When you see actor Eric Dean White’s name in a cast, you know that he will deliver an authentic performance. His latest role as Gooper, the resentful and ruthless son of Big Daddy, who schemes to control his family’s fortune, in “Cat on a Hot Tin Roof,” is a fine example of his commitment to a character.
Displaying a big chip on his shoulder because his handsome and athletic brother Brick was favored by his parents, White is smooth and shrewd in the supporting role.
This delectable story of big drama, big money and big lies, presented by the Tennessee Williams Festival St. Louis Aug. 8 – 18, is a Southern Gothic excursion into an American dysfunctional family, 1950s style, that won a Pulitzer Prize for Drama in 1955, and Williams considered it his favorite.
From left: Kari Ely, Eric Dean White, Roxanne Wellington, J Samuel Davis, Peter Mayer, Kiah McKirnan, and Brian Slaten in “Cat on a Hot Tin Roof.” Photo by Suzy Gorman.
White is thrilled to be in this ensemble.
“Simply put, ‘Cat’ is one of the greatest American plays by one of the greatest American playwrights, and it’s just an honor to be part of it,” White said. “We have a fantastic cast, and we are being led by director Michael Wilson, who is a renowned Tennessee Williams expert…It has been an honor and a pleasure to work with this team.”
White’s love for the material is evident, and he has previously been part of the Tennessee Williams Festival St. Louis, from its first year, performing in “The Rooming House Plays” in 2016, and in “Small Craft Warnings” in 2017.
Eric Dean White as Satan, with Courtney Bailey and Carl Overly Jr. in “The Last Days of Judas Iscariot.” Photo by Ann K. Aurbach
Throughout his career, he has moved easily between hero and villain roles, showing his versatility, and becoming a reliable fixture of the professional regional theater community. He is a member of Actors’ Equity Association and SAG-AFTRA.
Relishing a unique opportunity to play the most evil villain of them all, he won a St. Louis Theater Circle Award as an arrogant calculating Satan in “The Last Days of Judas Iscariot,” presented by Mustard Seed Theatre in 2018.
He has been nominated four other times, his first nod for playing Felix Turner, the doomed New York Times fashion reporter and activist Ned Weeks’ lover who succumbs to AIDS, in “The Normal Heart” at HotCity Theatre in 2014, which also won the award for outstanding production of a drama.
His other nominations show his impressive range. Earning three nominations in a row, he played a brash guy whose encounter with a stranger on a walk leads to more conversations in “The Kiss” at Upstream Theatre in 2015; Daisy’s exasperated son Boolie in “Driving Miss Daisy” at the New Jewish Theatre in 2016; and recognized as a conflicted fundamentalist Christian minister in the puppet comedy “Hand to God” at St. Louis Actors’ Studio in 2022.
Eric Dean White with Colleen Baker in “Hand to God at STLAS. Photo by Patrick Huber.
Earlier this year, he stood out in dual roles in The Black Repertory Theatre’s “Hold On!” as hot-headed intolerant bigots Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark. The play was about the landmark Voting Rights Act of 1965 after the Selma to Montgomery March organized by civil rights activists.
He has played a cruel racist before, as impresario Stephen Price in “The African Company Presents Richard III” at the Black Rep in 2022, and as a Hitler apologist in Neil LaBute’s one-act “The Fourth Reich” that was presented in 2018 during the LaBute New Theater Festival and off-Broadway in January 2019. (He’s been a frequent contributor in the LaBute Festival).
His work in “Hold On!” was in January, soon after delighting audiences as a seasoned radio announcer in The Repertory Theatre’s triumphant comeback “It’s a Wonderful Life! – A Live Radio Play” in December.
With his mellifluous voice, he played Freddie Filmore and amusingly delivered commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and other St. Louis notables.
Eric Dean White and J Samuel Davis in “It’s a Wonderful Life – Live Radio Play” at The Rep. Photo by Jon Gitchoff.
This fall, he returns to The Rep in their season opener, the classic mystery “Dial M for Murder.” He will play the eccentric but thorough Inspector Hubbard. In announcing the cast, they described him as a “Rep favorite.”
The play, to be directed by Melissa Rain Anderson, who deftly helmed “The Play That Goes Wrong” in 2019, will run Sept. 18 – Oct. 13 at the Loretto-Hilton Center on the campus of Webster University.
He joins the cast that includes Jenelle Chu as Margot, Jordan Coughtry as her former tennis pro husband Tony, Jayson Heil as their friend Max, Ethan Dunne Stewart as police officer Thompson and David Diaz Weynand as Lesgate, Tony’s old schoolmate.
Frederick Knott’s play, which inspired Alfred Hitchcock’s 1954 cinematic thriller, combines passion, blackmail and revenge into an edge-of-your-seat murder mystery when a gold-digging husband’s perfect crime misfires, trapping all parties in a sinister and dangerous web of lies.
He is home on The Rep’s mainstage, for he appeared as the Ghost of Christmas Future in “A Christmas Carol” and as Mrs. Bennett’s brother Mr. Gardiner in “Pride and Prejudice.”
With John Flack in “The Normal Heart” at HotCity Theatre.
He has also performed in other regional theaters around the country, including Houston and Arkansas. He appeared on an episode of “Chicago Fire” in 2015, and has acted in locally shot films, including “Finch,” “Penitentia,” “Cringe” and “Belleville.”
For White, keeping busy in an industry in flux is gratifying. When he’s not working on stage or off, he’s husband to Wendy and dad to daughters Payton and Cassidy.
Take Ten Q & A with Eric Dean White
1.Why did you choose your profession/pursue the arts?
“That’s a very good question and I ask myself that all the time. It’s almost absurd in a way how difficult it is to work professionally in any form of the arts. The rejection and inconsistency of work takes its toll on you. But the simple fact is I love it and maybe more importantly, I’m fascinated by it. Plus, people keep hiring me, so I keep saying yes!”
Eric Dean White in “The Fourth Reich” by Neil LaBute. Photo by Patrick Huber.
2. How would your friends describe you?
“Eric Dean White? Never heard of him.”
3. How do you like to spend your spare time?
“What is this “spare time” you speak of?”
4. What is your current obsession?
(This was asked before it concluded). “The 2024 Summer Olympics in Paris! Specifically, men’s and women’s soccer and women’s gymnastics.”
5. What would people be surprised to find out about you?
“I’m extremely sensitive to — and irritated by — certain sounds and noises. Often to the point that I have to leave the room.”
6. Can you share one of your most defining moments in life?
“Meeting Wendy.”
At the St. Louis Theater Circle Awards in 2017, with Jason Contini, J. Samuel Davis, and his wife Wendy.
7. Who do you admire most?
“I’m hesitant to place too much admiration on individual people. I’m very moved by acts of selflessness and grace — especially when no one is watching.”
8. What is at the top of your bucket list?
“I’d like to travel more in the coming years. Haven’t been able to do much of that as of late.”
9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“The pandemic was terrible for the live arts. There is no way to sugar coat it. I’m not sure if we will ever get back to where we were before the pandemic. There is very little interest in public funding of the arts via state and federal governments and corporate funding has also dried up. I don’t know what the path forward is. There are arts leaders much smarter than me doing all they can to try and figure out a path forward. I wish them luck. I encourage individuals to buy tickets to see live theatre and other performances.”
10. What is your favorite thing to do in St. Louis?
“I love going to Cardinals, St. Louis City SC and Blues games. I love going to all of our parks and museums. I love all the various art, food and cultural festivals we have. Oh – and St. Louis has a fantastic theatre and music scene!”
“The Kiss” with Lisa Tejero at Upstream Theater. Photo by Peter Wochniak.
More About Eric Dean White:
Age: 49 Birthplace: Sikeston, Missouri Current location: St. Louis (City), Family: One wife, two daughters, one pit bull
Education: Studied marketing at the University of Missouri and acting at The American Academy of Dramatic Arts (New York City campus) Day job: Visitor and Member Services at the Saint Louis Art Museum First play or movie you were involved in or made: I didn’t do any acting of any kind until I was about 24 years old. I think my first was a production of the play “June Moon” by George S. Kaufman and Ring Lardner during my first year at The American Academy of Dramatic Arts in New York. Favorite jobs/roles/plays or work in your medium? I’m just lucky to keep getting cast. That’s all that matters. Favorite quote/words to live by: “Did it ever occur to you that no one ever asked us to do this?” – Jack O’Brien at the 2024 Tony Awards. A song that makes you happy: First one that came to mind was Eddie Vedder’s cover of “Save It for Later” that was recently featured in season 3 of “The Bear” (episode 2). Also check out the original version of the song by The English Beat – great as well!
LaBute New Theater Festival in 2016, with Ryan Foizey. Photo by Patrick Huber.
Cover photo with Kari Ely in “Cat on a Hot Tin Roof” by Suzy Gorman.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Whether you describe her as a grand dame or a beloved veteran, the multi-talented Donna Weinsting is a true all-around champion in local theater who only garners accolades from her peers.
A popular figure on stage, in films and comedy clubs throughout St. Louis for 60 years, she is not resting on her laurels, by any means. She is part of this year’s ninth annual Tennessee Williams Festival St. Louis (Aug. 8-18), as part of the cast of “Life Upon the Wicked Stage.” (And was part of the first, in “The Rooming House Plays” in 2016).
“Life Upon the Wicked Stage” celebrates the Grand Center Theatre District and includes three one-act plays about show business — “In Our Profession,” “The Magic Tower” and “The Fat Man’s Wife.” It will also feature music and is directed by former St. Louisan Brian Hohlfeld. Donna is cast in “The Magic Tower.”
Carrie Houk, the festival’s artistic director, described the piece as a “like a mini-jukebox musical.”
“It features songs from the period to evoke an era of vaudeville and the type of entertainment Tom (Tennessee Williams) would have encountered in his Grand Avenue outings long, long ago,” she said.
Eight performances will take place at 1 p.m. and 4 p.m. on Saturday, Aug. 10 and 17 and Sunday, Aug. 11 and 18, at the Curtain Call Lounge, which is next door to the Fox Theatre, 521 N. Grand Boulevard.
‘Life Upon the Wicked Stage’ at TWStL: From left, Julia Crump, Julie Layton, Donna Weinsting, Dominic DeCicco, Gary Wayne Barker. Photo by Suzy Gorman.
Donna is enthusiastic about the show.
“It’s going to be a treat for Tennessee Williams fans. Interspersed between the three one-acts are musical numbers fitting the times accompanied by the marvelous Tom Clear on piano,” she said. “Brian Hohlfeld is a joy to be directed by and the cast of Julie Layton, Gary Wayne Barker, Julia Crump, and Dominic DeCicco is excellent. I’m happy to be in the mix.”
Weinsting has also been announced as part of the St. Louis Actors’ Studio’s 17th season “Something Old, Something New.” She and Whit Reichert will perform in an original play by Carter W. Lewis called “With,” to be directed by Annamaria Pileggi, set for April 4 – 20, 2025.
“The special thing about this project is just about everything. I’ll be working in a two hander with Whit Reichert written by Carter Lewis and directed by Annamaria Pileggi for Actors Studio. Dream team,” she said.
Donna will play Minnie and Whit will be Clifford, and their world will be humorous, but ultimately heartbreaking, as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.
The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically awry. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.
St Louis Theater Circle Award nominee Donna Weinsting for ‘Unsuspecting Susan.’
She is happy to contribute to the current arts scene.
“I feel invigorated and full of excitement again,” she said.
Earlier this summer, Donna was awarded a Lifetime Achievement Award from the non-profit organization Arts For Life. AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
“I am beyond honored to receive this very special recognition, humbled and excited. I feel that this is a gift — to be acknowledged for something I have had a passion for nearly my entire life,” she said.
Born Donna Collins, she grew up in St. Louis, and while her family moved several times, she landed in Oakville at age 13, and that is where she has lived ever since. She was first in a summer city park production of “Sleeping Beauty,” then a play in junior high.
“The die was cast and a 60-year career in acting and stand-up comedy was launched,” she said.
Donna Weinsting as Big Edie and Debby Lennon as Little Edie in Max and Louie’s “Grey Gardens” in 2016.
A graduate of Mehlville High School, she has never shied away from a challenge, playing leads as well as supporting and brief roles. She has performed in one-woman shows, played characters like Mr. Potter in “It’s a Wonderful Life,” Jabba the Hutt in “Star Wars,” and various animals in WiseWrite plays written by 10-year-olds.
