James Lindhorst

A complete review of this work will not be published until after seeing Part 2, but after witnessing this company’s transcendent and transformative performance of Part 1 I was compelled to write a micro-review.  

On Friday, May 10th, season packages go on sale to new subscribers for The Fabulous Fox Theatres ‘24-’25 Broadway Series. The 8-show season includes all the biggest musical hits from last season on Broadway, including the Tony Award Winning Best Musical KIMBERLY AKIMBO, the box office sensation & JULIET, the phenomenal SOME LIKE IT HOT, the ridiculously funny SHUCKED, and the triumphant return of St. Louis favorite SIX. 

The Repertory Theatre of St. Louis (The Rep) has announced that Kate Bergstrom will assume the role as the Augustin Family Artistic Director effective May 13, 2024. The Rep conducted a six-month nationwide search before naming Bergstrom to the role. Bergstrom succeeds Hana S. Sharif’s following her departure last summer. With the appointment, Bergstrom brings a passionate energy for The Rep’s next chapter to build on the theater’s success as a vital, celebrated, cultural cornerstone of St. Louis. 

Bayoc, like the rest of us is just an everyday person finding his way in this world. He is talented, has enjoyed success in the art world, learned from his mistakes, and understands the importance of personal accountability. Bayoc shares many sensitive moments. None more exposing than the story of the painting of himself, his father, and his sister that was included in his “365 Days with Dad” series. Colin Healy, credited with direction and stageplay, crafted an engaging script that walks the audience through Bayoc’s life. Healy’s script includes Bayoc’s education at an HBCU, his work as a caricature artist at an amusement park, and his sale of three paintings to Prince. Yes, THAT Prince, and now one of Bayoc’s paintings adorns the wall above the white piano in Prince’s home at Paisley Park. It is the same painting that Prince selected as album cover artwork for his jazz album “The Rainbow Children.”

STAGES St. Louis has announced the creative team behind its 2024 season opener, STEEL MAGNOLIAS, at the Ross Family Theatre in the Kirkwood Performing Arts Center. The show will run from May 31- June 30 and highlights a multitude of St. Louis local designers, actors, artists, technicians, stagehands, and more. 

This well-directed and remarkably acted version of HAMLET illustrates how entertaining and engaging Shakespeare’s works can be. Siler and his cast created a production that would meet the highest standards of a finicky bardolator while entertaining a casual theater goer who may wonder if Shakespeare is right for them. 

Boehm’s translation and direction tells a melancholic tale about life, choices, relationships, and death. His trio of actors create stylized characters to challenge beliefs and self-morality. DON’T WAIT FOR THE MORLBORO MAN uses different conventions to tell a somber story that penetrates your consciousness and sticks with you long after leaving the theater.  

THE CHER SHOW is an eye-popping traipse down memory lane but suffers from drive-by storytelling. While far from perfect as a full-fledged Broadway musical, there are plenty of wildly entertaining moments that make this show more enjoyable than it should be. It is the casting, strong vocal performances, Bob Mackie’s over-the-top costume design, Charlie Morrison’s concert-like lighting design, Jonthan Infante, and Kelly James Tighe’s visually interesting video design that give this production an entertaining musical revue feel. Fans of Cher will not be disappointed with this production. There is plenty of music, talent, glitz, glamour, and fun to satisfy.

The Midnight Company, in a collaboration with St. Louis University’s Lucy Cashion, is producing Mickle Maher’s SPIRITS TO ENFORCE. This is the fourth Maher play that Midnight Company has produced. Maher is the founder of Chicago’s Theatre Oobleck and has authored more than 10 plays. Cashion will direct.

Garner, Peters, and Richie’s performances all elevate a passable script that doesn’t quite reach the level of a disquieting and chilling story. Pierce’s directorial choice makes the production worth recommending, however go with the expectations that the aliens never materialize to create a chilling other worldly ghost story.  

The entertaining 8th Annual Aphra Bren Festival successfully gave fresh female, transgender, and non-binary voices the medium to have their works professionally produced and be heard. Four playwrights presented new works as part of the Festival. Anne Valentino’s play THE THE stood out amount the produced works. It was creatively staged, paced, and magnificently blocked by director Michelle Hand. Valentino’s play illustrated a maturity in storytelling with strong voice that provided a message that resonates. Hand, Baker, Keating, and David Cooperstein collaborated to create a memorable production.

