REVOLT. SHE SAID. REVOLT AGAIN. Sargent Conservatory of Theatre Arts at Webster University. 2021. Director Joanna Battles. Left to right, top: Elizabeth Atkins ’22, Ashley Schwach ’24, Giac Noelle ’23, Carmen Retzer ’23, Chloe Berek ’22. Bottom: Evie Bennett ’22, Maya Love ’23
WHAT WE DO IN OUR STUDIOS, OUR REHEARSAL ROOMS, AND ON OUR STAGES SERVES AS REHEARSAL FOR WHAT WE DO IN OUR HOMES, OUR STREETS, AND EVEN OUR HEARTS.
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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. It operates independently of, but under a mutually beneficial agreement with, Webster University. The Rep operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Rep hires directors and choreographers who are members of the Society of Stage Directors and Choreographers and stagehands who are members of the International Alliance of Theatrical Stage Employees. Scenic artists employed by The Repertory Theatre of St. Louis are members of United Scenic Artists, Local 829, AFL-CIO. The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829, IATSE. Financial assistance for this theatre has been provided in part by the Arts and Education Council of Greater St. Louis; the St. Louis Regional Arts Commission; and the Missouri Arts Council, a state agency. This project is supported in part by an award from the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.
We honor and pay respects to the people that cultivated the land and then were forcibly removed from it. Our society is increasingly becoming more aware of the complexities of colonization, and those complexities come with us as we gather into spaces like The Rep. Acknowledging the land honors Indigenous communities, but more broadly it acknowledges the histories that brought us where we are today as a community. We are often fascinated by architectural history of a building; this gives us the opportunity to go further than a building and think about the history of a people that existed before buildings were erected. In addition to honoring donors and sponsors for financial gifts that they freely give, we believe it is critically important to honor those who lived and worked the land centuries before we arrived and still live here today.
About 80,000 people living in Missouri are a part of the Indigenous community. A land acknowledgment is a great starting point in honoring their history and legacy, and to make space for them in their own home.
It is important for us here at The Rep to acknowledge that the land beneath us owes its vitality to generations who have come before us in the spirit of making erased and silenced histories visible. We acknowledge that we are standing on the ancestral and occupied lands of many Native tribes that stewarded and cared for this land for centuries. The Illini, Osage, and Missouria tribes are just a few of the peoples that we pay our respects to. Please take a moment to consider the many legacies of violence, displacement, migration and settlement that bring us together here today and join us in uncovering such truths at any and all public in-person and virtual events.
There is nothing I love more dearly than a great comedy. Noël Coward is indeed one of the icons of the 20th-century reemergence of the Comedy of Manners, no one does it better. Coward offers us a much-needed escape into the hysterical with his unique brand of irreverent wit and the combustible rage of Elyot and Amanda in Private Lives. In this bawdy physical comedy, he challenges the notion that “you can never go home again” and instead begs the question, “Should you?”
Inspired to write a star turn for his irrepressibly funny muse, best friend, and intellectual sparring partner, Gertrude “Gertie” Lawrence, Noël Coward penned Private Lives during a four-day fever rage in Shanghai. His dream was to create a theatrical vehicle for he and Gertie to perform together, building upon their penchant for verbal hijinx and insatiable drama. After finishing his draft of the play, Noël and Gertie exchanged the following cables:
“HAVE WRITTEN DELIGHTFUL NEW COMEDY STOP GOOD PART FOR YOU (STOP) WONDERFUL ONE FOR ME (STOP)
KEEP YOURSELF FREE FOR AUTUMN PRODUCTION.”
‘I’ve sometimes thought of marrying - and then I’ve thought again.’ ~Noël Coward Dear Rep Family,Photo by Cheshire Isaacs
He then sent her a copy, and she replied:
“HAVE READ NEW PLAY STOP NOTHING WRONG THAT CAN’T BE FIXED (STOP ) GERTIE”
“THE ONLY THING THAT WILL NEED TO BE FIXED IS YOUR PERFORMANCE (STOP), NOEL”
In a perfect comedy of errors, Gertie was referencing an autumn contract she needed to untangle herself from, and Noël thought she was challenging the quality of his writing. The two electrified audiences in London and New York as Elyot and Amanda - two radically selfinvolved people whose flames burn fast and hot before yielding to cold comfort and icy freezes. Filled with the lush extravagance of 1930s France and the unpredictable capers of our tumultuous lovers, Private Lives is the great escape that begs the question: passion or penance? Enjoy the ride!
Hana S. Sharif AUGUSTIN FAMILY ARTISTIC DIRECTORCoward’s Private Lives (1930) is a pivotal work in the theatre repertory today, and alongside such plays as Present Laughter (1939) and Blithe Spirit (1941), it remains one of Coward’s most beloved plays. The first production opened in Edinburgh at the King’s Theatre and then toured throughout Britain visiting Birmingham, Liverpool, Manchester and Southsea. It then transferred to the Phoenix Theatre in London and was followed by a Broadway production. The original play was financed by impresario Sir Charles B. Cochran, Coward, and Lawrence, each of whom put up £1000 for the play. It starred Coward himself, alongside, Gertrude Lawrence, Adrianne Allen, and Sir Laurence Olivier. It has received countless revivals, film, and radio adaptations, and remains one of his most enduring successes.
Coward began constructing Private Lives, with an eye to Gertrude Lawrence, while in Hong Kong recovering from illness. During this period, he was also traveling extensively, mingling with other members of the musical and society elites, including Cole and Linda Porter. Coward was in a romantic
relationship with American, Jack Wilson and wrote much of the play in the South of France while Lawrence stayed at designer Edward Molyneux’s villa where she corresponded with Coward frequently.
Although Coward enjoyed warm relationships with the other performers, including Sir Lawrence Oliver, many aspects of the play mirrored the highs and lows of Coward’s relationship with Lawrence. According to several members of the cast, Coward and Lawrence argued constantly during the production. As an anonymous critic for the Illustrated Sporting and Dramatic News noted, when we first meet the divorced pair, “something has been said that has aroused old enmities. In the end the couple engage in a free fight, and the deserted spouses, by this time arrived from the south, enter the apartment to find the runaways fighting like tigers rolling over and over on the floor.” Coward biographer Phillip Hoare notes that actress Everley Greg, who played the part of the maid, found them engaged in a fist fight backstage at one point. (Hoare, 225). The relationship onstage was demonstrably as much about their tumultuous friendship as it was about the divorced couple onstage.
The play represents one of several creative shifts for Coward in the 1930s. His early association with the “Bright Young Things” –– the social group of young bohemians and intellectuals that included Sylvia Townsend Warner, Evelyn Waugh, and Beverley
Theatre of St. LouisNichols––had somewhat dissipated. Gone was the young Coward who was so enamored of other members of his generation such as Ivor Novello and others who came of age just after the First World War. In its place was a more mature Coward who possessed considerable experience on and offstage and who had developed a distinctive narrative voice that spanned multiple genres.
Coward would continue to work in multiple facets, including acting, directing, writing, composing, and performing. His works produced by Charles B. Cochran were highly successful and several were transferred to the United States. Often called “The Ziegfeld of Britain,” Cochran produced several of Coward’s 1920s and 30s successes, including musical revues This Year of Grace (1928), Words and Music (1932), and his pseudo-operetta-melodrama Bitter Sweet (1928). Other works that preceded Private Lives included straight plays including The Vortex (1923), Easy Virtue (1924), Fallen Angels (1925), Hay Fever (1925), and Home Chat (1927).
Coward’s comedy of manners that is Private Lives reflects his interpretation and understanding of both himself and the world around him. The story centers on Elyot Chase and Amanda Prynne, who are now divorced and now remarried, who rediscover each other on their honeymoon. In the words of Coward scholar Barry Day, “Beneath the sophisticated repartee are two accidental assassins–– destined
to be destructive of each other and of anyone who comes emotionally close to them (The Letters of Noël Coward, 217).” For Coward, affairs of the heart are glamorous excursions into human nature, and the inevitable comedy that follows stems from his ability to create living, breathing characters rather than dramatic archetypes. At the same time, modern audiences cannot escape the undercurrent of domestic abuse that runs as a throughline in the play.