Besides STLAS and TWSL, she has been on the stages of regional professional companies The Repertory Theatre of St. Louis, Max and Louie Productions, New Jewish Theatre, Slightly Askew Theatre Ensemble, Stray Dog Theatre, St. Louis Shakespeare, Upstream Theater, West End Players Guild, and the shuttered Orange Girls, Insight Theatre, OnSite, and others.
She has appeared at the Bluff City Theater in Hannibal, Mo., Ozark Actors’ Theatre in Rolla, Mo., Arrow Rock Lyceum Theatre in Arrow Rock, Mo., Stages Houston and 59E59 Theatre Off-Broadway in New York as part of the LaBute New Theatre Festival.
The community theater organizations she has worked with include Clayton Community Theatre, Theatre Guild of Webster Groves, and the no longer active Affton Players.
Her honors include a Kevin Kline Award for Lead Actress, as Bessie in “From Door to Door” at New Jewish Theatre, St. Louis Theater Circle Award for Outstanding Actress as Iola in “Salt, Root and Roe” at Upstream Theater, and a St. Louis Theater Circle Award for Comedy Ensemble for “Jacob and Jack” at New Jewish Theatre, where she played both Ester and Hannah.
Donna and Amy Loui in “Salt, Root and Roe” at Upstream Theatre.in 2019. Photo by ProPhotoSTL.
She will be shooting a movie in Springfield this fall called “Big Mike’s Cabin,” and has appeared in other locally shot films “Ethan and Edna” and “Doubting Thomas.”
“It is wonderful that we are giving the film industry the incentive to come to Missouri again,” she said..
While awards are a cherry on top, Donna said she is most proud of her family — her two children, five grandchildren, eight great-grandchildren and her 63-year marriage to her high school sweetheart, Mike.
“Being with my amazing family is the absolute joy of my life,” she said.
Donna Weinsting accepting her Lifetime Achievement Award from Arts For Life, June 30. Photo by Don Quon.
Questions and Answers with Donna Weinsting
1. Why did you choose your profession/pursue the arts?
“I didn’t choose the arts, they chose me. I don’t ever remember wanting to be anything but an actor.”
2. How would your friends describe you?
“My friends would all say I’m their funny friend. They support me and make me feel special.”
3. How do you like to spend your spare time?
“I used to fill my spare time with tennis and golf. Lots of tennis and golf. COVID took me away from that and I just got less active. Now my spare time is seeing plays and lots of television.”
4. What is your current obsession?
“My current obsession is binging the really great series you can watch in the comfort of your home. Love Ted Lasso, Outlander, Hacks and many others.”
Donna Weinsting in ‘Nonsense and Beauty’ at The Repertory Theatre of St. Louis in 2019.Photo by Jerry Naunheim Jr.
5. What would people be surprised to find out about you?
“People would probably be surprised to know I have a basement full of archery, tennis and golf trophies.”
6. Can you share one of your most defining moments in life?
“One of my most defining moments in life was entering a talent contest on a cruise and doing stand-up for the first time in my life at 48. It was an epiphany to know I could make 2,000 people laugh just being myself. I can’t explain how overwhelming that feeling of euphoria was.”
7. Who do you admire most?
“I admire the most people who can do it all and do it well. People who can write, perform, direct and produce are superstars. People who devote themselves to the betterment of others is inspiring.”
8. What is at the top of your bucket list?
“Top of my bucket list is to be in a television series. Betty White is gone and can never be replaced but there is a definite need for a sassy old woman.”
Eric Dean White and Donna Weinsting in “The Rooming House Plays” at Tennessee Williams Festival 2016. Photo by Lynn Venhaus
9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“The pandemic sort of ended my acting career for a while. I got older and even though I am not a strong singer, COVID took a great deal out of my voice and now I no longer have confidence in it. I got through the pandemic by watching a lot of television and keeping track of the lives of my family. I learned from the isolation that I don’t have the drive I would like to have. I could have used the down time to learn a new language, play the piano, write a play and clean out my closets, instead I watched television and bitched about not being in a play.
“The pandemic was disastrous for the arts. Many small companies closed and some of the big ones were hit with financial hardships. I am encouraged by the fortitude of those in the arts though. New companies are springing up and the talent here in St. Louis is so rich and full of promise.” 10. What is your favorite thing to do in St. Louis?
“My favorite thing to do is be on the stage, but if I’m not, I love to see good theatre and support and encourage our plethora of talent here. I love a good martini and being with old and dear friends too. I’ve been married to my high school sweetheart for 63 years and have a son and daughter, five grandchildren and eight of the most beautiful, smart and intelligent great grandchildren in the world.
12. What’s next?
“In the fall I have been cast in a film being shot in the Ozarks called “Big Mike’s Cabin.”. Then in April of next year I will be doing the play with Whit Reichert. I feel reinvigorated and full of excitement again.”
More About Donna Weinsting:
Age: 82 Born: Arbyrd, Missouri in the bootheel. Currently live: Oakville, Missouri Family: Husband of 63 years, son, daughter, five grandchildren and eight great grandchildren. Education: I have an associate degree from Meramec Community College. Day job: I have been a Real Estate Salesperson for almost 50 years. First job: My first job was working the lunch counter in a Walgreen’s Drug Store when I was 15. First play: My first play was in Sleeping Beauty in a St. Louis park summer production. I was a handmaiden. Favorite Roles: It is hard to choose my favorite roles but the ones that stand out are, “‘Homebody” Off Broadway, ‘ “Salt, Root and Roe”, “Gray Gardens”, ” ‘night, Mother”, “From Door to Door”, and “The Lion in Winter”. I also got a kick out of playing Jabba the Hutt, Mr. Potter and Donald Trump. Dream Role: My dream job is a television series, Broadway play or major film role. Awards: I’ve won a Kevin Kline for Outstanding Lead Role, a St. Louis Theatre Circle Award for Lead Actress in a drama, a St. Louis Theatre Circle Award for Comedy Ensemble and have had several nominations. Words to Live By: My favorite words to live by are never give up. Life can throw unbelievable obstacles in your way and its easy to throw in the towel but working through them and coming out a better and stronger person is so fulfilling. A Song That Makes Me Happy: “Somewhere Over the Rainbow”, beautiful and full of hope.
Donna Weinsting and BFF Kim Furlow at AFL’s Best Performance Awards, Kirkwood’s Keating Center for the Performing Arts, from Lynn Venhaus.
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 Repertory Theatre of St. Louis is proud to present the return of the Steve Woolf Studio Series – Adventurous Theatre for Adventurous Theateregoers for the 2024/25 Season in the Emerson Studio of the Loretto-Hilton Center on the campus of Webster University. The two play series features a wickedly funny comedy, The Roommate by Jen Silverman running October 26 – November 17, 2024, and the fast-paced engaging play Athena by Gracie Gardner, January 15 – February 8, 2025.
The Steve Woolf Studio Series is in addition to the previously announced Mainstage Season featuring the suspense thriller Dial “M” for Murder September 18 – October 13, 2024; the holiday musical Million Dollar Quartet Christmas in partnership with STAGES St. Louis, December 4 – 22, 2024; Lynn Nottage’s Tony-nominated comedy, Clyde’s, February 5 – March 2, 2025; and the uproarious retelling of Ken Ludwig’s Sherwood: The Adventures of Robin Hood, March 19 – April 13, 2025 all performed at the Loretto-Hilton Center, in the Virginia Jackson Browning Theatre on the campus of Webster University.
“Adventurous black-box theatre brimming with vital heart, humor and dramatic action flexes a different and exciting muscle of storytelling for our community to enjoy here again at The Rep. Bringing back that immersive, intimate communal experience with the Steve Woolf Studio Series thrills as I kick off my first season here as Artistic Director.” said Kate Bergstrom, Augustin Family Artistic Director.
“Our studio season demonstrates that coming of age can happen at any time in a person’s life-from 16 to 60, especially with a firecracker of a new “friend” in the mix. The Roommate and Athena feature strong female duos that must balance their own morals and survival instincts amidst the risk and reward of creating a human connection. These stories are funny and gut-wrenching all the while being ferocious and heartwarming. I can’t wait to welcome audiences back to the Studio as we go on this coming of age adventure together.”
Steven Woolf
“As The Rep continues to move forward, it’s important to look back to honor and celebrate the legacy of those before us,” said Danny Williams, Managing Director. “Steve Woolf made an immeasurable impact on not only the theater, but the St. Louis community by encouraging theatergoers to take a risk with newer unknown plays and playwrights. His risk was our reward as we continue his legacy with two contemporary and adventurous plays in our home at the LHC that will enrich our subscribers’ thirst for exceptional theatrical experiences.”
First in the series is The Roommate, directed by Rebekah Scallet, Artistic Director of New Jewish Theatre and features set design by Robert Mark Morgan a St. Louis-based multidisciplinary artist teaching stage design at Washington University, costume design by Lou Bird whose designs were featured in The Rep’s Clybourne Park and The Invisible Hand, lighting design by Jayson Lawshee whose recent work at COCA include Matilda and Billy Elliot, and sound design by Kareem Deanes who last worked on Gruesome Playground Injuries at The Rep.
In The Roommate, middle-aged Sharon, recently divorced and seeking a sensible roommate, opens her home to Robyn, a mysterious woman with a murky past. Entwining this unlikely duo’s lives in shared dish-duty and shady business, Jen Silverman takes us on an uproarious journey of self-discovery, secrets and revelations. Challenge societal norms, embrace the unexpected, and revel in the reinvention that only true friendship can spark in this dark comedy that proves coming of age can happen anytime, anywhere- even your own kitchen table!
Athena, directed by Kate Bergstrom in her studio directorial debut as Augustin Family Artistic Director, will feature competition and friendship going head to head with live fencing on the piste. In Gracie Gardner’s engaging new play, which was named a New York Times Critics’ Pick, characters Mary Wallace and Athena are brave, and seventeen, and fencers, and training for the Junior Olympics. They practice together, they compete against each other, they spend their lives together. They wish they were friends.
Cast and further creative team for both productions to be announced soon.
Leadership support for The 24-25 Steve Woolf Studio Series is generously provided by Susan and Peter Tuteur, with additional production support for Athena by Gwen and Paul Middeke and Ven and Cynthia Houts.
Subscriptions and single tickets are available online at repstl.org, over the phone 314-968-4925 or in person at the Loretto-Hilton Center Box Office Tuesdays – Thursdays from 10:30-5pm. Seating for the Studio Series is General Admission with subscribers given priority seating beginning 30 minutes prior to curtain.
Jen Silverman, The Roommate Jen is a New York-based playwright, novelist and screenwriter. Jen’s plays include Spain; Collective Rage: A Play in 5 Betties; The Moors; The Roommate; Witch and Highway Patrol. They have been produced off-Broadway, regionally across the US, and internationally in Australia, the UK, the Czech Republic, Switzerland and Spain. Jen is the author of the debut novel We Play Ourselves and the story collection The Island Dwellers; Jen’s next novel is forthcoming from Random House in 2024. Jen wrote The Miranda Obsession as a narrative podcast for Audible, starring Rachel Brosnahan. Jen is a three-time MacDowell Fellow and a member of New Dramatists. Honors include the Yale Drama Series Award and fellowships from the New York Foundation for the Arts, the Lower Manhattan Cultural Council, the National Endowment for the Arts and the Guggenheim. Jen also writes for TV and film.
Gracie Gardner,Athena Gracie is an American playwright. With other works selected for Theatertreffen Stückemarkt in Berlin, premiered at Munich Volkstheater, and honored with the Relentless Award; it was developed by Less Than Rent at HERE Arts Center, and The Old Vic in London. Her play Athena (New York Times Critics’ Pick) was presented by The Hearth at JACK. Gracie is the recipient of the McKnight National Residency and Commission, an Ensemble Studio Theater Sloan Foundation Commission, the James E. Michael Award and the James Stevenson Prize, and she is a Samuel French OOB Festival winner. She’s a proud member of New Dramatists, Ars Nova Play Group and Youngblood, and she has received commissions from Clubbed Thumb, Manhattan Theatre Club and the Cincinnati Conservatory of Music.
ABOUT THE REPERTORY THEATRE OF ST. LOUIS
The Repertory Theatre of St. Louis (The Rep) is the region’s premiere theatre for compelling, award-winning theatrical experiences that entertain, engage, and illuminate audiences’ shared humanity. Founded in 1966, for more than five decades The Rep has sustained and built upon its commitment to artistic excellence by creating, developing, and curating adventurous new works and beloved classics from the most exciting emerging and established American voices. The Rep builds bridges within the St. Louis community and beyond by offering productions that allow audiences to see themselves and the stories that matter to them represented on stage, through the organization’s robust community engagement programs, and across its educational initiatives.
