Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

Lynn’s Love of Theatre Annual Awards (LOTTIES) for A Meaningful 2023

By Lynn Venhaus

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…)

  1. Barbenheimer at the movie theaters
  2. The delightful 145s Musical Improv Troupe — see them at The Improv Shop. One of the best Saturday nights you can ever have.
  3. 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.
  4. 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)

  1. De-Rance Blaylock singing “Lot’s Wife” in “Caroline, or Change” at Fly North Theatricals
  2. John Riddle singing “Anthem” in “Chess” at The Muny
  3. Ben Crawford singing “If I Can’t Love Her” in “Disney’s Beauty and the Beast” at The Muny
  4. 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
  5. Lindsey Grojean singing “If I Can’t Have You” in “Saturday Night Fever” at Stray Dog Theatre
  6. The cast of “Rent” in “Seasons of Love,” especially Anastacia McKleskey, at The Muny
  7. Kevin O’Brien and Phil Leveling in “No More” in “Into the Woods” at New Jewish Theatre
  8. Meredith Aleigha Wells as Sister Mary Robert singing “The Life I Never Led,” Sister Act, The Muny
  9. Christian Douglas singing “Maria” in “West Side Story” at The Muny
  10. 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

  1. Zoe Klevorn “Caroline, or Change,” Fly North Theatricals
  2. Rosario Rios-Kelly “In Bloom,” Tesseract Theatre Company
  3. Michael Hobin “Disney’s Beauty and the Beast,” The Muny
  4. Cameron Hadley, “Caroline or Change,” Fly North Theatricals
  5. Malachi Borum, “Caroline or Change,” Fly North Theatricals
  6. Riley Carter Adams “What the Constitution Means to Me,” Max & Louie Productions
  7. Jada Little “The Piano Lesson,” Encore! Theatre Group
  8. Vaida Gruenloh “In Bloom,” Tesseract Theatre Company
  9. 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

  1. “One Night in the Many Deaths of Sonny Liston,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  2. “Safe Space,” LaBute New Theatre Festival, St. Louis Actors’ Studio
  3. “This Palpable Gross Play,” SATE
  4. “See You in a Minute,” Contraband Theatre
  5. “In Bloom,” New Play Festival, Tesseract Theater Company
  6. “The Game’s Afoot,” St. Louis Shakespeare Festival, Shake in the Streets
  7. “Feminine Energy,” Mustard Seed Theatre
  8. “From the Garden,” Wee Laddie Theatrics

“Clue” at Stages St Louis

BEST COMEDY PRODUCTIONS

  1. Clue – Stages St. Louis
  2. Who’s Afraid of Virginia Woolf? – Stray Dog Theatre
  3. The Birthday Party – Albion Theatre
  4. Gruesome Playground Injuries – The Repertory Theatre of St. Louis
  5. Broadway Bound – New Jewish Theatre
  6. Merry Wives – St. Louis Shakespeare Festival Touring Company
  7. This Palpable Gross Play – SATE
  8. Outside Mullingar – West End Players Guild
  9. A Midsummer Night’s Dream – St Louis Shakespeare
  10. Murder on the Orient Express – The Repertory Theatre of St. Louis
“The Immigrant” at New Jewish Theatare

BEST DRAMA PRODUCTIONS

  1. It’s A Wonderful Life: Live Radio Play – The Repertory Theatre of St. Louis
  2. The Immigrant – New Jewish Theatre
  3. The Lion in Winter – The Midnight Company
  4. Uncle Vanya – St Louis Actors’ Studio
  5. The Lehman Trilogy – The Repertory Theatre of St. Louis
  6. Skeleton Crew – The Black Repertory Theatre of St Louis
  7. What the Constitution Means to Me – Max and Louie Productions
  8. Mindgame – Albion Theatre
  9. Doubt: A Parable – Prism Theatre Company
  10. Gloria: A Life – New Jewish Theatre
“Million Dollar Quartet” at Stages St Louis

BEST MUSICAL PRODUCTIONS

  1. Caroline, or Change – Fly North Theatricals
  2. West Side Story – The Muny
  3. Into the Woods – New Jewish Theatre
  4. Eubie! – The Black Rep
  5. Million Dollar Quartet – Stages St. Louis
  6. Disney’s The Beauty and the Beast – The Muny
  7. Beautiful: The Carole King Musical– The Muny
  8. Chess – The Muny
  9. Q Brothers A Christmas Carol – St Louis Shakespeare Festival
  10. Kinky Boots – Tesseract Theatre Company
Ricki Franklin and Cassidy Flynn in “Twelfth Night” at St Louis Shakespeare Festival

BEST SUPPORTING ACTRESS IN A COMEDY

  1. Ricki Franklin, Twelfth Night, St. Louis Shakespeare Festival
  2. Claire Wenzel, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  3. Zoe Vonder Haar, Clue, Stages St. Louis
  4. Annalise Webb, Absent Friends, Albion Theatre
  5. Rae Davis, “Merry Wives,” St. Louis Shakespeare Festival
  6. Anna Langdon, Absent Friends, Albion Theatre
  7. Bridgette Bassa, “The Nerd” and “Grand Horizons,” Moonstone Theatre Company
  8. Diana DeGarmo, “Clue,” Stages St. Louis
  9. Alexander Huber, in two roles – as girl and Madeleine, in “Vampire Lesbians of Sodom,” Stray Dog Theatre (the roles are female but gender-fluid)
  10. Kristen Strom, “This Palpable Gross Play,” SATE
“Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre

BEST SUPPORTING ACTOR IN A COMEDY

  1. Chuck Winning, The Birthday Party, Albion Theatre
  2. Nick Freed, The Birthday Party, Albion Theatre
  3. Stephen Henley, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Bryce A Miller, The Nerd, Moonstone Theatre Company
  5. Chuck Brinkley, Broadway Bound, New Jewish Theatre
  6. Cassidy Flynn, Twelfth Night, St. Louis Shakespeare Festival, and Grand Horizons, Moonstone
  7. Charlie Franklin, Clue, Stages St. Louis
  8. 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

  1. Mara Bollini, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  2. Colleen Backer, Outside Mullingar, West End Players Guild
  3. Jessika D. Williams, Gruesome Playground Injuries, The Repertory Theatre of St. Louis
  4. Teresa Doggett, The Birthday Party, Albion Theatre
  5. Leslie Wobbe, Walter Cronkite Is Dead, West End Players Guild
  6. Sarajane Clark, Vampire Lesbians of Sodom, Stray Dog Theatre
  7. Sarajane Clark, Sister Mary Ignatius Explains It All For You, Stray Dog Theatre
  8. Nicole Angeli, Absent Friends, Albion Theatre
  9. Jane Paradise, Safe Space, LaBute New Theatre Festival, St. Louis Actors’ Studio

BEST ACTOR IN A COMEDY

  1. Mark Price, Clue, Stages St. Louis
  2. Ryan Lawson-Maeske, The Nerd, Moonstone Theatre Company
  3. Stephen Peirick, Who’s Afraid of Virginia Woolf?, Stray Dog Theatre
  4. Brian Slaten, Gruesome Playground Injuries, The Rep
  5. Jacob Flekier, Broadway Bound, New Jewish Theatre
  6. Jason Meyers, Outside Mullingar, West End Players Guild
  7. Armando Duran, Murder on the Orient Express, The Rep
  8. Joneal Joplin, Grand Horizons, Moonstone Theatre Company
  9. Ted Drury, The Birthday Party, Albion Theatre
  10. 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

  1. Bryn McLaughlin, Uncle Vanya, St Louis Actors’ Studio
  2. Rae Davis, Feminine Energy, Mustard Seed Theatre
  3. Mindy Shaw, The Immigrant, New Jewish Theatre
  4. Rhiannon Creighton, Doubt, Prism Theatre Company
  5. Ashley Bauman, The Years, The Midnight Company
  6. Nicole Angeli, Mindgame, Albion Theatre Company
  7. Kelly Howe, See You in a Minute, Contraband Theatre Company

BEST SUPPORTING ACTOR IN A DRAMA

  1. Michael James Reed, Uncle Vanya, St. Louis Actors’ Studio
  2. David Wassilak, The Immigrant, New Jewish Theatre
  3. Bradley Tejada, Suddenly Last Summer, Tennessee Williams Festival
  4. Joey File, The Years, Midnight Company
  5. John Wolbers, The Lion in Winter, The Midnight Company
  6. Joel Moses, The Lion in Winter, The Midnight Company
  7. Joseph Garner, See You in a Minute, Contraband Theatre
  8. 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

  1. Alicia Reve Like, The Light, The Black Rep
  2. Michelle Hand, What the Constitution Means to Me, Max & Louie Productions
  3. Lavonne Byers, The Lion in Winter, The Midnight Company
  4. Naima Randolph, Suddenly Last Summer, Tennessee Williams Festival
  5. Kate Durbin, Doubt, Prism Theatre Company
  6. Ricki Franklin, See You in a Minute, Contraband Theatre Company
  7. Velma Austin, Skeleton Crew, The Black Rep
  8. Jenni Ryan, Gloria: A Life, New Jewish Theatre
  9. Tiffany Oglesby, Confederates, The Rep
  10. Erin Rene Roberts, Feminine Energy, Mustard Seed Theatre
Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre

BEST ACTOR IN A DRAMA

  1. Dustin Lane Petrillo, The Immigrant, New Jewish Theatre
  2. John Contini, Barrymore, St. Louis Actors’ Studio
  3. John Pierson, Uncle Vanya, St Louis Actors’ Studio
  4. Will Bonfiglio, Every Brilliant Thing, New Jewish Theatre
  5. Reginald Pierre, One Night in the Many Deaths of Sonny Liston, LaBute New Theatre Festival, St. Louis Actors’ Studio
  6. Nick Freed, Mindgame, Albion Theatre
  7. Chuck Winning, Mindgame, Albion Theatre
  8. Kelvin Roston Jr, Twisted Melodies, The Rep
  9. Olajuwon Davis, Skeleton Crew, The Black Rep
  10. Xavier Scott Evans, Confederates, The Rep
Kimmie Kidd-Booker in “9” at New Line Theatre