This is an excellent production of a story that is difficult to watch. The direction is sharp, the acting is flawless, and the technical theatre quality is first rate. The artists at St. Louis Actors’ studio have milked every bit of emotion they can wring from a strong script with, what was for me, a less than satisfying conclusion.

Mason’s entrancing show is a love letter to the legendary songwriting team. Her warm memories of Kander and Ebb left the audience feeling as if they were also acquainted with the celebrated composer and lyricist.  

Fresh off her win for Outstanding Costume Design of a Musical at Monday evening’s St. Louis Theatre Circle Awards, Eileen Engel took the stage in JACEY’S JAZZ JOINT. For the next 70-miutes, Engel treated her audience to jazzy renditions of some of the most loved American standards. Her set included “Embraceable You,” “Fly Me to the Moon,” and “Misty,” among 10 other songs. Her work with this set of 13 songs suited her voice as she confidently entertained the club at Blue Strawberry Showroom and Lounge, playing club owner Jacey.  

Mason is thrilled to be returning, again to St. Louis and bringing her show featuring the music of the legendary composers Kander and Ebb. She said, “the music they write is perfect for my voice and I enjoy singing the music they’ve composed for their musicals.” She had the chance to work in the original company of AND THE WORLD GOES ROUND with John Kander and Fred Ebb. She talked of how collaborative her work was with them, what special composers they are, and how she loves to sing their music. Mason beamed with pride when she talked about John Kander being in the audience when she premiered this show at Birdland in New York City. She said, “He couldn’t have been more kind and lovely.”  

Last evening at The Loretto-Hilton Center, the St. Louis theatre community gathered for The St. Louis Theatre Circle Awards Gala. Thirty-Four awards were handed out with three productions winning big: The New Jewish Theatre’s production of INTO THE WOODS and STAGES St. Louis production of CLUE won 5 awards each, and The Black Rep’s production of DEATH OF A SALESMAN won 4 awards. Each of the three were named the best of their category, INTO THE WOODS was named Outstanding Production of a Musical, CLUE was named Outstanding Production of a Comedy, and DEATH OF A SALESMAN was named Outstanding Production of a Drama. 

The New Jewish Theatre picked up where they left off last season with a superior effort resulting in stellar storytelling. This well-acted production of ALL MY SONS is intense and riveting drama. Jayson Heil, Greg Johnston, and Amy Loui are outstanding as the members of the Keller family. Their simmering performances build to a boil in this pressure cooker filled drama before the lid blows sky high. The tension and intensity they bring to each of their roles is tangible. Director Gary Wayne Barker has collaborated with his actors and technical crew to tell a gripping and tragic story.

MOVIE MUSIC is an entertaining and sometimes emotional walk down memory lane by three skilled theatrical professionals who know a bit about storytelling. Midnight Company’s Joe Hanrahan has created a formula with his theatrical cabaret productions that continues to fill seats at The Blue Strawberry. Eileen Engel, glistened with confidence, charm, and stage presence as she sang most of the evening’s selections. Colin Healy has exceptional talent on the keys and a gift of theatrical intuition for using music to build anticipation and advance the story.

One of the most anticipated plays being produced in St. Louis this season is Matthew Lopez’s epic masterpiece THE INHERITANCE. Produced by Tesseract Theatre Company, THE INHERITANCE is a two-part play spanning three generations of gay men and the effect their relationships have on one another. Inspired by the novel “Howard’s End,” THE INHERITANCE debuted in London’s West End in March of 2018, before transferring to Broadway in November of 2019. THE INHERITANCE is the winner of countless awards including the Olivier Award for Best New Play, the Tony Award for Best Play, and was recognized as Best Play by London’s Evening Standard Theatre Award, Critic’s Circle Award, South Bank Sky Arts Award, Drama Desk Award, Drama League Award, New York Drama Critics’ Circle Award, Outer Critics Circle Award, and GLAAD Media Award. Broadway World had the opportunity to sit down with the Director Stephen Peirick, and three members of his acting troupe, Tyson Cole, Jonathan Hey, and Jacob Schmidt, who will bring the regional premiere of this important work to audiences in and around the St. Louis Area. 

Jones collaborates with his cast and crew to mount an artful production of Alice Childress’ important story. He captures the grievous nature of oppressive racism and the fears of mixed-race couples in doomed relationships. This outstanding production of Wedding Band is being presented by The Black Rep at COCA’s Catherine B. Berges Theatre through March 31st.