonsense and Beauty,” The Repertory Theatre of St. Louis 5. Rachel Hanks, “A Model for Matisse,” Midnight Company 6. Sophia Brown, “Fefu and Her Friends,” Theatre Nuevo 7. Miranda Jagels-Felix, “Antigone: Requiem for Patriarchus,” SATE
Jim Butz in “The Night of the Iguana”
Best Actor in a Drama 1. James Andrew Butz, “The Night of the Iguana,” Tennessee Williams Festival St. Louis 2. Barrett Foa, “Angels in America,” The Repertory Theatre of St. Louis 3. Gary Wayne Barker, “District Merchants,” New Jewish Theatre 4. Graham Emmons, “The Crucible,” Stray Dog Theatre. 5. Spencer Sickmann, “Farragut North,” St. Louis Actors’ Studio 6. Jim Poulos, “Oslo,” The Repertory Theatre of St. Louis
David Ryan Smith and Peter Fre
Best Supporting Actor in a Drama
J. Samuel Davis, “District Merchants,” New Jewish Theatre
Carl Howell, “Alabama Story,” The Repertory Theatre of St. Louis
David Wassilak, “Farragut North,” St. Louis Actors’ Studio
Karl Hawkins, “District Merchants,” New Jewish Theatre
David Ryan Smith, “Angels in America,” The Repertory Theatre of St. Louis
Ryan Lawson-Maeske, “Photograph 51,” West End Players Guild
John Feltch, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Gerry Love, “The Crucible,” Stray Dog Theatre
Ben Ritchie, “The Crucible,” Stray Dog Theatre
Ben Cherry, “Angels in America,” The Repertory Theatre of St. Louis (tie) Peter Freschette, “Angels in America,” The Repertory Theatre of St. Louis (tie) Taylor Gruenloh, “Two Degrees,” Tesseract Theatre
Angels in America
Best Director of a Drama
1. Joanne Gordon, “Indecent,” Max and Louie Productions 2. Anthony Speciale, “Angels in America,” The Repertory Theatre of St. Louis 3. Jacqueline Thompson, “District Merchants,” New Jewish Theatre 4. Gary F. Bell, “The Crucible,” Stray Dog Theatre 5. Ellie Schwetye, “Photograph 51,” West End Players Guild 6. Lucy Cashion, “Antigone: Requiem for Patriarchus,” ERA/SATE 7. Steve Woolf, “Oslo,” The Repertory Theatre of St. Louis 8. Seth Gordon, “Nonsense and Beauty,” The Repertory Theatre of St. Louis
Best Ensemble in a Drama Production
“Antigone: Reqiuem for Patriarchus” at SATE
Angels in America, Parts 1 and 2, The Repertory
Theatre of St. Louis
District Merchants, New Jewish Theatre
Photograph 51, West End Players Guild
Indecent, Max and Louie Productions
Antigone: Requiem for Patriarchus, ERA and SATE
The Crucible, Stray Dog Theatre
The Women of Lockerbie, SATE
Nonsense and Beauty, The Rep
Time Stands Still, New Jewish
Oslo,
The Rep
Best Dramatic Production
The Crucible at Stray Dog Theatre
Angels in America, The Rep
District Merchants, New Jewish
The Crucible, Stray Dog
Photograph 51, West End Players Guild
Indecent, Max and Louie Productions
Nonsense and Beauty, The Rep
The Night of the Iguana, Tennessee Williams
Festival St. Louis
Oslo, The Rep
Time Stands Still, New Jewish
Farragut
North, St. Louis Actors’ Studio
MUSICAL AWARDS
Casr of Cry-Baby at New Line
Best Musical Director 1. Ryan Fielding Garrett, “Kinky Boots,” The Muny 2. Jennifer Buchheit, “The Who’s Tommy,” Stray Dog Theatre 3. Nicolas Valdez, “Cry-Baby,” New Line Theatre 4. Charles Creath, “Don’t Both Me I Can’t Cope,” The Black Rep 5. Nicolas Valdez, “Be More Chill,” New Line Theatre 6. Scott Schoonover, “Daddy Long Legs,” Insight Theatre 7. Holly Barber, “Hedwig and the Angry Inch,” The Q Collective
Don’t Bother Me I Can’t Cope at The Black Rep
Best Choreographer (and not just in musicals)
1. Kirven Douthit-Boyd, “Don’t Bother Me I Can’t Cope,” The Black Rep 2. Mike Hodges, “Guys and Dolls,” Stray Dog Theatre 3. Rusty Mowery, “Kinky Boots,” The Muny 4. Ellen Isom, “Indecent,” Max and Louie Productions 5. Tony Gonzalez, “Grease,” Stages St. Louis 6. Heather Beal, “Feeding Beatrice,” The Repertory Theatre of St. Louis
Best Supporting Actress in a Musical
Taylor Louderman in “Kinky Boots”
Taylor Louderman, “Kinky Boots,” The Muny
Michelle Ragusa, “The Boy from Oz,” Stages St.