The Rep welcomes audiences with inspiring and expansive productions at several inviting stages across St. Louis including the Virginia Jackson Browning Theatre at the Loretto-Hilton Center for the Performing Arts and other venues around the St. Louis area. A thought leader in the national theatre landscape, The Rep is a dedicated partner with arts organizations in St. Louis and across the country, expanding audiences’ appreciation and understanding of the world through theatre. In December 2023, The Rep was named a Missouri Historical Theatre, which is awarded to theaters that contribute to tourism in Missouri, promote arts in its community and throughout Missouri, and has been operational for a minimum of 50 years. Visitwww.repstl.org for details and follow @repstl.
Emcees Alan Knoll and Laurie McConnell with producer Ron Stevens at The Repertory Theatre of St Louis for a program during the pandemic, “Keep Arts Alive in St. Louis.” Photo provided.
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 Repertory Theatre of St. Louis (The Rep) is holding a first of its kind Prop Sale June 26 – 28, 2024 at the Lemp Brewery Warehouse (3500 Lemp Ave, St. Louis, MO 63118).
For over 50 years The Rep has procured its collection of theatrical props, and with over 16,000 square feet of prop storage stuffed to the rafters, it is time for items to find new loving homes so the theater can make room for new and exciting acquisitions.
The Rep’s Prop Sale is perfect for antique aficionados, theater history fans, and those looking for the next conversation piece for their home. Everything from pink flamingos to carousel horses, jukeboxes, Singer sewing machines, HUNDREDS of chairs, a 5-piece cheetah luggage set, even a prop Tommy Gun in a violin case and so much more are available at can’t beat it prices.
Own a part of theatre history and find the one thing you never knew you always wanted!
Located at the Lemp Brewery Warehouse spaces (3500 Lemp Ave, St. Louis, MO 63118), the Prop Sale is open to the public the following dates and times:
Wednesday, June 26, 12 – 7pm Thursday, June 27, 12 – 7pm Friday, June 28, 8am – 3pm Saturday, June 29, 8am – 3pm
All sales are final and sold in “as is” condition. Payment by cash or credit card preferred. All sales are cash and carry, items will not be held for pickup without full payment and must be removed from the warehouse the day of purchase.
For further questions, please contact The Repertory Theatre of St. Louis Props Department at [email protected].
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.
Throughout a long and illustrious career as a professional actor and director, Alan Knoll has been a steady and appreciated presence in St. Louis regional productions. This year, he’s as busy as ever, appearing as flawed dads in two plays — “We All Fall Down” and “August: Osage County,” and directing an acclaimed drama — “Red” — later this summer.
Knoll estimates he has been in more than 150 productions, with his current turn as Saul Stein, a retired history professor, in “We All Fall Down,” now playing at New Jewish Theatre through June 16.
“It appears to be around my 153rd show since I started acting ‘professionally’ right after college. That doesn’t include the many shows I did at St. Mary’s High School, St. Louis University, and all those little gigs I took right out of school that didn’t pay a little something,” he said.
The parts of Saul Stein and Charlie Aiken Sr. this year have been enriching, he said. He has moved easily between comedic and dramatic parts, with occasional forays into musicals.
“This is the year of the family dramedy for me, for sure. Playing Saul Stein in ‘We All Fall Down’ at the New Jewish Theatre took me down an unexpected road of reflecting on my own dad and what he went through at the end of his life. Playing Charlie Aiken in ;August: Osage County” gave me the opportunity to reflect on my successes and failures in raising my wonderful son,” he said.
Alan plays retired history professor Saul Stein in “We All Fall Down,” with Jenni Ryan (back) and Bridgette Bassa (right). Photo by Jon Gitchoff.
The New Jewish Theatre’s production will be its first in St. Louis, after it made its debut in 2020 at Boston’s Huntington Theatre. It illustrates the joys and heartaches of growing older, growing up, and growing to understand the value of tradition.
Mindy Shaw plays Saul’s wife Linda, a brilliant but dramatic matriarch, who wanted to bring her secular family together for their first-ever Passover seder. But as the night continues, the occasion goes from funny to poignant. The play reminds us how culture, personal identity, and family are intricately woven.
“Even with my next project, directing “Red” for the New Jewish Theatre, the play has that father-son dynamic. It brings up strong memories of me as both the son and the father,” he said.
A bonus of being in family-centered plays is the connections you make, he noted.
“The secret no one tells you about acting is every time you do a show you gain a family. And when that show is about a family, those gained relationships can be even more intense,” he said.
As God.
He last appeared on the Wool Studio Theatre in 2018, playing the Almighty in “An Act of God.”
Knoll has worked with multiple companies in St. Louis, including The Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory..
He has also worked extensively over the years at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and about 160 miles from St. Louis. His wife of 26 years, Laurie McConnell, became the marketing director there in 2023, and they moved from their Dogtown neighborhood to the quaint village of Arrow Rock.
He received Kevin Kline Award acting nominations for “It’s a Wonderful Life” and “Conversations with My Father.” Besides acting, he has been nominated for directing Neil Simon’s autobiographical comedies “Brighton Beach Memoirs” and “Broadway Bound” at New Jewish Theatre by the St. Louis Theater Circle Awards.
He has also appeared in several films, including as a prison warden in 2023’s “Penitentia,” and in the 1998 mini-series “A Will of Their Own” as a reporter, which was shot in St. Louis.
Despite his busy schedule, he graciously gave us his time to answer our Take Ten questionnaire.
With Steve Isom in “Wittenberg” at Upstream Theater.
Take Ten Q&A
1. What is special about your latest project?
“Lila Rose Kaplan’s family comedy/drama is just great. I didn’t realize it would be so special to me, but in rehearsing it, it has become a role that is very close to my heart. It has made me reflect on my own dad and what he was going through toward the end of his life.”
2. Why did you choose your profession/pursue the arts?
“It was the only thing I felt comfortable doing! As a kid, I was pretty lonely and isolated, not very happy at all. At St. Mary’s High School, I met Rich Contini, the drama teacher, which changed the trajectory of my life. That continued at SLU under the guidance of Alan Hanson, Robert Butler and Wayne Loui.”
3. How would your friends describe you?
“What friends? I guess as an easy-going nice guy. I hope so anyway. I have a sense of fairness and I make them laugh. Also, if you need to know who won Best Supporting Actor in 1942, I’m faster than Google.”
Alan Knoll as the U.S. president in “November” at St. Louis Actors’ Studio.
4. How do you like to spend your spare time?
“What is this spare time you speak of? Reading, watching old movies, finding a streaming show for us to become obsessed with, walking our rescue pooch, Truman.”
5. What is your current obsession?
“Abbott Elementary and running from cicadas.”
6. What would people be surprised to find out about you?
“I’m very shy.”
7. Can you share one of your most defining moments in life?
“Marrying the best girl in the world, Laurie McConnell.”
8. Who do you admire most?
“I would have to say my wife, Laurie McConnell. She’s amazingly talented and so sweet to everyone. She always becomes a rockstar at whatever she does, whether it’s in her radio career, her acting career or her marketing career. I don’t know how she does it.”
9. What is at the top of your bucket list?
“Travel, because I have done very little of it. Touring the UK (or whatever it’s called since Brexit) is a dream of mine.”
Alan and wife Laurie McConnell. Provided photo.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“2020 was scheduled to be one of my best years. I had acting and directing gigs lined up all over the place. None of that happened. Of course, this nothing compared to the millions who lost their lives.
Laurie and I got through it by teaching ourselves to cook and visiting with our neighbors over the fence in the back yard. 6 feet apart of course. It reminded us of our inter-connectedness and how we’re not in this alone.
The St Louis arts scene was terribly affected. All the theatres shut down and some never came back. Patrons got out of the habit ongoing to the the theatre and we’re still trying to fix that.”
11. What is your favorite thing to do in St. Louis?
This is my hometown, but now that I don’t live here, it’s fun to see the city and all it has to offer with fresh eyes. Forest Park, Ted Drewes, hanging out with my son in the Bevo neighborhood, Imo’s pizza, smelling the hops emanating from the brewery where my Dad worked for forty years. I love my hometown and the Cardinals…….even this year!
12. What’s next?
“Directing “Red” for the New Jewish Theatre, then performing in “Noises Off” at the Arrow Rock Lyceum Theatre, then a long nap.”
Playing a priest in “Flanagan’s Wake” at the Playhouse at Westport. The run was cut short by the pandemic shutdown in March 2020.
More About Alan Knoll
Name: Alan Vincent Stephen Knoll Age: My wife Laurie says I act like I’m 12 Birthplace: St Louis Current location: Home base, Arrow Rock, Mo. Currently working in St Louis. Family: Laurie McConnell & Ben Knoll Education: Bachelor’s degree from Saint Louis University Day job: Dog walker (just mine….unpaid) First job: Dishwasher at Al Smith’s restaurant on Grand, 7 Meramec in South St Louis First play or movie you were involved in or made: My first play was the Caine Mutiny Court Martial. I was a sophomore in high school. Dream job/opportunity: I really want to play Willy Loman in “Death of a Salesman” Awards/Honors/Achievements: The late, great Riverfront Times named me Best Actor as George in “Who’s Afraid of Virginia Woolf?” A Woody award as a best supporting actor for the Black Rep’s “Intimate Apparel.” A Piglet Award for directing “Putnam County Spelling Bee” for St. Louis University. Being enough of a working actor to earn a pension from Actor’s Equity. Favorite quote/words to live by: Dying is easy, Comedy is hard — Edmund Gwenn A song that makes you happy: “Gimme Shelter” – The Rolling Stones
The ensemble cast of The Rep’s “August: Osage County.” Alan is in the foreground, center.
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.
Described as a cultural shaper and visionary creator, Kate Bergstrom assumes the role of Augustin Family Artistic Director at The Repertory Theatre of St. Louis beginning May 13.
While she is new to St. Louis, theatergoers are familiar with her work, as she directed “It’s a Wonderful Life: A Live Radio Play” at Christmastime, for which she was nominated for best director by the St. Louis Theater Circle. She also directed “The 39 Steps” in 2022.
“The unwaveringly beautiful and crucial component of The Repertory Theatre of St. Louis is, of course, St. Louis! I am honored and humbled to return to this wonderful community in this role to celebrate – through excellent, engaging, and relevant storytelling – this beloved region,” Bergstrom said.
Her appointment follows a six-month nationwide search after Hana S. Sharif’s departure last summer. Sharif stepped down after five years in the role and moved on to The Arena Stage in Washington, D.C., to serve as artistic director there.
Bergstrom becomes the eighth artistic director in The Rep’s 58-year history. The region’s premiere theater was founded in 1966 and made its home at the Webster University’s Loretto-Hilton Center for the Performing Arts.
Kate Bergstrom. Photo by Antonio T. Harris
After a bombshell announcement last fall that The Rep season was in jeopardy and they needed to cover a $2.5 million budget shortfall to continue, community support came through in an organized “Rally for the Rep” multi-year fundraising campaign.
People had cited dwindling ticket sales, season subscribers not renewing, employee turnover, shows in several different venues, and eroding community support as factors that led to the predicament, in addition to challenges brought on by the pandemic.
Managing Director Danny Williams acknowledged the need for better communication and consistency in programming.
“We had to change. We are listening to what people are saying. Some of the shows were not up to the Rep’s standards,” he said last October.. “We are committed to programming for St. Louis audiences.”
Williams became managing director in January 2022 when Mark Bernstein retired after 32 years in that role. He had served as senior director of finance and administration at New York’s Public Theater.
The Rep was able to complete the 2023-2024 season because of the Rally success. A Holiday Benefit Experience that featured St. Louis alumnus John Goodman raised more than $150,000.
Williams announced in January that 80% of the goal had been reached to fund the second half, productions “Moby Dick” and “August: Osage County.”
At that time, Williams said the goal was to ensure continuing to bring world-class, adventurous new works and beloved classics to their stage as they approach their 60th anniversary.
“We are so grateful for the outpouring of love and support that we’ve received from the St. Louis community, he said. “While our first big hurdle is behind us, the need for continued support remains as we build a sustainable future for The Rep to inspire generations and ensure the arts thrive in our beloved city.”
Williams cited the need to build a stable future amid an industry undergoing radical change.
The Rep exterior. File photo.
“We are working to build a model that responds to today’s cultural landscape so that we remain an anchoring cultural force for St. Louis, using the transformative power of the arts to build bridges in our region and beyond,” he said.