This play is perhaps best understood through the lens of Coward’s sensibilities and understanding of human relationships, as well as his ability to create domestic scenes that wavered between light-hearted comedy and the darker aspects of human relationships. The blunt examination of marital relationships onstage was nothing new for Coward. In his revue This Year of Grace (1928) is a prime example of this: a sketch entitled “Ignorance is Bliss” explores the relationship between a young married couple and their understanding of sexuality by contrasting the expectations in the 1890s and a modern-day couple. In the first instance the couple is shy, and the young wife is terrified of the wedding night, whereas by the 1930s the couple is so used to open sexuality the wife comically asks the husband to undo her zip and pour the drinks. This vignette demonstrates one of Coward’s narrative techniques;
he introduces the layers of his characters and paint vivid portraits of their interactions that walk a fine line between believability and excess, all while shocking the audience with his blunt portraits of sexuality.
Whether we interpret Private Lives as comedy, domestic farce, or a deeply cynical look at marital relationships, it is clear that Coward crafted a play that is a glimpse into the darker world of human nature. The throughline of the play is the obsession between Elyot and Amanda, who employ shared codewords, echoed in the undercurrent of one of Coward’s most popular songs “Someday I’ll Find You.” Coward’s lyrics echo the unresolved anguish and the sentiment that remains between the divorced couple while showing us the extremes of their relationship. This is perhaps what Coward’s play was intended to be: we enjoy the witticisms, we delight in the quips and the absurd situations which the characters find themselves, but we also understand that Coward’s lifelike characters reveal darker truths about ourselves.
References: Coward, Noël, And Barry. Day. The Letters of Noël Coward. 1st Ed. New York: Alfred A. Knopf, 2007.
Hoare, Philip. Noël Coward: A Biography. University Of Chicago Press Ed. Chicago: University of Chicago Press, 1998
REPERTORY THEATRE OF ST. LOUIS
The play will be presented with one intermission.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
First performance at the King’s Theatre, Edinburgh on 18th August 1930 PRIVATE LIVES © NC Aventales AG 1930
Copyright agent: Alan Brodie Representation Ltd www.alanbrodie.com
I’ve long admired the work of Noël Coward, but never had the opportunity to work on it until now. His mastery of language and humor shines a generous light on the very real pathos and imperfection of humans. And that wit! His characters always have the immediate retort that I dream of having in that perfect moment in the argument! Rehearsing with these exceptional actors for the past month has been an endless delight and I’m so happy to be back at The Rep, and to bring that joy to the audiences here. As I’ve emerged from these past two isolating years, now hearing the sound of hundreds of people laughing is such a balm for me. To see audiences coming together as a community of strangers in a dark theatre to laugh together at how very familiar and hopeless these characters’ foibles are gives me hope.
Yet my secret surprise in working on the piece is how much heart I have found in it. Coward has such a love for people, and all of our perfect imperfection. He’s generous with our flaws and certainly with our impossible quests for love. In this month, I’ve found myself reflecting on my great loves, and thinking on those times with extraordinary warmth. For all that famous wit and bite, underneath, it is Coward’s humble humanity I have come to love the most.
I’m happy then to offer you more than just a romp, but rather a loving treatise on love. May we all find great ones, and may they not destroy us!
Meredith McDonough, Director
CARMAN LACIVITA (Victor Prynne) is excited to be making his Repertory Theatre of St. Louis debut! Broadway: Marvin’s Room (original Broadway cast) directed by Anne Kaufman, Cyrano de Bergerac with Kevin Kline and Jennifer Garner directed by David Leveaux. OffBroadway: World Premiere of JC Lee’s To My Girls at Second Stage directed by Stephen Brackett. Sense & Sensibility (Bedlam), Henry 6 in Rose Rage; Henry the 6th Pts. 1, 2, 3 (St. Clair Bayfield Award, Jeff Award, Drama League Nomination) The Duke, Red Bull, The Public, The Atlantic, and The Pearl. Regional: Recently played Mr. Knightley in the World Premiere of Kate Hamill’s Emma at The Guthrie directed by Meredith McDonough, Two River Theatre, Syracuse Stage, Dorset Theatre Festival, George is Dead written and directed by Elaine May (George St. Playhouse/Arizona Theater Company), Chicago Shakespeare, Long Wharf and others. Television/Film: Blue Bloods (CBS), Golden Boy (CBS), Royal Pains (USA), The Chica Show (NBC), Cyrano de Bergerac (PBS Great Performances). Founding member of Amphibian Stage Productions. Training: MFA Rutgers, BFA Texas Christian University. For more information, visit www.carmanlacivita.com Social Media @lacivitacarman
STANTON NASH (Eloyt Chase) is an actor, playwright, singer, and screenwriter making his Repertory Theatre of St. Louis debut. He has performed around the country, acting at the St. Louis Shakespeare Festival, New York
City’s Ensemble Studio Theatre, D.C.’s Arena, Baltimore’s Center Stage, Denver’s Center for Performing Arts, Princeton’s McCarter, Chicago’s Steppenwolf, Greensboro’s Triad Stage, Minneapolis’ Twin Cities Theater Company, Atlanta’s Georgia Shakespeare, the Chicago company of Wicked, and many others. Training: University of Minnesota/Guthrie Theatre BFA Actor Training Program.
AMELIA PEDLOW (Amanda Prynne) is excited to be making her Repertory Theatre of St. Louis debut! Off-Broadway: The Metromaniacs, ’Tis Pity She’s a Whore (Red Bull Theater Company), Pride and Prejudice (world premiere, Primary Stages), The Liar, The Heir Apparent (Classic Stage Company), You Never Can Tell (Pearl Theatre Company), Regional: Emma (world premiere, The Guthrie), Dear Jack, Dear Louise (world premiere Arena Stage & George Street Playhouse), Doubt (Studio Theatre), Love’s Labour’s Lost (Folger Theatre), Fortune (Hangar Theatre), Red Velvet (The Old Globe), Midsummer Night’s Dream, Merchant of Venice (Shakespeare Theatre Company), Ether Dome (La Jolla Playhouse, Hartford Stage & Huntington Theatre Company), The Glass Menagerie, Hamlet (Denver Center), Legacy of Light (Cleveland Play House), The Diary of Anne Frank (Virginia Stage). Television: The Good Wife, Blue Bloods, Shades of Blue, The Blacklist. Training: B.F.A.The Juilliard School.
KERRY WARREN (Sibyl Chase) is a New York based Actor and Teaching Artist. She is so very happy to make her Repertory Theatre of St. Louis debut with Private Lives. Broadway: The River with Hugh Jackman Off Broadway: Life Sucks (Theatre Row); This Is How It Ends (59E59); Much Ado About Nothing Mobile Unit (The Public Theater) Regional: The Tempest (Pittsburg Public); Romeo and Juliet (Dallas Theater Center); Office Hour (Berkeley Rep & Long Wharf); The Originalist (Arena Stage); Twelfth Night and The Book Of Will (Hudson Valley Shakespeare Festival); Vanya, Sonia, Masha and Spike (Baltimore Center Stage) Television: Broad City, New Amsterdam, Law & Order SVU. Training: Juilliard. For more information, visit www.kerrywarren.com
YVONNE WOODS (Louise and u/s Amanda and Sibyl) is making her Repertory Theatre of St. Louis debut! Yvonne most recently appeared in What Happened? The Michaels Abroad at Hunter Theater Project, and Uncle Vanya at The Old Globe and Hunter Theater Project. Other theatre: Playwrights Horizons, Lincoln Center, Spoleto Festival, The Cherry Lane Theater, Lucille Lortel Theatre, The Kennedy Center, A.C.T., The Alley, The Huntington, The Court Theatre, The Ahmanson Theater and Williamstown Theater Festival, Yale Rep, Shakespeare Santa Cruz. Film: Happy 40th and Ramona at Midlife. Love to Brian.