BEST SUPPORTING ACTRESS IN A MUSICAL

  1. Diana DeGarmo, Aida, Stages St. Louis
  2. Taylor Louderman, Chess, The Muny
  3. Kimmie Kidd-Booker, 9, New Line Theatre
  4. Jenelle Gilreath Owens, Into the Woods, Stray Dog Theatre
  5. Jerusha Cavazos, West Side Story, The Muny
  6. Katie Geraghty, Sister Act, The Muny
  7. Jackie Burns, Beautiful The Carole King Musical, The Muny
  8. Sarah Gene Dowling, Into the Woods, New Jewish Theatre
  9. Kristen Joy Lintvedt, Into the Woods, New Jewish Theatre
  10. Jenny Mollet, Aida, Stages St. Louis
  11. Marlee Wenski, Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas, New Line Theatre
  12. Grace Langford, Into the Woods, Stray Dog Theatre

BEST SUPPORTING ACTOR IN A MUSICAL

  1. Jarrod Spector, Beautiful The Carole King Musical, The Muny
  2. Phil Leveling, Into the Woods, New Jewish Theatre
  3. Duane Foster, Caroline or Change, Fly North Theatricals
  4. Ken Page, West Side Story, The Muny
  5. Jon Hey, Into the Woods, Stray Dog Theatre
  6. Ryan Vasquez, Little Shop of Horrors, The Muny
  7. Albert Jennings, Aida, Stages St Louis
  8. Jeremy Sevelovitz, Million Dollar Quartet, Stages St Louis
  9. Adrian Villegas, Rent, The Muny
  10. Drew Mizell, Into the Woods, Stray Dog Theatre
  11. James T. Lane, Sister Act, The Muny
  12. Claybourne Elder, Disney’s Beauty and the Beast, The Muny

BEST ACTRESS IN A MUSICAL

  1. De-Rance Blaylock, Caroline or Change, Fly North Theatricals
  2. Sara Sheperd, Beautiful The Carole King Musical, The Muny
  3. Molly Wennstrom, Into the Woods, New Jewish Theatre
  4. Bryonha Marie, Sister Act, The Muny
  5. Melissa Felps, The Mad Ones, Tesseract Theatre Company
  6. Ashley Blanchet, Disney’s Beauty and the Beast, The Muny
  7. Guinevere Govea, Spells of the Sea, Metro Theatre Company
  8. 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)

  1. John Riddle, Chess, The Muny
  2. Tielere Cheatem, in the role of Lola, Kinky Boots, Tesseract Theatre Company
  3. Ben Crawford, Disney’s Beauty and the Beast, The Muny
  4. Robin De Jesus, Little Shop of Horrors, The Muny
  5. Drew Mizell, Saturday Night Fever, Stray Dog Theatre
  6. Kevin O’Brien, Into the Woods, New Jewish Theatre
  7. Christian Douglas, West Side Story, The Muny
  8. Garrett Young, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  9. Cole Guttman, 9, New Line Theatre
Joe Hanrahan and Lavonne Byers in “The Lion in Winter”

BEST ENSEMBLE IN A COMEDY

  1. Clue, Stages St. Louis
  2. The Birthday Party, Albion Theatre
  3. Who’s Afraid of Virginia Woolf? Stray Dog Theatre
  4. Broadway Bound, New Jewish Theatre
  5. The Brechtfast Club, ERA
  6. A Midsummer Night’s Dream, St Louis Shakespeare
  7. This Palpable Gross Play, SATE
  8. Absent Friends, Albion
  9. Murder on the Orient Express, The Rep
  10. Vampire Lesbians of Sodom, Stray Dog Theatre
The Brechtfast Club at ERA

BEST ENSEMBLE IN A DRAMA

  1. It’s A Wonderful Life: Live Radio Play, The Rep
  2. The Immigrant, New Jewish Theatre
  3. Uncle Vanya, St. Louis Actors’ Studio
  4. The Lion in Winter, The Midnight Company
  5. The Lehman Trilogy, The Rep
  6. Skeleton Crew, The Black Rep
  7. Wrens, Prism Theatre Company
  8. Doubt: A Parable, Prism Theatre Company
  9. Feminine Energy, Mustard Seed Theatre

BEST ENSEMBLE IN A MUSICAL

  1. Caroline, or Change, Fly North Theatricals
  2. Eubie! The Black Rep
  3. Disney’s Beauty and the Beast, The Muny
  4. Million Dollar Quartet, Stages St Louis
  5. Q Brothers Christmas Carol, St Louis Shakespeare Festival
  6. West Side Story, The Muny
  7. Into the Woods, New Jewish Theatre
  8. Into the Woods, Stray Dog Theatre
  9. Spells of the Sea, Metro Theatre Company
  10. 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

  1. Sean M. Savoie, Clue, Stages St. Louis
  2. Anshuman Bhatia, Gruesome Playground Injuries, The Rep
  3. Jason Lynch, Murder on the Orient Express, The Rep
  4. John Wylie, Twelfth Night, St Louis Shakespeare Festival
  5. Erik Kuhn, This Palpable Gross Play, SATE

BEST LIGHTING DESIGN IN A DRAMA

  1. Christina Watanabe, It’s a Wonderful Life, The Rep
  2. Xavier Pierce, Twisted Melodies, The Rep
  3. Matthew McCarthy, Suddenly Last Summer, Tennessee Williams Festival
  4. Jayson M. Lawshee, Skeleton Crew, The Black Rep
  5. Eric Wennlund, Mindgame, Albion Theatre
“Chess” at The Muny

BEST LIGHTING DESIGN IN A MUSICAL

  1. Rob Denton, Chess, The Muny
  2. Sean M Savoie, Million Dollar Quartet, Stages St. Louis
  3. Herrick Goldman, Aida, Stages St. Louis
  4. Jesse Klug, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Jayson M Lawshee, Spells of the Sea, Metro Theatre Company
  6. Jasmine Williams, Eubie!, The Black Rep
  7. Heather Gilbert, Rent, The Muny

BEST VISUAL PROJECTIONS

  1. Alex Bosco Koch, Chess, The Muny
  2. Michael Salvatore Commendatore, Murder on the Orient Express, The Rep
  3. Kylee Loera, Beautiful The Carol King Musical, The Muny
“Murder on the Orient Express” at The Rep


BEST SOUND DESIGN IN A COMEDY

  1. Beef Gratz, Clue, Stages St. Louis
  2. Kareem Deames, Broadway Bound, New Jewish Theatre

BEST SOUND DESIGN IN A DRAMA

  1. Michael Costagliola, It’s a Wonderful Life, The Rep
  2. Kareem Deames, The Immigrant, New Jewish Theatre
  3. G Glausen, Twisted Melodies, The Rep
  4. 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

  1. Brad Musgrove, Clue, Stages St. Louis
  2. Olivia Radle, A Midsummer Night’s Dream, St Louis Shakespeare
  3. Fabio Toblini, Murder on the Orient Express, The Rep
  4. Michelle Friedman Siler, Broadway Bound, New Jewish Theatre
  5. Colleen Michelson and Sarah Gene Dowling (wigs), Vampire Lesbians of Sodom, Stray Dog Theatre

BEST COSTUME DESIGN IN A DRAMA

  1. Liz Henning, The Lion in Winter, The Midnight Company
  2. Michelle Friedman Siler, The Immigrant, New Jewish Theatre
  3. An-Lin Dauber, It’s a Wonderful Life, The Rep
  4. Sam Hayes, Wrens, Prism Theatre Company
  5. Teresa Doggett, Uncle Vanya, St Louis Actors’ Studio
“Kinky Boots” at Tesseract Theatre Company

BEST COSTUME DESIGN IN A MUSICAL

  1. Robin McGee, Disney’s Beauty and the Beast, The Muny
  2. Eileen Engel and Sarah Gene Dowling (wigs), Into the Woods, Stray Dog Theatre
  3. Brad Musgrove, Aida, Stages St Louis
  4. Marc W. Vital III, Eubie!, The Black Rep
  5. Michelle Friedman Siler, Into the Woods, New Jewish Theatre
  6. Zachary Phelps, Kinky Boots, Tesseract Theatre
  7. Leon Dobkowski, Sister Act, The Muny
“Skeleton Crew” at The Black Rep

BEST SCENIC DESIGN IN A DRAMA

  1. An-Lin Dauber, It’s a Wonderful Life, The Rep
  2. Sara Brown, The Lehman Trilogy, The Rep
  3. Nina Ball, Confederates, The Rep
  4. Margery and Peter Spack, Skeleton Crew, The Black Rep
  5. Matt Stuckel, Doubt, Prism Theatre Company
  6. (tie) James Wolk, Suddenly Last Summer

BEST SCENIC DESIGN IN A COMEDY

  1. Tim Macabee, Murder on the Orient Express, The Rep
  2. Lee Savage, Clue, Stages St Louis
  3. Dunsi Dai, Grand Horizons, Moonstone Theatre Company
  4. Margery and Peter Spack, Broadway Bound, New Jewish Theatre
  5. Ellie Schwetye and Lucy Cashion, This Palpable Gross Play, SATE
  6. Scott Neale, “The Game’s Afoot, St. Louis Shakespeare Festival

BEST SCENIC DESIGN IN A MUSICAL

  1. Edward E Haynes Jr., Chess, The Muny
  2. Rob Lippert, Godspell, Stray Dog Theatre
  3. Ann Beyersdorfer, Disney’s Beauty and the Beast, The Muny
  4. C. Otis Sweezey, Into the Woods, New Jewish Theatre
  5. Adam Koch, Million Dollar Quartet, Stages St Louis
  6. Kristen Robinson, Little Shop of Horrors, The Muny
  7. Tim Jones, Eubie! The Black Rep
  8. Margery and Peter Spack, Spells of the Sea, Metro Theatre Company
  9. Ryan Douglass, Beautiful The Carole King Musical, The Muny

BEST CHOREOGRAPHY

  1. Patrick O’Neill, Disney’s Beauty and the Beast, The Muny
  2. Heather Beal, Robert Crenshaw and Vivian Watt, Eubie! The Black Rep
  3. Mike Hodges, Saturday Night Fever, Stray Dog Theatre
  4. Steph Paul, Q Brothers Christmas Carol, St Louis Shakespeare Festival
  5. Maggie Nold, Kinky Boots, Tesseract Theatre Company
  6. Parker Esse, West Side Story, The Muny (original choreography reproduced)
  7. Denis Jones, Sister Act, The Muny
  8. Luis Salgado, Aida, Stages St. Louis
  9. Patricia Wilcox, Beautiful, The Muny
  10. Tyler White, Go, Dog, Go!, Metro Theater Company
“Saturday Night Fever” at Stray Dog Theatre