On Tuesday, the Rep stated: “With her appointment, Bergstrom brings a passionate energy for The Rep’s next chapter that builds on the theater’s success as a vital, celebrated, cultural cornerstone of St. Louis.”
Bergstrom said she considers The Rep more than a theater.
“It serves as a critical cultural heart in St. Louis by elevating and expanding the capacity for the extraordinary in us all. I’m excited to set down roots and galvanize transcendent work, using my skills and experiences to foster engagement that uplifts and world-class storytelling that is both tremendously entertaining and vital,” she said.
Williams said he looked forward to partnering with Kate to realize this new chapter.
“Kate is a bold and generous leader, who works with a heart-forward approach to center an artistic vision that will bring out the best in The Rep. At this critical juncture in the organization, her passion, energy, and commitment to St. Louis makes her an inspired choice to ensure a vibrant future for the theatre,” he said.
To conduct the search, The Rep engaged Arts Consulting Group. From a field of many applicants with diverse backgrounds and experiences, the committee narrowed down the search to three extremely qualified candidates.
Each candidate participated in Zoom interviews and full-day in-person meetings, during which The Rep staff were encouraged to meet and ask questions with the potential candidates. The process took six months and included Rep staff and leadership, along with a search committee of arts leaders and community stakeholders led by Board Vice President Ann Cady Scott, the board of directors and independent search firm ACG.
“The Rep has a long-storied history of inspiring and thoughtful leaders, and we are thrilled to pass the torch of leadership to Kate Bergstrom,” said Brian Clevinger, The Rep’s Board President. “Kate’s It’s a Wonderful Life was an electrifying production that brought out the best in our local talent and inspired joy throughout St. Louis. We look forward to her work in deepening The Rep’s impact on its stages and in the community.”
“It’s a Wonderful Life: Live Radio Play” at The Rep.
New Season
The Rep’s 2024-2025 season, which kicks off in September with the suspense thriller “Dial M for Murder,” was programmed by Williams and the current artistic team. Bergstrom will lead the selection of the Steve Woolf Studio Series this season.
Bergstrom said she will continue to deepen her relationship with St. Louis and the local arts community by actively listening to audiences as crucial collaborators to bring about a vision and strategic plan for the 25/26 season and beyond.
“We have the grand opportunity ahead to celebrate the power of extraordinary togetherness in this beloved region during a divisive time. By bridging the differences that make us unique and the undergirding humanity that unites us all, The Rep looks to spark joy, discovery, and that extraordinary togetherness towards a thriving St. Louis and beyond. I’m ready to infuse care, love for this community and a clear, heart-forward vision of excellence into the Rep for years to come,” she said.
Williams said, in announcing that “August: Osage County” was a go thanks to completing the fundraising, that the season had rallied their staff, board, volunteers, artists, and community to keep the magic of live theatre alive at The Rep.
“We are deeply grateful for the outpouring of support that we’ve received from the St. Louis community. It is their belief in our 57 years of work and dedication to the arts that propels us forward and allows us to continue to bring world-class theatrical experiences to our stages,” he said.
Next year’s season is: Dial M for Murder Sept.18 – Oct. 13; the holiday musical “Million Dollar Quartet Christmas” in partnership with Stages St. Louis on Dec. 4 – 22; Lynn Nottage’s Tony-nominated comedy, “Clyde’s,” Feb. 5 – March 2, 2025; the retelling of “Sherwood: The Adventures of Robin Hood,” March 19 – April 13, 2025, all performed at the Loretto-Hilton Center, in the Virginia Jackson Browning Theatre on the campus of Webster University. Tickets are on sale now. Visit www.repstl.org for details and follow @repstl.
In December 2023, The Rep was named a Missouri Historical Theatre, which is awarded to theaters that contribute to tourism in Missouri, promote arts in its community and throughout Missouri, and has been operational for a minimum of 50 years.
Kate Bergstrom. Photo by Antonio T. Harris
About Bergstrom
Born in California, Bergstrom holds an MFA in directing from Brown University and a BA in Directing and Acting from UCLA. She will move here from New York. with her husband Mike and their dog Crispy.
Among her credits are directing at regional theaters across the country, which belong to the League of Resident Theatres, including the Marin Theatre Company, Alabama Shakespeare Festival and Trinity Repertory Company and more.
As a festival director, she programmed the Big Eddy Film Festival in Upstate New York where her responsibilities included fundraising, audience and community development and partnership building.
This grew from her tenure as Founder and Producing Artistic Director of On The Verge, a festival premiering female and LGTBQIA writers in Santa Barbara, Calif.
As a performance coach and account manager at Stand and Deliver, she has worked with dozens of large corporate clients such as Google, Genentech, and Cisco co-leading multi-day programs and long-term adviserships toward improving external and internal organizational communication.
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 Repertory Theatre of St. Louis (The Rep) announced its 2024-2025 season on March 21, which includes four world-class productions all taking place at the Loretto-Hilton Center, in the Virginia Jackson Browning Theatre on the campus of Webster University.
Curated to provide unique experiences for the full spectrum of the St. Louis community, the 2024-25 season includes mystery, comedy, thrilling storytelling and a holiday musical for all to enjoy.
The Rep’s 2024-25 Season kicks off with Frederick Knott’s suspense thriller Dial “M” for Murder September 18 – October 13, 2024.Featuring an exclusively local St. Louis cast, audiences will be at the edge of their seats as they delve into the deception and betrayal of this timeless classic.
Next up to celebrate the holiday season, Million Dollar Quartet Christmas brings together Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins in a holiday jam session that will have audiences toasting the season December 4 – 22, 2024. A collaboration with STAGES St. Louis, this production combines two powerhouse performing arts organizations on one stage and is the first production of the musical to be performed in St. Louis.
At the top of 2025 comes the two-time Pulitzer Prize winner Lynn Nottage’s Tony-nominated comedy, Clyde’s, February 5 – March 2, 2025. Named the most produced play of 2023, a truck stop sandwich shop becomes the unexpected stage for redemption, second chances and the quest for the perfect sandwich.
To close out the Mainstage season from the adaptor of Agatha Christie’s Murder on the Orient Express comes Ken Ludwig’s up-roaring retelling of Sherwood: The Adventures of Robin Hood, March 19 – April 13, 2025.
Akin to The Rep’s recent productions of Moby Dick, To Kill a Mockingbird, and Pride and Prejudice, Sherwood: The Adventures of Robin Hood’s expansive storytelling will have audiences swept away as the charismatic outlaw battles a power-hungry prince for the soul of England.
“Following a banner year filled with critically acclaimed productions and a tremendous outpouring of support from the community, we look forward to continuing the momentum of artistic excellence that creates memorable theatrical experiences for all of our patrons in our upcoming 58th Anniversary season,” said Danny Williams, Managing Director. “
We received valuable feedback this past season and have diligently devised innovative and sustainable action steps to meet the needs of the theatre and our cherished community. This exciting season is a reflection of those needs, which presents an opportunity to produce a wide array of offerings to delight and challenge our valued patrons as well as welcome new and old audiences to the theatre to position it as an enduring institution for the St. Louis community.”
Looking ahead, The Rep is excited to introduce its new Augustin Family Artistic Director later this spring and the much anticipated Steve Woolf Studio Series taking place in the Emerson Studio Theatre will be announced later this summer.
The Rep will also continue to offer its Learning and Community Engagement (LACE) programs that provide people of all ages opportunities to deeply engage with the art they see on stage through immersive in-classroom and extracurricular learning opportunities, public forums for civic discourse, and opportunities to participate in the artmaking process.
Programs include the Story 2 Stage Festival which features student written and produced plays, the Imaginary Theatre Company (ITC) public performance in Spring 2025 and Camp Rep, where students over the summer receive a two week immersion in all things theatre culminating with a family showcase.
Find a full schedule of the 2024-25 season programs below. Subscriber renewals begin today with new subscription purchases available April 15, 2024. The Rep offers the Classic Mainstage subscription for all four productions, a Red Carpet Exclusive subscription to attend Opening Night, and a Flex Pass subscription which allows patrons to pick and choose what shows to see.
Single tickets will go on sale later this summer. For more information and to purchase a subscription, visitwww.repstl.org or call the Box Office, Monday – Friday from 10:30 a.m. – 5:00 p.m. at (314) 968-4925. The Rep Box Office will also be available for in-person support at the Loretto-Hilton Center, Monday through Friday from 10:30 a.m. – 5:00 p.m.
The Repertory Theatre of St. Louis 2024-25 Season
For tickets, accessibility, and visitor information, visit repstl.org.
Dial “M” for Murder Sept 18 – Oct 13, 2024 By Frederick Knott
Step into the shadows of a meticulously planned murder. In the elegant home of Tony and Margot Wendice, a sinister game of cat and mouse unfolds. Tony, a calculating mastermind, plots to kill his wife for her inheritance, fueled by revenge and greed. When his perfect plan spirals into chaos, a web of lies and deceit is spun, threatening to ensnare the innocent. Join the relentless Inspector Hubbard as he unravels the twisted truth. Will Tony’s trap hold, or will justice be served? Experience the suspense and intrigue of Dial “M” for Murder, a play that will leave you breathless until the final curtain falls.
Major Production Sponsor – Ann Cady Scott
Million Dollar Quartet Christmas Presented in partnership with STAGES St. Louis Dec 4 – Dec 22, 2024 Book by Colin Ascott
ARE YOU READY TO ROCK? Around the Christmas tree, that is! Million Dollar Quartet Christmas brings Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins back together for a festive jam session that will have you jingling ALL the way! In the decked-out Sun Records studio, filled to the brim with Christmas cheer and enough musical talent to power a city grid, these legendary musicians blend their chart-topping hits with seasonal cheer. Get ready for a holly jolly journey through this iconic rock n’ roll musical!
Clyde’s Feb 5 – Mar 2, 2025 By Lynn Nottage
From two-time Pulitzer Prize winner Lynn Nottage comes the Tony-nominated-play, Clyde’s. In a small run-down sandwich joint, ex-cons endure Clyde’s fiery critiques and a scorching kitchen. Yet, when a mystic chef throws down the gauntlet—craft the ultimate sandwich—the team ignites with newfound zeal. Fueled by this savory challenge, they transform their past into a recipe for triumphant fresh starts. Join this spirited culinary quest where second chances are as vibrant as the flavors sizzling in the pan!
Major Production Sponsor – Whitaker Foundation
Ken Ludwig’s Sherwood: The Adventures of Robin Hood Mar 19 – April 13, 2025 By Ken Ludwig
Join the Merry Rebellion! Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a riotous romp through the enchanted forest, where Robin and his lively band of outlaws plot to outwit a greedy prince. Filled with daring escapades, mischievous humor, and a dash of romance, this timeless tale of justice and camaraderie is a swashbuckling adventure the whole family will cheer for!
Major Production Sponsor – The Leading Ladies of The Repertory Theatre of St. Louis
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ABOUT THE REPERTORY THEATRE OF ST. LOUIS
The Repertory Theatre of St. Louis (The Rep) is the region’s premiere theatre for compelling, award-winning theatrical experiences that entertain, engage, and illuminate audiences’ shared humanity. Founded in 1966, for more than five decades The Rep has sustained and built upon its commitment to artistic excellence by creating, developing, and curating adventurous new works and beloved classics from the most exciting emerging and established American voices. The Rep builds bridges within the St. Louis community and beyond by offering productions that allow audiences to see themselves and the stories that matter to them represented on stage, through the organization’s robust community engagement programs, and across its educational initiatives.
The Rep welcomes audiences with inspiring and expansive productions at several inviting stages across St. Louis including the Virginia Jackson Browning Theatre at the Loretto-Hilton Center for the Performing Arts and other venues around the St. Louis area. A thought leader in the national theatre landscape, The Rep is a dedicated partner with arts organizations in St. Louis and across the country, expanding audiences’ appreciation and understanding of the world through theatre. In December 2023, The Rep was named a Missouri Historical Theatre, which is awarded to theaters that contribute to tourism in Missouri, promote arts in its community and throughout Missouri, and has been operational for a minimum of 50 years. For more information, please visitrepstl.org and follow @repstl.
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.
Mesmerizingly crafted, “Moby Dick” is an astonishing triumph of sound and fury.
Through its hybrid expressionist storytelling involving aerials, acrobatics, dance, visual artistry and dramatic encounters, the aesthetically innovative staging is extraordinary.
This brilliant vision by director David Catlin, who adapted the 1851 novel by Herman Melville, has been executed fluidly with bold intentions. He has stripped an unwieldy story down to essentials — although it still takes 3 hours with 2 intermissions to tell this three act masterpiece.
