THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL  ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH

Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024

The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.

The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link: https://repstl.my.salesforce-sites.com/ticket/#/events/a0SVI0000040h4J2AQ

The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.

Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.

Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.

A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.

The nominees for the 12th annual St. Louis Theater Circle Awards are:

Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.” Photo by Philip Hamer.

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

Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Amy Loui, “Steel Magnolias,” Stages St. Louis
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre

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

Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre
Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joel Moses, “As You Like It,” St. Louis Shakespeare Festival
Spencer Sickmann, “Trayf,” New Jewish Theatre

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

Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis

Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.

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

Alan Knoll, “We All Fall Down,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie, “Red Jasper,” Michael Madden Productions
Jacob Schmidt, “Trayf,” New Jewish Theatre
Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre

Outstanding Lighting Design in a Play 

Denisse Chavez, “All My Sons,” New Jewish Theatre
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis
Sean Savoie, “Hold On!,” The Black Rep

Outstanding Sound Design 

Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis
Chuck Harper, “Wolf Kings,” YoungLiars
Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis
Amanda Werre, “All My Sons,” New Jewish Theatre
Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis

Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
Colleen Michelson, “The Mousetrap,” Stray Dog Theatre
Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre

Outstanding Set Design in a Play 

Andrea Ball, “We All Fall Down,” New Jewish Theatre
Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival
Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Red,” New Jewish Theatre

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

Evann De-Bose, “Hold On!,” The Black Rep
Kari Ely, “Wedding Band,” The Black Rep
Margery Handy, “The Inheritance,” Tesseract Theatre Company
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis

“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.

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

J. Samuel Davis, “King Hedley II,” The Black Rep
Gary Glasgow, “Life Is a Dream,” Upstream Theater
Jayson Heil, “All My Sons,” New Jewish Theatre
Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis
Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis

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

Nicole Angeli, “Lungs,” Albion Theatre Company
Amy Loui, “All My Sons,” New Jewish Theatre
Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis
Jacqueline Thompson, “Wedding Band,” The Black Rep
Maggie Wininger, “Molly Sweeney,” Albion Theatre

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

Christopher Harris, “Red,” New Jewish Theatre
Greg Johnston, “All My Sons,” New Jewish Theatre
Joel Moses, “Lungs,” Albion Theatre
Gabriel Paul, “The Inheritance,” Tesseract Theatre Company
William Roth, “The Whale,” St. Louis Actors’ Studio

Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.

Outstanding New Play 

“Am I Dangerous?,” by e.k. doolin, Contraband Theatre
“Longing,” by Lize Lewy
“Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio
“Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre
“Tempest in a Teapot,” by Shualee Cook, SATE Ensemble

Outstanding Achievement in Opera 

Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis
Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis
Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis
Elise Quagliata, “Carmen,” Union Avenue Opera
Laura Skroska, “Into the Woods,” Union Avenue Opera

Outstanding Production of an Opera 

“Carmen,” Union Avenue Opera
“Galileo Galilei,” Opera Theatre of Saint Louis
“H.M.S. Pinafore,” Winter Opera St. Louis
“Julius Caesar,” Opera Theatre of Saint Louis
“The Barber of Seville,” Opera Theatre of Saint Louis

The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Outstanding Musical Director 

E. Renee Gamez, “Ragtime,” Stages St. Louis
Khalid McGee, “Blues in the Night,” The Black Rep
James Moore, “Les Miserables,” The Muny
Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company
Andra Velis Simon, “Waitress,” The Muny

Outstanding Choreographer 

William Carlos Angulo, “In the Heights,” The Muny
Jared Grimes, “Anything Goes,” The Muny
Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis
Mike Hodges, “Xanadu,” Stray Dog Theatre
Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis

Outstanding Projections or Special Effects

Zach Cohn, “Hold On!,” The Black Rep
Zachary Grimm, “Longing,” Lize Lewy
Kylee Loera, “Anything Goes,” The Muny
Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre
Mike Tutaj, “Waitress,” The Muny

Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.

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

Rachel Bailey, “[title of show],” Prism Theatre Company
Sarajane Clark, “Ruthless,” Stray Dog Theatre
Lissa deGuzman, “Waitress,” The Muny
Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis

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

Will Bonfiglio, “First Date,” New Jewish Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Matthew Cox, “Ragtime,” Stages St. Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Lara Teeter, “Anything Goes,” The Muny

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Nevermore,” Stray Dog Theatre
John Lasiter, “Fiddler on the Roof,” The Muny
Jason Lyons, “Les Miserables,” The Muny
Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis
Sean M. Savoie, “Ragtime,” Stages St. Louis

Outstanding Set Design in a Musical 

Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis
Ann Beyersdorfer, “Les Miserables,” The Muny
Wilson Chin, “Waitress,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Arnie Sancianco, “In the Heights,” The Muny

Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.

Outstanding Costume Design in a Musical 

Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
Robin L. McGee, “Disney’s The Little Mermaid,” The Muny
Brad Musgrove, “Ragtime,” Stages St. Louis

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

Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Tiffany Mann, “Dreamgirls,” The Muny
Marissa McGowan, “Ragtime,” Stages St. Louis
Jessica Vosk, “Waitress,” The Muny
Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company

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

Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Adam Heller, “Fiddler on the Roof,” The Muny
John Riddle, “Les Miserables,” The Muny

“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.

Outstanding Ensemble in a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Spirits to Enforce,” The Midnight Company
“Steel Magnolias,” Stages St. Louis
“Woman in Mind (December Bee),” Albion Theatre

Outstanding Ensemble in a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Hold On!,” The Black Rep
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company

Outstanding Ensemble in a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Anything Goes,” The Muny
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
Ragtime,” Stages St. Louis

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Outstanding Director of a Comedy 

Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre
Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival
Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Aaron Sparks, “Trayf,” New Jewish Theatre

Outstanding Director of a Drama 

Gary Wayne Barker, “All My Sons,” New Jewish Theatre
David Catlin, “Moby Dick,” Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Stephen Peirick, “The Inheritance,” Tesseract Theatre Company
Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis

Outstanding Director of a Musical 

Lili-Anne Brown, “Waitress,” The Muny
Marcia Milgrim Dodge, “Anything Goes,” The Muny
Deidre Goodwin, “Ragtime,” Stages St. Louis
Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company
Rob Ruggiero, “Fiddler on the Roof,” The Muny

Outstanding Production of a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Steel Magnolias,” Stages St. Louis
“Trayf,” New Jewish Theatre
“Woman in Mind (December Bee),” Albion Theatre

The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.

Outstanding Production of a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company
“Wedding Band,” The Black Rep

Outstanding Production of a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Ragtime,” Stages St. Louis
“Waitress,” The Muny

Joe Hanrahan.

