James Lindhorst - Page 4

This year’s Spectrum 2026, produced by First Run Theatre, was unique. The six-play festival featured four wittily written plays that stood on their own. Two were flat-out funny, one was a bit macabre, and Tortured Poets Department was beyond charming.

STAGES St. Louis founder Jack Lane may need to clear space on his mantle for additional hardware. This morning, when the Society of London Theatre announced their 2026 nominations for the Olivier Awards, Lane became a first time Olivier nominee. Two of his productions, Evita and The Producers picked up nominations for Best Revival of a Musical.

When Kelly Howe and Joe Hanrahan take the stage at Blue Strawberry on Friday, March 13, 2026, the pair will be celebrating a special anniversary. Their long running hit Just One Look premiered 3-years ago on the exact same stage. Just One Look is the first, and most successful, of Midnight Company’s scripted cabaret shows. The show blends cabaret performing with storytelling. It’s not exactly a club act or a Broadway musical, but a nostalgic look at one of the most successful female rock artists of all time. When Hanrahan and Howe, announced this collaboration in early 2023, Broadway World called the show featuring Linda Ronstadt’s songbook “the most anticipated theatrical event of the new season.” It’s clear from the show’s success that Ronstadt’s chart-topping music is still as popular today as it was a half-century ago.

You will be entertained by Kathryn Bentley and Colin McLaughlin’s new play, but that is only one small part of why their work needs to be seen. This historical drama is an important part of St. Louis’ Black History. A Brick and a Bible is an empowerment story about women raising their voices for change, social justice, better working conditions, and equal pay for equal work. It tells of unknown events that were critical to the labor movement. The Funsten factory worker strike is part of what made St Louis one of the centers for labor activism in the Midwest.

Lucy Kirkwood’s play The Children is fascinating and compelling. Her script prompts discussion about corporate responsibility, what accountability an organization’s employees should own, and how tragic circumstances force people to face personal transgressions and the fallout from their poor decisions.

When Lucas Hnath’s play premiered on Broadway the New York Times and Time Out New York called it “the best play of the season.” It’s an engaging and modern script tackling themes of feminist autonomy and self-determination. Weber’s staging is well-conceived and highly entertaining. Layton, Reed, Doggett, and Coffey all turn in expressive portrayal as a cohesive ensemble.

Stages St. Louis, in collaboration with the creatives at the UpBrand agency, has released the artwork for their highly anticipated 40th Anniversary Season. The season opens with the hilarious and delightful charmer The 25th Annual Putnam County Spelling Bee. Tony Award Winner James Monroe Iglehart will direct Stages second show of the season, Guys and Dolls. The season will close with the heartwarming and uplifting tearjerker Come From Away.

The Black Feminist Guide to the Human Body, while staged as a play, is more of an artistic poetic reading. Lisa B. Thompson’s brief 80-minute work, currently on stage at The Black Rep, examines the life experiences of one woman told by three voices

The St. Louis Theatre Circle has announced their nominations for their annual awards to be distributed on March 23, 2026, at the Loretto-Hilton Center. 172 theatre artists have been nominated in 34 categories honoring the best in St. Louis Theater in 2025. The Repertory Theatre of St. Louis leads all companies with a record-breaking 38 nominations for their productions of Athena, Clyde’s, Emma, Ken Ludwig’s Sherwood: The Adventures of Robin Hood, The Brothers Size, and The Cottage. Emma is the most nominated comedy of the season with 11 nominations.

Myth of the Ostrich is brazen comedy. It’s among the most accessibly entertaining productions staged at Upstream Theater in recent years. It is full of artfully crafted irreverent portrayals, expert direction, and a bevy of belly laughs.

The Dance on Widow’s Row at The Black Rep features a charismatic ensemble with infectious energy stemming from playful performances. It’s a fun evening in the theater that provides a lot of laughter.

St. Louis Shakespeare Festival has announced its 2026 season including Rosencrantz and Guildenstern are Dead, The Tempest, the return of Romeo & Zooliet, and Two Gentlemen of Verona.

This past season was the year of the comedy in St. Louis Theater. Companies across the city had audiences laughing all season long with slapstick, farce, and satire. There were some wonderful musical productions that really sang, a few hard hitting dramas, but comedies reigned in both quantity and quality. Instead of publishing a Top 10 list this year, I’m going to recognize the Best in St. Louis Theater for 2025. “The Best” is still a shortened list of just 13 shows out of the nearly 90 shows I saw this past year. It took weeks of thought and painstaking consideration to decide which productions would be included in my annual list. Here they are. The productions are listed in alphabetical order, not ranked by favorites:

Watching Broadway’s Sara Sheperd perform her holiday themed cabaret, Please Come Home for Christmas, is akin to sitting in front of a cozy fire with a mug of hot cocoa. Sheperd, and her piano playing father Scott, shared more than a dozen of her favorite holiday songs peppered with a few seasonally appropriate Broadway tunes. From her opening number “Let it Snow” to her final song “It’s Beginning to Look a Lot Like Christmas,” Sara Sheperd gifted the audience with a lovely evening of perfectly pitched and precisely phrased vocals. Her audience left the club feeling the spirit of the season and grateful that the humble Sheperd shared her talent again in St. Louis.

John Hughes Your Own Adventure - LIVE is a whole lot of fun for anyone familiar with Hughes work. Hughes enthusiasts and aficionados will be laughing through their tears. The sold-out runaway hit was the headliner at STL Fringe and one of last summer’s hottest theater tickets. St. Louis Fringe and Cherokee Street Theatre Co. are reprising the outrageous satire at the Kranzberg Black Box. Twelve actors, supported by an offstage announcer (billed as The Voice of God), are hurling themselves about the stage in their homage to John Hughes and his classic films.

Director Will Bonfiglio, Music Director Larry D. Pry, Choreogrpaher Jo Palisoc, and the entire company deserve a lot of credit for their all in committed, peppy, and high-spirited production of a marginal show that is staged as a pet project far too often. There are thousands of musical theater assets that have arguably better books and scores that are rarely produced. Legally Blonde the Musical is like a pink piece of bubblegum. At first it sounds appealing, but the flavor does not last long.

Lize Lewy is having a moment. The actor, director, and playwright is currently slaying audiences in their breakout turn as Harriet in the Repertory Theatre of St. Louis’ production of Emma. Their scene stealing portrayal of Emma’s awkward friend is a masterclass in expressive physical comedy.