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SEPTEMBER 3 – 28
THE REPERTORY THEATRE OF ST. LOUIS
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The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres (LORT), the Non-Profit Theatre Collation, Greater St. Louis Inc., 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 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.
Why should Dierdre have to live her life steeped in the lies of men?”
I love a relevation—the opportunity to expose in something old the chance for something new. Suspense, secrets, and silk pajamas—welcome to The Cottage and our 59th season at The Rep! When faced with scandal, secrecy, and tangled loyalties, sometimes the polite thing—the only possible thing—is to keep up the façade. But here’s the delicious contradiction: The Cottage lets us laugh at that truth. It takes the high stakes of propriety, infidelity, and long-buried secrets, and wraps them in hospitality, hot tea, and the finest of fabrics. The result? We get to examine the absurdity of human behavior without sinking into its sorrow. That’s why I chose to open my first programmed season at The Rep with this 1920s-set satirical romp. In moments of discontent, theatre can bring respite with a story that is smart, fizzy, a little bit naughty, and unafraid to dig at the truth without losing hope.
As The Rep enters an era of renaissance, what better way to kick off our 59th Season than welcoming my long-time friend and Rep-returning director Risa Brainin? With local and nationally renowned talent onstage and off, and a set by Robert Mark Morgan that makes me want to invest in an escape to the English countryside, The Cottage gives permission to laugh at human messiness. As you savor the juicy drama of mistaken identities and marital mix-ups, let’s find joy in the possibility of something wonderful that can emerge unexpectedly after everything unravels.
For me, this experience is more than escapism. It’s a reminder that even in a world of fear and unknown, of secrets and upheavals, a little wit and laughter (and a strong beverage of choice) allows for the spirit to revitalize. Let us toast daring imagination: a brand new chapter at The Rep with a comedy that proves we can not only handle the mess, but we can emerge stronger…and look fabulous doing it.
Kate Bergstrom Augustin Family Artistic Director
Set in the quaint English countryside of 1923 and focusing on a high society family and their many entanglements, Sandy Rustin’s comedy is reminiscent of the many works of Sir Noël Coward, the famed English playwright produced most recently at The Rep in 2022’s Private Lives. Coward was celebrated for wittily commenting on and exposing the upper-class attitudes and affectations of his time, and Rustin’s piece further seeks to comment on these same ideas, this time with an intentional focus on the agency and identities of her three female characters.
The 1920s were a revolutionary period for high society women in the United Kingdom. Most well-known is the women’s suffrage movement, which saw great success between 1918 and 1928. Organizations like the National Society for Women’s Suffrage and the National Union of Women’s Suffrage Societies did much to move the needle of public sentiment towards guaranteeing women the right to vote in the late nineteenth century. In 1918, middle- and upper-class women saw a victory with the passing of The Representation of the People Act of 1918, which gave 8.5 million women over the age of 30 who occupied—or whose husbands occupied—land of a certain value the right to vote. Further victory came a decade later with the passing of The Representation of the People Act of 1928, which expanded upon the act of 1918 and gave all women over the age of 21 the right to vote, regardless of property ownership or occupation.
Steps forward did not start and end with the right to vote, with other progress occurring in the decade between these two victories. In 1923, the year that The Cottage is set, the United Kingdom passed The Matrimonial Clauses Act of 1923, which removed the previously set (in 1857) “double standard” against women seeking to file for divorce from their husbands. Before 1923, English divorce law was structured to disadvantage women—a husband could divorce his wife for adultery alone, but a wife needed to prove not only adultery but also another offense to file for a divorce. The 1923 act ensured equality for men and women in this matter, allowing both parties to divorce their spouse based only on adultery.
Additionally, 1922 saw the passing of the Law of Property Act and 1925 saw the passing of the both the Administration of Estates Act and the Law of Property Act, legislations that allowed a husband and wife to inherit each other’s property and ensured women could benefit from inheritances on the same terms as men. Though reforms had occurred in the late nineteenth century, these additional reforms continued to abolish sex-specific allocations of property and affirm equality between men and women.