Special Award for Lifetime Achievement

Ron Himes.

Joe Hanrahan, founder and artistic director, The Midnight Company
Ron Himes, founder and producing director, The Black Rep

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, STL Stage Snaps, St. Louis Arts Scene on Substack); Mark Bretz (Ladue News); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, visit www.stltheatercircle.org, contact stltheatercircle@gmail.com, or ‘like’ the St. Louis Theater Circle on Facebook.

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By Lynn Venhaus

A trio of ragtag revolutionaries cling to their cause and their rules as they hide from an authoritarian regime in the very quirky and vague-on-purpose “Pictures from a Revolution” (Quadri di una rivoluzione) by Sicilian playwright Tino Caspanello.

Strange but intriguing because of the agile skills of the acting quartet, this U.S. premiere is uneven in tone, perhaps because of the English translation by Haun Saussy, but then again, Caspanello is committed to keeping us guessing and in the esoteric structure with the sketchiest details.

While the men – called by numbers, initially act like the Three Stooges, they are in a serious battle to maintain their resistance against totalitarian forces in an unidentified country.

While living inside the walls of a stadium, they take turns being on guard, convinced enemies are lurking outside, waiting to capture the rebels. They make grand gestures and believe there is a purpose to their righteous anger. After all, they are following their rules.

What do they stand for, and why are they still fighting? They’re hungry, tired and cranky, debating actions to take. J. Samuel Davis, in a wonderfully comic role, is the sage 584, the oldest of the group. He decides to journey outside their encampment in hopes of lassoing a cow – for milk and eventually meat. His slapstick is a delight.

Isaiah DiLorenzo and Andre Eslamian. Photo by ProPhotoSTL

Instead, he has captured an unnamed woman (Lizi Watt), who ferociously fights him like a caged animal on the attack. They are confused by her then eventually won over by her charms. She changes her story but begs them to believe her. She must stay or they may be found out.

Watts is impressive in this fierce and fearless role that she tackles with robust physicality. Should they trust her or is she dangerous? She throws off the dynamic of the trio – Isaiah DeLorenzo is at his idiosyncratic best as 892, the chief. He likes to pontificate about ideals and how important their mission is. We don’t really know who the enemy is.

As the youngest rebel 137, Andre Eslamian has another fine turn after strong work in Lize Lewy’s “Longing” last summer and in SATE’s “The Palpable Gross Play: A Midsummer adaptation” the year before. His character seems the most pragmatic and tends to a garden.

Director Philip Boehm has added a performance art quality to the production by his artful staging, and using dance-like movements for all characters, which become more pronounced as the 90-minute play unfolds. Cecil Slaughter was the movement coordinator, and the ensemble is elegantly in sync.

Another unusual aspect of this play is its inclusion of 11 works of art by some of the world’s most famous painters – shown as slides, with Boehm narrating as if he’s teaching an art history class. Among them: “The Night Watch” by Rembrandt, “Leda Atomica” by Salvador Dali, “The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, “Ballet Rehearsal on Stage” by Edgar Degas and “Cornfield with Crows” by Vincent Van Gogh.

Lizi Watt as The Woman. Photo by ProPhotoSTL.

The scenes often echo the themes of the famous painting being shown before it, which is interesting. Patrick Huber’s projection work is fluid in presenting the paintings. He also worked on the scenic design, fashioning an enclave for the squatters that has a lived-in feel, aided by propmaster Rachel Seabaugh.

Because the dialogue is fanciful, and the situation almost surreal like, there is little emotional connection, and the conflicts are both petty and daunting. Much bickering wears down one’s goodwill — but the funny situations do elicit laughs.

The technical work is uniformly first-rate, with Michele Friedman Siler’s costume design giving each man a distinctive look and outfitting The Woman in a slinky dress, an evening bag and nice heels, so that questions are raised by her appearance.

Boehm and Huber also handled the intricate sound design while Steve Carmichael took care of the lighting design, reflecting the different times of day. Joe Schoen worked as a vocal consultant.

“Pictures from a Revolution” continues Upstream Theater’s commitment to exploring thought-provoking works from around the globe that are universal in its themes. At times, it seems like theater of the absurd, while other moments are dark comedy.

And the cast’s commitment to bringing different elements of humanity to their roles is admirable, which is why their performances stand out, not only individually, but as a quartet.

Upstream Theater presents “Pictures from a Revolution” from Jan. 24-26, Jan. 30-31, Feb. 1-2, and 6-8, at The Marcelle Theater, 3310 Samuel Shepard Drive, St. Louis. There is a 2 p.m. matinee and an 8 p.m. performance on Saturday, Feb. 8. The play runs for 1 hour, 30 minutes without intermission. This play contains language that some may find offensive and well as discussion of mature themes. For tickets, contact metrotix.com. For more information, visit www.upstreamtheater.org.

Photo by ProPhotoSTL.

By Lynn Venhaus

Pondering a conundrum like destiny or free will is what the Spanish classic drama “Life is a Dream” aims to do.

Because the material is from a different era and country, a director’s key quest would be to cast the right people to re-energize a verse translation for a modern audience. And thoughtful chronicler Philip Boehm did just that – he gathered a dream team to fulfill his vision in a superbly produced Upstream Theater play.

They added the polish, he delivered the panache for this stimulating allegory about illusions vs. reality. Its broader appeal speaks to the blurred lines and political uncertainty of today.

The 1635 play by Pedro Calderon de la Barca, a legendary literary figure, comments on the Spanish Inquisition, and how it used the law to combat heresy. At issue was religious freedom and scientific truths vs fundamentalists and Biblical doctrine. This version was translated by G. J. Racz, a humanities professor, in a 2006 Penguin Classics publication.

Gary Glasgow and Reginald Pierre. Photo by ProPhotoSTL.

On a barren stage, with only a chair and a set of chains visible in a scenic design by Patrick Huber, a royal tale of birthright, palace intrigue, and political maneuvering unfolds in a precise, methodically composed way that emphasizes intricate motives and flawed humanity.

The setting is Poland and Russia plays part in the power-jockeying underway. That a 17th century work could captivate an audience 400 years later is a credit to the talent on stage but also the creative team behind the scenes.

Calderon, regarded as one of the most distinguished playwrights of his time, grappled with perceptions vs. what really happened, which is parallel to today’s acceptance of ‘alternative facts.’

Boehm uses that dichotomy to tell this story in the style of the Spanish Golden Age, a period also marked by Miguel de Cervantes’ “Don Quixote” in 1605, for reference. (If the framework reminds one of the Elizabethan era, that’s certainly valid, too).