Louis
Sarah Gene Dowling, “Hedwig and the Angry
Inch,” The Q Collective
Kendra Lynn Lucas, “Grease,” Stages St. Louis
Khalia Johnson, “Footloose,” The Muny
Eleanor Humphrey, “Dreamgirls,” Stray Dog
Theatre
Laura Michelle Kelley, “Matilda,” The Muny
Grace Langford, “Avenue Q,” The Playhouse at
Westport
Jenny Powers, “1776,” The Muny
10. Tateonna Thompson, “Dreamgirls,” Stray Dog
10. Denise Thimes, “Don’t Bother Me, I Can’t Cope,” The Black Rep
Best Actress in a Musical
Ebony Easter as Effie in “Dreamgirls” (center)
Ebony Easter, “Dreamgirls,” Stray Dog Theatre
Jennifer Theby-Quinn, “Daddy Long Legs,”
Insight Theatre
Mattea Conforti, “Matilda,” The Muny
Kendra Kassebaum, “Guys and Dolls,” The Muny
Mamie Parris, “Paint Your Wagon,” The Muny
Sarah Rae Womack, “Guys and Dolls,” Stray Dog
Theatre
Brittany Bradford, “Guys and Dolls,” The Muny
Zak Farmer in “La Cage Aux Folles” at New line
Best Actor in a Musical 1. Zachary Allen Farmer, “La Cage Aux Folles,” New Line Theatre 2. J. Harrison Ghee, “Kinky Boots,” The Muny 3. David Elder, “The Boy from Oz,” Stages St. Louis 4. Luke Steingruby, “Hedwig and the Angry Inch,” The Q Collective 5. Caleb Miofsky, “Cry-Baby,” New Line Theatre 6. James Patterson, “Man of La Mancha,” Stages St. Louis 7. Mark Kelley, “A Man of No Importance,” R-S Theatrics
Best Supporting Actor in a Musical
Kevin Corpuz, right in “Be More Chill” at New Line
Omega Jones, “Dreamgirls,” Stray Dog Theatre
Kevin Corpuz, “Be More Chill,” New Line Theatre
Omar Lopez-Cepero, “Paint Your Wagon,” The Muny
Tristan Davis, “The Who’s Tommy,” Stray Dog
Theatre
Eli Mayer, “Footloose,” The Muny
Ryan Cooper, “Man of La Mancha,” Stages St.