Catlin immerses us as green hands on the Pequod whaling ship – you will feel as if you are on the voyage on the treacherous high seas around the world.
Perhaps comparable to a Cirque du Soleil experience, it is unlikely that you have seen anything like it, unless you were privy to its landmark 2015 debut at the Lookingglass Theatre Company in Chicago, where it was developed and mounted.
The Fates, Photo by Liz Lauren
Catlin, a longtime ensemble member, is not the only one involved in The Rep’s stunning and at times, jaw-dropping, production. An outstanding Christopher Donahue, who originated the role of Captain Ahab there, returns as the maritime officer obsessed with revenge against the great white sperm whale who bit his leg off.
A sparse high concept set designed by Courtney O’Neill, aided by assistant designer Catalina Nino, yields to an epic sea adventure that at its core is a battle between fate and free will, as Ahab goes mad in his maniacal quest while his first mate Starbuck believes that our choices fulfill our destiny.
This isn’t your English class study guide, rather a living work of art, composed stylistically with dynamic imagery and movement that creates an unrivaled seafaring adventure.
The now iconic Ishmael is the first sailor we encounter, a philosophical narrator who has worked on a merchant vessel. This time, he signs up for the Pequod, leaving Nantucket. This sea hunt is for whale oil and the byproducts used in the 19th century – the appeal of a comfortable lifestyle was at odds with the messy and grimy business of whale hunting.
Ishmael and Queequeg. Photo by Liz Lauren.
At a crowded inn, he is forced to share a room with a distinctively tattooed Polynesian harpooner, Queequeg, and that comical situation cements a friendship between the men. Muscular Kevin Aoussou is an imposing and regal Queequeg.
Walter Owen Briggs conveys Ishmael’s curious nature and sense of wonder, while looking at developments sensibly. He struggles with Ahab’s recklessness and the looming doom.
The Fates and the sailors. Photo by Liz Lauren
Ahab’s single-mindedness is his tragic flaw, and it will consume him. As the men resist, he pushes harder. He has tough altercations with brave first mate Starbuck, a fierce and agile Felipe Carrasco, that are intense and frightening.
The ensemble offers personal portraits to help identify them as crew members, and their instincts are finely tuned. In supporting roles are original castmates Micah Figueroa as Cabaco and Captain of New Bedford whaleship and Raymond Fox as Stubb as well as Captains Boomer and Gardiner, joining Julian Hester as Bulkington.
They indicate the physical aspects of their struggles with precise movements by acrobatic choreographer Sylvia Hernandez-Distasi, a founder and artistic director of The Actors Gymnasium in Chicago. She impresses with dazzling derring-do.
Three women portray the Fates – Maggie Kettering, Ayana Strutz and Bethany Thomas – and they swirl in and out, like spirits. They also present themselves as images of loved ones left behind, and townspeople in the villages.
The dexterity and physical stamina required of these performers is remarkable, and not unnoticed.
Kevin Aoussou. Photo by Liz Lauren
Costume designer Carolyn “Sully” Ratke and associate designer Stephanie Gluggish have fashioned ethereal garb for the mystical spirits, and an interesting wardrobe to create a human metaphor for Moby Dick and other whales. The other costumes are period-appropriate.
The squalls, the hunt, and the insurmountable typhoon are thrillingly staged as spectacles, diving deep into the life-or-death danger. The technology used is next-level and breathtaking, especially what Rigging Designer Isaac Schoepp has created.
(Kudos to the stagehands who participated in the curtain call, deserving a major standing ovation for their efforts), Bravo!
Lighting designer William C. Kirkham, and assistant designer Madeleine Reid, along with sound designer Rick Sims and associate sound designer Forrest Gregor, have recreated an atmospheric ocean tableau — thunderstorms, eerie nighttime shadows, blazing sun daylight, fire, the mysterious echoes of the high seas and the relentless waves.
They have captured dreamlike sequences as well as nightmares through aural and visual techniques, and Sims’ music compositions add texture.
A sequence of staggering beauty is when lanterns lit with whale oil illuminate the night sky, as they rise and seemingly float away, like fireflies.
Photo by Liz Lauren
Moments of non-traditional storytelling are effective bridging the gap between the classic text and a new way to look at a staged presentation. However, the everlasting human condition commentary is not overshadowed by the production’s technical mastery.
Now, this show can be a challenge to navigate, particularly if you have never read “Moby Dick” or only made it through a few pages – it is not an easily digested drama. But stick with it, let the experience sweep you away, and you will be rewarded handsomely. (And you may want to read some Cliff Notes or Wikipedia information beforehand).
It’s exciting to watch something so significantly singular swing for the fences and achieve a greatness that people will be talking about for years.
The Repertory Theatre of St. Louis presents “Moby Dick,” adapted from the book by Herman Melville and directed by David Catlin of the Lookingglass Theatre Company through Feb. 25. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.
Christopher Donahue as Captain Ahab. Liz Lauren photo.
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.
Event at Loretto-Hilton Center Will Honor Outstanding Work in Local Professional Theater in 2023
ST. LOUIS, February 2, 2024 – The Muny, The New Jewish Theatre, the Repertory Theatre of St. Louis (The Rep) and Stages St. Louis each garnered at least 19 nominations for the 11th annual St. Louis Theater Circle Awards, with The Muny’s 26 nominations leading all companies. The annual gala will take place on Monday, March 25, 2024 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
“Clue,” at Stages St. Louis, and The New Jewish Theatre’s production of “Into the Woods” each garnered 11 nominations to lead all shows in nominations.
Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link. The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 33 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2023. Approximately 100 productions have been considered for nominations for this year’s event.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 11th annual St. Louis Theater Circle Awards are:
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival Diana DeGarmo, “Clue,” Stages St. Louis Ricki Franklin, “Twelfth Night,” St. Louis Shakespeare Festival Christina Rios, “Broadway Bound,” The New Jewish Theatre Zoe Vonder Haar, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role Chuck Brinkley, “Broadway Bound,” The New Jewish Theatre Charlie Franklin, “Clue,” Stages St. Louis Nick Freed, “The Birthday Party,” Albion Theatre Bryce A. Miller, “The Nerd,” Moonstone Theatre Company Chuck Winning, “The Birthday Party,” Albion Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role Colleen Backer, “Outside Mullingar,” West End Players Guild Mara Bollini, “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre Sarah Burke, “Grand Horizons,” Moonstone Theatre Company Teresa Doggett, “The Birthday Party,” Albion Theatre Leslie Wobbe, “Walter Cronkite Is Dead,” West End Players Guild
Outstanding Performer in a Comedy, Male or Non-Binary Role Jacob Flekier, “Broadway Bound,” The New Jewish Theatre Joneal Joplin, “Grand Horizons,” Moonstone Theatre Company Ryan Lawson-Maeske, “The Nerd,” Moonstone Theatre Company Jason Meyers, “Outside Mullingar,” West End Players Guild Mark Price, “Clue,” Stages St. Louis
Outstanding Lighting Design in a Play Anshuman Bhatia, “Gruesome Playground Injuries,” The Repertory Theatre of St. Louis Jayson M. Lawshee, “Skeleton Crew,” The Black Rep Jason Lynch, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Sean M. Savoie, “Clue,” Stages St. Louis Christina Watanabe, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis
Outstanding Sound Design G. Clausen, “Twisted Melodies,” The Repertory Theatre of St. Louis Charles Coes and Nathan A. Roberts, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Michael Costagliola, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Beef Gratz, “Clue,” Stages St. Louis Amanda Werre, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Play | Daryl Harris, “Death of a Salesman,” The Black Rep Liz Henning, “The Lion in Winter,” The Midnight Company Brad Musgrove, “Clue,” Stages St. Louis Michele Friedman Siler, “The Immigrant,” The New Jewish Theatre Fabio Toblini, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Set Design in a Play Nina Ball, “Confederates,” The Repertory Theatre of St. Louis An-Lin Dauber, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Regina Garcia, “Twelfth Night,” St. Louis Shakespeare Festival Tim Mackabee, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis Lee Savage, “Clue,” Stages St. Louis
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role Nicole Angeli, “Mindgame,” Albion Theatre Velma Austin, “Death of a Salesman,” The Black Rep Rhiannon Creighton, “Doubt: A Parable,” Prism Theatre Company Kelly Howe, “See You in a Minute,” Contraband Theatre Mindy Shaw, “The Immigrant,” The New Jewish Theatre
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role Isaiah Di Lorenzo, “Bitter Fruit,” Upstream Theater Michael James Reed, “Uncle Vanya,” St. Louis Actors’ Studio Chauncy Thomas, “Death of a Salesman,” The Black Rep David Wassilak, “The Immigrant,” The New Jewish Theatre John Wolbers, “The Lion in Winter,” The Midnight Company
Outstanding Performer in a Drama, Female or Non-Binary Role Lavonne Byers, “The Lion in Winter,” The Midnight Company Kate Durbin, “Doubt: A Parable,” Prism Theatre Company Ricki Franklin, “See You in a Minute,” Contraband Theatre Michelle Hand, “What the Constitution Means to Me,” Max & Louie Productions Naima Randolph, “Suddenly Last Summer,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Male or Non-Binary Role John Contini, “Barrymore,” St. Louis Actors’ Studio Ron Himes, “Death of a Salesman,” The Black Rep Dustin Lane Petrillo, “The Immigrant,” The New Jewish Theatre Reginald Pierre, “One Night in the Many Deaths of Sonny Liston,” St. Louis Actors’ Studio John Pierson, “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding New Play “Action,” by Colin McLaughlin, Action Art Collaborative “In Bloom,” by Gwyneth Strope, The Tesseract Theatre Company “One Night in the Many Deaths of Sonny Liston,” by J B Heaps, St. Louis Actors’ Studio “The Privilege of Being Second,” by David Nonemaker and Eric Satterfield, Prison Performing Arts “See You in a Minute,” by Jacob Juntunen, Contraband Theatre
Outstanding Achievement in Opera Janai Brugger, “Susannah,” Opera Theatre of Saint Louis Teresa Doggett, “Don Pasquale,” Union Avenue Opera Gemma New, “Susannah,” Opera Theatre of Saint Louis Murrella Parton, “Cosi fan tutte,” Opera Theatre of Saint Louis Patricia Racette, “Susannah,” Opera Theatre of Saint Louis
Outstanding Production of an Opera “Don Pasquale,” Union Avenue Opera “Ragtime,” Union Avenue Opera “Susannah,” Opera Theatre of Saint Louis “Treemonisha,” Opera Theatre of Saint Louis “The Turn of the Screw,” Union Avenue Opera
Outstanding Musical Director Charlie Alterman, “Beautiful: The Carole King Musical,” The Muny Colin Healy, “Caroline, or Change,” Fly North Theatricals James Moore, “West Side Story,” The Muny Larry D. Pry, “Into the Woods,” The New Jewish Theatre David Sonneborn, “Million Dollar Quartet,” Stages St. Louis
Outstanding Choreographer Denis Jones, “Sister Act,” The Muny Maggie Nold, “Kinky Boots,” The Tesseract Theatre Company Patrick O’Neill, “Disney’s Beauty and the Beast,” The Muny Josh Rhodes, “Chess,” The Muny Heather Beal, Robert Crenshaw, Vivian Watt, “Eubie!,” The Black Rep
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role Jackie Burns, “Beautiful: The Carole King Musical,” The Muny Jerusha Cavazos, “West Side Story,” The Muny Diana DeGarmo, “Aida,” Stages St. Louis Kristen Joy Lintvedt, “Into the Woods,” The New Jewish Theatre Taylor Louderman, “Chess,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role Jonathan Hey, “Into the Woods,” Stray Dog Theatre Phil Leveling, “Into the Woods,” The New Jewish Theatre Ken Page, “West Side Story,” The Muny Jeremy Sevelovitz, “Million Dollar Quartet,” Stages St. Louis Jarrod Spector, “Beautiful: The Carole King Musical,” The Muny
Outstanding Lighting Design in a Musical Herrick Goldman, “Aida,” Stages St. Louis Jesse Klug, “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival Jayson M. Lawshee, “Into the Woods,” The New Jewish Theatre Jason Lyons, “Disney’s Beauty and the Beast,” The Muny Sean M. Savoie, “Million Dollar Quartet,” Stages St. Louis
Outstanding Set Design in a Musical Ann Beyersdorfer, “Disney’s Beauty and the Beast,” The Muny Edward E. Haynes, Jr., “Chess,” The Muny Rob Lippert, “Godspell,” Stray Dog Theatre Kristen Robinson, “Little Shop of Horrors,” The Muny C. Otis Sweeney, “Into the Woods,” The New Jewish Theatre
Outstanding Costume Design in a Musical Leon Dobkowski, “Little Shop of Horrors,” The Muny Eileen Engel and Sarah Gene Dowling, “Into the Woods,” Stray Dog Theatre Robin McGee, “Disney’s Beauty and the Beast,” The Muny Brad Musgrove, “Aida,” Stages St. Louis Marc. W. Vital III, “Eubie!,” The Black Rep
Outstanding Performer in a Musical, Female or Non-Binary Role De-Rance Blaylock, “Caroline, or Change,” Fly North Theatricals Melissa Felps, “The Mad Ones,” The Tesseract Theatre Company Bryonha Marie, “Sister Act,” The Muny Sara Sheperd, “Beautiful: The Carole King Musical,” The Muny Molly Wennstrom, “Into the Woods,” The New Jewish Theatre