Boehm, an astute student of history, has made Upstream’s focus, since 2005, one of bringing contemporary and classic world theater that “move you, and move you to think.” He is looking for a deeper connection here between the past and present concerning fate and reason.

And that assignment is understood by the nine performers – one of Upstream’s larger casts – who invigorate that space and command attention at every turn.

Jerry Vogel as the king. ProPhotoSTL photo.

Emerging from (semi) retirement to portray the resolute ruler King Basil, Jerry Vogel reminds us why he is considered one of St. Louis’ finest actors. In his 10th Upstream appearance, he convinces as a man of contradictions — a mathematician swayed by superstition and intent on preserving his power through a prophecy.

Paying heed to an oracle, he imprisoned his son, Segismund, at birth, so that he couldn’t become a threat, challenging his father’s authority – and even kill him.

It’s now 25 years later, and second thoughts have led him to free his son from captivity, basically unleashing a beast – but as a test, physically and psychologically – to see if he could turn over his kingdom to the prince.

In a fierce performance, Reginald Pierre lashes out as the incarcerated heir, confused by his freedom and struggling with decision-making. If given the chance to defy his fate, can he? Or will emotions rule from the heart and not the head?

Of course, he wreaks havoc at the palace, but the king has put a safeguard in place – if he feared his son’s actions, he’d jail him again, drug him, and say it was all a dream.

Jennifer Theby-Quinn and Mitch Henry-Eagles. ProPhotoSTL photo.

Then, he would abdicate so his niece and nephew could ascend to the throne. First cousins Astolf (Mitchell Henry-Eagles), Duke of Moscow, and Stella (A.J. Baldwin) are a pair not to be trusted.

Rosaura (Jennifer Theby-Quinn) enters the picture, a Russian noblewoman disguised as a man, so she can exact revenge on Astolf, who behaved very badly in the name of love. She and her servant Clarion (Alan Knoll) are in a jam. Their horses have run off, and they discover the secret tower where Segismund is chained.

The plot thickens as secrets are revealed. Clotaldo (Gary Glasgow), the king’s right-hand man and old nobleman, discovers that a secret he has kept for years, has now materialized with the sword Rosaura possesses. It is the one he left in Moscow that he intended for his child. Rosaura is unaware that he is her father.

As supporting players, Bryce A. Miller and Michael Pierce capably fill multiple roles as guards, servants and soldiers. Pierce was also the fight coordinator for the show.

Pierre’s dynamism is matched by the ensemble’s crisp delivery and spirited characterizations. Their understanding of the text speaks to the experience of the veterans in the cast, those who have performed in local Shakespeare and classic literature presentations.

Theby-Quinn, a three-time St. Louis Theater Circle Award winner, always brings a vitality that stands out on stage, even when the roles are as confined gender-wise, as a 17th century female fighting for her honor, would be. She’s as robust as Knoll is funny. His Clarion has fun playing the fool that he’s been pigeon-holed as, making him even more amusing.

Alan Knoll as Clarion. Photo by ProPhotoSTL.

Costume Designer Michele Friedman Siler’s use of various textures in royal attire is striking, as is Steve Carmichael’s lighting design, adding to the moody atmosphere. Philip Boehm and Sabria Bender’s sound design was flawless.

The creative team included Jane Paradise as assistant director, Patrick Siler as stage manager, Brian Macke technical director, and Emma Glose on props.

When rebels free the prince from the tower, Segismund has learned a great deal – and above all, lessons of love and forgiveness. The storytelling has a few surprises, so it’s not as easy to predict, but ends optimistically as honor is restored.

To borrow from that enlightened period, to dream an impossible dream – bear sorrows, right wrongs, and keep hope alive, is a noble endeavor that leads to more understanding. “Life Is a Dream” makes a case for living in the present, but also keeping dreams alive, and Upstream underlines that with exclamation points.

Jerry Vogel and AJ Baldwin. Photo by ProPhotoSTL.

Upstream Theater presents “Life is a Dream” Oct. 18 – Nov. 3 at The Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. Performances are Thursday through Saturday at 8 p.m. and Sunday at 2 p.m., with a special evening performance instead at 7 p.m. on Oct. 20. The play runs 2 hours and 20 minutes with an intermission.
Bohemian Thursday is Oct. 24, and all tickets are $15. For more information, visit www.upstreamtheatre.org

Theby-Quinn and Pierre. ProPhotoSTL.

By Lynn Venhaus

Whether you describe her as a grand dame or a beloved veteran, the multi-talented Donna Weinsting is a true all-around champion in local theater who only garners accolades from her peers.

A popular figure on stage, in films and comedy clubs throughout St. Louis for 60 years, she is not resting on her laurels, by any means. She is part of this year’s ninth annual Tennessee Williams Festival St. Louis (Aug. 8-18), as part of the cast of “Life Upon the Wicked Stage.” (And was part of the first, in “The Rooming House Plays” in 2016).

“Life Upon the Wicked Stage” celebrates the Grand Center Theatre District and includes three one-act plays about show business — “In Our Profession,” “The Magic Tower” and “The Fat Man’s Wife.” It will also feature music and is directed by former St. Louisan Brian Hohlfeld. Donna is cast in “The Magic Tower.”

Carrie Houk, the festival’s artistic director, described the piece as a “like a mini-jukebox musical.”

“It features songs from the period to evoke an era of vaudeville and the type of entertainment Tom (Tennessee Williams) would have encountered in his Grand Avenue outings long, long ago,” she said.

Eight performances will take place at 1 p.m. and 4 p.m. on Saturday, Aug. 10 and 17 and Sunday, Aug. 11 and 18, at the Curtain Call Lounge, which is next door to the Fox Theatre, 521 N. Grand Boulevard.

‘Life Upon the Wicked Stage’ at TWStL: From left, Julia Crump, Julie Layton, Donna Weinsting, Dominic DeCicco, Gary Wayne Barker. Photo by Suzy Gorman.

Donna is enthusiastic about the show.

“It’s going to be a treat for Tennessee Williams fans. Interspersed between the three one-acts are musical numbers fitting the times accompanied by the marvelous Tom Clear on piano,” she said. “Brian Hohlfeld is a joy to be directed by and the cast of Julie Layton, Gary Wayne Barker, Julia Crump, and Dominic DeCicco is excellent. I’m happy to be in the mix.”

Weinsting has also been announced as part of the St. Louis Actors’ Studio’s 17th season “Something Old, Something New.” She and Whit Reichert will perform in an original play by Carter W. Lewis called “With,” to be directed by Annamaria Pileggi, set for April 4 – 20, 2025.

“The special thing about this project is just about everything.  I’ll be working in a two hander with Whit Reichert written by Carter Lewis and directed by Annamaria Pileggi for Actors Studio.  Dream team,” she said.