Rustin’s comedy, though written in the 2010s, nearly one hundred years after these various landmark rulings, portrays this world of empowered women, giving characters like Sylvia, Marjorie, and Dierdre a quaint, countryside playground to make a little mischief, loudly declare their personal wants and desires, and find their own sense of freedom in the process.
Yes, even the freedom to be a little “nasty.”
Learn more about the process of bringing The Cottage to The Rep stage by visiting our behind-the-scenes Substack, Aside Notes.
By Robert Nemiroff and Charlotte Zaltzberg
Kate Bergstrom
Augustin Family Artistic Director
Danny Williams Managing Director
Scenic Designer Robert Mark Morgan❖
Costume Designer Renee Garcia❖
Lighting Designer Michael Klaers❖
sound designer Amanda Werre
WIG DESIGNER Dennis Milam Bensie
Fight director Paul Steger
dialect coach Lauren Roth
intimacy Director Jamie McKittrick
Casting Director Delaney Piggins production s tage Manager Evangeline Rose Whitlock*
ANN CADY SCOTT MAJOR PRODUCTION SPONSOR
“The Cottage” is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)
Original Broadway Production Produced by Broadway Beyond Theatricals, Cornice Productions, Martian Entertainmen, Paige Price, Scott Mauro, Malcolm Gosling/Dan Gottfried, Gayle Seay/Tony Nation, Cornice Productions fund 1, Michael Saperstein, Rick Costello, Jonathan Demar, PaulJungquist, Tom & Judy Kleinman, Marjorie Morrissey, Mark Reardon, Shapiro Jensen Productions, Nina Tassler, Dale & James Young, and 7Sennotts LLC
beau Jordan Coughtry*
Clarke Jack Dryden*
Richard Andrés Enriquez*
Marjorie Jihan Haddad*
Sylvia Andrea San Miguel*
Dierdre Isa Venere*
WEBSTER ASSISTANT DIRECTOR Jack Castello
assistant stage manager Caroline Merritt John*
Assistant Costume Designer Bria Trachsel
Assistant Intimacy Director Frankie Ferrari
Production Assistant Cadence B. Mayrand
Wig Maintenance Salem Galloway
First Hand/Stitcher Hannah Libertore
Milliner Johnny Inchiostro
Embroidery Bob Trump
DRAPER Nina Reed
wardrobe crew Isabelle Van Syckle
deck crew Mj Hengtenberg
Bella Ruffner
A2 Lydia Fallon
Additional Performance Sam Matthews ❖ USA-829 Member
The cast and company of The Cottage is proudly supported by the Gwen & Paul Middeke Artist Fund.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
The first time I read The Cottage, I found myself laughing out loud. That rarely happens! And what I loved most about the play is that the characters, while being wonderfully eccentric and funny, also have great depth.
I thought, this is like Noël Coward’s Private Lives meets Michael Frayn’s Noises Off. Delightful! Turns out Sandy Rustin was actually inspired by Coward. She said in a Hollywood Soapbox interview:
I set out to create a show in the world of this Noël Coward-esque universe. I love the language of those plays, the comedy…the physicality, but what I noticed when I really did a deep dive is that very often those female characters are there in service of the male characters…so I was really looking to take that genre, flip it on its head, and see what would happen…do it through the lens of female characters who have something to say and a journey to make.
Rustin set the play in 1923, a key moment in history. “The Matrimonial Causes Act of 1923” overturned a double standard in divorce courts that had held precedence for over 50 years. “The Divorce and Matrimonial Causes Act of 1857” established that men could divorce their wives on the sole grounds of infidelity. A woman, however, needed an additional marital offense in order to file for divorce. What that “additional marital offense” could possibly be, I can’t even imagine, but there it was. The new law in 1923 leveled the playing field, making it possible for both men and women to file for divorce on the sole grounds of infidelity. So, Rustin leaned into this idea and creates a wonderful twist on an old theme.