SAMY CORDERO (Louise Understudy) is so excited to be making her Repertory Theatre of St. Louis debut! She was most recently seen as Carla in In The Heights at Light Opera of New Jersey. Favorite theatre: Wendla in Spring Awakening, Suzanne in Amelie, Veronica in Heathers the Musical, Runaways at the ATA Theatre in New York. Samy has also sung in multiple New York cabarets at Don’t Tell Mama’s, The Triad, and The Metropolitan Room. Training: Webster Conservatory of Theatre Arts (current senior, BFA candidate). Thanks to my wonderful family and Janeece for always encouraging me. Social Media @samycord
JESSE MUÑOZ (Eloyt and Victor Understudy) is extremely grateful for the opportunity to work with The Rep again. Past credits with The Rep include Captain Scott in Peter and the Starcatcher and Papa Grande/Florencio in Tomás and the Library Lady as part of the Imaginary Theatre Company. He also works frequently with the Shakespeare Festival of St. Louis. Training: Webster Conservatory (2016).
MEREDITH MCDONOUGH (Director) Previously at The Rep: Lifespan of a Fact. She was the Associate Artistic Director at Actors Theatre of Louisville for seven seasons where favorite directing credits include both parts of Angels in America, Peter and the Starcatcher, The Curious Incident of the Dog in the Nighttime and The Last Five Years. Other Work: Humana Festival, she directed the premieres of Marginal Loss, Dot, brownsville song (b-side for trey) and Airness, amongst others. Before ATL, she was the Director of New Works at TheatreWorks in CA where she directed the world premieres of Triangle, Upright Grand and Auctioning the Ainsleys. Other San Francisco credits include the premieres of Miss Bennett - Christmas at Pemberly and Kitty and Georgianna at Marin Theatre Company, and The Lily’s Revenge with Taylor Mac at the Magic Theatre. Regionally, favorites include the premiere of Kate Hamill’s Emma and Noises Off (Guthrie), Fair Use (Steppenwolf), Eurydice (Williamstown), and the Washington, D.C., premiere of the musical Summer of ’42 and the US premiere of NSFW (Roundhouse). She was the New Works Director for the National Alliance for Musical Theatre, a Drama League Fellow and a Kesselring Award Panelist. Education: Northwestern; MFA, UCSD. For more information, visit www. meredithmcdonough.com
NYC/Off-
Broadway: 50+ productions. Recent work includes Penelope, or How the Odyssey Was Really Written, Nine Circles, The Bacchae and Antigone. Upcoming: The
Acting Company’s Romeo & Juliet. Regional: Alliance Theatre, Asolo Rep., Cleveland Playhouse, Cincinnati Playhouse in the Park, Dallas Theatre Center, Denver Center, Geva Theatre, Goodspeed, Guthrie, La Jolla Playhouse, Long Wharf Theatre, Miami New Drama, Pasadena Playhouse, Playmaker’s Rep, Portland Stage, Portland Center Stage, The Repertory Theatre St. Louis, Syracuse Stage, Tantrum Theatre, Woolly Mammoth. He is the founder and owner of LDC Design Associates, an experiential event design and production company in NYC. Recent projects include Ubuntu Pathways: Fight For Good, Operation Smile’s 35th Anniversary Gala, The Tony Awards Gala, and BCBG’s 30 Year Retrospective, NYFW. Member, United Scenic Artists-829.
For more information, visit www.LexLiang.com Social Media @lex924
Previously at the Rep: Lifespan of a Fact.
Regional: The Year of Magical Thinking with Kathleen Turner (Arena Stage), Little Shop of Horrors (Portland Center Stage), Curious Incident of the Dog in the Nighttime, Peter and the Starcatcher, Humana Festivals 2015-2018
Repertory Theatre of St. Louis (Actors Theatre of Louisville), Alias Grace, You’re a Good Man Charlie Brown, Misery, Shakespeare in Love (Cincinnati Playhouse), Steel Magnolias, An Iliad, Always...Patsy Cline (Weston Playhouse), Macbeth (Shakespeare Theatre Company), Henry IV, Part One (Folger Theatre), Signature Theatre, Studio Theatre, Huntington Theatre, La Jolla Playhouse, Berkeley Rep, Center Stage, Woolly Mammoth, Kennedy Center, Alabama Shakespeare Festival, Round House Theatre, Florida Studio Theatre, Maltz Jupiter Theatre, Children’s Theatre of Charlotte.
COLIN K. BILLS (Lighting Designer) is thrilled to make his Repertory Theatre of St. Louis debut. A Washington, Washington, D.C., based theater artist, he is a Company Member and Board Member at Woolly Mammoth where he has designed over 50 productions including Gloria, An Octoroon, Black Side of the Moon, Stupid Fucking Bird, The Convert, The Elaborate Entrance of Chad Deity, Oedipus el Rey, Clybourne Park, and Dead Man’s Cell Phone. As a Conspirator with the devised theater company dog & pony dc, he collaborated in the writing, direction and design of A Killing Game and Beertown. His designs have been seen nationally at Arena Stage, Asolo Rep, The Berkshire Theater Festival, CENTERSTAGE, Chicago’s Second City, Contemporary American Theater Festival, Court Theater, Dallas Theater Center, Everyman Theatre, 59E59, Folger Theatre, Ford’s Theatre, Forum Theatre, Imagination Stage, Intiman
Theatre, The Kennedy Center, Marin Theatre Company, Metro Stage, Opera Lafayette, Opéra Royal Versailles, Pasadena Playhouse, Portland Center Stage, Round House Theatre, Shakespeare Theatre Company, The Smithsonian, Signature Theatre, Studio Theatre, Synetic Theatre, Syracuse Stage, Theater J, The Washington Revels, The Wilma Theater, Williamstown Theatre Festival. He has won three Helen Hayes Awards and is a recipient of a Princess Grace Fellowship in Theater. Colin has taught design at Howard University and is a graduate of Dartmouth College.
LINDSAY JONES (Sound Designer) Broadway: Slave Play (Tony nominations for Best Score and Best Sound Design of a Play), The Nap, Bronx Bombers and A Time to Kill. OffBroadway: Privacy (The Public Theater), Bootycandy (Playwrights Horizons), Feeding the Dragon (Primary Stages), Top Secret (New York Theatre Workshop) and many others. Regional: Guthrie Theater, Center Stage, American Conservatory Theater, Hartford Stage, Alliance Theatre, Goodman Theatre, Arena Stage, Old Globe Theatre, Chicago Shakespeare Theater, Steppenwolf Theatre and many others.
International: Stratford Festival (Canada), Royal Shakespeare Company (England) and many others. Audio dramas: Marvel, Audible, Next Chapter Podcasts, award-winning “The Imagine Neighborhood.” Film/ Television scoring: HBO Films’ A Note of Triumph (2006 Academy Award for Best Documentary, Short Subject)
NATHAN KEEPERS (Fight Choreographer) is the Producing Artistic Director of The Moving Company in Minneapolis, MN. Since 2009 the company has been creating original works, including, Anamnesis, What If, Speechless Liberty Falls 54321, Werther & Lotte and Refugia (with The Guthrie Theater). Nathan spent 11 seasons with Theatre de la Jeune Lune, winner of a 2005 Tony Award. Elsewhere in the Twin Cities: The Jungle Theater, The Guthrie Theater, Ten Thousand Things, Sod House Theater, Playwright’s Center and CTC. Regionally: Actor’s Theatre of Louisville (ATL), American Repertory Theatre, The Shakespeare Theatre-DC, Berkeley Repertory Theatre, The Alley Theater, La Jolla Playhouse, South Coast Repertory and The Folger Theatre. Nathan has directed for Merrimack Repertory Theater and ATL. He has been an artist in residence at University of Iowa, University of Minnesota, Stanford University, NYU and Gustavus Adolphus. Nathan studied with Pierre Byland in Switzerland, and Philippe Gaulier in London.
JILL WALMSLEY ZAGER (Dialect Coach) has served as the Resident Voice, Text and Dialects Coach at the Guthrie, American Conservatory Theatre in San Francisco and Milwaukee Rep Theatre. Regionally she has worked at the
Theatre of St. Louis and over 30 other films. He is the co-chair of Theatrical Sound Designers and Composers Association, and teaches Composition For Theatre and Music History at the University Of North Carolina School Of The Arts.
Marriott Lincolnshire Theatre, Chicago Shakespeare Theatre, Steppenwolf Theatre Company, Utah Shakespeare Festival, Arizona Theatre Company, Drury Lane Oakbrook, and The Lyric Opera of Chicago. Training: Master’s degrees in Voice and Dialects from the Royal Central School of Speech and Drama in London and Northwestern University.