Donna will play Minnie and Whit will be Clifford, and their world will be humorous, but ultimately heartbreaking, as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.

The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically awry. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.

St Louis Theater Circle Award nominee Donna Weinsting for ‘Unsuspecting Susan.’

She is happy to contribute to the current arts scene.

“I feel invigorated and full of excitement again,” she said.

Earlier this summer, Donna was awarded a Lifetime Achievement Award from the non-profit organization Arts For Life. AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.

“I am beyond honored to receive this very special recognition, humbled and excited. I feel that this is a gift — to be acknowledged for something I have had a passion for nearly my entire life,” she said.

Born Donna Collins, she grew up in St. Louis, and while her family moved several times, she landed in Oakville at age 13, and that is where she has lived ever since. She was first in a summer city park production of “Sleeping Beauty,” then a play in junior high.

“The die was cast and a 60-year career in acting and stand-up comedy was launched,” she said.

Donna Weinsting as Big Edie and Debby Lennon as Little Edie in Max and Louie’s “Grey Gardens” in 2016.

A graduate of Mehlville High School, she has never shied away from a challenge, playing leads as well as supporting and brief roles. She has performed in one-woman shows, played characters like Mr. Potter in “It’s a Wonderful Life,” Jabba the Hutt in “Star Wars,” and various animals in WiseWrite plays written by 10-year-olds.

Besides STLAS and TWSL, she has been on the stages of regional professional companies The Repertory Theatre of St. Louis, Max and Louie Productions, New Jewish Theatre, Slightly Askew Theatre Ensemble, Stray Dog Theatre, St. Louis Shakespeare, Upstream Theater, West End Players Guild, and the shuttered Orange Girls, Insight Theatre, OnSite, and others.

She has appeared at the Bluff City Theater in Hannibal, Mo., Ozark Actors’ Theatre in Rolla, Mo., Arrow Rock Lyceum Theatre in Arrow Rock, Mo., Stages Houston and 59E59 Theatre Off-Broadway in New York as part of the LaBute New Theatre Festival.

The community theater organizations she has worked with include Clayton Community Theatre, Theatre Guild of Webster Groves, and the no longer active Affton Players.

Her honors include a Kevin Kline Award for Lead Actress, as Bessie in “From Door to Door” at New Jewish Theatre, St. Louis Theater Circle Award for Outstanding Actress as Iola in “Salt, Root and Roe” at Upstream Theater, and a St. Louis Theater Circle Award for Comedy Ensemble for “Jacob and Jack” at New Jewish Theatre, where she played both Ester and Hannah.

Donna and Amy Loui in “Salt, Root and Roe” at Upstream Theatre.in 2019. Photo by ProPhotoSTL.

She will be shooting a movie in Springfield this fall called “Big Mike’s Cabin,” and has appeared in other locally shot films “Ethan and Edna” and “Doubting Thomas.”

 “It is wonderful that we are giving the film industry the incentive to come to Missouri again,” she said.. 

While awards are a cherry on top, Donna said she is most proud of her family — her two children, five grandchildren, eight great-grandchildren and her 63-year marriage to her high school sweetheart, Mike.

“Being with my amazing family is the absolute joy of my life,” she said.

Donna Weinsting accepting her Lifetime Achievement Award from Arts For Life, June 30. Photo by Don Quon.

Questions and Answers with Donna Weinsting

1. Why did you choose your profession/pursue the arts?

“I didn’t choose the arts, they chose me.  I don’t ever remember wanting to be anything but an actor.”  

2. How would your friends describe you?

“My friends would all say I’m their funny friend.  They support me and make me feel special.”

3. How do you like to spend your spare time?

“I used to fill my spare time with tennis and golf. Lots of tennis and golf. COVID took me away from that and I just got less active. Now my spare time is seeing plays and lots of television.”

4. What is your current obsession?

“My current obsession is binging the really great series you can watch in the comfort of your home.  Love Ted Lasso, Outlander, Hacks and many others.”

Donna Weinsting in ‘Nonsense and Beauty’ at The Repertory Theatre of St. Louis in 2019. Photo by Jerry Naunheim Jr.

5. What would people be surprised to find out about you?

“People would probably be surprised to know I have a basement full of archery, tennis and golf trophies.”

6. Can you share one of your most defining moments in life?

“One of my most defining moments in life was entering a talent contest on a cruise and doing stand-up for the first time in my life at 48. It was an epiphany to know I could make 2,000 people laugh just being myself. I can’t explain how overwhelming that feeling of euphoria was.”

7. Who do you admire most?

“I admire the most people who can do it all and do it well.  People who can write, perform, direct and produce are superstars.  People who devote themselves to the betterment of others is inspiring.”

8. What is at the top of your bucket list?

“Top of my bucket list is to be in a television series. Betty White is gone and can never be replaced but there is a definite need for a sassy old woman.”

Eric Dean White and Donna Weinsting in “The Rooming House Plays” at Tennessee Williams Festival 2016. Photo by Lynn Venhaus

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The pandemic sort of ended my acting career for a while. I got older and even though I am not a strong singer, COVID took a great deal out of my voice and now I no longer have confidence in it. I got through the pandemic by watching a lot of television and keeping track of the lives of my family. I learned from the isolation that I don’t have the drive I would like to have. I could have used the down time to learn a new language, play the piano, write a play and clean out my closets, instead  I watched television and bitched about not being in a play.

“The pandemic was disastrous for the arts. Many small companies closed and some of the big ones were hit with financial hardships. I am encouraged by the fortitude of those in the arts though.  New companies are springing up and the talent here in St. Louis is so rich and full of promise.”

10. What is your favorite thing to do in St. Louis?

“My favorite thing to do is be on the stage, but if I’m not, I love to see good theatre and support and encourage our plethora of talent here. I love a good martini and being with old and dear friends too. I’ve been married to my high school sweetheart for 63 years and have a son and daughter, five grandchildren and eight of the most beautiful, smart and intelligent great grandchildren in the world.

12. What’s next?

“In the fall I have been cast in a film being shot in the Ozarks called “Big Mike’s Cabin.”. Then in April of next year I will be doing the play with Whit Reichert.  I feel reinvigorated and full of excitement again.”