Continuing the comparison of The Cottage to Noel Coward’s plays, I once directed Coward’s Blithe Spirit. At first, I wasn’t sure I was the right director for this very light comedy. But when I learned that the play opened in London in 1941 during the Blitz, and that the audience had to walk on boards over the rubble to get into the theatre, where that it played to packed houses for 1,997 performances all through the war, I got very excited about directing the play. Anything that could lift people out of their reality in the middle of a war and get them to laugh, was worth doing.
I think we need a little bit of laughter right now. I hope you have as much fun watching The Cottage as we did making it!
Risa Brainin Director of The Cottage
Jordan Coughtry (Beau) At The Rep: Dial ‘M’ for Murder as Tony Wendice, directed by Melissa Rain Anderson (2024). Regional Theatre: The Tempest as Ariel, directed by Kevin Rich (Colorado Shakespeare Festival); As You Like It as Touchstone, directed by Robert Quinlan (Illinois Shakespeare Festival); Romeo & Juliet as Mercutio, directed by Rebekah Scallet (Arkansas Shakespeare Theatre); Baskerville as Sir Henry, directed by Brendon Fox (Cape Playhouse); Godspell as Jesus, directed by Jason King Jones (Olney Theatre Center). International Credits: Love’s Labour’s Lost as Longeville, directed by Michael Kahn (Royal Shakespeare Company). TV: Chicago Fire & Med (NBC). Additional Credits: As a songwriter, he has adapted plays and written music for the Colorado and Illinois Shakespeare Festivals, and New Jersey and Arkansas Shakespeare Theaters. Membership: AEA (Actor’s Equity Association). Education: BA from Principia College, and an MFA from UIUC. Grateful, always, for Nisi + Owen. Social: jordancoughtry. com
Jack Dryden (Clarke), a native St. Louisan, and former Rep usher, is making his Rep debut in this production of The Cottage Off Broadway or Tour Credits: Isaac’s Eye as Actor/Dying Man by Lucas Hnath (The Garret Theatre Company). Regional Theatre: A Christmas Carol as Topper, directed by Kate Bergstrom (Trinity Rep); Importance of Being Earnest as Algernon (Dead Writer’s Theatre), The Life and Sort of Death of Eric Argyle as Craig (Steep Theater Company). Local: Our Town as George (Insight theatre),Connected as Scott (Hotcity Theatre). Additional Credits: Jack is a founding member of the Garret Theatre Company in New York City where he acts, directs, produces, and teaches acting. Membership: AEA (Actor’s Equity Association). Education: Masters Fine Arts Brown/Trinity Rep. Social: @Garrettheatre
Andrés Enriquez (Richard) is making his Rep debut in this production of The Cottage. Regional Theatre: Waitress as Ensemble/Dr. Pomatter U/S (Paramount Theatre, 2025); The Stranger as Gerald Strange (Peninsula Players, 2024); Million Dollar Quartet as Sam Phillips (Peninsula Players, 2024); Comedy of Errors as Antipholus of Ephesus (Orlando Shakes, 2023); Measure for Measure as Claudio (Chicago Shakespeare Theatre, 2022). The Angel Next Door as Victor Pratt (Peninsula Players, 2024); It Came from Outer Space as Borney/Frank/Coral (TheatreSquared in AR, 2022).TV: Chicago P.D. (2015). Education: MFA in Acting from University of Iowa. Social: @andresrcsv
Jihan Haddad (Marjorie) is making her Rep debut in this production of The Cottage. Regional Theatre: Akira Kurosawa Explains His Movies and Yogurt with Live and Active Cultures!, directed by Aileen Wen McGroddy (Woolly Mammoth Theatre); Hamlet, directed by Brian McEleney (Alabama Shakespeare Festival); Someone Will Remember Us, directed by Christopher Windom (Trinity Repertory Company); Sisters, directed by Aileen Wen McGroddy (Northern Stage Company); The Great Leap, directed by Michael Hisamoto (Lyric Stage Company). Additional Credits: New York: Tesseract directed by Estefanía Fadul (Playwright’s Realm); Rewombed, directed by Lori Parquet (New Light Theatre Project); From, directed by Ozzie Jones (National Black Theatre); Creation Story, directed by Olive Ashley Teague (Notch Theatre Company). Membership: AEA (Actor’s Equity Association). Education: MFA: Brown/Trinity.