KAJA AMADO DUNN (Intimacy Director) is an intimacy professional, diversity consultant, and associate faculty at Theatrical Intimacy Education. Kaja is a member of SAG-AFTRA and an actor, director, and activist with performances in over 40 productions in 5 countries including Theatrical Outfit, Playmakers Rep, Moxie Theatre and others. Current favorite intimacy work includes American Prophet (Arena Stage), Choir Boy (Denver Center and ACT Seattle) Harlem (Amazon), Strange Loop (Broadway, associate Intimacy Director), The Best Man, The Final Chapter (Peacock). She is a recipient of the Kennedy Center’s National Medallion for her work on theatre and race. She has published in several journals about race and theatre, intimacy and co-authored a chapter in Arden Research Companion to Shakespeare and Contemporary Performance.
She has presented on issues of Equity and Diversity and theatre for theatre’s and universities, Actor’s Equity Association as their racial consultant, The Women’s Theatre Festival, Blumenthal Performing Arts, MICHA,
North Carolina Theatre Association (Keynote Panelist), Children’s Theatre Charlotte, Anti-Racism and Decolonization at University of London Goldsmiths, SETC and SETC Theatre Symposium, KCATF and The Association of Theatre in Higher Education, among other places. She is on the Executive Board of the Black Theatre Network and a former executive member of Black Theatre Association. She was recently interviewed in American Theatre Magazine around issues of Race and Theatre education. For more information, visit kajadunn.com.
RODRIGO HERNANDEZ (Associate Scenic Designer) is a Scenic and Costume designer from Cancún and Mexico City currently based in NYC. Looking forward to critically engaging in nuanced, new stories in the hopes to collaborate with likeminded artist to lead our industry in a more just and welcoming path for disenfranchised communities. Works include: Costume Designer for Spring Awakening and Scenic Designer for Side By Side by Sondheim at Northern Stage, VT; Scenic and Costume designer for I Know Why The Caged Bird Sings for New York Children’s Theatre at Theatre Row, NYC; Scenic and Costume Designer for Fade at the Kitchen Theatre in Ithaca, NY; Scenic Designer for Wizard Of Oz at Cape Fear Regional Theatre in Cape Fear, NC; Associate Scenic and Costume Designer for Cinderella and By The Way, Meet Vera Stark at The Fine Art Center in Colorado Springs, CO.
A Proud member of “Wingspace Theatrical Design”, “La Gente: The Latinx Theatre Design Network” and “Colegio Mexicano de Diseño Escénico”
ERICA A. FEAGIN (Associate Sound Designer)
Previously at the Rep: Associate Sound Designer, Stick Fly. Audio Technician (New York Stage and Film), Audio A2, Sound Designer (Young Playwrights Festival, Baltimore Center Stage) Add. Sound Designer, Around the Campfire (The Lobbyist, University of Louisiana at Lafayette, 2019).
LUNA MARTIN (Assistant Director) is a trans and queer artist based in Seattle and St. Louis. She is currently a Junior at Sargent Conservatory of Theatre Arts at Webster University studying directing. She is so excited to be making her Repertory Theatre of St. Louis debut as Assistant Director on Private Lives! Enjoy the show!
SHANNON B. STURGIS (Stage Manager) favorite theatrical experiences include Atlantic Theater Company, Shear Madness (OffBroadway) and Altar Boyz (Off-Broadway and in The Rep’s Off-Ramp series). Other regional favorites include Westport Country Playhouse, Adirondack Theatre Festival, Totem Pole Playhouse, Victoria Theatre, Arkansas Repertory Theatre, Phoenix Theatre (in New York) and the Gretna Playhouse.
ERIC BARNES (Assistant Stage Manager) is excited to be back at the Repertory Theater of St. Louis. Previously at the Rep: Stickfly, A Christmas Carol, Lieutenant of Inishmore, The Little Dog Laughed, Altar Boyz, Kiss Me Kate, Adventures of Tom Sawyer and many more. Other Theater/Opera: Humana Play Festival at Actors Theater of Louisville. And many opera seasons at Central City Opera, Tulsa Opera and Opera Theater of St. Louis. Education: Illinois Wesleyan University.
KELLY GILLESPIE (Casting Director) is a CSA Casting Director at Manhattan Theatre Club, where favorite recent projects include Cost of Living, Skeleton Crew, Prayer for the French Republic, Ink, Choir Boy. WP Theater: Our Dear Dead Drug Lord, Hatef*ck, Natural Shocks, What We’re Up Against, Sundown Yellow Moon, Stuffed, Dear Elizabeth, Ironbound, Bright Half Life. 13P: Melancholy Play, A Map of Virtue, The Zero Hour, Monstrosity. Foundry & Public Theaters: Good Person of Szechwan. E.S.T.: Photograph 51. Actors Theatre of Louisville: The Curious Incident of the Dog in the Nighttime, Angels in America, Residence, Seven Guitars, 4000 Miles, Dot, The Roommate, Eat Your Heart Out. Several seasons for T.A.C.T. and Keen Company. B.A. University of Michigan.
NOËL COWARD (Playwright) Noël Peirce Coward was born in 1899 and made his professional stage debut as Prince Mussel in The Goldfish at the age of 12, leading to many child actor appearances over the next few years. His breakthrough in playwriting was the controversial The Vortex (1924) which featured themes of drugs and adultery and made his name as both actor and playwright in the West End and on Broadway. During the frenzied 1920s and the more sedate 1930s, Coward wrote a string of successful plays, musicals and intimate revues including Fallen Angels (1925), Hay Fever (1925), Easy Virtue (1926), This Year of Grace (1928), and Bitter Sweet (1929). His professional partnership with childhood friend Gertrude Lawrence, started with Private Lives (1931), and continued with Tonight at 8.30 (1936).
During World War II, he remained a successful playwright, screenwriter and director, as well as entertaining the troops and even acting as an unofficial spy for the Foreign Office. His plays during these years included Blithe Spirit, which ran for 1,997 performances, outlasting the War (a West End record until The Mousetrap overtook it), This Happy Breed and Present Laughter (both 1943). His two wartime screenplays, In Which We Serve, which he codirected with the young David Lean, and Brief Encounter quickly became classics of British cinema.
However, the post-war years were more difficult. Austerity Britain – the London critics determined –was out of tune with the brittle Coward wit. In response, Coward re-invented himself as a cabaret and TV star, particularly in America, and in 1955 he played a sell-out season in Las Vegas featuring many of his most famous songs, including Mad About the Boy, I’ll See You Again and Mad Dogs and Englishmen. In the mid-1950s he settled in Jamaica and Switzerland, and enjoyed a renaissance in the early 1960s becoming the first living playwright to be performed by the National Theatre, when he directed Hay Fever there. Late in his career he was lauded for his roles in a number of films including Our Man In Havana (1959) and his role as the iconic Mr. Bridger alongside Michael Caine in The Italian Job (1968).
Writer, actor, director, film producer, painter, songwriter, cabaret artist as well as an author of a novel, verse, essays and autobiographies, he was called by close friends ‘The Master’. His final West End appearance was Song at Twilight in 1966, which he wrote and starred in. He was knighted in 1970 and died peacefully in 1973 in his beloved Jamaica.