BEST MUSICAL DIRECTOR

  1. Colin Healy, Caroline or Change, Fly North Theatricals
  2. James Moore, West Side Story, The Muny
  3. Larry D. Pry, Into the Woods, New Jewish Theatre
  4. Charlie Alterman, Beautiful the Carole King Musical, The Muny
  5. Leah Schultz, Saturday Night Fever, Stray Dog Theatre
  6. David Sonneborn, Million Dollar Quartet, Stages St. Louis
  7. Jason DeBord and Michael Horsley, Chess, The Muny
  8. Leah Schultz, Into the Woods, Stray Dog Theatre

BEST DIRECTOR OF A COMEDY

  1. Steve Bebout, Clue. Stages
  2. Alan Knoll, Broadway Bound, New Jewish
  3. Suki Peters, The Birthday Party, Albion
  4. Christina Rios, A Midsummer Night’s Dream, St Lous Shakespeare
  5. Lucy Cashion, The Brechtfast Club, ERA
  6. Becks Redman, Gruesome Playground Injuries, The Rep
  7. Gary Wayne Barker, The Nerd, Moonstone Theatre Company
“Uncle Vanya” at St Louis Actors’ Studio

BEST DIRECTOR OF A DRAMA

  1. Kate Bergstrom, It’s a Wonderful Life, The Rep
  2. Carey Perloff, The Lehman Trilogy, The Rep
  3. Rebeka Scallet, The Immigrant, New Jewish Theatre
  4. Annamaria Pileggi, Uncle Vanya, St Louis Actors’ Studio
  5. Tom Kopp, The Lion in Winter, The Midnight Company
  6. Gary F. Bell, Who’s Afraid of Virginia Woolf, Stray Dog Theatre

BEST DIRECTOR OF A MUSICAL

  1. John Tartaglia, Disney’s Beauty and the Beast. The Muny
  2. Robert Quinlan, Into the Woods, New Jewish Theatre
  3. Josh Rhodes, Chess, The Muny
  4. Brian McKinley, Caroline or Change, Fly North Theatricals
  5. Justin Been, Into the Woods, Stray Dog Theatre
  6. 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

The Rep Seeks Support, Announces Altered Season Amid Budget Woes

The Rep Seeks Support, Announces Altered Season Amid Budget Woes

Theatre creates new production of a holiday classic, cancels two productions, amid $2.5M budget shortfall 

The Repertory Theatre of St. Louis today announced that it needs significant support from the St. Louis community by the end of 2023 to continue its programming in the second half of the 2023-2024 season, which kicked off last month with a widely-acclaimed production of “The Lehman Trilogy.”

In response to a projected $2.5M budget shortfall facing the theatre, similar to financial challenges facing theatres across the country, The Rep has streamlined its season, replacing its annual holiday spectacular, “A Christmas Carol,” with an adaptation of the beloved holiday film “It’s A Wonderful Life: A Live Radio Play” and canceling the previously announced productions of “The Lion” and “The Greatest Love for Whitney: A Tribute to Whitney Houston.”

“It’s a Wonderful Life: A Live Radio Play” will feature local actors and crew members who were originally scheduled to perform and work on A Christmas Carol. To address the budget shortfall, The Rep is also launching a “Rally for The Rep” campaign to
encourage the St. Louis community to support the theatre.

“The theatre is at an inflection point, and we need to raise $2.5M through ticket sales and philanthropy by the end of 2023 to continue to produce works in the second half of our season. The St. Louis community has sustained us for nearly six decades, and now more than ever, we need them to invest in our future. Although we are calling on the community for support as we are cutting back this season, The Rep is dedicated to honor our longstanding commitment to bringing St. Louis audiences world-class theatrical experiences from the most exciting emerging and established voices in American theatre,” said Danny Williams, Managing Director of The
Repertory Theatre of St. Louis.

“The slower-than-hoped-for return of audiences following the pandemic exacerbated financial challenges and necessitated that we make these significant and difficult changes. We need patrons to bring friends and family and show support in any way that they can to help us ensure that the productions we have planned in 2024 can happen.”

In the past decade, theater companies across the country have seen major shifts in their business models, and The Rep was no longer able to respond to these shifts in an effective manner. The Rep’s decision to update the 2023-2024 season comes at a time when theaters across the country are facing financial hardships, due in part to the Coronavirus pandemic. Since 2020, audience attendance at theaters has significantly declined, and the number of shows produced nationwide has decreased by 41%, according to a study conducted by Jacobson Consulting Applications, Inc.

The Lehman Trilogy. Photo by Phillip Hamer

While The Rep’s critically acclaimed productions of “The Lehman Trilogy” and “Twisted Melodies” far exceeded the national trends for attendance, the gaps still remain, and crucial community investment is needed to fully mount the 2023-2024 Season. The Rep plans to bring world-class, adventurous new works and beloved classics to its stages at the Loretto-Hilton Center in the second half of its 2024 season but needs to raise $2.5M throughits “Rally for The Rep” campaign to do so.

Currently scheduled for 2024 is Lookingglass Theatre Company’s adaptation of Moby Dick in February and Tracy Letts’ August: Osage County, which begins performances in March 2024.

The Rep is reaching out directly to season subscribers and current ticket holders regarding all changes.

For more information and to purchase tickets, visit www.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, Tuesdays, and Wednesdays
from 10:30 a.m. – 5:00 p.m.


NEW: HOLIDAY PRESENTATION
“It’s A Wonderful Life: A Live Radio Play“
The beloved American holiday classic comes to captivating life as a live 1940s radio broadcast!
December 1 – December 23
Loretto-Hilton Center
Made possible with support by The Berges Family Foundation
Adapted by Joe Landry

It’s a Wonderful Life is based on the story The Greatest Gift by Philip Van Doren Stern Engage your imagination in the world of vintage radio broadcasting as you rediscover the magic of the holiday season with It’s A Wonderful Life – A Live Radio Play. Experience the
Golden Age of Radio through this classic holiday film reimaged as a live radio performance. Bear witness to this timeliness holiday story that explores the life of George Bailey, a compassionate and selfless man, standing on the brink of despair, when an angel named
Clarence is sent down to Earth to teach George the power of kindness, the importance of family and friends, and the realization that each life, no matter how ordinary it may seem, is truly wonderful.

“Evita” at the Rep

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. For more information, please visit repstl.org and follow @repstl.

The Loretto-Hilton Center at Webster University is The Rep’s home.

Kelvin Roston Gives All in Soul-Stirring ‘Twisted Melodies’ at The Rep

Kelvin Roston Gives All in Soul-Stirring ‘Twisted Melodies’ at The Rep

By Lynn Venhaus

Singer-actor Kelvin Roston Jr. is a man on a mission, and he pours his heart and soul into a revealing portrait of soul singer Donny Hathaway.

However, his haunting one-man show “Twisted Melodies” is more than a bravura performance – he shines the spotlight on complicated mental health issues to lead us to further understanding.

Sure, you’ve heard Hathaway’s music – at least every holiday season “This Christmas” is playing in stores, on car radios, and at home. His signature cover of Leon Russell’s “A Song for You” is considered one of his finest, as is John Lennon’s “Jealous Guy,” and his duet with Roberta Flack on “Where Is the Love?” won a Grammy Award in 1973.

The audience acknowledged familiarity with his first hit, “The Ghetto,” from his album debut “Everything Is Everything” in 1970 as soon as it played. After all, Hathaway was born in St. Louis on Oct. 1, 1945, and has a deep fan base here.

Hathaway was raised by his grandmother Martha Pitts, a professional gospel singer, in the Carr Square housing project. He graduated from Vashon High School in 1963, and earned a fine arts scholarship to Howard University, where he majored in music theory.

Because of his illustrious career and enduring impact, he was inducted into the St. Louis Walk of Fame in 2013. His star is located at 6165 Delmar Blvd. in University City.

But what was happening behind the music is a tragic story that silenced his expressive voice. The gifted musician and songwriter suffered from mental illness. At age 33, he plunged to his death from an Essex Hotel window in Chicago on Jan. 13, 1979.

Kelvin Roston. Photo by Jon Gitchoff

This captivating, mournful story takes place on that fateful day inside Hathaway’s hotel room — and inside his head – as he battled demons his adult life. A paranoid schizophrenic, he wasn’t keen on keeping up with a rigorous prescription medicine route, and therefore, his behavior became increasingly erratic.

In a devastating scene, he described all the unpleasant side effects of the pills he was prescribed. Those who loved him could not help.

Roston conveys both Hathaway’s talent and his torment in a heartfelt and heartbreaking performance, displaying his expert musicianship and his powerful voice. He deeply feels the music.

Roston, who is also from St. Louis but currently based in Chicago, began shaping the play when he was an intern at the Black Rep. Caring so passionately about this man and his music, he brought this personal story to the Black Rep in 2016 – and was nominated for a St. Louis Theater Circle Award for Outstanding Actor in a Drama. Since the world premiere in 2015 in Chicago, he has taken his show across the country.

Roston, who attended Cardinal Ritter High School, recently won a Joseph Jefferson Award in Chicago for Best Actor for his performance as “King Hedley II,” August Wilson’s play staged at The Court Theatre.

In his courageous portrayal, Roston brings out Hathaway’s caring, vulnerable personality by reminiscing about his childhood, college years, collaboration with Flack, meeting his wife, and the love for his daughter.

He also flips quickly to indicate a darker force, an all-consuming inner turmoil, as he is convinced someone is stealing his music by hooking up his brain to a machine.

As he struggles to maintain sanity, we hear discordant sounds, the lights become harsher, and visuals distort. Projection designer Mike Tutaj provides different images on the hotel room walls. Xavier Pierce’s lighting and G Clausen’s sound design add to the heightened emotions.

Set designer Tim Mackabee’s accurate depiction of a tastefully appointed hotel room 44 years ago can appear spacious, then claustrophobic, almost like a prison, while Roston is presenting composing at his keyboard normally, then switching to the terror of Hathaway’s reality.

Roston as Donny Hathaway. Photo by Jon Gitchoff

Throughout the 90 minutes, while music was integrated into the script, Roston’s focus on the disease’s effects is hard-hitting, robbing Hathaway of everything he valued.

This show speaks volumes in a sincere, direct way, and illuminates a crippling disease and urgent health care crisis. It is a public service announcement as much as an entertaining, thoughtful show.

Director Reggie D. White has emphasized both in this presentation, and he has seamlessly incorporated the technical elements so we could be moved not only by Hathaway’s brilliance as a major R&B talent, but also his hellish psychological state.

On opening night Oct. 6, Hathaway’s youngest daughter, Donnita, came on stage afterwards to talk about her father, and commend Roston’s work. She was 2 years old when her father died.

The Rep is partnering with Donnita’s Donny Hathaway Legacy Project that advocates for holistic mental health and emotional health-related education and resources. The Rep has pledged to partner its onstage work with a necessary offstage issue.