Sam Matthews is making their Rep debut in this production of The Cottage Local: The Resistible Rise of Arturo Ui, The Last Days of Judas Iscariot (Sargent Conservatory of Theatre Arts at Webster University). Additional Credits: Sam is currently producing The Guy Who Didn’t Like Musicals with the new Student Lead Arts initiative. Education: Sargent Conservatory of Theatre Arts at Webster University.
Andrea San Miguel (Sylvia) is making her Rep debut in this production of The Cottage. Andrea’s personal mission is to amplify marginalized voices, to provide solidarity to those whom history has attempted to erase or oppress, and to inspire her collaborators as much as the audiences she is interminably grateful for. Off Broadway or Tour Credits: The Notebooks of Leonardo Davinci (The Goodman; Shakespeare Theatre Company; The Old Globe). Regional Theatre: Circus Quixote (Lookingglass Theatre); The Penelopiad (Goodman Theatre); The Thanksgiving Play (Steppenwolf); Romeo & Juliet, Macbeth, Twelfth Night, Comedy of Errors (Chicago Shakespeare Theater); As You Like It (Guthrie Theater); Mary Shelley’s Frankenstein, Clue, The Book Club Play, Appoggiatura (Indiana Repertory Theatre). Membership: AEA (Actor’s Equity Association). Andrea is represented by Gray Talent Group. Social: @A_San_Miguel
Isa Venere (Dierdre) At The Rep: August: Osage County as Jean, directed by Amelia Acosta Powell (2024); Athena as Athena, directed by Nancy Bell (2025). Regional Theatre: A Streetcar Named Desire as Stella (Tennessee Williams Festival of St. Louis). Local: Our Town as Stage Manager (Webster Conservatory). Education: Bachelor’s in Fine Arts in Acting from Sargent Conservatory of Theatre Arts at Webster University. Social: @isavenere
Sandy Rustin is a Broadway playwright and actress.
One of the most produced playwrights in America, Sandy penned the adaptation of the cult-hit film, CLUE which has enjoyed over 4,000 productions worldwide. The NY TIMES called CLUE “a welcome throwback to an era of physical comedy!”
The Broadway production of THE COTTAGE, directed by Jason Alexander (Seinfeld) ran at The Hayes Theatre for a limited-engagement on Broadway, starring Eric McCormick and Laura Bell Bundy.
Sandy’s musical adaptation of MGM’s film, MYSTIC PIZZA, directed by Casey Hushion, premiered at The Paper Mill Playhouse in 2025.
In partnership with Disney, Sandy created a musical review: JOLLY HOLIDAY with DISNEY ON BROADWAY, which premiered at Paper Mill Playhouse, the new YA musical: IN THIS TOGETHER for their Junior division, and A STORY FOR BELLE for their cruise lines. For Mattel, Sandy created and wrote the book & lyrics for the national tour of American Girl Live.
For NY’s City Center’s Encores!, Sandy adapted Jerry Herman’s DEAR WORLD, a NY Times Critic’s Pick, directed by Josh Rhodes and starring Donna Murphy, and with collaborator Sarah Saltzberg, gave a “thorough feminist scouring” (NY Times) to Rogers & Hart’s I MARRIED AN ANGEL, directed by Joshua Bergasse.
As an actress, Sandy regularly appears at New York’s The Upright Citizen’s Brigade in “Gravid Water” (named “Best Improv Show” by Time Out NY). Favorite NY acting credits include Found (Atlantic Theatre Company), Modern Orthodox (New World Stages), I Love You, You’re Perfect, Now Change (Westside Theatre), Jolson & Company (Century Center), Sarah, Plain and Tall (Lucille Lortel), and Neil Simon’s Hotel Suite (Roundabout). TV credits include Inside Amy Schumer, The Scariest Show on TV (Comedy Central), Law and Order; SVU, As the World Turns, All My Children and Guiding Light. Sandy was co-founding artistic director of Midtown Direct Rep. She is on the board of Project Write Now and the advisory board of The Bridge. Northwestern University graduate. Sandy is a member of ASCAP, SAG, AEA, and the Dramatists Guild and is represented by United Talent Agency and Kaplan/Perrone.