For further information on Noël Coward’s life and work, visit www.noelcoward.com and to join the Noël Coward Society, visit www.noelcoward.net. Twitter @NoelCowardSir
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(Augustin Family Artistic Director) has enjoyed a multi-faceted theatre career, including roles as an artistic leader, director, playwright and producer with a specialty in strategic and crossfunctional leadership. She served for five years as Associate Artistic Director at Baltimore Center Stage, where she oversaw the day-to-day execution of all of the mainstage and studio productions, and was the architect of the innovative CS Digital program: a platform that pushes the boundaries of traditional theatre and looks at the nexus point between art and technology. Her other achievements at Baltimore Center Stage include prototyping the Mobile Unit, strengthening community engagement, producing multiple world and regional premieres and helping to guide the theatre through a multi-million dollar building renovation and rebranding effort. In 2012, Hana served as the inaugural Program Manager of the ArtsEmerson Ambassador Program and launched ArtsEmerson Artist-InResidency program featuring playwright Daniel Beaty. In addition to her work at ArtsEmerson, Hana leveraged her regional theatre experience to freelance produce for smaller theatre companies, looking to expand and restructure their administrative teams. Hana served as developmental producer and program manager for Progress Theatre in Houston, where she consulted with the Artistic Director on redefining the artistic vision and subsequent recasting of the ensemble company and lead strategic organizational planning focused on LORT market entry. During her decade-long tenure at Hartford Stage, Hana served as the Associate Artistic Director, Director of New Play Development, and Artistic Producer. Hana
launched the new play development program, expanded the community engagement and civic discourse initiatives, and developed and produced Tony, Grammy, Pulitzer and Obie Award-winning shows. From 1997–2003, Hana served as the co-founder and Artistic Director of Nasir Productions, a theatre dedicated to underrepresented voices to challenge traditional structure. Her guest lecturer credits include Spelman College, Sewanee University, UT Austin, UCSD, Prairie View A&M, Emerson College, Maggie Flanigan Studio, Towson University, UMD, UConn, UMass and University of Hartford, among others. Additionally, Hana has directed acclaimed productions of Porgy & Bess, The Who & The What, Fun Home, Sense and Sensibility, The Christians, Les Liaisons Dangereuses, Pride and Prejudice (DCArts: Best Director/Best New Play), The Whipping Man, Gem of the Ocean (six CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum and IFdentity. Her plays include All the Women I Used to Be, The Rise and Fall of Day and The Sprott Cycle Trilogy. Hana holds a BA from Spelman College and an MFA from the University of Houston. She is the recipient of the 2009–10 Aetna New Voices Fellowship, EMC Arts Working Open Fellowship, Theatre Communications Group (TCG) New Generations Fellowship, and is a founding member of The Black Theatre Commons (BTC). She serves on the board of directors for the TCG, BTC, and the Sprott Foundation.
(Managing Director) became The Rep’s Managing Director in January 2022. An experienced arts administrator, Danny has expertise in nonprofit accounting, senior management and organizational development. Prior to joining The Rep, Danny worked at The Public Theater in New York, where he has served in various roles since 2006. Most recently, as Senior Director, Finance and Administration, he managed the daily and strategic financial operations of this $50 million nonprofit organization, successfully launched an organization-wide intranet, partnered with the development team to achieve fundraising goals, and collaborated on long-term financial planning and analysis, including cash investment strategies, budget analysis and project management. Noteworthy and favorite productions include Broadway productions of Fun Home, Eclipsed, Hamilton and Hair along with Off-Broadway productions of Here Lies Love, Into the Woods, Twelfth Night, As You Like It, White Noise and Rock Bottom. Williams has also held roles with Musical Theatre International, Warren Miller Performing Arts Center and Manhattan Theatre Club and has served as an adjunct professor in the performing arts management master of fine arts program at Brooklyn College. He earned a bachelor of science degree in marketing and theater from Fairfield University and spent a semester abroad studying at Regents University in the United Kingdom.
PRESIDENT Gwen Middeke* the todd organization
Brian Clevinger* prolog ventures
Susan Stith* cigna
Wendi Alper-Pressman lathrop & gage, llp
Margaret Augustin* community volunteer
Patrick Aydt merrill lynch | vice fresident Lauren Smith Blair u.s. bancorp community development corporation | vice president
Dedric A. Carter* washington university | vice-chancellor for operations and technology transfer
Brian Clevinger* prolog ventures | managing director
Brandon Evans* ernst and young | partner
Frank Hamsher*
skyline public strategies, inc. | principal
Laurie Hiler cgb enterprise inc. | project manager
Gina Hoagland collaborative strategies, inc. chairman and principal Ven Houts* ernst & young | community volunteer
Judi Scissors* community volunteer
Ven Houts* ernst & young
Ann Harris Straw* community volunteer
Dan Jay* christner architects | principal of counsel
Gwen Middeke* the todd organization of st. louis | partner
Ronald L. Roberts ridge graves, llc | managing partner
Lauren Sagel community volunteer Ann Scheuer community volunteer Pat Schutte* community volunteer Judi Scissors* community volunteer
Ann Cady Scott* community volunteer
Lisa Silverberg* community volunteer Susan Stith* cigna | vp dei, civic affairs & foundation
Ann Harris Straw* community volunteer / vice president, volunteers Elizabeth J. Stroble webster university | chancellor
Susan D. Tuteur community volunteer *executive committee
One of the most treasured and dedicated resources, The Rep’s Volunteer Board provides amazing support each season with donations of time, talent and skill throughout all facets of the organization. We are so grateful to the Volunteer Board for their continued dedication as integral members of The Rep family. If you are interested in serving on The Rep Volunteer Board, please contact Merritt McCarthy at 314-687-4030 or mmccarthy@repstl.org.
Laurie Hiler
Trish Alexandre PRESIDENT Ann Straw
SECRETARY
Ann Bronsing
Carol Schreiner
SENIOR MEMBERS Susan Barley Barbara Mennell
Trish Alexandre Ann Bronsing Michaeleen Cradock
Dorothy Diehl Denise Eschenbrenner Karen Fairbank Bonnie Gibbs Glenda Hares
Rocky Rosen Helen Sandifer Cindy Schnabel Carol Schreiner
Barbara Sprick Ann Straw Linda Vandivort Lynn Yearwood
Vicki Helling Laurie Hiler Marcia King Margie Knapp Linda Lowry Karen Miller Shirley Raitzsch Colleen Ritchie
artistic producer and director of new play work Becks Redman
company manager Michael Ward associate company manager J. Ching
executive assistant to the artistic and managing directors Amy Huffman
learning & COMMUNITY engagement
director of learning and community engagement Adena Varner learning programs associate Brian Coats teaching associate Britney Walker-Merritte teaching artist Brea Rollston Claire Himstedt Aliyah Jackson
director of production Catherine Campbell stage managers Emilee Buchheit Lorraine Fiore Shannon B. Sturgis
scenic technical director Michael Strickland associate technical director Emilie WeilbacherMcMullan
charge scenic artist Scott Loebl scenic artists Stephen Pollihan, James Van Well
scenic shop foreman Dave McCarthy scenic carpenters Dan Roach, Jr. Rick Shetley interim properties manager Cameron Tesson properties coordinator Ralph Wilke
costume shop manager Kristie C. Osi head draper Bob Trump draper Elizabeth Eisloeffel
interim draper Hairan Zuhelli first hands Michelle Bentley, Sandra Kabuye
interim first hand Lisa Drewel head crafts artisan John Inchiostro wig and makeup supervisor Dennis Bensie lighting
lighting and projections supervisor Michael Jarvis mainstage head electrician Connor Meers electrician Toby Beck sound
sound supervisor Rusty Wandall mainstage sound engineer Joshua Riggs sound engineer Sean Wilhite crew wardrobe supervisor Calyn Roth wardrobe Hannah Oliviera Reilly Grace deck crew Alex Barge SJ Cross Oluwafemi Aiyegbusi Sarah Emberling
general Manager Clifford Hannon senior manager, administration Laura L. Wandersee attorney Sara Robertson, Polsinelli PC DEVELOPMENT
individual gifts manager
Merritt McCarthy institutional gifts manager Kevin Ginty development associate Rob Kapeller
marketing director Ashton Beck marketing manager Mike De Pope marketing and communications assistant Michael Thanh Tran graphic designer Delores Eddington
director of finance Kevin Blansit accounting associate Suzanne Bodenstein accounting assistant Marsha Whitler
director of audience services Ricki Marking-Camuto
box office manager Kristy Kannapell assistant box office manager Lin Joyce database administrator Dan Ladd box office associates Michael Dorn Christian Hoffman box office representatives Taylor Kelly Carl Wickman Brittni Brown LaTonya Shepherd
lead house manager Deanna Danger associate house manager Marrissa Spinks assistant house managers Jessica Barnes Mo Moellering Hope Harbour
JANUARY 27 - FEBRUARY 19 | WORDS AND MUSIC BY STEPHEN SONDHEIM | DEVISED BY STEPHEN SONDHEIM AND JULIA MCKENZIE
Musical masterpiece celebrating the legendary Steven Sondheim.
BY DOMINIQUE MORISSEAU
The Rep produces work in three series from September through April, all sharing the same high production values and commitment to presenting exciting live professional theatre.