More About Donna Weinsting:

Age: 82
Born: Arbyrd, Missouri in the bootheel.
Currently live: Oakville, Missouri
Family: Husband of 63 years, son, daughter, five grandchildren and eight great grandchildren.
Education: I have an associate degree from Meramec Community College.
Day job: I have been a Real Estate Salesperson for almost 50 years.
First job: My first job was working the lunch counter in a Walgreen’s Drug Store when I was 15.
First play: My first play was in Sleeping Beauty in a St. Louis park summer production.  I was a handmaiden.
Favorite Roles: It is hard to choose my favorite roles but the ones that stand out are, “‘Homebody” Off Broadway, ‘ “Salt, Root and Roe”, “Gray Gardens”, ” ‘night, Mother”, “From Door to Door”, and “The Lion in Winter”.  I also got a kick out of playing Jabba the Hutt, Mr. Potter and Donald Trump.
Dream Role: My dream job is a television series, Broadway play or major film role.
Awards: I’ve won a Kevin Kline for Outstanding Lead Role, a St. Louis Theatre Circle Award for Lead Actress in a drama, a St. Louis Theatre Circle Award for Comedy Ensemble and have had several nominations.
Words to Live By: My favorite words to live by are never give up.  Life can throw unbelievable obstacles in your way and its easy to throw in the towel but working through them and coming out a better and stronger person is so fulfilling.
A Song That Makes Me Happy: “Somewhere Over the Rainbow”, beautiful and full of hope.

Donna Weinsting and BFF Kim Furlow at AFL’s Best Performance Awards, Kirkwood’s Keating Center for the Performing Arts, from Lynn Venhaus.

Cover Photo by Don Quon

By Lynn Venhaus

Throughout a long and illustrious career as a professional actor and director, Alan Knoll has been a steady and appreciated presence in St. Louis regional productions. This year, he’s as busy as ever, appearing as flawed dads in two plays — “We All Fall Down” and “August: Osage County,” and directing an acclaimed drama — “Red” — later this summer.

Knoll estimates he has been in more than 150 productions, with his current turn as Saul Stein, a retired history professor, in “We All Fall Down,” now playing at New Jewish Theatre through June 16.

“It appears to be around my 153rd show since I started acting ‘professionally’ right after college. That doesn’t include the many shows I did at St. Mary’s High School, St. Louis University, and all those little gigs I took right out of school that didn’t pay a little something,” he said.

The parts of Saul Stein and Charlie Aiken Sr. this year have been enriching, he said. He has moved easily between comedic and dramatic parts, with occasional forays into musicals.

“This is the year of the family dramedy for me, for sure. Playing Saul Stein in ‘We All Fall Down’ at the New Jewish Theatre took me down an unexpected road of reflecting on my own dad and what he went through at the end of his life. Playing Charlie Aiken in ;August: Osage County” gave me the opportunity to reflect on my successes and failures in raising my wonderful son,” he said.

Alan plays retired history professor Saul Stein in “We All Fall Down,” with Jenni Ryan (back) and Bridgette Bassa (right). Photo by Jon Gitchoff.

The New Jewish Theatre’s production will be its first in St. Louis, after it made its debut in 2020 at Boston’s Huntington Theatre. It illustrates the joys and heartaches of growing older, growing up, and growing to understand the value of tradition.

Mindy Shaw plays Saul’s wife Linda, a brilliant but dramatic matriarch, who wanted to bring her secular family together for their first-ever Passover seder. But as the night continues, the occasion goes from funny to poignant. The play reminds us how culture, personal identity, and family are intricately woven.

“Even with my next project, directing “Red” for the New Jewish Theatre, the play has that father-son dynamic. It brings up strong memories of me as both the son and the father,” he said.

A bonus of being in family-centered plays is the connections you make, he noted.

“The secret no one tells you about acting is every time you do a show you gain a family.  And when that show is about a family, those gained relationships can be even more intense,” he said.

As God.

He last appeared on the Wool Studio Theatre in 2018, playing the Almighty in “An Act of God.”

Knoll has worked with multiple companies in St. Louis, including The Black Rep, The Repertory Theatre of St. Louis, The Muny, St. Louis Actors’ Studio, Upstream Theater and Imaginary Theatre Company, and the defunct Insight Theater Company, Dramatic License Productions, HotCity Theatre, Muddy Waters Theatre Company and Theater Factory..

He has also worked extensively over the years at Arrow Rock Lyceum Theatre, which is one of Missouri’s oldest professional regional theatres, and about 160 miles from St. Louis. His wife of 26 years, Laurie McConnell, became the marketing director there in 2023, and they moved from their Dogtown neighborhood to the quaint village of Arrow Rock.

He received Kevin Kline Award acting nominations for “It’s a Wonderful Life” and “Conversations with My Father.” Besides acting, he has been nominated for directing Neil Simon’s autobiographical comedies “Brighton Beach Memoirs” and “Broadway Bound” at New Jewish Theatre by the St. Louis Theater Circle Awards.

He has also appeared in several films, including as a prison warden in 2023’s “Penitentia,” and in the 1998 mini-series “A Will of Their Own” as a reporter, which was shot in St. Louis.

Despite his busy schedule, he graciously gave us his time to answer our Take Ten questionnaire.

With Steve Isom in “Wittenberg” at Upstream Theater.

Take Ten Q&A

1. What is special about your latest project?

“Lila Rose Kaplan’s family comedy/drama is just great. I didn’t realize it would be so special to me, but in rehearsing it, it has become a role that is very close to my heart. It has made me reflect on my own dad and what he was going through toward the end of his life.”

2. Why did you choose your profession/pursue the arts?  

“It was the only thing I felt comfortable doing! As a kid, I was pretty lonely and isolated, not very happy at all. At St. Mary’s High School, I met Rich Contini, the drama teacher, which changed the trajectory of my life. That continued at SLU under the guidance of Alan Hanson, Robert Butler and Wayne Loui.”

3. How would your friends describe you?  

“What friends?
I guess as an easy-going nice guy. I hope so anyway. I have a sense of fairness and I make them laugh. Also, if you need to know who won Best Supporting Actor in 1942, I’m faster than Google.”

Alan Knoll as the U.S. president in “November” at St. Louis Actors’ Studio.

4. How do you like to spend your spare time?

“What is this spare time you speak of? Reading, watching old movies, finding a streaming show for us to become obsessed with, walking our rescue pooch, Truman.”

5. What is your current obsession?

“Abbott Elementary and running from cicadas.” 

6. What would people be surprised to find out about you?

“I’m very shy.”

7. Can you share one of your most defining moments in life? 

“Marrying the best girl in the world, Laurie McConnell.”

8. Who do you admire most? 

“I would have to say my wife, Laurie McConnell. She’s amazingly talented and so sweet to everyone. She always becomes a rockstar at whatever she does, whether it’s in her radio career, her acting career or her marketing career. I don’t know how she does it.”

9. What is at the top of your bucket list? 

“Travel, because I have done very little of it. Touring the UK (or whatever it’s called since Brexit) is a dream of mine.”