Louis
Ken Page, “Guys and Dolls,” Stages St. Louis
Mike Wells, “Guys and Dolls,” Stray Dog Theatre
Patrick John Moran, “Man of La Mancha,” Stages
St. Louis
Zach
Stefaniak, “Guys and Dolls,” Stray Dog Theatre
(tie) Ben Davis, “1776,” The Muny
Avenue Q at the Playhouse at Westport
Best Director of a Musical
1. Mike Dowdy-Windsor and Scott Miller, “Be More Chill,” New Line Theatre 2. DB Bonds, “Kinky Boots,” The Muny 3. Justin Been, “Dreamgirls,” Stray Dog Theatre 4. Lee Anne Mathews, “Avenue Q,” The Playhouse at Westport 5. Jordan Woods, “Hedwig and the Angry Inch,” The Q Collective 6. Ron Himes, “Don’t Bother Me, I Can’t Cope,” The Black Rep
A Man of No Importance
Best Ensemble in a Musical 1. “Kinky Boots,” The Muny 2. “Dreamgirls.” Stray Dog Theatre 3. “Avenue Q,” The Playhouse at Westport 4. “Be More Chill,” New Line Theatre 5. “A Man of No Importance,” R-S Theatrics 6. . Don’t Bother Me I Can’t Cope,” The Black Rep 7. “Man of La Mancha,” Stages St. Louis 8. “Cry-Baby,” New Line Theatre
“Kinky Boots” at the Muny
Best Musical Production
1.“Kinky Boots,” The Muny 2. “Dreamgirls.” Stray Dog Theatre 3. “Be More Chill,” New Line Theatre 4. “Avenue Q,” The Playhouse at Westport 5. “Don’t Bother Me I Can’t Cope,” The Black Rep
?Dreamgirls”
Best Costume Design of a Musical
1. Sarah Porter, “La Cage Aux Folles,” New Line Theatre 2. Julian King, “Dreamgirls,” Stray Dog Theatre” 3. Mary Engelbreit and Leon Dobkowski, “Matilda,” The Muny 4. Brad Musgrove, “101 Dalmatians,” Stages St. Louis 5. Brad Musgrove, “Grease,” Stages St. Louis 6. Eileen Engel, “The Who’s Tommy,” Stray Dog Theatre 7. Gregg Barnes and Lindsay McWilliams, “Kinky Boots,’ The Muny
“The Who’s Tommy”
Best Lighting Design in a Musical
1. Tyler Duenow, “The Who’s Tommy,” Stray Dog 2. Joe Clapper, “Don’t Bother Me I Can’t Cope,” The Black Rep 3. Rob Lippert, “Be More Chill,” New Line Theatre 4. John Lasiter, “Paint Your Wagon,” The Muny 5. Tyler Duenow, “Dreamgirls,” Stray Dog Theatre 6. Sean M. Savoie, “The Boy from Oz,” Stages St. Louis
“Matilda” at the Muny
Best Set Design in a Musical
1. Mary Engelbreit and Paige Hathaway, “Matilda,”
The Muny
2. James Wolk, “Man of La Mancha,” Stages St. Louis
3. Josh Smith, “The Who’s Tommy,” Stages St. Louis
4. Michael Schweikardt, “Paint Your Wagon,” The Muny
5. Peter and Margery Spack, “Don’t Bother Me I Can’t Cope,” The Black Rep
Feeding Beatrice
Best Sound Design of a Play
Broken Chord, Angels in America, The Rep
Ellie Schwetye, The Night of the Iguana,
Tennessee Williams Festival
David Samba, Feeding Beatrice, The Rep
Kareem Deanes, Fully Committed, New Jewish
Theatre
Philip Evans, Indecent, Max and Louie
Productions
6. Justin Been, The Crucible, Stray Dog Productions
“Love’s Labors Lost”
Best Costume Design in a Play
Michele Friedman Siler, Brighton Beach Memoirs,
New Jewish
Melissa Trn, Love’s Labors Lost, Shakespeare
Festival St. Louis
Felia Davenport, District Merchants, New Jewish
Andrea Robb, A Life in the Theater, St. Louis
Actors’ Studio
Laura Hanson, Wittenberg, Upstream Theatre
Best Set Design in a Play
The Night of the Iguana
Peter and Margery Spack, The Play That Goes Wrong, The Rep
Dunsi Dai, The Night of the Iguana, Tennessee Williams Festival St. Louis
Peter and Margery Spack, Brighton Beach Memoirs, New Jewish
Kristin Cassidy, “Photograph 51,” West End Players Guild
William Bloodgood, ‘Alabama Story,’ The Rep
David Blake, “District Merchants,” New Jewish
Lawrence E. Moten III, +Feeding Beatrice,” The Rep 8. Patrick Huber, “True West,” St. Louis Actors’ Studio
Best Lighting Design in a Play
“Indecent”
Jon Ontiveros, “The Night of the Iguana,” Tennessee Williams Festival St. Louis
Xavier Pierce, “Angels in America,” The Repertory Theatre of St. Louis
Patrick Huber, “Indecent,” Max and Louie Productions
Jason Lynch, “Feeding Beatrice,” The Repertory Theatre of St. Louis
Sean Savoie, “District Merchants,” New Jewish Theatre
Photo Credits: Phillip Hamer, Jon Gitchoff, JPatrick Huber, Joey Rumpell, Peter Wochniak and Jerry Naunheim Jr.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus
Managing Editor
Eureka! A robust makeover to an unremarkable ‘50s era musical “Paint Your
Wagon” has hit pay dirt on the Muny stage.