Outstanding Performer in a Musical, Male or Non-Binary Role Tie`lere Cheatem, “Kinky Boots,” The Tesseract Theatre Company Ben Crawford, “Disney’s Beauty and the Beast,” The Muny Robin de Jesus, “Little Shop of Horrors,” The Muny Kevin O’Brien, “Into the Woods,” The New Jewish Theatre John Riddle, “Chess,” The Muny
Outstanding Ensemble in a Comedy “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “The Brechtfast Club,” ERA “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis
Outstanding Ensemble in a Drama “Death of a Salesman,” The Black Rep “The Immigrant,” The New Jewish Theatre “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Lehman Trilogy,” The Repertory Theatre of St. Louis “The Lion in Winter,” The Midnight Company
Outstanding Ensemble in a Musical “Caroline, or Change,” Fly North Theatricals “Disney’s Beauty and the Beast,” The Muny “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “Q Brothers Christmas Carol,” St. Louis Shakespeare Festival
Outstanding Director of a Comedy Gary Wayne Barker, “The Nerd,” Moonstone Theatre Company Steve Bebout, “Clue,” Stages St. Louis Alan Knoll, “Broadway Bound,” The New Jewish Theatre Suki Peters, “The Birthday Party,” Albion Theatre Hana S. Sharif, “Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis
Outstanding Director of a Drama Kate Bergstrom, “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis Carey Perloff, “The Lehman Trilogy,” The Repertory Theatre of St. Louis Annamaria Pileggi, “Uncle Vanya,” St. Louis Actors’ Studio Rebekah Scallet, “The Immigrant,” The New Jewish Theatre Jacqueline Thompson, “Death of a Salesman,” The Black Rep
Outstanding Director of a Musical Marcia Milgrom Dodge, “Beautiful: The Carole King Musical,” The Muny Brian McKinley, “Caroline, or Change,” Fly North Theatricals Robert Quinlan, “Into the Woods,” The New Jewish Theatre Josh Rhodes, “Chess,” The Muny John Tartaglia, “Disney’s Beauty and the Beast,” The Muny
Outstanding Production of a Comedy
“Agatha Christie’s Murder on the Orient Express,” The Repertory Theatre of St. Louis “The Birthday Party,” Albion Theatre “Broadway Bound,” The New Jewish Theatre “Clue,” Stages St. Louis “Who’s Afraid of Virginia Woolf?,” Stray Dog Theatre
Outstanding Production of a Drama “Death of a Salesman” The Black Rep “It’s a Wonderful Life: A Live Radio Play,” The Repertory Theatre of St. Louis “The Immigrant,” The New Jewish Theatre “The Lehman Trilogy,” The Repertory Theatre of St. Louis “Uncle Vanya,” St. Louis Actors’ Studio
Outstanding Production of a Musical “Aida,” Stages St. Louis “Caroline, or Change,” Fly North Theatricals “Into the Woods,” The New Jewish Theatre “Million Dollar Quartet,” Stages St. Louis “West Side Story,” The Muny
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com and KDHX ); Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Tina Farmer (The Riverfront Times); Michelle Kenyon (snoopstheatrethoughts.com and KDHX); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); James Lindhorst (Broadwayworld.com); Lynn Venhaus (PopLifeSTL.com); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
For more information, contact [email protected] or ‘like’ the St. Louis Theater Circle on Facebook.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
It’s that down-to-the-wire time where I write about the year that was in local theater. It’s my annual opportunity to celebrate theater, to encourage artists to be artful, and to give some virtual bouquets to people doing outstanding work.
When media folks publish lists at year’s end of their favorite things in arts and entertainment, I admire the succinct way they make their cases. Good, quick reads. And I do that for my best films of the year lists for KTRS (Dec. 29) and Webster-Kirkwood Times (Jan. 5). But when it comes to regional theater, that’s not how I roll.
Call me fastidious, but I prefer to be thorough. Hence, the Lotties (Lynn’s Love of Theatre Awards), which usually arrive sometime in January, and get really specific (some call it ‘give everyone a trophy,’ I refer to it as “these are my opinions, and I’d like to recognize these people.”) Besides “Lotties” implies “a lot,” as in largesse.
I do start assembling this in December – and on my lovely train trip home from the holidays in the west, I mulled over my choices while observing the beautiful topography of New Mexico from Amtrak’s Southwest Chief. As relaxing as that was, it was short-lived, because 2024 was not on pause.
The Lehman Trilogy at The Rep
But looking back is necessary. It’s time for the victory lap on a truly outstanding 2023, which started strong, morphed into an exciting summer, and finished with some of the companies’ best works. I know there are struggles post-pandemic — the world is not the same, and neither are we, nor the arts. Yet, if I had to describe the year in two words, I’d use “moving” and “meaningful.”
To put awards timing in perspective, the Grammys and Screen Actors Guild are in February and Oscars wind up film awards in March. As a grateful longtime local reviewer, I consider awards seasons a way to get through a dreary winter, a time to shed light on people doing good work, and a terrific reason to get together.
The St. Louis Theater Circle’s annual awards will be March 25 at the Loretto-Hilton Center at Webster University. More details will be forthcoming Friday (including ticket link) because that’s when my colleagues in the Circle will announce our awards nominations in 33 categories. Jim Lindhorst and Michelle Kenyon will be on KWMU (90.7 FM) at 12:30 p.m., and our group releases our press release at 1 p.m. (stay tuned here, on social media, and the Circle’s Facebook page). We’re working hard on the show, as a collective we founded in 2012.
So, what were the takeaways of 2023 on local stages? For me, in these dark times, theater continues to be a beacon of light.
Spencer Kruse and Jacob Flekier in “Broadway Bound”
When I’m focused on live theater, I forget about the soul-crushing Twilight Zone episode that’s on an endless loop when I wake up – that bad people are not accountable, facts are dismissed so cavalierly and belligerently, manners have disappeared, science is mocked in favor of personal agendas, while outrage and cultural wars spread, and uncertainty, anxiety, isolation and fear– aaarrrrggghh.
I learned last year, because of two serious sudden life-threatening emergencies, that if you don’t pay attention to your health, consequences are dire. (Much gratitude for the tremendous selfless health care professionals in this town, city ambulance EMTs, and those who donate blood.)
Live theater has always been a source of salvation, of rejoicing, of awe and wonder, of communal laughter, and ultimately, feeling something. And when it clicks, connection. I hear from professional movers and shakers that people want escape, especially after the tough several-year slog through a global pandemic and ongoing political chaos.
Obviously, elevated endorphins are a good thing. But for emotional wallops, those hard-hitting, thought-provoking works that stick with you, and the performers who impress because they rise to the occasion, are unforgettable. Hooray for the fearless and adventurous artists who try new things, raise the bar, and collaborate in the best way possible. Oh, how I admire the many talents and supremely gifted people in this regional theater community.
Sometimes, by virtue of writing for several different publications from home, as an independent contractor, I get stuck, for it is easy to sink into despair when it is cold and gray outside, when a chill goes right through your bones, and daylight dims.
There is nothing better than sharing an experience, re-affirming that we’re not alone, understanding that human decency is noble, and realizing that even though we may be broken, we can still find solace in beautiful small moments.
Like soaring vocals, funny people showing off their quippy comic timing, and the artisans crafting stunning costumes, sets, lighting, and moods. Seeing what people can create and the inspirations behind it – always enriching.
The 145s
Theater helps us discover the good in people, reflect on our common and unique human condition, shows triumph over adversity, and offers more understanding. With hope, maybe we can somehow make a difference in the smallest of ways.
The last five years have been exhausting and overwhelming. In December, I officially became a published author. I wrote a chapter about my journey in a woman’s anthology book, “Ageless Glamour Girls: Reflections on Aging,” that is currently a bestseller on Amazon. I joined 13 women over age 50 in sharing lessons we’ve learned. My chapter: “You Are Not Alone: Dealing with Grief and Loss.”
I am grateful to all the angels sent my way to remind me that a sense of purpose is the very best reason to live. And that spring is six weeks away. I look forward to humming happy tunes. And so we beat on…
If you are out and about, say hey. Few things I like better than talking about theater and seeing people do something they love to do.
Warning: This article is long. It might be comparable to William Goldman’s book assessing the 1967-68 Broadway season, “The Season: A Candid Look at Broadway,” which was published in 1969 (an example of my drama geek youth if I was reading that book when I was 14).
And if you feel like celebrating, join us for the St Louis Theater Circle Awards on March 25. It has always been a great night to enjoy everyone’s company, celebrate the past year’s accomplishments, and look ahead to ’24 – and spring will have arrived!
Into the Woods at New Jewish Theatre
This Year’s Awards
Clearly, there is a big hole here in that I did not see “Death of a Salesman” at the Black Rep because I was in the hospital (that pesky internal bleeding incident from outpatient surgery), twice, and then at home recovering. I know I missed a great one.
Because of scheduling issues in my busiest periods as a working journalist, I’ve missed a few, but overall, I attended at least 72 eligible shows, not including one-acts at festivals (was at some of Fringe, and all of Tesseract and LaBute), touring and school productions. Hope to get to as much as possible this new year (but it’s hard when they’re all lumped together opening same weekend). Here’s my assessments on 2023 output. Gushing will ensue.
Production of the Year:“It’s a Wonderful Life: Live Radio Play” at The Repertory Theatre of St. Louis
The Rep gets the honor, rebounding in spectacular fashion after what I considered their worst show “Side by Side by Sondheim,” last February, to end the year on a glorious high note, with the “It’s a Wonderful Life: Live Radio Play.”
Overflowing with cheer and kindness, the crisp and polished production was more than a performance – it was a change in direction and a celebration of community.
It’s A Wonderful Life: Live Radio Play at The Rep
Everything about this show gleamed – the company of all local performers and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play was a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
Opening night Dec. 3 also was a statement, and people eagerly responded with enthusiastic applause.
After The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million to continue the 57-year-old regional professional theater in the new year, handwringing and finger-pointing occurred. But goodwill flourished too.
A Dec. 17 benefit, an online auction, and other fundraising efforts helped. This production was the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke, and a merry mood was evident.
It warmed the heart. And perhaps was an omen for the future.
“The Birthday Party” at Albion Theatre
Companies of the Year: The Muny (large) and Albion Theatre (small)
I have professionally reviewed Muny shows since 2009, first for the Belleville News-Democrat, until 2017 when the parent company went in a different direction, and now continue on my website, www.PopLifeSTL.com in addition to mentions on KTRS with Jennifer Blome and Wendy Wiese, and our PopLifeSTL podcast. But I’ve been attending since my grandmother took me to “Flower Drum Song” in 1965, when I was 10. Life-changing.
The 105th season was the best one yet. Each sterling production was technically outstanding, enormously entertaining, and the audience leaned into the premieres with gusto (“Beautiful,” “Chess,” “Rent” and “Sister Act.”). In addition, the enduring “Disney’s Beauty and the Beast,” “West Side Story,” and “Little Shop of Horrors” really did deliver all the feels. I was impressed with the sheer magnitude and artistic daring of each show.
Believe. Longing. Belonging. Overcoming. Those were the themes. It was a seven-show arc of uncommon grace – a genuine depth of feeling in each well-executed one. In every performance, there was a palpable sense of yearning – a future Hall of Fame talent finding her voice, outsiders opening their hearts in a timeless fairy tale classic, of high-stakes gamesmanship and personal cost in a political arena, star-crossed lovers clinging to a dream, unearthing your worth and wish fulfillment in a flower shop, discovering love and nurturing friendship in a bleak place, and using your gifts to foster community.
That big sprawling Muny family made it look effortless when it wasn’t at all – a massive team of creatives, performers and technicians crafting the magic we demand from our musical theater under the stars. Nobody does what they do, and that “alone in its greatness” tagline from my teenage years still stands. We expect a lot from this cultural institution – and they delivered at a very high level.