She had said earlier: “I’m in awe of how much care and delicacy the brilliant Kelvin Roston takes in his role as my father while staying true to highlighting mental health issues during this fateful night and balancing the scales by taking us down memory lane by infusing the classic musical catalog that Donny Hathaway left us. I am thrilled that Twisted Melodies is coming to The Rep, a place that both Kelvin Roston and the late Donny Hathaway could call home.”

Post-show discussions are set for Saturday, Oct. 14 at 4 p.m. and Wednesday, Oct. 18 at 2 p. m.

The Repertory Theatre of St. Louis presents “Twisted Melodies” Oct. 4 -22 at the Catherine B. Berges Theatre at COCA, 6880 Washington Avenue. For more information or to purchase tickets, visit: www.repstl.org

The Rep Box Office is available for in-person support at the Loretto-Hilton Center, 130 Edgar Rd., Webster Groves, on Tuesdays and Wednesdays from 10:30 a.m. – 5 p.m, and 2 hours before curtain.

Hana Sharif to Step Down as Artistic Director of The Repertory Theatre of St Louis to Lead Arena Stage in D.C.

Hana Sharif to Step Down as Artistic Director of The Repertory Theatre of St Louis to Lead Arena Stage in D.C.

Sharif Ends Five Year Tenure at The Rep After  Shepherding the Theatre Through the Pandemic

The Repertory Theatre of St. Louis (The Rep) has announced that Hana Sharif is stepping down as its Augustin Family Artistic Director after a five-year tenure leading the top regional theatre and advancing its legacy of artistic excellence to become Artistic Director of Arena Stage in Washington, D.C. Danny Williams, Managing Director, who has worked closely with Sharif since being appointed to his position last year, will work in partnership with The Rep’s Board of Directors and Associate Artistic Directors Becks Redman and Reggie D. White, to oversee the success of the highly anticipated 2023–24 season and put in place a search for the theatre’s next artistic director.  

Arena Stage is a Tony Award-winning national center that helped launch the regional theater movement and continues to produce and present diverse and ground-breaking work from some of the best artists in the country. It is committed to commissioning and developing new plays and impacting the lives of students through its work in the community. Sharif will leave her role at The Rep in June 2023. 

“Under Hana’s leadership The Rep has made significant strides to ensure that we remain a vital, twenty-first century arts organization that serves all St. Louisans by increasing access to the best emerging and established voices in the American theatre and building bridges across the region,” said Danny Williams, Managing Director. “We thank Hana for moving The Rep forward with her innovative vision that meets the needs of our community and upholds the high standards of artistic excellence which are a hallmark of our productions. Building upon the strong foundation she put in place, we are excited for the reimagined upcoming season that Hana curated, which will continue to offer the full spectrum of St. Louis audiences opportunities to connect, engage, and be thoroughly entertained at The Rep.” 

The Rep’s 2023–24 season, led by titles such as Ben Power’s adaptation of Stefano Massini’s The Lehman Trilogy; Tracy Letts’ August: Osage County, and The Greatest Love for Whitney: A Tribute to Whitney Houston created by Mark Clements, includes a mix of world-class  

self-produced productions alongside co-produced and presented theater works, reimagining the theatre’s programming in order to create a sustainable model on which to build towards the future. 

“Over the past five years Hana has brought forth a strong vision for The Rep that showed us what a top regional theatre’s role could and should be within the community, producing and directing critically-acclaimed new works and classics; reaffirming the organization’s commitment to diversity, equity, and inclusion; and boldly navigating us through the challenges of the pandemic,” said Gwen Middeke, President of the Board of Directors of The Repertory Theatre of St. Louis. “We are so grateful to Hana for the immense contributions she has made to The Rep and feel confident that her close collaborator and our brilliant Managing Director Danny Williams will continue to expertly steer the organization forward during this time of transition while we undertake a national search for a new creative partner who will enrich and inspire our community.” 

Pride and Prejudice

As Augustin Family Artistic Director of The Repertory Theatre of St. Louis, Sharif shepherded the organization through a cultural transformation following the retirement of long-time Artistic Director Steven Woolf. Her directorial debut at The Rep was with an adaptation of Jane Austen’s Pride & Prejudice, which was the highest grossing show in the company’s history. She expanded the theatre’s commitment to producing world premieres each season, including Somi Kakoma’s Dreaming Zenzile, Kirsten Greenidge’s Feeding Beatrice, Steph Del Rosso’s The Gradient, and Madhuri Shekar’s House of Joy. Each of the shows she directed are top grossing shows in The Rep’s history including her production of Ken Ludwig’s stage adaptation of Agatha Christie’s Murder on the Orient Express which recently finished The Rep’s 2022/23 season to rave reviews.  

Among other firsts to her credit, Sharif diversified The Rep’s programming to reflect the region’s spectrum of genre, thought, form, and culture, including its first all-Femme design team for Steph Del Rosso’s The Gradient. She introduced a new annual tradition to the St. Louis community in 2021 with a magical version of the beloved holiday spectacular A Christmas Carol by Charles Dickens and adapted by Michael Wilson, which will continue, now in its third year, as part of the theatre’s next season. 

She piloted a range of new programming during the COVID-19 pandemic, including a drive-through illuminated puppet experience (The Snowy Day: A Glowy Snowy Experience based on the book The Snowy Day by Ezra Jack Keats, in partnership with StoneLion Puppet Theatre)and a virtual theatrical series that brought together famous local chefs, mixologists, local bands, and media personalities (Cooking, Carols, and Cocktails). In service of the civic life of the community, she launched REPresent STL, a conversation series focused on highlighting and unpacking the issues that matter most to the residents of the Greater St. Louis region. Sharif also created cultural and civic partnerships connected to themes in the performance season, including collaborations with Dr. Mati Hlatshwayo Davis for AIDS and HIV awareness and with the Missouri Voter Protection Coalition to creatively share new voter regulations with St. Louisans. 

Additionally, while at The Rep and at the height of the pandemic, Sharif partnered with other regional arts administrators at Baltimore Center Stage, Long Wharf Theater, Woolly Mammoth Theater Company, and the Public Theater in New York to commission short plays from writers struggling financially during the global shutdown. The coalition created Play at Home, a website that offered theatres new plays of 10-minutes in length or less, intended to be performed at home, over video conferencing platforms.  

“It has been one of the great honors of my life to lead The Repertory Theatre of St. Louis and to build upon the incredible legacy of artistic excellence over the last five years,” said Hana Sharif, Augustin Family Artistic Director. “I have forged deeply meaningful friendships, collaborations, and artistic partnerships in this beautiful community, and will miss the indomitable spirit of St. Louis. This move is not a decision that I took lightly, but it is a once in a lifetime opportunity that I could not pass up. I believe in the transformative power of the arts to uplift our shared humanity and I cherish the opportunity I’ve had to bring The Rep’s new and existing audiences theatrical experiences that have forged and deepened connections across the region. Advancing this work that we embarked on together, I am confident that the future of The Rep is in strong, capable hands with Danny Williams, my longtime friend and a trusted colleague, who will continue to move forward initiatives that reinforce The Rep’s role as an industry thought leader and a home to the most exciting American voices.” 

The Rep is beginning to assemble a Transition and Search Committee that will plan next steps to find and hire a new artistic director and will announce additional details in the coming months. 

A Christmas Carol Photo Credit: T Charles Erickson

ABOUT THE REPERTORY THEATRE OF ST. LOUIS 

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Rep presents innovative and compelling productions with something for everyone on its stages. The Rep delivers creative and thought-provoking theatrical experiences at two adaptable and intimate stages across St. Louis: the Virginia Jackson Browning Theatre at the Loretto-Hilton Center for the Performing Arts and the Catherine B. Berges Theatre at COCA. With creative and thought-provoking performances, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres, and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. For more information, please visit repstl.org. 

Mesmerizing Performances in The Rep’s Heartfelt ‘Gruesome Playground Injuries’

Mesmerizing Performances in The Rep’s Heartfelt ‘Gruesome Playground Injuries’

By Lynn Venhaus

Funny, sad, poignant and personal, “Gruesome Playground Injuries” is the Repertory Theatre of St. Louis’ impressive return to the Steve Woolf Studio series, renowned for its adventurous programming for years.

It’s an accomplished production of Rajiv Joseph’s 2009 two-character drama featuring raw and affecting performances from Brian Slaten and Jessika D. Williams, who will break your heart as damaged souls Doug and Kayleen.

The year is 1983 and they meet as eight-year-olds in their parochial school infirmary. He’s a daredevil prone to accidents that get more series as time goes by and she’s waylaid by a sensitive stomach – her mother blames it on “bad thoughts” – and her internal wounds progress to self-harm and substance abuse.

Both outsiders, their lives intersect for the next 30 years, while they wrestle with their feelings.

With his keen wit and sharp emotional insight into the human condition, Joseph brings the friends back together – even with long stretches apart. It’s complicated – and compelling. They may be a lifeline, but they exasperate each other, push people away in a cruel world, and from their perspective, connecting isn’t so easy.

Adulting is hard, we know. Life happens. Friends move, get different jobs, start and end other relationships, raise families. But the ones we maintain ties with become a special part of the fabric of our lives. And the ones we reconnect with, after drifting part, that opportunity is a great tonic – and we know that feeling. It’s universal.

“Gruesome Playground Injuries” evokes those friendship memories. It’s obviously more complex with Doug and Kayleen, who learn they can’t heal each other, but they can provide sustenance.

A finalist for the Pulitzer Prize for Drama for his outstanding 2009 play “Bengal Tiger at the Baghdad Zoo,” Joseph crafts fully dimensional characters, flaws and all.

Jessika D Williams, Brian Slaten Photo by Philip Hamer

In this nonlinear narrative, the pals’ encounters are rather unusual, through early teens, 20s and 30s, with the actors revealing more emotional depth each time. Every rueful scene deals with pain, both physical and psychological. They ask each other: “Does it hurt?”

Slaten inhabits the hyper and impulsive Doug with an appealing goofball energy while Williams unmasks a guarded person concealing internal scars but can’t hide the darkness within.  Director Becks Redman emphasizes the characters’ vulnerability.

The pair is on stage the entire time, never out of sight, and they change clothes on opposite sides. The simple outfits selected by costume designer Carolyn Mazuca reflect the various time periods in their lives.

The production’s technical design work is also superb, with an interesting monochromatic set of multi-purpose shapes by scenic designer Diggle. The actors move pieces around to create their settings – efficient and functional spaces doubling for interiors and outside. Lighting designer Anshuman Bhatia also gives the characters a sense of place and enhances the mood.