Those behind the new edition have dreamed as big as the
characters in this fresh look at the American identity, those yearning for a
better life who came over land and by sea, as many as 300,000 during the
rough-and-tumble California Gold Rush.
It’s one of our nation’s most significant tipping points (1848-1855).
The musical, set in a mining camp in 1853, has everything we associate with
those rugged settlers – the wild untamed west, the wide-open spaces and the
pioneer spirit, only this version sharpens the American melting pot feel.
Despite its Alan Jay Lerner and Frederick Loewe pedigree,
the 1951 homage to the Old West had fallen out of favor – not that it ever was
a hot property, for it had only run on Broadway for 289 performances. And then,
there was the much-maligned 1969 movie starring those songbirds Lee Marvin and
Clint Eastwood (27 percent on Rotten Tomatoes!).
The latest incarnation, developed by the Frederick Loewe
Foundation and playwright Jon Marans, has new orchestrations, vocal
arrangements, dance and characters – and presents the reimagined story through
a different lens. You won’t be able to forget this one, an unvarnished snapshot
that touches on bigotry and prejudices as fortune seekers headed West.
Photo by Phillip HamerMarans has focused on historical accuracy and made deep
incisions so that it’s not merely unsatisfying filler between the signature
songs “They Call the Wind Maria,” “I Talk to the Trees” and “Wand’rin’ Star,”
but a journey about lives and loves with real emotional heft.
Those compelling changes are as much a surprise as Josh
Rhodes’ inspired direction and innovative choreography, assisted by Lee
Wilkins, because they have rescued an otherwise lightweight show and connected
with a modern audience.
Marans wrote the 1996 Pulitzer Prize-nominated play “Old
Wicked Songs,” a character study about a Holocaust survivor and his burnt-out
pupil. A New Jewish Theatre production won Best Drama at the St. Louis Theater
Circle Awards in 2017.
The story still has brawny prospector Ben Rumson (Matt Bogart) as the strong center, the enterprising leader among the rag-tag settlers of “No Name City,” but in the first act, the only female is not his daughter, as the earlier incarnations, but his lovable new wife, Cayla (Mamie Parris).
He ‘wins’ her in a bidding contest, like a commodity, for
she has been abused by her despicable lout of a husband (Michael James Reed,
yelling at 11). Well, that was awkward. Parris, so winning as Irene in the 2014
“Hello, Dolly!,” conveys genuine warmth and caring, and her lilting voice is
lovely.
Mamie Parris and Matt Bogart. Photo by Phillip HamerBogart and Parris have combustible chemistry, and their harmonies mesh beautifully. While Bogart didn’t seem to be as smooth as other performers on opening night, he delivered an electric “They Call the Wind Maria,” and his other numbers showcased his commanding baritone.
After striking it rich, sturdy Ben becomes the boomtown’s
chief developer. Now named Rumson City, the outpost becomes home to Rumson
Palace in the second act, a place for socializing and gambling that he
envisioned for everybody.
Michael Schweikardt’s scenic design is a distinct mix of awe-inspiring
panoramic exteriors and fresh-hewed lumber interiors. Lighting designer John
Lasiter makes the night sky glow while video design by Caite Hevner expanded picture
postcard vistas.
However, Ben’s one-world theory isn’t exactly practiced when his right-hand man Armando (Omar Lopez-Cepero), whose wealthy and cultured family lived in the Mexican territory of northern California, takes a shine to Rumson’s feisty daughter, Jennifer (Maya Keleher), who has traveled from the East Coast to join her father.
Much to the horror of his college-educated daughter and wife,
Rumson will not accept the Armando-Jennifer union, therefore not practicing
what he preaches. His luster is dimmed, only to see him work through those
feelings.
