James Lindhorst

On Wednesday, the Tony Awards Administration Committee announced that The Muny is the recipient of the 2025 Regional Theatre Tony Award. The honor recognizes a theatre company that displays a continuous level of artistic achievement that has contributed to the growth of theatre nationally. Immediately following the announcement, Broadway World had the opportunity to sit down with The Muny’s Artistic Director & Executive Producer Mike Isaacson, and the Muny’s President & CEO Kwofe Coleman, to get their reactions.  

This week St. Louisan Joan Lipkin was inducted into the College of Fellows of the American Theatre in ceremonies held on April 26 – 27, 2025 at Arena Stage in Washington, D.C. Lipkin is a internationally renowned theatre artist, playwright, educator, and activist who works in the intersection of performance and civic engagement to create dialogue about pressing issues. Lipkin called the cohort inducted this year “wonderful.” She was humbled to be included with the esteemed group of theatre professionals who were also inducted including Tony winner André De Shields, playwright and songwriter Caridad Svich, playwright and screenwriter Kristopher Diaz, author Daniel Banks, author J. Ellen Gainor, and Tony and Pulitzer Prize winning Playwright August Wilson who was inducted posthumously on what would have been his 80th birthday.  

When the Tony nominations were announced this morning St. Louisian Jack Lane was nominated for the eighth time for producing shows on Broadway. This season he is part of the producing team for the smash hit Sunset Blvd that is currently wowing audiences at the St. James Theatre on Broadway. 

JOHNNY TAYLOR IS GONE is an entertaining, delightful, and nostalgic story about times gone by in St. Louis. It is a story about both holding onto and letting go of the past. The play is enjoyable despite some of the amateurish technical elements. Seating is general admission, so it is advisable to arrive early and sit near the front so you can hear all the dialogue.

Fly North Theatricals Little Miss Sunshine has a lot of laughs thanks to Healy’s creative direction and the breakout performances from young talented actors.

This Will Be: The Spirit & Soul & Music of Natalie Cole played to two sold out houses at The Blue Strawberry. Hanrahan, Healy, Kidd and the rest of the company may have found another cabaret concept musical with long running potential.

The Missouri Coalition for the Environment and That Uppity Theatre Company collaborated to produce PLAYS FOR THE PLANET, a program of 9 short vignettes to increase awareness about current climate issues. The hour-long program was directed by That Uppity Theatre Company’s Joan Lipkin and St. Louis based directors Sami Ginoplos and Bekah Harbison.  

Acclaimed Ozark storyteller Ursa Miles is bringing her original work OZARK PHANTASMAGORIA to St. Louis for a one-night performance at The Chapel. Miles, a renowned professional storyteller, studied in the Master’s graduate storytelling program at East Tennessee State University and trained under master storyteller David Novack.  

MEET ME AT DAWN is not macabre or depressing but it is sorrowfully somber in tone. Michelle Hand and Lizi Watt enmesh with contemplative, cathartic, and pensive portrayals. The subtleties in their doleful performances are as impressive as their outward acting. Larissa Lury’s solemn direction creates ruminative storytelling with long-lasting effect. 

Celebrities, family, friends, and members of the community gathered in St. Louis on Friday evening to celebrate the life of the late Ken Page. The celebration, hosted and produced by The Muny, was held in the packed-to-capacity Sheldon Concert Hall. 

WITH is the authentic love story of two cantankerous and snarky old folks whose time together has beaten the odds. Their life has been blessed with longevity and fond memories. They have lived a long enough to raise a child and experience joy, sorrow, happiness, grief, and the full complement of human emotions. But now, Minnie and Clifford are facing illness and their own mortality. Pileggi’s restrained direction and her actors’ honest portrayals keep WITH from wallowing in cloying insincerity and sadness. Reichert, Weinsting, and Pileggi blends equal parts humor, sweetness, and melancholy to tell Lewis’ end-of-life story with dignity and grace.  

West End Player’s AT THE WEDDING is a well-constructed show with strong directorial vision, good performances, but it is saddled by a muddled narrative. The talented cast works diligently to overcome Bryna Turner’s ponderous script. The early scene between Carlo and Carly (the bridesmaid) lays an expectation that AT THE WEDDING is a droll relationship comedy, but the scenes that follow lack the same wit and caustic sense of humor. Is AT THE WEDDING a comedy or a drama?  Turner’s writing seems stuck in limbo unsure of what it really wants to be. 

Three novice directors were given the opportunity to collaborate with aspiring playwrights at this weekend’s Aphra Behn Festival. The 9th Annual Festival, produced by Slightly Askew Theatre Company’s (SATE’s) Rachel Tibbetts and Ellie Schwetye, included works penned by Dylan Malloy, Meredith Lyons, and Aurora Behlke.  

BUT WHAT CAN YOU DO? Is a 50-minute one act play with a message that effort pays off. The play, with music, positively encourages its protagonist to face their challenges head-on to reach a goal.  Playwright Myah L. Gary, in collaboration with Metro Theater Company’s Jacqueline Thompson, has adapted the work from the writings of 9-year-old Arika Parr and Ava Johnson with Illustrations by Misra Karahan. Thompson told St. Louis Magazine that “this story aligns perfectly with Metro Theater’s mission.” 

Tesseract Theatre Company dominated at The St. Louis Theater Circle Awards on Monday evening winning 10 awards, including Outstanding Production of a Musical for ANASTASIA: THE MUSICAL and Outstanding Production of a Drama for Matthew Lopez’s THE INHERITANCE Parts 1 & 2. ANASTASIA and THE INHERITANCE each picked up five awards. Directors Brittanie Gunn and Stephen Peirick were honored for Outstanding Direction of a Musical and Drama. Each production picked up two acting awards as well. 

New Jewish Theatre’s production of CABARET is a grim reminder of the early days of the Nazi reign in Germany. It is appropriately risqué and bawdy and artfully staged on David Blake’s beautiful set. It is filled with impressive performances from the entire cast, especially the original characterizations developed by Spener Davis Milford, Hailey Medrano, Dustin Lane Petrillo, and Jane Paradise. Rebekah Scallet’s storytelling reflects on the two melancholy love stories with a direful reminder of the past and a warning about current day antisemitism. She hammers home the funereal denouement like a railroad worker driving spikes with a maul.  

Kelundra Smith has penned an important piece of drama. THE WASH’s historically educational narrative hooks the audience with provocative storytelling. Chris Anthony’s strong direction, enhanced by Heather Beal’s earth-centered movements, grabs and holds the audience’s attention. The cast’s outstanding performances, led by Velma Austin and Paulette Dawn, create indelible characters who will stick with you long after the curtain falls.