The work presented in the Mainstage series is eclectic, ranging from modern to classics to musicals, and benefits from the large space afforded by the Browning and Berges Theatres. Performances are given in both the Virginia Jackson Browning Theatre at the Loretto-Hilton Center and the Catherine B. Berges Theatre at COCA.
Longtime Rep Artistic Director Steve Woolf was a champion of producing innovative and provocative plays in an intimate setting. The Rep continues his legacy with the STEVE WOOLF STUDIO SERIES and invites you to a stunning new location to experience this exciting work. The Kirkwood Performing Arts Center (KPAC) is St. Louis’ newest performance space and houses the beautiful Strauss Black Box Theatre. This season enjoy:
Gruesome Playground Injuries | by Rajiv Joseph Doug and Kayleen meet as eight-year-olds in the school infirmary. (He tried to ride his bike off the roof. She has a stomachache that her mother blames on “bad thoughts.”) Their lives intersect for the next three decades as they return to each other, alternately revealing and concealing their injuries — both physical and psychological — as they struggle with attraction, vulnerability and love. Pulitzer Prize finalist Rajiv Joseph creates a hilarious and heartbreaking love story that the Washington Post calls, “Mystical, arresting and quirkily amusing.”
Late Seating: Latecomers will be seated at an appropriate moment in the performance.
Electronic Devices: Please silence all electronic devices while in the theatre.
Inclement Weather Policy: In the event of inclement weather, please check our website, social media pages, or call the Box Office for current information. If a cancellation occurs, please call the Box Office starting the day after the inclement weather occurred to exchange your seats for another performance of the same production.
Exchanges are an exclusive subscriber benefit. Exchanges may be made within the run of each production. Tickets may be exchanged up to two hours prior to show time. If you choose to exchange into a higher-priced area, you will be charged the difference. No refunds are made for exchanges to lower-priced tickets.
For parties of 10 people or more, please contact us at (314) 968-9489 or email groupsales@repstl.org to discuss group sales discounts.
For seniors, students, military, first responders or educators please visit https://www.repstl.org/ events/ways-to-save or call (314) 968-4925 for additional information.
Subscribers can save two ways on additional ticket purchases. Advance purchases receive a 10% discount.
Last-minute purchases (beginning48hourspriortoa show) are discounted 50%! Prior sales are excluded. Please note: there are no refunds or exchanges on single ticket purchases.
Hearing: Free assistive listening devices using an FM system are available at Audience Services prior to all performances.
Open Captioning: We offer open captioning, an electronic text displaywhich shows what the actors are saying or singing, at the last Sunday show for all Mainstage performances.
Vision: The Rep partners with MindsEye to offer live audio description for the final Thursday performance of each all productions.
Mobility: The Rep offers services for patrons who utilize mobility aids in all of our theatre spaces. Please discuss seating requirements with the Box Office when purchasing tickets or visit Audience Services when you arrive at the theatre.
ASL
American Sign Language: We offer ASL interpreted performances on the final Saturday matinee for all shows this season. Interpreters will be placed inside the theatre and sign what actors are saying and expressing for the audience.
ITC
The Imaginary Theatre Company (ITC) focuses on theatre for young people and \their families. Through the use of literature, folk tales, fairy tales and new adaptations of classic works, ITC is committed to bringing the very finest in theatre to youth where they live and learn. For more information visit www.repstl.org/itc
Digital study guides include information on the play and production, as well as activities and worksheets that educators can modify to meet the needs of their students.
Hear from the actors who bring ITC to life as they discuss their work on the shows and their artistry.
SHOW INFORMATION: James and the Giant Peach The Miraculous Journey of Edward Tulane
The Repertory Theatre of St. Louis
Essence Tyler, Puss In Boots
Photo by The Repertory Theatre of St. Louis
The Rep’s student matinee program is designed to cultivate a love for theatre in young audiences. Schools pay $10 per ticket and bring eager students to the theatre for a performance and post-show discussion with cast members. Teachers receive a free, multi-disciplinary Study Guide containing information about the play, the playwright and the production, as well as useful background articles and suggested classroom activities. For more information, visit www.repstl.org/student
The Rep’s new Story 2 Stage program unlocks the power of storytelling by way of mining lived experiences, imaginations and aspirations. Through our 9-session residency program, schools receive an innovative, world-building curriculum, designed for learners of all ages that leads youth and community members to create their own 10-minute plays. At the end of the residency, students may submit their work to the Story 2 Stage Festival for a chance to have their play professionally produced. Additionally, all Missouri students may submit a play to the festival for consideration.
For more information about our residencies and festivals, visit www.story2stage.org
This free conversation series takes a creative approach to building community through dialogue. Throughout the year, The Rep hosts thought-provoking public forums intended to provide a safe space for the free exchange of ideas, explore the intersectionality of art and civic life with experts and thought leaders and rigorously yet artfully discuss the issues that matter most to our community, all while actively discovering the subtle truths that unite our human experiences. For more information, visit www.repstl.org/representstl
The Rep is proud to present the 3rd annual TheGlowy SnowyDay in January 2023! This wintertime drivethrough spectacle is filled with giant, illuminated puppets, glow-in-the-dark scenery and a podcast that tells the story of a young boy playing outside with his friends during the season’s first snow. This free, familyfriendly experience is based on the beloved children’s book, TheSnowyDay,byEzraJackKeats,.
Produced in partnership with StoneLion Puppet Theatre and the Missouri History Museum
For more information, visit www.repstl.org/snow
Each summer, The Rep is pleased to offer Camp Rep for youth in 2nd through 8th grade. Campers receive engaging instruction from some of the region’s leading teaching artists in Broadway Dance, Acting, Music, Creative Storytelling, Puppetry and more. This 2-week artistic immersion culminates in a creative showcase for families and friends. For more information, visit www.repstl.org/camp
AND ELEVATING WOMEN IN THEATRE
The Leading Ladies are honored to continue their legacy of playing a major role in benefiting The Rep each season. We are grateful to the following donors, who pledged their support for the 2022-2023 season. We invite you to join our amazing group of Leading Ladies!
$1,000-$2,499
Crystal Beuerlein
Dotti Fischer
Nancy Kranzberg
Judith Weiss Levy Jane M. Robert Ann Scheuer Lois Schultz Judi Scissors
Ann Scott
Diane Sher
Linda Lewin Stark Susan Tuteur Helen D. Ziercher
$500-$999
Trish Abbene Wendi Alper-Pressman
Christy Beckmann Pamela Belloli
Cindy Belmont Terri Ciccolella
Carolyn Gold
Sara Kessler
Merritt McCarthy
Elizabeth Meteer
Karen Miller
Lucy Schreiber
Lisa Easton Silverberg
Ann H. Straw
Susan Warshaw Kathleen Wood
Lynn Yearwood
$250-$499
Bette L. Bude
Elaine Coe
Roberta S. Frank Barbara Gervais
Laura Greenberg
Julie & David Hohman Joanne Iskiwitch Susan Kilo Susan Knight Sylvia Manewith Judith Smart
Terry L. Thornton Linda Vandivort
$100-$249
Penny Bari Nancy Berg
Ilene Brooks
Myra Crandall Rose Mary Dieckhaus Dorothy Diehl Michelle Drabin
Denise Eschenbrenner
Ann Franke
Judy Garfinkel Shirley Haake Glenda Hares
Vicki Helling
Mary Beth Hennessy
Linda Hensley
Jan Hermann Carolyn Hileman Jeane Jae Mx. Rob Kapeller Suzanne Levin Dorothy Lovelace Linda Lowry Sally Rice Markland Monica McFee Susan Miller Suzie Nall Susan A. Oefelein
Gifts received 6/1/2021 – 8/24/2022
For more information or to join Leading Ladies, please contact Merritt McCarthy at 314-687-4030 or mmccarthy@repstl.org.
Your gift empowers a wide spectrum of artists, from local artisans and craftspeople to our administrative and leadership teams, to dream and innovate in new ways to continue bringing the magic to our stages.
Your gift brings the power of live theatre to thousands of youth each year. These young learners gain an understanding of the literary value and the making of theatre while simultaneously developing skills in communication, teamwork and leadership.
Your gift to The Rep helps overcome the financial challenges of the past two years and secures the longevity of our theatre for decades to come.