Racism is rampant among the rowdy miners, who are frustrated
and fearful of the ‘foreigners.’ Two brothers from China, Ming Li (St. Louis
native Austin Ku) and Guang Li (Raymond J. Lee), once of royal lineage now just
wanting to survive; a down-on-his-luck Irish immigrant William (Bobby Conte
Thornton), who regrets leaving his family but is desperate to provide for them after
the Great Famine (aka Irish Potato Famine); two African-Americans, free man H.
Ford (Rodney Hicks) and slave Wesley (Allan K. Washington); and Europeans of
various nationalities all jostle for their piece of the pie.
Ku, Lee, Thornton, Hicks and Washington are outstanding talents who immersed themselves in these meatier roles. And the men revealed bold and controlled voices in such numbers as “How Can I Wait?” and “Four Hundred People Came to No Name City.”
Allan K. Washington and Rodney Hicks. Photo by Phillip HamerSome of the characters are contemptible, especially Preston
Truman Boyd as an intolerable loudmouth Jake, a Southerner who owns a tavern
and looks at all of life as transactional.
Sinai Tabak is conducting the Muny orchestra for the first
time, and the richly textured sound adds another layer of complexity to a testosterone-heavy
show. There is a harp among all the strings, and the sounds of country and bluegrass
impart an Americana homespun feel.
One is reminded how elegant and lyrical Lerner and Loewe
were, as this show was written in between the more successful “Brigadoon”
(1947) and “My Fair Lady” (1956).
Photo by Phillip HamerThe dancing girls show up in the second act, in quite the
entrance – arriving by stagecoach, “There’s a Coach Comin’ In.” Two magnificent
Clydesdale horses pull them – and the audience went crazy.
Some of the lonely men lose their way and go a little batty,
and this 180-degree turn, while true to life, is disconcerting. Gold fever makes
some of the men envious, greedy and bitter. Things get ugly, reminding us that
while the high road is preferred, human nature suggests otherwise. This is harsh
and hard-hitting, recovering in a hail of hope. If you are expecting fluff,
this is not that kind of show, dancing girls aside.
Nevertheless, the performers are indeed the gold nuggets
enticing us to make the emotional investment. The vocal prowess on display is as
breathtaking as the scenery, so it’s unfortunate there was a myriad of uncharacteristic
sound issues Saturday – static, mics cutting out or not on for singers, and
rough patches. Sound design is by John Shivers and David Patridge.
“Paint Your Wagon” was one of those lackluster second-rate musicals whose contemporary overhaul is quite an accomplishment, and the Muny has polished it with tender loving care. You might as well forget any previous version.
A new world premiere production in Los Angeles, with a revised
libretto by David Rambo, ran from Nov. 23, 2004 to Jan. 9, 2005. Then a fall
2007 production by the Pioneer Theatre Company in Salt Lake City, Utah had a
cast of nearly 30. An Encores! Staged concert production in New York City in
March 2015 starred Keith Carradine as Rumson and Justin Guarini as Julio.
There is no Julio here, replaced by Armando. It’s a stronger role, and Lopez-Cepero unleashes a glorious voice in his standout performance. His “Carino Mio” duet with Keleher is lush and romantic.
Photo by Phillip HamerHelping to shape the in-the-works musical is a natural fit
for the Muny, for it presented spirited reboots of “The Unsinkable Molly Brown”
in 2017 and “The Wiz” last year. During the Mike Isaacson era, the emphasis on
imagination and the theme of home has been recurring elements. So, it’s no
surprise that the Mother Lode Muny is again a birthplace, producing in
association with On the Wagon Productions and Garmar Ventures.
By virtue of its American patchwork quilt make-up, “Paint Your Wagon” may remind people of “Oklahoma!” – especially that number pleading harmony, “The Farmer and the Cowman Should Be Friends,” but I recalled “Fiddler on the Roof” instead, a proud community clinging to its customs but having to move forward at great sacrifice for survival. In the West, hardships knocked down many a soul, but hope springs eternal in “Paint Your Wagon,” and smartly addressing changing tides so dramatically will be able to resonate. You can hear America singing with its varied voices. The Muny presents “Paint Your Wagon” evenings at 8:15 p.m. July 27 – Aug. 2. For more information, visit www.muny.org.
Bobby Conte Thornton as William. 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.