Risa Brainin (Director) At The Rep: To Kill a Mockingbird (2017), Secret Order (2009). Regional Theatre: Brainin served as Artistic Director of Shakespeare Santa Cruz, Associate Artistic Director for both Kansas City Repertory Theatre and Indiana Repertory Theatre, and Resident Director and Associate Company Director at the Guthrie Theater. Other directorial credits include plays at American Players Theatre, Actors’ Theatre of Louisville, Alabama Shakespeare Festival, Cincinnati Playhouse in the Park, Clarence Brown Theatre, Denver Center Theatre, Great Lakes Theater, Gulfshore Playhouse, Idaho Shakespeare Festival, Milwaukee Repertory Theatre, Mixed Blood, Pittsburgh Public Theater, and Syracuse Stage among others. Local: As You Like It (Shakespeare Festival of St. Louis). Additional Credits: Founder/Artistic Director of LAUNCH PAD at UC Santa Barbara, a residency and performance program for new plays. Membership: SDC (Stage Directors and Choreographers Society), National Theatre Conference, College of Fellows of the American Theatre. Education: Carnegie Mellon University Drama Program.
Robert Mark Morgan (Scenic Designer) At The Rep: The Roommate, directed by Rebekah Scallet (2024); A Christmas Carol, directed by Steven Woolf (2016); A Christmas Story (multiple years); Jekyll & Hyde, directed by Edward Stern (2009); Saint Joan, directed by Paul Mason Barnes (2009). Regional Theatre: The Mousetrap, directed by Laura Kepley (Gulfshore Playhouse, Jan 2026); Whipping Man, directed by Giovanna Sardelli (Cleveland Play House); A Little Night Music, directed by Chris Coleman (Denver Center for the Performing Arts); Major Barbara, directed by Timothy Near (San Jose Repertory Theatre); Just Stopped By To See The Man, directed by Seret Scott (the Old Globe Theatre). International Credits: Avatar: The Exhibition (museum exhibit). Film: Production Designer for Nobody: a film about Bert Williams Additional Credits: My research on creativity at www.creativitycall.com. Membership: USA (United Scenic Artists). Education: MFA: San Diego State University; BFA: Conservatory of Theatre Arts at Webster University. Social: www.morgansetdesign.com
Renee Garcia (Costume Designer) At The Rep: Athena, directed by Nancy Bell (2025). Regional Theatre: Sister Act (Charleston Stage Company, 2017); Cabaret (Theatre Silco, 2016); Romeo and Juliet (Riverside Theatre Shakespeare Company, 2010) Local: Eddie & Vinnie (Metro Theatre Company, 2023); Grand Horizons (Moonstone Theatre Company, 2023). Film: Burning Man (2009). Additional Credits: Ms. Garcia’s costume designs for As You Like It were displayed in the USITT-USA National Exhibit in the 2015 Prague Quadrennial of Performance Design and Space and were also displayed in 2022 at the Vestuario a Escena MX, AC’s international exhibit, Scenic Costume Design, at the National Center for the Arts in Mexico City. Her designs for The Prom were displayed in the Bucharest Scenography Biennale in 2024. Membership: USA (United Scenic Artists). Education: BA Theatre, Florida State University; MFA Technical Theatre, University of Missouri-Kansas City. Social: @reneegarciadesigns
Michael Klaers (Lighting Designer) At The Rep: To Kill a Mockingbird, directed by Risa Brainin (2017). Regional: Dear Jack, Dear Louise (Alabama Shakespeare Festival), ‘A’ Train (The Rubicon Theatre), Murder on the Orient Express (The Guthrie Theater), Murder on the Orient Express (Cincinnati Playhouse in the Park), The Watsons go to Birmingham - 1963 (Seattle Children’s Theatre).