“Disney’s Beauty and the Beast” at The Muny
Albion Theatre was in its second season last year, and produced superb works: “The Birthday Party,” “Absent Friends” and “Mindgame,” all very clever, all home runs.
You never know what awaits you in the Kranzberg Black Box when Albion is putting on a show, but British-born founder and artistic director Robert Ashton guarantees an intriguing premise, a dandy ensemble and a thoughtfully put-together play. The company’s niche is exploring the long and rich history of playwriting in Britain — with forays into Ireland, and even with UK ancestors (maternal great-grandfather from Manchester, England, and great-grandmother from Glasgow, Scotland), I am continually fascinated by the culture and how much detail he puts into each production.
Joe Hanrahan of The Midnight Company
Artist of the Year: Joe Hanrahan
Playwright, actor, producer, director – a man of many hats who is constantly pushing himself and his The Midnight Company with new endeavors. He started a hybrid of cabaret and theater with Jim Dolan at the Blue Strawberry, and Kelly Howe, as Linda Ronstadt, sold out multiple shows of “Just One Look,” a career retrospective, with the 13th show at the City Winery last November.
He continues to explore those new avenues, produced a fun reading of “The Humans of St. Louis” at last summer’s Fringe Festival (which I hope they develop further). He mounted an impressive full-scale “The Lion in Winter” with some of the best actors in town, revived a past production, “The Years,” with a fresh ensemble, and starred in a one-man show, the heartfelt and gut-punching “The Absolute Brightness of Leonard Pelkey.”
A true original is the best compliment I can give, whether he’s working on one of his own scripts, or collaborating with another company. He’s so prolific that I think people take his output for granted. Standing O.
Producers of the Year: Taylor Gruenloh and Rebekah Scallet
Taylor Gruenloh, along with his right-hand team of Brittanie Gunn and Kevin Corpuz, expanded Tesseract Theatre Company’s reach this year, producing such bold musicals as “The Last Five Years,” “The Mad Ones,” and “Kinky Boots,” along with a contemporary hybrid, “Welcome to Arroyo’s.”
His pivot a couple years ago to a new play festival was very engaging this summer, with “In Bloom” by Gwyneth Strope and “Red Curtain Rivalry” by Amy Lytle, who was in attendance.
Whatever he chooses to do, you know it will be different and enlightening, and he’s unafraid to tackle difficult subjects. I can’t wait to see the complex Tony winner “The Inheritance” this spring.
Taylor has decided to step down as artistic director after founding the company in 2010, but Gunn and Corpuz will continue to manage the company and take it in new directions. He is a playwright, and currently an assistant professor at Missouri University of Science and Technology, and teaching at Webster University. He won’t be fading away any time soon.
Rebekah Scallet. The woman’s got game. In her first full season as artistic director of the New Jewish Theatre, she wowed us with her confident and eclectic picks last year: “Broadway Bound,” “Every Brilliant Thing,” “Gloria: A Life,” “The Immigrant” and “Into the Woods.” Each one was a crown jewel in her cap. Strong casts, excellent material, and superb technical acumen combined for thrilling theater. She perceptively directed a magnificent “The Immigrant,” which was so very timely.
“To Kill a Mockingbird” on national tour with Richard Thomas and Yaegel T. Welch
Touring Production of the Year: “To Kill a Mockingbird,” The Fox.
I was fortunate to see the riveting Aaron Sorkin-scripted production starring Jeff Daniels as Atticus Finch at a sold-out Shubert Theatre on Broadway in May 2019. The audience’s thunderous ovation was one of the loudest and longest that I ever took part in, and I consider that production one of the best plays I’ve ever seen. Could the touring show headed by Richard Thomas even come close? Yes, it did, and was just as powerful and emotional. Bravo.
(Runner-Up: “Tina: The Tina Turner Musical.” They raised the roof and we responded. This is based on new touring shows, but I would be remiss if I didn’t include the “Come From Away” tour that stopped here for a weekend last fall. It was a profound experience, like God walking through the room. Vibrant, moving, relatable. Tears streamed down my face. I don’t think I was alone.)
My Ten Favorite A&E Things of 2023 (Most of these took place in the summer. Hmmm…)
Barbenheimer at the movie theaters
The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
The St. Louis Symphony Orchestra playing “The Princess Bride” score with the movie at Stifel, and the audience anticipating and cheering for their favorite lines.
The outstanding youth productions I saw last summer: “Grease” by Ignite Theatre Company “Sweeney Todd” by Debut Theatre Company “Bare: A Pop Opera” by Gateway Center for the Performing Arts
Inventively staged, tight ensembles, imaginative touches, strong music direction. Very impressive. Those kids seemed so poised and polished! Keep an eye out for Jordan Thompson, who played both Danny Zuko and Sweeney Todd. Wow, just wow.
Amneris’ wedding gown designed by Brad Musgrove for “Aida” at Stages St Louis
5. St Louis Shakespeare Festival’s touring production of “Merry Wives.” Sitting in Tower Grove Park with my peeps Carl “The Intern” Middleman (poplifestl podcast co-host) and Chas Adams (poplifestl.com reviewer) on a pleasant August night (!) to see those sparks fly with the intrepid traveling troupe of Michelle Hand, Joel Moses, Carl Overly Jr., Rae Davis, Mitchell Henry-Eagles, and Christina Yancy, directed by Suki Peters.
6. “Ragtime” at Union Avenue Opera. Those voices! Talk about a wall of sound! 49 people were part of that endeavor. This event was as hard-hitting as ever.
7. Costume Designer Brad Musgrove’s wedding gown for Amneris (Diana DeGarmo) in “Aida” at Stages St. Louis.
8. Sarah Gene Dowling’s wig design in “Into the Woods” at Stray Dog Theatre
9. Remarkable rigged sets to collapse dramatically: Rob Lippert for “Godspell” at Stray Dog Theatre and Jim Robert, for “Grand Horizons” at Moonstone Theatre Company.
10. Puppet Designer John Ortiz for Audrey II in “Little Shop of Horrors” at the Muny, and Nicholas Ward as The Voice and Travis Patton as the Manipulator.
TJ Staten Jr. in “It’s a Wonderful Life’
THE MVPs (must have been in two or more shows this year, not a rookie, and whose presence made a difference)
Bridgette Bassa Sarajane Clark Kevin Corpuz Rae Davis Ricki Franklin Joseph Garner Marshall Jennings Ryan Lawson-Maeske Debby Lennon Kevin O’Brien Jane Paradise Reginald Pierre Michael James Reed Sean Seifert Ron Strawbridge
ONES TO WATCH
DeAnte Bryant Hannah de Oliveira Evann DeBose Joey File Nick Freed Lindsey Grojean Alexander Huber Drew Mizell Kenya Nash TJ Staten Jr. James Stevens Claire Wenzel (now Coffey)
J’Kobe Wallace and DeAnte Bryant in “Eubie!” at The Black Rep
DYNAMIC DUOS and TERRIFIC TRIOS
Brian Slaten and Jessika D. Williams in “Gruesome Playground Injuries” Alicia Reve Like and Eric J. Conners in “The Light,” The Black Rep Chuck Winning and Nick Freed in “The Birthday Party” and “Mindgame,” Albion Theatre J’Kobe Wallace and DeAnte Bryant in “Eubie!” The Black Rep Jason Meyers and Colleen Backer in “Outside Mullingar,” West End Players Guild Jacob Flekier and Spencer Kruse in “Broadway Bound,” New Jewish Theatre Joel Moses and John Wolbers in “The Lion in Winter,” The Midnight Company John Contini and Alexander Huber in “Barrymore,” St. Louis Actors’ Studio Joneal Joplin and Jared Joplin in “Grand Horizons,” Moonstone Theatre Company Leslie Wobbe and Kate Durbin in “Walter Cronkite Is Dead,” West End Players Guild Kevin Corpuz and Grace Langford in “The Last Five Years,” Tesseract Theatre Company Kelvin Moon Loh and Eric Jordan Young in “Disney’s Beauty and the Beast,” The Muny Vincent Klemski and Lincoln Clauss in “Rent,” The Muny Terrance Johnson (replacement for Evan Tyron Martin in early performances) and Adrian Vallegas in “Rent,” The Muny Kimmie Kidd, Ebony Easter and Adrienne Spann as The Radio, “Caroline, or Change,” Fly North Theatricals Kennedy Holmes, Taylor Marie Daniel, and Stephanie Gomerez as The Urchins in “Little Shop of Horrors,” The Muny Rob Colletti, Brandon Espinoza and Darron Hayes as the goons in “Sister Act,” The Muny
De-Rance Blaylock in “Caroline, or Change” at Fly North Theatricals
BRINGING THE HOUSE DOWN
(Best Musical Numbers)
De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
John Riddle singing “Anthem” in “Chess” at The Muny
Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
John Battagliese and Mike Schwitter as The Righteous Brothers singing “You’ve Lost That Lovin’ Feeling” in “Beautiful: The Carole King Musical” at The Muny
Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
Christian Douglas singing “Maria” in “West Side Story” at The Muny
The extended curtain call for “Million Dollar Quartet” at Stages St. Louis with Scott Moreau (Johnny Cash), Jeremy Sevelovitz (Carl Perkins), Brady Wease (Jerry Lee Lewis), and Edward La Cardo (Elvis).