David Gomez’ soulful instrumental composition adds a mournful tone, reflecting on missed opportunities and regrets. Sound designer Kareem Deanes’ crisp work excels in the black box space.

Post-pandemic, this play resonates even more than in the before times. We have acutely felt the isolation of social distancing and loss of human connection through time and distance. We have fought similar battles separately and together the past three years.

With mesmerizing performances and a director desiring to bring out parallel lines we can relate to, this production aims straight for the heart and achieves a bulls-eye. It makes us think and feel about how people make their marks on our lives.

Photo by Philip Hamer.

The Repertory Theatre of St. Louis is presenting “Gruesome Playground Injuries” in the return of Steve Woolf Studio series from April 14 through May 13 at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center, 210 E Monroe Ave, Kirkwood, Mo.

The show runs 80 minutes without intermission. House doors will open 30 minutes before the show starts to begin seating. Please plan to arrive accordingly as this show is general admission. Concessions will be available to purchase before the show. They are only able to accept debit/credit cards.  There is a free lot for parking directly behind the theatre on W Monroe Ave. and S Fillmore Ave. Additional free parking is available on adjacent streets.

For tickets or for more information, visit www.repstl.org

The Repertory Theatre of St. Louis Announces 2023-2024 Season

The Repertory Theatre of St. Louis Announces 2023-2024 Season

New season reimagines the theatre’s production model with a mix of self-produced and co-produced productions, special limited engagements, family friendly performances, and the return of the acclaimed holiday spectacular, A Christmas Carol 

The Repertory Theatre of St. Louis has announced its 2023-2024 season, which includes a mix of world-class self-produced productions that have made The Rep one of the premier regional theaters in the country, alongside co-produced and presented theater works from the most exciting emerging and established voices in American theater across a wide range of genre, thought, and lived experience. 

The Rep’s new shape for its season offers four mainstage shows, a returning holiday classic, two limited engagements, two family-friendly shows, and a continuation of its community and educational programming to provide different experiences for the full spectrum of the St. Louis community.  

Beginning in fall 2023, The Rep will bring award-winning, critically acclaimed plays to its mainstages at the Loretto-Hilton Center and Catherine B. Berges Theatre at COCA (Center of Creative Arts) including Ben Power’s adaptation of Stefano Massini’s TheLehman Trilogy; Twisted Melodies, written and performed by Kelvin Roston, Jr.; the Lookingglass Theatre Company’s adaptation of Moby Dick; and Tracy Letts’ August: Osage County.

The theatre will also host limited engagement presentations of The Greatest Love for Whitney: A Tribute to Whitney Houston created by Mark Clements, and The Lion, created by Benjamin Scheuer. 

“The new season will build upon The Rep’s decades-long tradition of artistic excellence as a leading voice in the region by spotlighting a myriad of the best and most exciting voices in theater to tell the 21st-century American story, and by pioneering an arts model which can be replicated to meet the challenges that face the industry at-large,” said Hana S. Sharif, Augustin Family Artistic Director of The Repertory Theatre of St. Louis.   

Sharif added, “The pandemic and its aftermath have radically reshaped our industry. In order to create a sustainable model on which to build towards the future, we took an innovative approach to this new season that has opened a new world of exciting opportunities for The Rep and our audiences. We are building bridges and collaborating more than ever before with our peers across the country and deepening connections with our community to give everyone a stronger curatorial hand in their experience at The Rep. We look forward to embarking on this next phase of The Rep that will give us the flexibility to continue to meet the needs of St. Louisans and anchor our position as a cornerstone arts organization in the region.” 

Additional season highlights include the return of the spectacular and much lauded holiday show A Christmas Carol, the Charles Dickens classic that has quickly become a festive holiday tradition for St. Louis area families. Support for A Christmas Carol is provided by The Berges Family Foundation. 

The Rep will also continue to create touring productions for young audiences and families as part of its Imaginary Theatre Company, with an adaptation of Pat Mora’s book Tomás and The Library Lady by José Cruz González, based on the life of Mexican-American author and educator Tomás Rivera, and Puss in Boots, a musical version of the popular fairytale. 

The Rep’s new season builds on its previous three under the leadership of Hana S. Sharif and Danny Williams, Managing Director, who have worked closely together to bring well-crafted theatrical experiences and impactful learning initiatives to the community. 

“The Rep offers our community a creative hub where everyone feels welcomed and valued through programming and performances that represent diverse audiences and their lived experiences,” said Danny Williams, Managing Director. “This past season we were delighted to see a wide array of patrons from across different generations and cultures join us at the theatre, and we look forward to continuing to reach new audiences while welcoming back those who have supported us over the years and decades, with a wide array of world-class theatrical experiences that will captivate and challenge audiences.” 

The Rep will stage its productions across two theaters this coming year—the Loretto-Hilton Center and the Catherine B. Berges Theatre at COCA—providing a variety of opportunities for audiences from across the city and the region to experience theater on different scales from large, show-stopping productions to more intimate experiences.  

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. The Rep will announce its community and educational programming over the course of the coming year. 

Find a full schedule of the 2023-2024 season programs below. Subscriber renewals begin May 8, 2023 and new subscription purchases will be available starting June 1, 2023. 

For more information and to purchase tickets, visit www.repstl.orgor 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, Tuesdays and Wednesdays from 10:30 a.m. – 5:00 p.m. 

The Repertory Theatre of St. Louis 2023-2024 Season  

For tickets, accessibility, and visitor information, visit repstl.org. 

Tony winner for Best Play 2022, “The Lehman Trilogy”

MAINSTAGE 

The Lehman Trilogy 
Winner of five Tony Awards, including best play! 

September 5 – September 24 
Loretto-Hilton Center 
By Stefano Massini 
Adapted by Ben Power 

Experience this epic tale of one family’s passionate pursuit of the American Dream and the piercing cost of greed, excess, and unbridled power. In 1844, a young man from Bavaria, along with his two brothers, arrived in New York City, full of hope and ambition. Over the course of two centuries, their family business grew to unimaginable heights and ultimately collapsed into bankruptcy. A can’t miss masterpiece that The Guardian calls “a kaleidoscopic social and political metaphor.” 

Twisted Melodies 
Based on the life of St. Louis soul music icon Donny Hathaway. 

October 3 – October 22 
Catherine B. Berges Theatre at COCA 
Written and Performed by Kelvin Roston, Jr. 

This powerful one-man show is based on the life of St. Louis soul music icon Donny Hathaway. Twisted Melodies is an immersive and crushing play about the brilliant singer and composer’s compelling inner struggle. Torn between the muses that inspire him and the mental illness that torments him, Hathaway evaluates his life in a gripping performance by St. Louis native     Kelvin Roston, Jr. 

Moby Dick 
Soar to new heights in this acrobatic and theatrical spectacle!  
February 6 – February 25 
Loretto-Hilton Center 
Adapted & Directed by David Catlin  
From the book by Herman Melville 

Madness, obsession, and bloodlust take harrowing flight in a thrilling revision of Melville’s masterpiece. Captain Ahab’s hunt for the great White Whale soars to new heights through an exhilarating acrobatic and theatrical spectacle that invites audiences into the heart of the action. This adaptation from Lookingglass Theatre Company brings a literary legend to life in an experience that’s both visceral and evocative. 

August: Osage County 
A Pulitzer Prize and Tony Award-winning family drama. 

March 19 – April 14  
Loretto-Hilton Center 
By Tracy Letts 

This Pulitzer Prize and Tony Award winning family drama paints a stark and often unflattering picture of the Midwestern family. In this tableau: the pill-popping and manipulative matriarch, a vanished patriarch, and three daughters with secrets of their own. Familial tensions rise when all are called back to the family home in Oklahoma. Equal parts heartfelt and heart-wrenching, this story gives an in-depth look at what it takes to keep a family together. 

LIMITED ENGAGEMENTS 

Special two-week performances with extraordinary talents that everyone will be talking about! 

The Greatest Love for Whitney: A Tribute to Whitney Houston  
Inspired by the phenomenal voice that changed music forever. 

January 18 – January 28 
Catherine B. Berges Theatre at COCA 
Created by Mark Clements 

Whitney Houston’s breathtaking voice skyrocketed her to stardom. From her powerful anthems to her glamorous elegance on the silver screen, she became an unparalleled icon. The Greatest Love for Whitney celebrates her amazing career and legacy by taking audiences on an unforgettable journey through her record-setting hits. Featuring songs like “I Will Always Love You,” “Saving All My Love for You,” and “Where Do Broken Hearts Go,” experience the magic of the woman who changed music forever. 

The Lion 
One man, six guitars, and a transformative story. 

February 8 – February 18 
Catherine B. Berges Theatre at COCA 
Created by Benjamin Scheuer 

One man, six guitars and a transformative story. Benjamin Scheuer brilliantly weaves together heartfelt monologues and original songs to take audiences on his own true coming-of-age story. Hailed by critics as a “wondrous” and “spellbinding” experience, The Lion is a story about courage and the music it takes to find it. 

Photo Credit: T Charles Erickson © T Charles Erickson Photography

HOLIDAY PRESENTATION 
A Spectacular Holiday Tradition Your Family Won’t Want To Miss! 

A Christmas Carol 
A St. Louis tradition returning for its third season at The Rep! 

November 25 – December 24  
Loretto-Hilton Center 
By Charles Dickens 
Adapted by Michael Wilson 

The Rep’s third annual holiday presentation of A Christmas Carol promises to be a joyous and heartwarming experience for audiences of all ages. Join Ebenezer Scrooge on the adventure of a lifetime as three spirits take him on a transformative journey through time. This is a St. Louis tradition unlike any other, that Ladue News calls “a technical marvel of artistry.” 

IMAGINARY THEATRE COMPANY 
Theatre for young people and their families! 

Tomás and The Library Lady 
Based on the true story of Mexican-American author and educator Tomás Rivera. 

Dates TBA 
Adapted By José Cruz González  
From the book by Pat Mora 

Dive into a fantastical world of books in this celebratory true story. As Tomás’ family heads north to Iowa for work, they find fewer and fewer people who speak their native Spanish language. Looking for a place to fit in, Tomás finds a new passion when he befriends a librarian who introduces him to the magical world of books. This enchanting story adventures through the pages of towering dinosaurs and ferocious tigers, igniting Tomás’ imagination and bringing the audience along for the ride. 

Puss in Boots 
Everyone’s favorite feline fable is here to charm and entertain! 