Amanda Werre (Sound Designer) At The Rep: Ken Ludwig’s Sherwood: The Adventures of Robin Hood, directed by Kate Bergstrom (2025); Dial ‘M’ for Murder, directed by Melissa Rain Anderson (2024); August: Osage County, directed by Amelia Acosta Powell (2024); Mothers and Sons, directed by Michael Evan Haney (2016); Molly’s Hammer, directed by Seth Gordon (2016). Regional Theatre: The Importance of Being Earnest (IL Shakespeare, 2025), Waitress (Hanger Theatre Company, 2025), A Case for the Existence of God (Kitchen Theatre Company, 2024), Tuck Everlasting (Hope Repertory Theatre, 2023), Les Mis (Great Lake Theatre, 2014). Local: Moonstone Theatre Company, New Jewish Theatre, The St. Louis Zoo, and The Tennessee Williams Festival; Additional Credits: Amanda is sound design faculty at Sargent Conservatory. Social: Instagram at @amandawerre_sounddesigner
Dennis Milam Bensie (Wig and Makeup Designer) At The Rep: Ken Ludwig’s Sherwood: The Adventures of Robin Hood, directed by Kate Bergstrom (2025); Dial ‘M’ for Murder directed by Melissa Rain Anderson (2024); A Christmas Carol, directed by Hana S. Sharif; Murder on the Orient Express, directed by Hana S. Sharif (2023); House of Joy by Madhuri Shekar, directed by Lavina Jadhwani (2022). Regional Theatre: Light in the Piazza (World Premiere Intiman Theatre, Seattle); Beautiful: The Carole King Musical (Broadway Sacramento at the Music Circus); Don Giovanni (The Atlanta Opera). International Credits: Mozart L’ Opera Rock (Seven Ages, Beijing China). Local: Karate Kid The Musical (World Premiere Stages, STL), HMS Pinafore, Anna Bolena, The Magic Flute (Winter Opera STL). Into the Woods, Cabaret, All My Sons (New Jewish Theatre STL). Film: Potato Dreams of America (Wes Hurley). TV: Three Busy Debra’s (HBO), Jinkx and Dela Christmas Special (Hulu). Education: Los Angeles Opera Wig Department - Apprenticeship.
Paul Steger (Fight Director) At The Rep: Dial ‘M’ for Murder, directed by Melissa Rain Anderson (2024); Athena, directed by Nancy Bell (2025). Off Broadway or Tour Credits: Prymate as Fight Director, directed by Ed Sherin and starring Andre DeShields; Bug as Assistant Fight Director (Chicago, London). Regional Theatre: Resident Fight Director Nebraska Repertory Theatre, Theatre Southeast, Utah Musical Theatre and St. Louis Black Rep. TV: Vikings, Power Rangers, Ally McBeal, Magnolia, Family Law, The Practice, Party of Five, The Flintstones - Viva Rock Vegas. Membership: AEA (Actor’s Equity Association)
Lauren Roth (Dialect Coach) Off Broadway or Tour Credits: Once On This Island as Assistant Dialect Coach (Broadway national tour); Waitress as Assistant Dialect Coach (Broadway national tour); A Knock on the Roof as Dialect Coach, directed by Oliver Butler (New York Theatre Workshop). Regional Theatre: Murder on the Orient Express (Duluth Playhouse); Once (Duluth Playhouse); Sweeney Todd as Assistant Dialect Coach (South Coast Repertory). Additional Credits: When not dialect coaching, Lauren serves as a faculty member for the Sargent Conservatory of Theatre Arts at Webster. She is a recipient of two national awards through the Kennedy Center American College Theatre Festival: Distinguished Director of a Play, and Distinguished Production and Performance Ensemble (Stupid F##king Bird, 2023). Education: MFA: California State University-Long Beach; BFA: NYU Tisch. Certifications: Knight-Thompson Speechwork, The Singing Athlete (Level One Practitioner).