Cast, The 39 Steps Photo by Jon GitchoffBenefits are based on giving levels. Please visit www.repstl.org for more details and full benefits for all giving levels available.
Dive deeper into your theatrical journey with Rep Reads, our monthly play reading and discussion group (minimum gift of $100 or more).
Celebrate the season with us at the Annual Spotlight Society End-of-Season Celebration (minimum gift of $1,500 or more).
Join in exclusive conversations with our Augustin Family Artistic Director, Hana S. Sharif, and other artists in deep conversation around the artistry of productions and the impact of our work on the local community as part of our Artistic Directors Circle (minimum gift of $20,000 or more).
ONLINE
Visit repstl.org/support PHONE
Call the Development Department at (314) 687-4030
Send a check to The Repertory Theatre of St. Louis, Attn: Development Department, 130 Edgar Road, St. Louis, MO 63119
Repertory Theatre of St. Louis
As a nonprofit organization, The Repertory Theatre of St. Louis relies upon the support of corporate and foundation partners. The Rep gratefully acknowledges the following corporations and foundations whose generous support helps us to create the highest caliber of professional theatre for St. Louis, engage the next generation of theatregoers and provide opportunities for diverse artists. For information about how your business or organization can support The Rep, contact Kevin Ginty, Institutional Gifts Manager at (314) 687-4029.
$100,000+
Doris Duke
Charitable Foundation
The Andrew W. Mellon Foundation
The Shubert Foundation Inc. $25,000-$49,999
Mary Ranken Jordan and Ettie A. Jordan Charitable Foundation PNC: Arts Alive Edward Jones
$10,000-$24,999
Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation
The Trio Foundation of St. Louis
$5,000 - $9,999
Enterprise Holdings Foundation
Edward Chase Garvey Memorial Foundation
Dewitt and Caroline Van Evera Foundation
$2,500 - $4,999
Employees Community Fund of Boeing
Graybar Foundation
Sign of the Arrow/St. Louis Alumnae Club of Pi Beta Phi
$1,000 - $2,499 DCA Family Foundation Joy Waltke Fisher Fund of the St. Louis Community Foundation
Lathrop & Gage LLP
Polsinelli
UNDER $1000 Commerce Bancshares Foundation
Actors’ Equity Foundation
The Rep is proud to present the 3rd annual The Glowy Snowy Day in January 2023! This wintertime drive-through spectacle is filled with giant illuminated puppets, glow-in-the-dark scenery and a podcast that tells the story of a young boy playing outside with his friends during the season’s first snow. This free, family-friendly experience is based on the beloved children’s book, The Snowy Day, by Ezra Jack Keats.
Produced in partnership with StoneLion Puppet Theatre and the Missouri History Museum The Glowy Snowy Day returns this winter on Friday, January 6, 2023 through, Monday, January 9, 2023 from 5:30 to 8:30 p.m. at the Missouri History Museum in Forest Park. There is no cost, but reservations may be required.
“ We hope families from all across the St. Louis area will join us for this magical experience that is sure to delight all ages.”
–
OF LEARNING & COMMUNITY ENGAGEMENT
The Spotlight Society is an organization of donors who provide outstanding annual support to The Repertory Theatre of St. Louis. In appreciation, donors enjoy a host of special benefits, including Circle Drive parking, an invitation to the Spotlight Society Cabaret Dinner and much more. The Repertory Theatre of St. Louis gratefully acknowledges members of the Spotlight Society for their commitment to sustaining and promoting the highest quality professional theatre at The Rep.
Susan Barley
Leona Lee Bohm*
Steve & Linda Finerty
Anne Carol Goldberg & Ronald Levin
Mr. Howard Landon
Mr. & Mrs. Lawrence Langsam
Mark & Patty
Cindy Maritz
Karen Miller
Terry & Sally Schnuck
D. Ziercher
Mrs. H. Pharr Brightman
Patty & Kent Chapin
Vicki & Brian Clevinger
Elaine Coe
Dr. Kevin & Lisa Coleman
The Preeti Dalawari & John Vandover Charitable Fund
Michael Dern
Larry Essmann
Judith Gall
Joanne & Joel Iskiwitch
Nancy & Kenneth Kranzberg
Kent A. Lewis
McCallum Family Charitable Fund
Mike & Barb Quinn
Freda & Harry Rich
Ann Scheuer
Mary Schoolman
Janice & Steve Seele
Amy & Ben Smith
Dr. John Sopuch
Bill & Jarona Stevens
Gretchen Straub
Mike & Barbara Willock
Lynn & Darrell Yearwood
Eileen Clarke & William Dodd Elizabeth & Don Cobin Bob & Becky Courtney
Mike & Sue Darcy
Pamela Wing Dern
SPOTLIGHT
$1,500-$2,499
Mary Jo Abrahamson Wendi Alper-Pressman & Norman Pressman
Ann P. Augustin Margaret Augustin
Costas & Assimo Azariadis
Nancy Berg
Holly & Marc Bernstein
Michael & Arlue Briggs ✠ Suzan Kelsey Brooks Sara Burke
Mr. and Mrs. Henry Dubinsky Rosemary & Robert Emnett
Richard Engelsmann & Diane Buhr Engelsmann
Brandon & Lucy Evans
Mr. & Mrs. Greg Evans Sam & Marilyn Fox Foundation ✠
Mr. & Mrs. Ronald Fromm
Mr. & Mrs. David P. Gast
Ed & J ulie Glotzbach E.L. Green ✠
Laura & Ted Greenberg
Frank Hamsher
Reginald & Stephanie Harwell
Kathleen Locklar Heimann
Margaret & Michael Heinz
Bill & Linda Hentchel Brad & Phyllis Hershey
Laurie Hiler Marian & Maurice Hirsch
Lee & Gina Hoagland
Sam and Pat Hopmeier Charitable Fund at Youthbridge Community Fund
Mike Isaacson & Joe Ortmeyer Daniel G Jay & Mary Ann Lazarus Jeanne & Aron Katzman
Mr. & Mrs. Ronald Kessler
Judith Weiss Levy
C. Arden Mennell
Mrs. Rena Murphy
Kim & Rick Nast
Mr. & Mrs. Raymond W. Peters
Colleen Ritchie
Paul & Cindy Schnabel
Steve & Marlene Schumm
Judi Scissors & Sam Broh
Julian & Helen Seeherman, The Seeherman Charitable Fund
Joan & Paul Shaver
Lisa & Allan Silverberg
Dr. Raymond Slavin
Mary Strauss
Ann & Jack Straw
Paul & Beth Stroble
Deane* & Fancine
Throughout its 56-year history, The Rep has gained a reputation for producing shows of exceptional quality. Creating productions uniquely designed for St. Louis audiences, making The Rep accessible to all and providing free or low-cost educational programs to young people cannot happen through ticket sales alone. In fact, ticket sales cover only 60% of the costs of producing our work. Every year we look to people like you—individuals who value the amazing, unexpected art of theatre—to lend a hand and bring our mission to life. Rep Backers play an integral role in making the show go on!