Dates TBA 
By Jennifer Roberts 
Music and lyrics by Nathan A. Roberts 

Everyone’s favorite feline fable is here to charm and beguile! The miller’s son is not finding life easy, with barely a penny to his name and no inheritance from his father, save for a useless cat and a pair of too-small boots. But this cat hides a secret: She can talk! And sing! And she has a plan to take them from the poor house to a princely castle. But how long can this extraordinary kitty keep up the ruse before the cat is out of the bag? Bring the whole family and share the legend of Puss in Boots. 

ABOUT THE REPERTORY THEATRE OF ST. LOUIS 

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Rep presents innovative and compelling productions with something for everyone on its stages. The Rep delivers creative and thought-provoking theatrical experiences at two adaptable and intimate stages across St. Louis: the Virginia Jackson Browning Theatre and the Berges Theatre at COCA at the Loretto-Hilton Center for the Performing Arts. With creative and thought-provoking performances, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. For more information, please visit repstl.org. 

Cover photo of Kelvin Rolston Jr. as Donny Hathaway in “Twisted Melodies” at The Black Rep in 2016. Photo by Sam Roberson

St Louis Theater Circle Awards Announces Nominations for 2022

St Louis Theater Circle Awards Announces Nominations for 2022

ST. LOUIS THEATER CIRCLE AWARDS RETURN FOR IN-PERSON GALA APRIL 3, 2023

TO HONOR OUTSTANDING WORK IN LOCAL PROFESSIONAL THEATER IN 2022

The Muny leads with 21 nominations, Stages St Louis has 19, The Black Rep 17 and Stray Dog Theatre 15

First In-Person Gala Since 2019 Due to Coronavirus Pandemic

ST. LOUIS, February 6, 2023 – After a four-year hiatus of not holding an in-person ceremony due to the coronavirus pandemic in 2020 through 2022, the St. Louis Theater Circle Awards will return April 3, 2023  in a ‘live’ ceremony beginning at 7 p.m. at the Loretto-Hilton Center on the campus of Webster University. The previous two events were streamed online by HEC Media.

Tickets at $23 apiece will soon be available at the box office of The Repertory Theatre of St. Louis at www.repstl.org or 314-968-4925, and also at the box office one hour before the ceremony.

Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar years 2022. Approximately 90 productions have been considered for nominations for this year’s event. This compares to roughly 120 productions normally considered in one year alone prior to the pandemic.

Three productions – “Chicago” at The Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre – were ineligible because the same production was presented within the last three years at the respective venues.

Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin will be honored with a special award for lifetime achievement.

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.

The nominees for the 10th annual St. Louis Theater Circle Awards are:

Bronte Sister House Party, SATE. Photo by Joey Rumpell

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 

Cassidy Flynn, “Brontë Sister House Party,” SATE 
Hannah Geisz, “The Lonesome West,” West End Players Guild 
Jilanne Klaus, “Barefoot in the Park,” Moonstone Theatre Company 
Bess Moynihan, “Brontë Sister House Party,” SATE 
Valentina Silva, “The Rose Tattoo,” Tennessee Williams Festival St. Louis

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 

Ted Drury, “The Lonesome West,” West End Players Guild 
Joel Moses, “Brontë Sister House Party,” SATE 
Bradley Tejeda, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Chauncy Thomas, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Eric Dean White, “Hand to God,” St. Louis Actors’ Studio 

Molly Burris, Dear Jack Dear Louise

Outstanding Performer in a Comedy, Female or Non-Binary Role 

Colleen Backer, “Hand to God,” St. Louis Actors’ Studio 
Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre 
Rayme Cornell, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Claire Karpen, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Rachel Tibbetts, “Brontë Sister House Party,” SATE

Jeff Kargus, Jason Meyers, “The Lonesome West” Photo by John Lamb

Outstanding Performer in a Comedy, Male or Non-Binary Role 

Mitchell Henry-Eagles, “Hand to God,” St. Louis Actors’ Studio 
Jeff Kargus, “The Lonesome West,” West End Players Guild 
Ryan Lawson-Maeske, “Dear Jack, Dear Louise,” New Jewish Theatre 
Jason Meyers, “The Lonesome West,” West End Players Guild 
Stanton Nash, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Joe Clapper, Behind the Sheet, Photo by Philip Hamer

Outstanding Lighting Design in a Play 

Amina Alexander, “Stick Fly,” Repertory Theatre of St. Louis 
Jesse Alford, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Joe Clapper, “Behind the Sheet,” The Black Rep 
Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep 
John Wylie, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Outstanding Sound Design 

Lamar Harris, “Behind the Sheet,” The Black Rep 
Pornchanok (Nok) Kanchanabanca, “House of Joy,” Repertory Theatre of St. Louis 
Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep 
Rusty Wandall, Kareem Deanes, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Amanda Werre, “Dear Jack, Dear Louise,” New Jewish Theatre

Joel Moses in “Laughter on the 23rd Floor,” New Jewish Theatre, Photo by Jon Gitchoff

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “Much Ado About Nothing,” St. Louis Shakespeare Festival 
Liz Henning, “Brontë Sister House Party,” SATE 
Liz Henning, “Rodney’s Wife,” The Midnight Company 
Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis 
Michele Friedman Siler, “Laughter on the 23rd Floor,” New Jewish Theatre

Outstanding Set Design in a Play 

Dahlia Al-Habieli, “House of Joy,” Repertory Theatre of St. Louis 
Dunsi Dai, “Dear Jack, Dear Louise,” New Jewish Theatre 
Bess Moynihan, “Rodney’s Wife,” The Midnight Company 
Kyu Shin, “Stick Fly,” Repertory Theatre of St. Louis 
Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival 

Riley Carter Adams, right, The Bee Play, New Jewish Theatre. Photo by Jon Gitchoff.

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 

Riley Carter Adams, “The Bee Play,” New Jewish Theatre 
Sarajane Alverson, “The Normal Heart,” Stray Dog Theatre 
Rachel Hanks, “The Christians,” West End Players Guild 
Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company 
Sumi Yu, “House of Joy,” Repertory Theatre of St. Louis 

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 

Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep 
Joseph Garner, “The Christians,” West End Players Guild 
Michael James Reed, “Proof,” Moonstone Theatre Company 
Joey Saunders, “The Normal Heart,” Stray Dog Theatre 
Jeffrey Wright, “The Normal Heart,” Stray Dog Theatre

Summer Baer, Michael James Reed “Proof,” Moonstone Theatre Company.

Outstanding Performer in a Drama, Female or Non-Binary Role 

Summer Baer, “Proof,” Moonstone Theatre Company 
Lavonne Byers, “Good People,” Stray Dog Theatre 
Kelly Howe, “Rodney’s Wife,” The Midnight Company 
Chinna Palmer, “Behind the Sheet,” The Black Rep 
Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater

Outstanding Performer in a Drama, Male or Non-Binary Role 

Kevin Brown, “Jitney,” The Black Rep 
Jeff Cummings, “Behind the Sheet,” The Black Rep 
Olajuwon Davis, “Jitney,” The Black Rep 
Joel Moses, “The Christians,” West End Players Guild 
Stephen Peirick, “The Normal Heart,” Stray Dog Theatre 

“Jitney,” The Black Rep, Phillip Hamer photo

Outstanding New Play 

“Bandera, Texas,” by Lisa Dellagiarino Feriend, Prism Theatre Company 
“Brontë Sister House Party,” by Courtney Bailey, SATE 
“The Good Ship St. Louis,” by Philip Boehm, Upstream Theater 
“Roll With It!” by Katie Rodriguez Banister and Michelle Zielinski, The Black Mirror Theatre Company 
“Winds of Change,” by Deanna Jent, St. Louis Shakespeare Festival

Outstanding Achievement in Opera 

Daniela Candillari, “Carmen,” Opera Theatre of Saint Louis 
Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis 
Karen Kanakis, “La Rondine,” Winter Opera Saint Louis 
Robert Mellon, “Falstaff,” Union Avenue Opera 
Sarah Mesko, “Carmen,” Opera Theatre of Saint Louis

Union Avenue Opera’s production of A Little Night Music on August 17, 2022.

Outstanding Production of an Opera 

“Awakenings,” Opera Theatre of Saint Louis 
“Falstaff,” Union Avenue Opera 
“The Gondoliers,” Winter Opera Saint Louis 
“Harvey Milk,” Opera Theatre of Saint Louis 
“A Little Night Music,” Union Avenue Opera

Outstanding Musical Director 

Cullen Curth, “Jerry’s Girls,” New Jewish Theatre 
Jermaine Hill, “The Color Purple,” The Muny 
Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis 
James Moore, “Sweeney Todd,” The Muny 
Andrew Resnick, “The Karate Kid – The Musical,” Stages St. Louis 

The Karate Kid – The Musical, Phillip Hamer photo.

Outstanding Choreographer 

Dena DiGiacinto, “A Chorus Line,” Stages St. Louis 
Keone and Mari Madrid, “The Karate Kid – The Musical,” Stages St. Louis 
Patrick O’Neill, “Mary Poppins,” The Muny 
Josh Rhodes, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 

Tami Dahbura, “In the Heights,” Stages St. Louis 
Melissa Felps, “Something Rotten!” New Line Theatre 
Nicole Michelle Haskins, “The Color Purple,” The Muny 
Grace Langford, “The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
Dawn Schmid, “Ride the Cyclone,” Stray Dog Theatre

Marshall Jennings, Melissa Felps “Something Rotten!” New Line Theatre

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 

Luis-Pablo Garcia, “In the Heights,” Stages St. Louis 
Clayton Humburg, “Something Rotten!” New Line Theatre 
Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre 
Marshall Jennings, “Something Rotten!” New Line Theatre 
Jordan Wolk, “Assassins,” Fly North Theatricals

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Ride the Cyclone,” Stray Dog Theatre 
Bradley King, “The Karate Kid – The Musical,” Stages St. Louis 
John Lasiter, “Sweeney Todd,” The Muny 
Sean M. Savoie, “A Chorus Line,” Stages St. Louis 
Sean M. Savoie, “In the Heights,” Stages St. Louis

“In the Heights,” Stages St. Louis, Photo by Phillip Hamer.