Alan and wife Laurie McConnell. Provided photo.

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“2020 was scheduled to be one of my best years.   I had acting and directing gigs lined up all over the place.  None of that happened.  Of course, this nothing compared to the millions who lost their lives.

Laurie and I got through it by teaching ourselves to cook and visiting with our neighbors over the fence in the back yard.  6 feet apart of course.  It reminded us of our inter-connectedness and how we’re not in this alone.

The St Louis arts scene was terribly affected.  All the theatres shut down and some never came back. Patrons got out of the habit ongoing to the the theatre and we’re still trying to fix that.”


11. What is your favorite thing to do in St. Louis?

This is my hometown, but now that I don’t live here, it’s fun to see the city and all it has to offer with fresh eyes.  Forest Park, Ted Drewes, hanging out with my son in the Bevo neighborhood, Imo’s pizza, smelling the hops emanating from the brewery where my Dad worked for forty years.  I love my hometown and the Cardinals…….even this year!


12. What’s next?

“Directing “Red” for the New Jewish Theatre, then performing in “Noises Off” at the Arrow Rock Lyceum Theatre, then a long nap.”

Playing a priest in “Flanagan’s Wake” at the Playhouse at Westport. The run was cut short by the pandemic shutdown in March 2020.

More About Alan Knoll

Name: Alan Vincent Stephen Knoll
Age: My wife Laurie says I act like I’m 12
Birthplace: St Louis
Current location: Home base, Arrow Rock, Mo.  Currently working in St Louis.
Family: Laurie McConnell & Ben Knoll
Education: Bachelor’s degree from Saint Louis University
Day job: Dog walker (just mine….unpaid)
First job:  Dishwasher at Al Smith’s restaurant on Grand, 7 Meramec in South St Louis
First play or movie you were involved in or made: My first play was the Caine Mutiny Court Martial.  I was a sophomore in high school.
Dream job/opportunity: I really want to play Willy Loman in “Death of a Salesman”
Awards/Honors/Achievements: The late, great Riverfront Times named me Best Actor as George in “Who’s Afraid of Virginia Woolf?”
A Woody award as a best supporting actor for the Black Rep’s “Intimate Apparel.” A Piglet Award for directing “Putnam County Spelling Bee” for St. Louis University.
Being enough of a working actor to earn a pension from Actor’s Equity.
Favorite quote/words to live by: Dying is easy, Comedy is hard — Edmund Gwenn
A song that makes you happy: “Gimme Shelter” – The Rolling Stones

The ensemble cast of The Rep’s “August: Osage County.” Alan is in the foreground, center.

By Lynn Venhaus

Perhaps.

That one little word changes everything in how we perceive “Don’t Wait for the Marlboro Man,” a cryptic collision of lifestyles and values that is interestingly framed in a small space teeming with tension.

The acting trio’s performances are strong, and the production values are too as this enigmatic story unfolds. Director Philip Boehm translated a play written by Olivier Garofalo about two distinctive personalities who meet in a hospital waiting area, from German to English, for its U.S. premiere by Upstream Theater.

An air of mystery pervades because the narrator Eric J. Conners, matter of fact and authoritative, seems to indicate a larger force at work, possibly spiritual and other-worldly in nature.

It is a view askew. But we can only surmise what is real and what is imagined. The two acting partners don’t ever give us a hint, just indicate it may not be so clear-cut by their halting speech patterns and unnatural stylized movements.

Pro Photo STL

That may be because Boehm said the original script did not punctuate any dialogue, leaving it up to the actors to determine what to do, along with the director, in a collaborative spirit.

Superb Caitlin Mickey plays the driven, controlling Sarah, who has rushed to the hospital from her office after receiving the news of her fiancé’s motorcycle accident. With her cell phone in hand, she is working while waiting for news.

In struts a peculiar fellow, Pedro, and whipsmart Isaiah Di Lorenzo excels at playing oddballs. He is her boyfriend’s motorcycle buddy that she knows nothing about, which immediately puts her on edge. Who is this shaggy dude who brought a grocery sack of snacks and shares information about her, but she’s never heard of him?

She appears to wonder what else doesn’t she know, and what more does he know, but isn’t saying? This establishes an off-kilter sense of action – and reaction.

The pair circle each other warily. Can they trust each other, or will they keep pretending to do this unsettling dance as minutes tick by? They take turns being anxious and apprehensive.

ProPhotoSTL

He has a fondness for ants. She recalls happier times with her partner. His eccentricities agitate her, and her chilly demeanor annoys him. DiLorenzo is always at his best being physical, and Mickey’s skillset is a good foil. The unconventional nature of this play adds to their wordy swordplay.

The sound design by Michael Musgrave-Perkins and Boehm is particularly effective, lending a real but frenetic quality to the proceedings. A vending machine’s noises are contrasted with the medical machine beeps that monitor vital signs, and it’s lulling as we acclimate to the waiting area’s purpose: passing time. But also, eerie.

As the two chat, they touch on personal freedom, social responsibility and risks. The characters are complex, and as the play progresses, their behaviors raise more questions than answers.

Sarah hates motorcycles and disapproved of her beau’s hobby. They don’t seem compatible. But maybe they were attracted by ideology and not by inclination.

Pedro appears to be open-minded but may not like her at all and she acts close-minded but maybe she isn’t so rigid.

Doubtful, but these two are thrown together by happenstance. (Or are they?) And should it matter?

The pieces of the puzzle don’t seem to fit – or maybe they do. It’s up to you, and how you suppose what happened before, during and after figure into this tale.

ProPhotoSTL

The story gives one plenty to ponder once you leave the well-appointed space. Described as a “cold hallway in a hospital with fluorescent lighting,” Mike Loui’s set design is well-suited for the characters’ movements. Steve Carmichael’s lighting design and the intriguing sound design add to the details.

Michele Friedman Siler’s costumes astutely outfit the characters’ personalities – Mickey in a blazer and DiLorenzo in leather jacket, jeans, and bandana, with nifty safety goggles.

“Don’t Wait for the Marlboro Man” is a rumination on life and death that’s well-acted and executed. The characters are drawn together by a man in critical condition. One could overthink it but shouldn’t. Our mortality has an endgame that we all must face, and this taps into that finality.

Upstream Theater presents “Don’t Wait for the Marlboro Man” April 12-14, 18-21, and 25-28 at the Kranzberg Arts Center, 501 N. Grand. All show are at 8 p.m., except Sundays (April 14 at 7 p.m., April 21 at 2 p.m. and April 28 at 2 p.m.). For more information, visit www.upstreamtheater.org

By Lynn Venhaus

Throughout history, class wars have ended badly for many people, overt often for people in the lower class, and less so for the ruling class.