$1,000-$1,499
Anonymous
Bill Aitken
Donald & Marilyn Blum
Catherine S. Bollinger
The Dunagan Foundation
Kirk & Alice Fritsch
Cheryl & Keith Kowalczyk
Laurence & Silvia Madeo
Laura & David Margolis
Dr. James A. Morrell
Mike Ness & J enny Voelker
Joseph & Sammy Ruwitch
Mrs. Peter Sargent
Joel & Barbara Schwartz Christine Secorsky & Greg Sacho
Beverly Wagner Hoyt W. Wallace
$600-$999 Anonymous
Dr. E-P. Barrette
Drs. Nanci & James
Bobrow
Ms. Doris Drewry & Mr. Baker Cunningham
Bill & Jane Doub
Heather & Len Essig
Jane B. Evans
Terry & Marjorie Franc, Franc Family Fund of the St. Louis Community Foundation
Margaret & Larry Harris
Dot & Steve Larsen
Jeanne Lewi
John Muller
Dr. & Mrs. Lester T. Reese
Jim & Diane Relleke
Susan & Albert Schlueter
Donna & Howard Smith
Stuart & Cindy Sweet
Paul & Linda Vandivort David P. Weiss
$300-$599
Sally & Ken Anderson
Robert O. & Susan F. Appleton
Carolyn & Lynn Barnett
Beverly & Philip Barron
Carolyn Becker
June R. Bierman
Joyce & David Bishop
Richard M. Blaha
Kevin Blansit
Ruth Blundell
Bob & Kay Boyd
Lary & Lynn Bozzay
DeAnne & Gordon Brown
Joseph Brown
John & Kathy Brugere
John Carr & Kay Kaiser
Evelyn & Louis Cohen
Bernie L. Corn & Michael Danzer
Kathianne & David Crane
Robert & Jan Dawson
Mr. & Mrs. William Eckert Dorsey & Sondra* Ellis
Sara Epstein Karen Fairbank David R. Ganz Darla Gavin Jerome & Catherine Gidlow
Terry & Judy Gooding
Patricia D. & Gary L. Gray Barbara Harris Bernice Heavilin
Dr. & Mrs. Jay Henis Dr. Michael & Carolyn Hesterberg Anne W. Hetlage Dennis Johnson
Mr. & Mrs. Jim Kaiser
Mr. Ernest H. Key Susan & Jack Kissinger Susan Knight
Fran & Roger Koch Christine & Jon Krueger
Joan Krueger & Brian Betker
Dr. James Laing & Dr. Margaret Weck Nancy LeMaster JoAnne Levy & Jim Thomeczek
Dr. & Mrs. Frederick C. Lewis, Jr.
Jerri & Bill Livingston Kay & Gerry Love Linda Lowry Cindy & Gregg Lueder
Dr. Robert Lynch & Dr. Ellen Wood
Joseph Martinich & Vicki Sauter
Dr. & Mrs. Jerald A. Maslanko Patrick & Rosanne Mathis Melissa J. McClain
David & Ginny McDonald
Mary Jo Hunter & Gary Miller
John & Lucy Morris Nancy & Jim Murphy Betty A. O’Dea
Donald Prahlow
Elizabeth Pribor
Marilyn & Bob Raphael
Drs. Robert & Sheryl Ream
Leon Robison
Tom & Kathy Ryan
Lauren & Darryl Sagel
Thomas & Marilyn Schultz
John & Nancy Solodar
Bart & Meg Solon
Gary Stansbery
Laura Stanton
Mr. & Mrs. R. Stover
Drs. Samer & Joni Thanavaro
James Tobin & Virginia
Heagney
Glen & Libby Travers
John & Dea Vallina
Linda & F. Dale Whitten
Miriam Wilhelm & Eric Friedman
$175-$299
Anonymous (3)
Joseph & Trish Alexandre
Ken & Heather Amidon
Ira & Janice Bernstein
Jennifer Billhartz
Marian & John Bleeke
Kenneth & Ann Bohm
Wendy & Les Borowsky
Betty Bowersox & Phil Powell
Linda & Jack Bryant
Carol Carlson
Sal & Terri Ciccolella
Gwen Clopton
Lois F. Crampton
Mary K. Cullen & Daniel Goldberg
Conrad Damsgaard
Adrienne Davis
Theodore & Deborah
Diane DiTucci
Mike Doherty & Kathy Kane
Jerome & Renee Epplin
Ernst Radiology Clinic
Denise & James Eschenbrenner
Dr. & Mrs. Elliott Farberman
Barb & Tom Feiner
Jeffrey & Veronica Fernhoff
Dr. Lewis C. Fischbein Gary & Christy Fox
Agnes & Dave Garino Holly Garrett
Dr. & Mrs. Edward Geltman
Mrs. Joseph F. Gleason Mark & Chris Greenberg
William Grivna Claire Halpern & Michael Greenfield Glenda Hares
Drs. Craig & Abby Hollander
Michael & Heidi Hope Ms. Sydney Jumper Rob Kapeller
Sheila & Ken Kleinman
Margie & Steve Knapp Joanne Kohn
Dr. & Mrs. Ren Kozikowski
Mr. & Mrs. Ronald Krieger
Jim & Mary Lou Krueger
Paul & Martha LaFata Joseph Lane
Dr. & Mrs. Robert L. Lewis
Jerry & Mary Jo Liberstein Lonnie Link
Gloria & Roy Luber Carl & Lynn Lyss
Eleanor Mandel
Ricki Marking-Camuto
Sharon & Stan McCaslin
Gary & Gale McKiddy
Stacey & Pat McMackin
James McMillan
Susan & Bruce Miller
Dr. Mary Ann Morley
James H. Myles
Joel & Sue Picus
Tim & Jodi Pierce Sue Rapp
Dr. Gary Ratkin & Marilyn Ratkin
Susan & John Rava
John & Lynn Rawlings
Terry & Karen Reeves
Pam & Michael Richards
Judith M. Roach
Jenny Levis Sadow
Margaret S. Sant’Ambrogio
Rick & Dottie Schainker
Carol Schreiner
Kathy & Doug Schroeder
Dawn Schuessler
Bill & Diane Schwab
Bradley & Kay Shaw
Dr. & Mrs. L. Smith
Lee & Diana Speicher
Lucie & Steve Springmeyer
Susan & Drexel Stith
Susan Sundermeyer
Greg & Brenda Teakert
Jack Walbran
Dr. & Mrs. Stephen Waltman Jeffrey Webb Margaret Wehrenberg
Paul & K. Wentzien
James White & Cindy Payant
Vicky Riback Wilson
Bert & Bobbe Wunderlich
Catherine Taylor Yank
$100-$174
Nancy Albrecht
Don Aulph
Dr. Patricia Martens Balke
Ruth Ellen & Jay Barr Nancy Bengtson Kathy Borges
Mitchell & Kathryn Botney
Susan & Robert Bowman
Tim & Marianne Brady Don Brinkman Ann Bronsing
Dr. Robert Buzzell Christina Carr Clare L. Chapman Ann Coleman
Ms. Ann Corrigan
Kathryn DeVoto
Diana S. Dickes
Robert & Jamie Driver Debbie Fishwick Toni Gacka Laura Geiser Marianne Gillis
Brian Gonner & Jennifer Arp Fran Grebel Suzy & Richard Grote Peggy Grotpeter Myron & Carol Gruber
Judy & Scott Guerrero
Vicki & Larry Helling
Joyce & Robert Hillebrand
C. Norman Jones & Barbara Fraser Gerry Kettenbach Lynn & Mark Kloss Nikki & Aaron Krawitz Lance Loewenstein Todd London & Karen Hartman
Tim & Jan Long
Dorothy & James McCalpin
John P. McGuire Barbara B. Mennell Frederic J. Mohr
Jeanne Most &
Nicholas Davidson
Mike & Pat Mueth JoAnn Mulcahy
Charles E. & Susan Niesen
Carl & Marsha Ramey
Alan Redszus
Melanie Ryterski
Drs. Phil & Mary Schenkenberg
Benjamin Schwartz Brenda & David Skillman Rachel Slaugh Michael & Frances Slusher
Dr. Cary & Helen Stolar
Russ & B. Vanderbeek
Patricia & Richard Walters
Richard & Mary Weinstock
Patricia Wells Ellen White
Jean M. Wood Kenneth Yancheck
more
The Rep rings in the spirit of the season with the second annual production of A Christmas Carol! At long last, the ghosts of Ebenezer Scrooge’s past, present and future have caught up with him. Now London’s most infamous miser must face down his demons, reconcile the consequences of his choices and experience the power and joy of a miraculous redemption. For tickets visit www.repstl.org
The Rep is proud to present the 3rd annual The Glowy Snowy Day in January 2023! This wintertime drive-through spectacle is filled with giant, illuminated puppets, glow-in-the-dark scenery and a podcast that tells the story of a young boy playing outside with his friends during the season’s first snow. This free, family-friendly experience is based on the beloved children’s book, The Snowy Day, by Ezra Jack Keats,. Details on reservations coming soon.
Celebrate legendary composer and lyricist Stephen Sondheim by revisiting nearly 30 of the most poignant, powerful and witty songs in the American musical theatre canon. This beautiful, funny and emotionally charged musical review exposes the complicated relationships and deepest desires of two couples out for an elegant evening. For tickets visit www.repstl.org
MAINSTAGE
MAINSTAGE
FUN FAMILY EXPERIENCE