Outstanding Set Design in a Musical 

Edward E. Hayes, Jr. and Greg Emetaz, “Joseph and the Amazing Technicolor Dreamcoat,” The Muny 
Anna Louizos, “In the Heights,” Stages St. Louis 
Derek McLane, “The Karate Kid – The Musical,” Stages St. Louis 
Michael Schweikardt, “Sweeney Todd,” The Muny 
Josh Smith, “Ride the Cyclone,” Stray Dog Theatre

Outstanding Costume Design in a Musical 

Eileen Engel, “A Little Night Music,” Stray Dog Theatre 
Eileen Engel, “Assassins,” Fly North Theatricals 
Samantha C. Jones, “The Color Purple,” The Muny 
Brad Musgrove, “In the Heights,” Stages St. Louis 
Alejo Vietti, “Sweeney Todd,” The Muny 

Anastacia McCleskey, “The Color Purple,” Phillip Hamer photo.

Outstanding Performer in a Musical, Female or Non-Binary Role 

Carmen Cusack, “Sweeney Todd,” The Muny 
Jeanna De Waal, “Mary Poppins,” The Muny 
Eileen Engel, “Ride the Cyclone,” Stray Dog Theatre 
Melissa Felps, “Urinetown,” New Line Theatre 
Anastacia McCleskey, “The Color Purple,” The Muny 

Outstanding Performer in a Musical, Male or Non-Binary Role 

Ryan Alvarado, “In the Heights,” Stages St. Louis
Corbin Bleu, “Mary Poppins,” The Muny 
Ben Davis, “Sweeney Todd,” The Muny 
Stephen Henley, “Assassins,” Fly North Theatricals 
Jovanni Sy, “The Karate Kid – The Musical,” Stages St. Louis

Stephen Henley, The Balladeer, Fly North Theatricals.

Outstanding Ensemble in a Comedy 

“Brontë Sister House Party,” SATE 
“Heroes,” Albion Theatre 
“Laughter on the 23rd Floor,” New Jewish Theatre 
“A Midsummer Night’s Dream,” St. Louis Shakespeare Festival 
“Much Ado About Nothing,” St. Louis Shakespeare Festival 

Outstanding Ensemble in a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“The Christians,” West End Players Guild 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

The Christians, West End Players Guild, Photo by John Lamb

Outstanding Ensemble in a Musical 

“The 25th Annual Putnam County Spelling Bee,” Stray Dog Theatre 
“A Chorus Line,” Stages St. Louis 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Sweeney Todd,” The Muny

Outstanding Director of a Comedy 

Robert Ashton, “The Lonesome West,” West End Players Guild 
Eddie Coffield, “Laughter on the 23rd Floor,” New Jewish Theatre 
David Kaplan, “The Rose Tattoo,” Tennessee Williams Festival St. Louis 
Keating, “Brontë Sister House Party,” SATE 
Bruce Longworth, “Much Ado About Nothing,” St. Louis Shakespeare Festival

“Rodney’s Wife,” The Midnight Company, Photo by Joey Rumpell

Outstanding Director of a Drama 

Gary F. Bell, “The Normal Heart,” Stray Dog Theatre 
Joe Hanrahan, “Rodney’s Wife,” The Midnight Company 
Ron Himes, “The African Company Presents Richard III,” The Black Rep 
Ron Himes, “Behind the Sheet,” The Black Rep 
Ellie Schwetye, “The Christians,” West End Players Guild 

Outstanding Director of a Musical 

Lili-Anne Brown, “The Color Purple,” The Muny 
Scott Miller, “Something Rotten!” New Line Theatre 
Bradley Rohlf, “Assassins,” Fly North Theatricals 
Rob Ruggiero, “Sweeney Todd,” The Muny 
Luis Salgado, “In the Heights,” Stages St. Louis

“Much Ado About Nothing,” St Louis Shakespeare Festival

Outstanding Production of a Comedy 

“Brontë Sister House Party,” SATE 
“Dear Jack, Dear Louise,” New Jewish Theatre 
“The Lonesome West,” West End Players Guild                   
“Much Ado About Nothing,” St. Louis Shakespeare Festival 
“The Rose Tattoo,” Tennessee Williams Festival St. Louis

“The African Company Presents Richard III,” The Black Rep, Photo by Phillip Hamer

Outstanding Production of a Drama 

“The African Company Presents Richard III,” The Black Rep 
“Behind the Sheet,” The Black Rep 
“Good People,” Stray Dog Theatre 
“Jitney,” The Black Rep 
“The Normal Heart,” Stray Dog Theatre

Outstanding Production of a Musical 

“Assassins,” Fly North Theatricals 
“The Color Purple,” The Muny 
“In the Heights,” Stages St. Louis 
“Ride the Cyclone,” Stray Dog Theatre 
“Sweeney Todd,” The Muny

“Ride the Cyclone,” Stray Dog Theatre, Photo by John Lamb

Special Award 

Joan Lipkin, for lifetime achievement 

Joan Lipkin

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 Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Bob Cohn (St. Louis Jewish Light); 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); Judith Newmark (judyacttwo.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on the Aisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

Icon Deserves Better Than The Rep’s Miscast ‘Side by Side by Sondheim’

Icon Deserves Better Than The Rep’s Miscast ‘Side by Side by Sondheim’

By Lynn Venhaus
A poorly executed musical revue, “Side by Side by Sondheim” is miscast and misguided.

The Repertory Theatre of St Louis’ production hasn’t jelled yet, and on Feb. 3, the result was a tepid tribute to one of the greatest composers and lyricists in Broadway history.

That’s particularly disappointing because of The Rep’s previous presentation of its Sondheim masterpieces “Follies,” in 2016 and “Sunday in the Park with George” in 2012.

Phoenix Best, Paul HeeSang Miller, Saidu Sinlah and Amy Spanger are the quartet of singers that rarely appear as a cohesive unit. Think of it less as side by side and more as standing by themselves and not in sync with the others.

Their ‘70s-style Vegas dance moves, designed by Heather Beal, are at different stages and they often appear lazy and repetitive as they ‘do their own thing.’

Not sure where the disconnect began, especially when you have 28 songs spanning Sondheim’s landmark canon. Perhaps the addition of an older, seasoned vocalist or two would have helped ground it – the revue cast has shifted over the years, and once had a female trio, not duo. And the two here are not up to any kind of heavy lifting together for the vocal demands of Sondheim.

Given Sondheim’s penchant for games and puzzles (the film “Glass Onion: A Knives Out Mystery” is dedicated to him, and he makes a brief appearance), the mystery is thus: Have these singers ever been in a Sondheim show? Seen one?

Was there a vision for the production other than let’s slap-some-Sondheim tunes together? Reggie D. White, the new associate artistic director, took charge of this runaway train, which seems like an afterthought, and it never felt polished or had much pizzazz the entire runtime.

The range of unprepared musical numbers is the most blatant misstep. Occasionally, the harmony works, but mostly, we have singers not able to stick the landing, which is criminal with Sondheim.

Yes, his music is challenging and complicated. You need singers at the top of their game, but you also need singers who feel the emotional level of his work. He’s all about the feels. You can’t fake it. Finish the hat, dammit!

The man reinvented the modern musical, and we’re reducing his music to punch lines? That seems the focus here — let’s milk as much for laughs as possible, the bawdier, the better.

This revue is two hours and 15 minutes, with a 15-minute intermission. The sections are tied together by a narrator, who explains a common theme or background about a song. Or nuggets like how Oscar Hammerstein was a mentor.

Veteran pro Alan Knoll is charming and witty as the narrator, knowing how to work a crowd. He provided interesting tidbits about Sondheim’s recurring themes, particularly marriage. He was a late addition to the cast, hence, the notecards. (The program originally listed Miller as the narrator).

Sondheim’s collaborations with other composers – Jule Styne, Leonard Bernstein, Mary Rodgers, and Richard Rodgers among them – are an important part of the narrative here. And Knoll points out his lesser-known works, for laughs.

But it shouldn’t be all Shecky Greene-yucks without the perspective of the man’s greatness. This cast seems incapable of grasping his lyrical complexities and the level of sophisticated music, especially when they are in sequined and gaudy outfits going through awkward motions. (White satin hot pants, really?)

Costume Designer Oona Nateson has found a theatrical grab bag of ubiquitous black apparel augmented by shiny fabrics, leather pants and unnecessary sequins, some of it ill-fitting for their frames. The junior high talent show called and needs their hot pink satin disco shirt back.

After Sondheim’s death at age 91 on Nov. 26, 2021, the world put his loss in perspective and the tributes haven’t stopped.

His work should never be a museum piece – it should be as vibrant as ever – witness “Company” winning a Tony last year for Best Revival of a Musical and an acclaimed version of “Into the Woods” that kept being extended until recently, with plans of it touring (I saw this sublime stunner at the St. James Oct. 1, with Patina Miller, Joshua Henry, and Gavin Creel. It’s a must-see for the ages.). Locally, we had two superb “A Little Night Music” presentations last year, at Union Avenue Opera and Stray Dog Theatre, and the Muny’s resplendent “Sweeney Todd,” which we will be talking about for years to come. A brilliantly interpreted “Assassins” was staged by Fly North Theatricals last summer.

So, the lack of nuance in favor of a good-time variety hour reminiscent of one of those summer replacement shows networks were fond of back in the 1960s and 1970s, is perplexing.

Could we not be entertained merely by exquisite vocals transporting us to various times and places? The sense of wonder and human connection that often arises when a Sondheim show delivers a moment is nowhere to be found here.

To my surprise, Tre’von Griffith is listed as the music director, and I had more faith in his ability to interpret Sondheim’s genius. Did the creatives underestimate the time necessary to put it all together?

Sadly, the songs from “Company” and “West Side Story” seem the most adversely affected, like when those singing “Tonight” can’t hit the upper notes, and it is painful. The women’s duet, “A Boy Like That” is OK until it veers into a wobbly rendition of “I Have a Love.”

The women forgot lyrics to “Getting Married Today,” which is performed slower in tempo than usual, lacking the punch of the original.

Amy Spanger is entrusted with singing “Another Hundred People,” and several other big numbers that she is incapable of nailing, and it’s a travesty. The weakest link of the four, she has difficulty staying on key and enunciating, and instead, often goes for broader dance moves – and tugging at her too-tight sequined mini-dress.

During “Broadway Baby,” the LED screen shows some of her Broadway roles behind her, including Roxie Hart in “Chicago,” as if to remind us she’s been on a big stage before. Her list of credits is extensive, that’s why it’s so hard to believe she can’t hit notes. Her casting is a head-scratcher as she is clearly out of her depth.

Paul HeeSang Miller started strong, with Company’s restored gem “Marry Me a Little,” and so did Saidu Sinlah with “I Remember,” from “Evening Primrose,” but he faded fast, incapable of rising to the occasion the rest of the show.

The four don’t seem to have much chemistry and relied on the vaudeville-type schtick for laughs.