But class never matters when people show you their true selves.

Such is the complicated “Bitter Fruit,” a 2018 social commentary-human drama by Argentinian playwright Hector Levy-Daniel, “El Fruto mas amargo,” which has been translated from Spanish by Philip Boehm.

Boehm, Upstream Theater’s artistic director, wanted to bring it here for the U.S. English language premiere, so he not only translated but also directed it in a deliberately mysterious way.

Since 2005, two-thirds of the plays Upstream has produced have been U.S. or world premieres, with the goal to not only “move you” but “move you to think.” And they always do. This is a play to mull about, for at its center is a logical question on identity that has dramatic consequences. How can you deny who you really are, and what does that say about us as a society?

The playwright’s focus on identity crisis has roots in Argentina’s Dirty War, when from 1974 to 1983, an estimated 9,000 to 30,000 were killed by the state, or disappeared, in a right-wing effort to eliminate leftist political adversaries, including writers, students and journalists. Others were imprisoned.

Their children were not always killed, and sometimes, they were put up for adoption or given to supporters of the right wing.

There are children born during this period that don’t know their real identities because they were adopted by their captors and given new lives. They either discover this fact or never know the truth, but there isn’t any justice or peace amid the inequality that rages, along with political corruption.

According to the play’s notes, about 500 children were affected and the Argentine government is still sorting it out after years of protests from grandmothers.

In this quietly devastating production, a committed cast provides complex portraits of people representing different factions of entitlement and insincerity, of loss and lies.

However, as good as actresses Jane Paradise, Jennifer Theby-Quinn and Michelle Burdette Elmore are, all members of the Actors’ Equity Association, they are not Latino women, and they are playing characters named Luisa, Maria, and Teresa respectively.

Isaiah Di Lorenzo has a small but important supporting role as Pedro Coltinari, the labor representative in factory negotiations, and in flashbacks, as Maria’s teenage paramour. He establishes his character’s pure heart and breaking point in only a few scenes.

None of the four identify as Hispanic — although the play never specifically states Argentina or alludes to the Dirty War, and there are no accents used, so…but it is perplexing, and does raise questions.

If it’s vague on purpose, so be it. Nevertheless, these days, people tend to notice whitewashing. It may not be as egregious as, say Laurence Olivier as “Othello” and John Wayne as Genghis Khan in “The Conqueror,” but it is something that crossed my mind, especially given Upstream’s commitment to shows with global themes involving marginalized people.

Set in a mansion, it’s late night or early morning, depending on your perspective, and a new maid, Luisa (Paradise), is up to prepare her mistress some tea, as requested as she waits for her daughter. Upon arrival home, haughty Maria, demands to know who this interloper is in her home.

As played coldly by Theby-Quinn, Maria is a cruel woman who has no qualms about making people feel inferior in her presence. She lacks compassion and a conscience, brought up in wealth, sheltered from the world. She is now running her father’s cotton mill with a tight fist and a disdain for the workers. They are in financial trouble, and Maria is tough about negotiations. Her mother, Teresa (Burdette Elmore) is clueless (or is she?).

Yet, once upon a time, Maria fancied a local boy, someone beneath her in social status, and those scenes reflect a person she used to be but is far removed from now.

Teresa, who was kept in the dark about that relationship, is oblivious to other behaviors and sentiments as well, and Michelle Burdette Elmore portrays her as if she’s firmly entrenched in a bubble — and a bit la-di-da.

Luisa’s gaze is a tad too intense for Maria, who is threatened by the new maid, for she views her as a spy who has infiltrated the home on behalf of the workers in the factory. Paradise’s gut-wrenching performance is the show’s highlight.

As tension increases – especially with suspicious deaths, and characters smolder, the secrets, deceptions, and denials are slowly disclosed.

Another of the show’s high points is original instrumental music performed by guitarist Lliam Christy. The minimalist scenic design by Patrick Huber represents a small portion of a large estate, with ornate touches to indicate affluence, darkly lit by Steve Carmichael to reflect shadows. Costume designer Michele Siler selected outfits according to economic status.

The playwright challenges memory and how sacrificing love shows true colors. It’s not an easy play to understand. Because one is off-guard, it is hard to relate to – however, Paradise’s performance as a crushed woman who has lost everything is haunting. Nevertheless, it brings attention to a tragic, dark time involving innocent children – and is that ever over?

Upstream Theater presents the US premiere of “Bitter Fruit,” by award-winning playwright Héctor Levy-Daniel in a translation by Philip Boehm, Oct. 13 through Oct. 29. It is 1 hour, 30 minutes, without intermission. Performances are Thursday through Saturday at 8 p.m., and at 7 p.m. Oct 15 and 2 p.m. Oct.22 and 29, and take place at the Marcelle Theatre, 3310 Samuel Shepard Dr. in Grand Center. For more information: www.upstreamtheater.org, For tickets, visit: https://www.metrotix.com/events/detail/upstream-theater-bitter-fruit

Photo by ProPhotoSTL

Join STLPR for the St. Louis Public Radio Theatre Showcase on the Public Media Commons on Friday and Saturday, Aug. 11 and Aug. 12 at 7 p.m. at the Public Media Commons, 3653 Olive St., St. Louis, MO 63108.

Over the course of two nights, they will feature short performances by some talented local theatre companies. Bring your favorite lawn chair and a picnic, cold drinks will be available to purchase from STL Barkeep!

Sponsored by Carol House Furniture and Wacker Financial Group.

Participating Groups:

A Call to Conscience – Albion Theatre – First Run Theatre – New Jewish Theatre 
Prism Theatre Company – Prison Performing Arts – St. Louis Shakespeare – Stray Dog Theatre – Tennessee Williams Festival St. Louis – The Midnight Company –
Repertory Theatre St. Louis – Upstream Theater

By Lynn Venhaus

Jennifer Theby-Quinn goes there.

In a raw, emotionally wrenching performance, Theby-Quinn shows her limitless range as fireball Effie, a rough-around-the-edges working-class heroine, in the one-woman show, “Iphigenia in Splott.”

The virtuoso portrayal marks Upstream Theater’s return to producing small provocative works of art after a prolonged period of darkness. Their last effort, “Wildfire,” was presented Jan. 24 – Feb. 9, 2020, in the before times. Then, the public health emergency forced the arts to press pause, and “Iphigenia” was put on hold since 2020. Until now.

This production has had its share of challenges – Omicron outbreak so they limited ticket sales early in the run, Winter Storm Landon hit and they cancelled Bohemian Thursday performance – but they offered a streaming version too (I highly recommend, excellent quality and you do feel like you are there. Details below).