Meredith Aleigha Wells in “Sister Act” at The Muny
BEST YOUTH PERFORMERS
Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
Michael Hobin “Disney’s Beauty and the Beast,” The Muny
Cameron Hadley, “Caroline or Change,” Fly North Theatricals
Malachi Borum, “Caroline or Change,” Fly North Theatricals
Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
Jada Little “The Piano Lesson,” Encore! Theatre Group
Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
Tommy Pepper “Sister Mary Ignatius Explains It All For You,” Stray Dog Theatre
“Feminine Energy” by Myra L. Gary at Mustard Seed Theatre
BEST NEW PLAYS
“One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
“This Palpable Gross Play,” SATE
“See You in a Minute,” Contraband Theatre
“In Bloom,” New Play Festival, Tesseract Theater Company
“The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
“Feminine Energy,” Mustard Seed Theatre
“From the Garden,” Wee Laddie Theatrics
“Clue” at Stages St Louis
BEST COMEDY PRODUCTIONS
Clue – Stages St. Louis
Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
The Birthday Party – Albion Theatre
Gruesome Playground Injuries – The Repertory Theatre of St. Louis
Broadway Bound – New Jewish Theatre
Merry Wives – St. Louis Shakespeare Festival Touring Company
This Palpable Gross Play – SATE
Outside Mullingar – West End Players Guild
A Midsummer Night’s Dream – St Louis Shakespeare
Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare
BEST DRAMA PRODUCTIONS
It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
The Immigrant – New Jewish Theatre
The Lion in Winter – The Midnight Company
Uncle Vanya – St Louis Actors’ Studio
The Lehman Trilogy – The Repertory Theatre of St. Louis
Skeleton Crew – The Black Repertory Theatre of St Louis
What the Constitution Means to Me – Max and Louie Productions
Mindgame – Albion Theatre
Doubt: A Parable – Prism Theatre Company
Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis
BEST MUSICAL PRODUCTIONS
Caroline, or Change – Fly North Theatricals
West Side Story – The Muny
Into the Woods – New Jewish Theatre
Eubie! – The Black Rep
Million Dollar Quartet – Stages St. Louis
Disney’s The Beauty and the Beast – The Muny
Beautiful: The Carole King Musical– The Muny
Chess – The Muny
Q Brothers A Christmas Carol – St Louis Shakespeare Festival
Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival
BEST SUPPORTING ACTRESS IN A COMEDY
Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Zoe Vonder Haar, Clue, Stages St. Louis
Annalise Webb, Absent Friends, Albion Theatre
Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
Anna Langdon, Absent Friends, Albion Theatre
Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
Diana DeGarmo, “Clue,” Stages St. Louis
Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre
BEST SUPPORTING ACTOR IN A COMEDY
Chuck Winning, The Birthday Party, Albion Theatre
Nick Freed, The Birthday Party, Albion Theatre
Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Bryce A Miller, The Nerd, Moonstone Theatre Company
Chuck Brinkley, Broadway Bound, New Jewish Theatre
Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
Charlie Franklin, Clue, Stages St. Louis
Bob Harvey, Broadway Bound, New Jewish Theatre
Colleen Backer and Jason Meyers in “Outside Mullingar” at West End Players Guild
BEST ACTRESS IN A COMEDY
Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Colleen Backer, Outside Mullingar, West End Players Guild
Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
Teresa Doggett, The Birthday Party, Albion Theatre
Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
Nicole Angeli, Absent Friends, Albion Theatre
Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio
BEST ACTOR IN A COMEDY
Mark Price, Clue, Stages St. Louis
Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
Brian Slaten, Gruesome Playground Injuries, The Rep
Jacob Flekier, Broadway Bound, New Jewish Theatre
Jason Meyers, Outside Mullingar, West End Players Guild
Armando Duran, Murder on the Orient Express, The Rep
Joneal Joplin, Grand Horizons, Moonstone Theatre Company
Ted Drury, The Birthday Party, Albion Theatre
Reginald Pierre, Safe Space, LaBute New Theatre Festival, St Louis Actors’ Studio
Michelle Hand and Riley Carter Adams in “What the Constitution Means to Me” at Max & Louie Productions
BEST SUPPORTING ACTRESS IN A DRAMA
Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
Rae Davis, Feminine Energy, Mustard Seed Theatre
Mindy Shaw, The Immigrant, New Jewish Theatre
Rhiannon Creighton, Doubt, Prism Theatre Company
Ashley Bauman, The Years, The Midnight Company
Nicole Angeli, Mindgame, Albion Theatre Company
Kelly Howe, See You in a Minute, Contraband Theatre Company
BEST SUPPORTING ACTOR IN A DRAMA
Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
David Wassilak, The Immigrant, New Jewish Theatre
Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
Joey File, The Years, Midnight Company
John Wolbers, The Lion in Winter, The Midnight Company
Joel Moses, The Lion in Winter, The Midnight Company
Joseph Garner, See You in a Minute, Contraband Theatre
Brian McKinley, Skeleton Crew, The Black Rep
Alicia Reve Like and Eric J. Conners in “The Light” at The Black Rep
BEST ACTRESS IN A DRAMA
Alicia Reve Like, The Light, The Black Rep
Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
Lavonne Byers, The Lion in Winter, The Midnight Company
Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
Kate Durbin, Doubt, Prism Theatre Company
Ricki Franklin, See You in a Minute, Contraband Theatre Company
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre
BEST ACTOR IN A DRAMA
Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
John Contini, Barrymore, St. Louis Actors’ Studio
John Pierson, Uncle Vanya, St Louis Actors’ Studio
Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
Nick Freed, Mindgame, Albion Theatre
Chuck Winning, Mindgame, Albion Theatre
Kelvin Roston Jr, Twisted Melodies, The Rep
Olajuwon Davis, Skeleton Crew, The Black Rep
Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre
BEST SUPPORTING ACTRESS IN A MUSICAL
Diana DeGarmo, Aida, Stages St. Louis
Taylor Louderman, Chess, The Muny
Kimmie Kidd-Booker, 9, New Line Theatre
Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
Jerusha Cavazos, West Side Story, The Muny
Katie Geraghty, Sister Act, The Muny
Jackie Burns, Beautiful The Carole King Musical, The Muny
Sarah Gene Dowling, Into the Woods, New Jewish Theatre
Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
Jenny Mollet, Aida, Stages St. Louis
Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
Grace Langford, Into the Woods, Stray Dog Theatre
BEST SUPPORTING ACTOR IN A MUSICAL
Jarrod Spector, Beautiful The Carole King Musical, The Muny
Phil Leveling, Into the Woods, New Jewish Theatre
Duane Foster, Caroline or Change, Fly North Theatricals
Ken Page, West Side Story, The Muny
Jon Hey, Into the Woods, Stray Dog Theatre
Ryan Vasquez, Little Shop of Horrors, The Muny
Albert Jennings, Aida, Stages St Louis
Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
Adrian Villegas, Rent, The Muny
Drew Mizell, Into the Woods, Stray Dog Theatre
James T. Lane, Sister Act, The Muny
Claybourne Elder, Disney’s Beauty and the Beast, The Muny
BEST ACTRESS IN A MUSICAL
De-Rance Blaylock, Caroline or Change, Fly North Theatricals
Sara Sheperd, Beautiful The Carole King Musical, The Muny
Molly Wennstrom, Into the Woods, New Jewish Theatre
Bryonha Marie, Sister Act, The Muny
Melissa Felps, The Mad Ones, Tesseract Theatre Company
Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
Guinevere Govea, Spells of the Sea, Metro Theatre Company
Jessica Vosk, Chess, The Muny
Jane Paradise and Reginald Pierre in “Safe Space” at LaBute New Theatre Festival, St Louis Actors’ Studio
BEST ACTOR IN A MUSICAL (Male or NonBinary)
John Riddle, Chess, The Muny
Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
Ben Crawford, Disney’s Beauty and the Beast, The Muny
Robin De Jesus, Little Shop of Horrors, The Muny
Drew Mizell, Saturday Night Fever, Stray Dog Theatre
Kevin O’Brien, Into the Woods, New Jewish Theatre
Christian Douglas, West Side Story, The Muny
Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”
BEST ENSEMBLE IN A COMEDY
Clue, Stages St. Louis
The Birthday Party, Albion Theatre
Who’s Afraid of Virginia Woolf? Stray Dog Theatre
Broadway Bound, New Jewish Theatre
The Brechtfast Club, ERA
A Midsummer Night’s Dream, St Louis Shakespeare
This Palpable Gross Play, SATE
Absent Friends, Albion
Murder on the Orient Express, The Rep
Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA
BEST ENSEMBLE IN A DRAMA
It’s A Wonderful Life: Live Radio Play, The Rep
The Immigrant, New Jewish Theatre
Uncle Vanya, St. Louis Actors’ Studio
The Lion in Winter, The Midnight Company
The Lehman Trilogy, The Rep
Skeleton Crew, The Black Rep
Wrens, Prism Theatre Company
Doubt: A Parable, Prism Theatre Company
Feminine Energy, Mustard Seed Theatre
BEST ENSEMBLE IN A MUSICAL
Caroline, or Change, Fly North Theatricals
Eubie! The Black Rep
Disney’s Beauty and the Beast, The Muny
Million Dollar Quartet, Stages St Louis
Q Brothers Christmas Carol, St Louis Shakespeare Festival
West Side Story, The Muny
Into the Woods, New Jewish Theatre
Into the Woods, Stray Dog Theatre
Spells of the Sea, Metro Theatre Company
Rent, The Muny (tie) Sister Act, The Muny
Jessika D. Williams and Brian Slaten in “Gruesome Playground Injuries” at The Rep
BEST LIGHTING DESIGN IN A COMEDY
Sean M. Savoie, Clue, Stages St. Louis
Anshuman Bhatia, Gruesome Playground Injuries, The Rep
Jason Lynch, Murder on the Orient Express, The Rep
John Wylie, Twelfth Night, St Louis Shakespeare Festival
Erik Kuhn, This Palpable Gross Play, SATE
BEST LIGHTING DESIGN IN A DRAMA
Christina Watanabe, It’s a Wonderful Life, The Rep
Xavier Pierce, Twisted Melodies, The Rep
Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
Jayson M. Lawshee, Skeleton Crew, The Black Rep
Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny
BEST LIGHTING DESIGN IN A MUSICAL
Rob Denton, Chess, The Muny
Sean M Savoie, Million Dollar Quartet, Stages St. Louis
Herrick Goldman, Aida, Stages St. Louis
Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
Jasmine Williams, Eubie!, The Black Rep
Heather Gilbert, Rent, The Muny
BEST VISUAL PROJECTIONS
Alex Bosco Koch, Chess, The Muny
Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep
BEST SOUND DESIGN IN A COMEDY
Beef Gratz, Clue, Stages St. Louis
Kareem Deames, Broadway Bound, New Jewish Theatre
BEST SOUND DESIGN IN A DRAMA
Michael Costagliola, It’s a Wonderful Life, The Rep
Kareem Deames, The Immigrant, New Jewish Theatre
G Glausen, Twisted Melodies, The Rep
Jacob Baxley, Mindgame, Albion Theatre
SPECIAL MENTIONS Amanda Werre, Sound Design, Into the Woods, New Jewish Theatre Erik Kuhn, Fight Coordinator, Mind Game, Albion Theatre Terrance Johnson, who filled in for Evan Tyron Martin as Tom Collins in the early performances of “Rent” at The Muny when Martin had COVID Fleur de Noise, a special segment in “The Game’s Afoot,” St. Louis Shakespeare Festival’s Shake in the Streets
“Eubie!” at The Black Rep
BEST COSTUME DESIGN IN A COMEDY
Brad Musgrove, Clue, Stages St. Louis
Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
Fabio Toblini, Murder on the Orient Express, The Rep
Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre
BEST COSTUME DESIGN IN A DRAMA
Liz Henning, The Lion in Winter, The Midnight Company
Michelle Friedman Siler, The Immigrant, New Jewish Theatre
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sam Hayes, Wrens, Prism Theatre Company
Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company
BEST COSTUME DESIGN IN A MUSICAL
Robin McGee, Disney’s Beauty and the Beast, The Muny
Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
Brad Musgrove, Aida, Stages St Louis
Marc W. Vital III, Eubie!, The Black Rep
Michelle Friedman Siler, Into the Woods, New Jewish Theatre
Zachary Phelps, Kinky Boots, Tesseract Theatre
Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep
BEST SCENIC DESIGN IN A DRAMA
An-Lin Dauber, It’s a Wonderful Life, The Rep
Sara Brown, The Lehman Trilogy, The Rep
Nina Ball, Confederates, The Rep
Margery and Peter Spack, Skeleton Crew, The Black Rep
Matt Stuckel, Doubt, Prism Theatre Company
(tie) James Wolk, Suddenly Last Summer
BEST SCENIC DESIGN IN A COMEDY
Tim Macabee, Murder on the Orient Express, The Rep
Lee Savage, Clue, Stages St Louis
Dunsi Dai, Grand Horizons, Moonstone Theatre Company
Margery and Peter Spack, Broadway Bound, New Jewish Theatre
Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival
BEST SCENIC DESIGN IN A MUSICAL
Edward E Haynes Jr., Chess, The Muny
Rob Lippert, Godspell, Stray Dog Theatre
Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
C. Otis Sweezey, Into the Woods, New Jewish Theatre
Adam Koch, Million Dollar Quartet, Stages St Louis
Kristen Robinson, Little Shop of Horrors, The Muny
Tim Jones, Eubie! The Black Rep
Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
Ryan Douglass, Beautiful The Carole King Musical, The Muny
BEST CHOREOGRAPHY
Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
Mike Hodges, Saturday Night Fever, Stray Dog Theatre
Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
Maggie Nold, Kinky Boots, Tesseract Theatre Company
Parker Esse, West Side Story, The Muny (original choreography reproduced)
Denis Jones, Sister Act, The Muny
Luis Salgado, Aida, Stages St. Louis
Patricia Wilcox, Beautiful, The Muny
Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre
BEST MUSICAL DIRECTOR
Colin Healy, Caroline or Change, Fly North Theatricals
James Moore, West Side Story, The Muny
Larry D. Pry, Into the Woods, New Jewish Theatre
Charlie Alterman, Beautiful the Carole King Musical, The Muny
Leah Schultz, Saturday Night Fever, Stray Dog Theatre
David Sonneborn, Million Dollar Quartet, Stages St. Louis
Jason DeBord and Michael Horsley, Chess, The Muny
Leah Schultz, Into the Woods, Stray Dog Theatre
BEST DIRECTOR OF A COMEDY
Steve Bebout, Clue. Stages
Alan Knoll, Broadway Bound, New Jewish
Suki Peters, The Birthday Party, Albion
Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
Lucy Cashion, The Brechtfast Club, ERA
Becks Redman, Gruesome Playground Injuries, The Rep
Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio
BEST DIRECTOR OF A DRAMA
Kate Bergstrom, It’s a Wonderful Life, The Rep
Carey Perloff, The Lehman Trilogy, The Rep
Rebeka Scallet, The Immigrant, New Jewish Theatre
Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
Tom Kopp, The Lion in Winter, The Midnight Company
Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre
BEST DIRECTOR OF A MUSICAL
John Tartaglia, Disney’s Beauty and the Beast. The Muny
Robert Quinlan, Into the Woods, New Jewish Theatre
Josh Rhodes, Chess, The Muny
Brian McKinley, Caroline or Change, Fly North Theatricals
Justin Been, Into the Woods, Stray Dog Theatre
Rob Ruggiero, West Side Story, The Muny
Photos by Jon Gitchoff, Philip Hamer, Julia Merkle, Patrick Huber, Joey Rumpell.
“Little Shop of Horrors” at The Muny“West Side Story” at The Muny
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.