Because of these lackluster renditions, you find yourself thinking of better versions that you’ve heard before. I’m just grateful this is an earlier revue, so they don’t ruin “Into the Woods,” “Assassins,” “Sunday in the Park with George,” “Sweeney Todd” and “Merrily We Roll Along” in any way.

Phoenix Best, who benefits from a comedic approach to some numbers, delivers an effective “I’m Still Here” and “Send in the Clowns,” but tended to go louder when unsure during other numbers. Her solos were often introduced with her making an entrance to build up the drama.

The women often relied on ‘kittenish,’ playing up the double entendres in “Can That Boy Foxtrot,” which was cut from “Follies.”

In a slinky leotard, Best stretched out “I Never Do Anything Twice” from the film, “The Seven-Percent -Solution,” using a chaise lounge to drape herself over.

And the crowd-pleaser, “You Gotta Get a Gimmick” by the strippers in “Gypsy,” draws laughs over the women’s well-placed percussion.

Those unfamiliar with “Follies” get a lesson on different musical styles, especially vaudeville, but then Spanger attempts “Losing My Mind,” and it was my clench-fist time. I may have blurted out “Please don’t let her sing this” instead of just thinking it to myself. (Sorry to my neighbors).

The guys singing “Bring on the Girls” is nearly laughable.

Paul HeeSang Miller, Amy Spanger. Photo by Philip Hamer

When the show delves into the lesser-known works, expectations are lowered, but the butchering of “Pretty Lady” from “Pacific Overtures” by all four was excruciating. Was anyone on key?

The production design by Camilla Tassi consists of slides showing Sondheim at various stages of his life, and the New York milieu, which is so important to his work.

If you are a Sondheim fan, one can appreciate accompanists Stephen A. Eros and Kris Pineda, whose piano work is stellar.

The sound, designed by Sharath Patel, however, has some rough moments.

But the whole affair smacks less of collaboration and more self-preservation than any serious performance piece. When they move four chairs around on the set, I was reminded of the deck of the Titanic, where the band played as doom closed in around them.

This production should not be considered an introduction to Sondheim, for you can find multiple tributes online that celebrate his artistry in better ways.

The outstanding documentary, “Six by Sondheim,” is currently streaming on HBOMax, and can be rented on various video on demand platforms. This is a sensational piece that tells you all you need to know, and is time much better spent than at COCA.

One wonders why this show replaced another Sondheim revue, “Putting It Together,” from 1992, which had been on The Rep’s schedule.

But this is a colossal waste of resources – there needed to be an assistant costume designer, assistant sound designer and two assistant directors?

The man who won eight Tony Awards, an Academy Award, eight Grammy Awards, a Olivier Award, a Pulitzer Prize, a Kennedy Center Honor, and a Presidential Medal of Freedom deserved better.

If you are not going to give Sondheim his proper due, then what’s the point? Maybe start by hiring singers who have the compatible vocal range for the songs?

The Repertory Theatre of St. Louis presents “Side by Side by Sondheim” from Jan. 29 through Feb. 19 at the Catherine Berges Theatre at the Center for the Creative Arts (COCA). For more information or tickets, visit www.repstl.org.

Phoenix Best, Saidu Sinlah, Amy Spanger, Paul HeeSang Miller. Photo by Philip Hamer.

The Rep Kicks Off the New Year with an Evening of Sondheim

The Rep Kicks Off the New Year with an Evening of Sondheim


Side by Side by Sondheim will awe audiences with a night of Stephen Sondheim’s best 

ST. LOUIS (January 5, 2023) – The Repertory Theatre of St. Louis (The Rep)- the leading regional performing arts theatre in the Midwest- will start the new year with Side by Side by Sondheim, a Sondheim revue (replacing Putting it Together: A Sondheim Review). The intimate and nostalgic production will begin previews on January 29 and will run from February 3 to February 19 at the Catherine Berges Theatre at the Center for the Creative Arts (COCA).  

Celebrate legendary composer and lyricist Stephen Sondheim in a cabaret-style revue revisiting some of his most poignant, powerful and witty songs in the American musical theatre canon. This Tony-award-winning production features a variety of Sondheim’s most notable works, including rarely performed numbers straight from the cutting-room floor. Side by Side by Sondheim explores the breadth of Sondheim’s acclaimed career, including numbers from Follies, West Side Story, Company, Anyone Can Whistle, Pacific Overtures, Gypsy and more. 

Side by Side by Sondheim will mark the St. Louis directorial debut of Reggie D. White, The Rep’s recently hired Associate Artistic Director. White joins The Rep from New York City and brings with him more than two decades of theatre experience, including over 10 years of expertise as an award-winning artist, educator and arts advocate. 

“Musical theatre is how I began my career and I have loved Sondheim’s work for decades,” said White. “Side By Side is an especially wonderful piece because it introduces new listeners to his music, gives the most ardent lovers of his work a taste of his greatest hits and it reminds us all of the boundary smashing genius with which he created some of the most iconic musical theatre songs of the 20th Century. He gave us so many gifts over his career and this is such a beautiful way to keep his songs in our hearts.” 

Side by Side by Sondheim features four cast members. The role of Narrator will be played by Paul HeeSang Miller, whose Broadway experience includes Mamma Mia!, the first revival of Miss Saigon and the Tony award winning The King and I. The role of Man will be played by Saidu Sinlah. This will be Sinlah’s debut at The Rep, but St. Louisans may recognize him from the Muny’s performances of Aida and The Wizard of Oz. The role of Woman 1 will be played by Phoenix Best. Best’s Broadway credits include Dear Evan Hansen and The Color Purple Revival. The role of Woman 2 will be played by Amy Spanger. Spanger created the role of Susan in Jonathan Larson’s tick, tick… Boom and was nominated for a Drama Desk Award for her role of Holly in The Wedding Singer.  

Sound design for this production is by Sharath Patel, who boasts previous experience at The Rep with his sound design of The Mystery of Irma Vep in 2020. Heather Beal serves as the choreographer. Audience members may remember her work as choreographer of Feeding Beatrice at The Rep in 2019. The Projection Designer will be Camilla Tassi. Tassi’s design experience includes working at Carnegie Hall and the Berlin Opera Academy. Oona Natesan will return to provide Costume Design after designing costumes for House of Joy at The Rep earlier this season. The Lighting Designer will be Xavier Pierce, who was recently the Lighting Designer for Confederates at the Oregon Shakespeare Festival- a show that The Rep is producing this season. Tre’von Griffith returns to The Rep as the Music Director. Rep audiences may remember him as the Music Director for A Christmas Carol. Alerica L. Anderson will serve as the Music Coordinator and St. Louis audiences may recognize his work from the Pre-Broadway Premiere of The Karate Kid-the Musical at STAGES. 

Side by Side by Sondheim will also mark the first mainstage production of the new year performed at the Catherine Berges Theatre at the Center for the Creative Arts (COCA). This performance space is a state-of-the-art theatre built in 2020, and is part of The Rep’s initiative to bring theatre into the St. Louis Community.  

The Rep is pleased to offer several special offerings and accessible performances throughout the run of Side by Side by Sondheim. These include: 

Post Show Talkbacks, Feb. 9, 7 p.m & 15, 2 p.m. – Following the performance stick around for an informal discussion with members of the cast and creative team of the show. 

Audio Described Performance, Feb. 16, 2 p.m. – The Rep partners with MindsEye to offer live audio description for the final Thursday performance of all productions. 

American Sign Language (ASL) Interpreted, Feb. 18, 2 p.m. – An ASL interpreted performance will be offered on the final Saturday matinee. Interpreters will be inside the theater and sign along with what the actors are saying and expressing for the audience. 

Open-Captioned Performance, Feb. 19, 2 p.m. – The Rep offers open captioning, an electronic text display that shows what the actors are saying or singing, at the last Sunday show for all Mainstage performances. 

About The Repertory Theatre of St. Louis 

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube. 

Reggie D. White joins The Repertory Theatre of St. Louis as Associate Artistic Director

Reggie D. White joins The Repertory Theatre of St. Louis as Associate Artistic Director

ST. LOUIS (December 16, 2022) – The Repertory Theatre of St. Louis (The Rep)- the leading regional arts theatre in the Midwest- welcomes Reggie D. White as Associate Artistic Director. 

White brings more than two decades of theatre experience, including over 10 years of expertise as an award-winning artist, educator and arts advocate. He made his Broadway debut in Matthew López’s Tony Award-winning epic, The Inheritance. With an extensive background acting in New York, Off-Broadway, in regional theatre and internationally, White showcases his plethora of experiences both on and off the stage through his writing and directing work. 

White’s play, In Case You Hadn’t Heard: A Conversation Between America’s Past and Its Promise premiered last spring at Bay Street Theatre, and he is currently co-writing a play with Lauren Gunderson (America’s Most-Produced Living Playwright). His directing credits include work at the Atlantic Theater Company, The Public, Bay Street Theater, The Williams Project, and PlayGroundSF. 

Most recently he has served as the Artistic Director and faculty member at the Atlantic Acting School in New York, NY.

White is a resident artist at Vineyard Theatre, a founding member of the multi-generational theatre collective- The Commissary- and a founding company member with The Williams Project, a living-wage theatre company. He is also a recipient of the Colman Domingo Award, The TCG Fox Fellowship, the TBA Titan Award, the RHE Artistic Fellowship and an NCAAP Theatre Award nominee.

“Reggie D. White is a transformative emerging thought leader in our field. He brings a joyful, innovative, and imaginative spirit of collaboration in his wide-ranging experience as a creative, producer, educator, and community connector,” said Hana S. Sharif, Augustin Family Artistic Director. “I could not be more excited to welcome Reggie’s  talents to St. Louis and his strategic insight to The Rep as we enter this great new era of artistry.”

White will make his directorial debut in St. Louis helming a Stephen Sondheim review at The Rep in early 2023 and will join an Artistic Department that includes fellow Associate Artistic Director/Director of New Work, Becks Redman, and is led by accomplished artistic leader, director, playwright and producer, Hana S. Sharif.  

“I’m so excited to spread my wings as an arts leader at an institution as well loved by its community as The Rep is,” said White. “I’ve been finding myself pulled in this direction quite a bit over the last 5 years and have always felt a tension with my own art-making. But with this role, I’ll have the opportunity to keep making the kind of theatre I’ve always dreamed of making, while also being able to shape and mold the why and how it gets made.”

Within his role as Associate Artistic Director, White will will support line producing mainstage, site-specific, and community arts programming, artistic strategic planning, and creative community engagement.

About The Repertory Theatre of St. Louis

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.