At the Marcelle Theatre in the Grand Arts Center, Theby-Quinn bursts onto a sparse stage, agitated, all attitude and lip. She’s coarse, not having any of what’s going on, and is rather difficult to warm up to with her confrontational style – obviously, having a bad day in her gritty south Wales neighborhood, Splott. It’s 11:30 a.m. and she’s drunk, stumbling around, mad at the world (but, we will soon discover she has good reason).

As she roars, Theby-Quinn intones a well-coached Welsh accent and maintains the pattern for 95 minutes. Effie’s loud and in-your-face, she makes no apologies for drinking and drugging, her leggings are too tight, and her long hair is distinctive – crimped and streaked with red. In Cardiff, one would think locals know not to mess with her.

During the past two years, we’ve witnessed rude tirades in public as we’ve all grappled with a new normal forced on us by a global pandemic. But Effie is no Karen. She’s been marginalized by society, ignored.

As Effie rages, scolding the audience for thinking she’s a “stupid slag, a nasty skank” as if she’s used to insults, we learn things about her that force us to change our first impression.

Playwright Gary Owen sets us up to take a sharp turn, to understand that something horrific has happened to Effie, and she has been forever broken. But is she a victim or survivor, and dare she be an everyday hero?

She’s actually a spin on a tragic warrior princess. The title references ancient Greek myth. Ever hear of Euripedes? He wrote a play, “Iphigenia in Aulis,” which tells the story of King Agamemnon’s decision to sacrifice his daughter for his country. She will be sacrificed to goddess Artemis so that his fleet will have smooth sailing to Troy, for the wind isn’t helping

Owen flips it to mean growth and profit over casualties – as in what is it worth when the cost is better for business overall? We’ve heard this before, but we’ve never heard from an Effie.

On the government doll in a town ravaged from shut downs and employment cuts, she is the embodiment of what communities have lost in the past decade.

Owen grew up in Splott and his 2015 monologue is a protest of UK’s shortcomings. It will leave an audience gutted. This may be an all-too-common case in health care, but it’s still inequitable and sad, and gets us to take notice.

This is when Theby-Quinn turns in a virtuoso performance that few could match on local stages, and she has set a high bar for the rest of the year.

Under Patrick Siler’s direction, Theby-Quinn is put through physically demanding paces on a gut-wrenching journey, using three chairs and a thin blanket to convey different spaces. The sound design is quite effective.

Effie huffs and puffs, as is her way. Then, she settles in to say something. She has a boyfriend Kev, but it’s her encounter with Lee that changed her life. And she wants us to listen.

Because Theby-Quinn is so mesmerizing, she has our undivided attention as she unfolds, in soul-crushing detail, a tale of woe. She will break your heart with her intensity.

When she howls about how she can’t speak and she has no one to speak for her, you feel her pain. Effie’s personal trauma becomes a lightning rod for battling complacency.

One wonders how she can mentally wrestle so deeply like that at every performance and not be affected.

Jennifer Theby-Quinn. ProPhotoSTL.

As she explains the damage that’s been done and how she put herself back together, it reminded me of what Vanessa Kirby endured in the 2020 film, “Pieces of a Woman.”

Owen won an award at the Edinburgh Festival for his innovative writing. He forces us to not only care about Effie, but sympathize with her. We hear a lot about the greater good in the vaccine rhetoric these days. In the aftermath of her tragedy and decisions she made, she took one for the team.

It’s Theby-Quinn’s finest work in the past 10 years, since I’ve been reviewing professional regional theater, and I didn’t think she could top her performance as Lucille Frank in R-S Theatrics’ “Parade” in 2013, although she’s been impressive in everything from Shakespeare to farce to musical comedy since.

She has won two St. Louis Theater Circle Awards, for the inaugural year as outstanding leading actress in a musical for portraying Hope Cladwell in “Urinetown” at Stray Dog Theatre in 2012, known then as Jennifer M. Theby, and as outstanding supporting actress in 2016 for the drama “Afflicted: Daughters of Salem,” produced by the Metro Theater Company.

And has been nominated multiple times, including the 2019 musical “Daddy Long-Legs” at Insight Theatre, and recently in comedy, for supporting role in 2020’s “Flanagan’s Wake” at the Playhouse at Westport Playhouse and in a leading role for “Jake’s Women” by Moonstone Theatre Company in 2021. Those awards are to be announced March 28.

Owen wanted us to listen, and Theby-Quinn made that happen.

Note: A streaming option is available through Feb. 7. I saw this as a filmed production. Had I been there in person, I would have been sobbing in an ugly cry.

Upstream’s performances are Jan. 21-23, 27-30, Feb. 3-6, at the Marcelle Theatre, 3310 Samuel Shepard Drive – free parking lot across the street. All performances are at 8 p.m. except Sundays – Jan. 23 and 30 are 7 p.m. and Feb. 6 is at 2 p.m.

Proof of vaccination is required. Tickets are available at Metrotix and at the box office before the performance. Box office hotline is: (314) 669-5312.

Upstream collaborated with Blip Blap Video to create a recording of the live performance. This may be accessed for a discounted ticket price of $20 and viewed on demand through Feb. 6 until midnight. For a ticket: https://ticketbud.com/events/a0662266-8129-11ec-852a-42010a717017?fbclid=IwAR01pInMHXQVZAoO4LnIoQsSJ3KF13OjkSW7TDwHM2ks2U0Bl3MJoyEv_4E

For more information, visit https://www.upstreamtheater.org/

To close our first (and we hope only) virtual season, we offer another retrospective of some of our past shows that explore themes related to refuge and asylum, as well as reconciling with past injury and injustice. The video will open on YouTube, FridayJune 18 at 8 PM and follow our usual show schedule.

.WATCH OUR BRIEF TEASER ANYTIME! https://www.youtube.com/watch?v=_R7ypzUMaOs

Once again we reached out to a number of actors, directors, designers and even a critic (!) — and we hope this foray behind the scenes conveys how grateful we are to have so many talented professionals in our collective.

To view the actual video please use the link below:

REFUGE AND RECONCILIATION

https://www.youtube.com/watch?v=xgwAywfT0Nw


(starts at 8PM) June 18 – 20 June 24 – 27July 1- 4

Contributors include: Steve Callahan, Eric J. Conners, J. Samuel Davis, Kareem Deanes, Shanara Gabrielle, Laura Hanson, David A. N. Jackson, Erin Kelley, Amy Loui, Peter Mayer, Brian McClelland, Scott Neale, Jane Paradise, Mona Sabau, Patrick Siler, Bonnie Taylor, Lisa Tejero, Jaqueline Thompson, and Magan Wiles.