Jamie McKittrick (Intimacy Director) At The Rep: Stellaluna as Puppet Consultant, directed by Britney Walker-Merritte (2025). Off Broadway or Tour Credits: Cinderella Symphony Tour as Puppeteer/Performer, directed by Leslie Reidel (Enchantment Theatre Company); Scheherazade Symphony Tour as Puppeteer/ Performer, directed by Leslie Reidel (Enchantment Theatre Company). International Credits: Ma Mere L’Oye with a collaboration between Enchantment Theatre Company and the Montreal Symphony Orchestra directed by Leslie Reidel working as the Choreographer. Local: I Now Pronounce as Intimacy Director, directed by Eddie Coffield (New Jewish Theatre); Dear Jack, Dear Louise as Intimacy Director, directed by Sharon Hunter (Moonstone Theatre). Additional Credits: SURVIVE! as a lead divisor, choreographer and the role of Kinetic Girl, directed by Adrienne Mackey (Swim Pony Performing Arts). Named Best of the Year by Philly Weekly. Education: MFA in Contemporary Performance (Naropa University).
Delaney Piggins (Casting Director) serves as The Rep’s Associate Artistic Director: Producing & Community Impact. At The Rep: Stellaluna as Casting Director, directed by Britney Walker-Merritte (2025); Clyde’s as Intimacy Director, directed by Josiah Davis; The Roommate as Intimacy Director, directed by Rebekah Scallet (2024); in the casts of Hamlet and ITC 2018–2019 (Actor). Education: MFA in Arts Leadership from Depaul University and a BFA in Acting from The Sargent Conservatory of Theatre Arts at Webster University. Prior to coming to The Rep, they served on the producing team at Chicago Shakespeare Theater and as the Executive Director at Ring of Keys, an artist service organization for queer artists in musical theatre.
Evangeline Rose Whitlock (Production Stage Manager) At The Rep: A Christmas Carol as the Replacement Stage Manager, directed by Hana S. Sharif (2022). Broadway: Farinelli and the King as Production Stage Manager. Off Broadway: the way she spoke (Audible Theater), Pass Over (LCT3/Lincoln Center), F***ing A and Venus (Signature Theatre), Nice Fish (Co-Production A.R.T/ St. Ann’s Warehouse), Lost Girls (MCC), Twelfth Night, The Odyssey, The Winter’s Tale, and The Tempest (The Public Theater). Regional Theatre: Center Theatre Group, Dallas Theatre Center, American Repertory Theatre, La Jolla Playhouse, The Old Globe. International Credits: Antony and Cleopatra (Royal Shakespeare Company, a co-production with GableStage in Miami and the Public Theater). Local: Stage Management Department Lead (The Muny, 2022–2025), The Nutcracker (St. Louis Ballet). Additional: Stage Management Faculty, Sargent Conservatory of Theatre Arts at Webster University. Education: MFA - UC San Diego.
Jack Castello (Assistant Director) Local: She Loves Me, The Revolutionists, Pygmalion, The Importance of Being Earnest, Dog Sees God as the Director (staged reading). Additional Credits: Stumped (Resolute Theatre Project, 2022), Define Friend, The Ram, Diamond Whore: A New 18th Century Musical, Married Housing as the Playwright. Education: Jack is pursuing a BA in Directing from Webster University. He would like to thank Risa and this incredible team for such a wonderful experience! Social: @jacksonrcastello
Cadence B. Mayrand (Production Assistant) Regional Theatre: Mary Poppins as Production Stage Manager, directed by Sarah Butts (Grandstreet Theatre, 2025). Additional Credits: Our Dear Dead Drug Lord as Production Stage Manager, directed by Amalia Pérez Lam (Webster University, 2025), Ride the Cyclone as 1st Assistant Stage Manager, directed by Lara Teeter (Webster University, 2024). Education: B.F.A. in Stage Management from Sargent Conservatory of Theatre Arts at Webster University, expected May of 2026.
Caroline Merritt John (Assistant Stage Manager) At The Rep: Ken Ludwig’s Sherwood: The Adventures of Robin Hood as Production Assistant, directed by Kate Bergstrom(2025); Athena as Production Assistant, directed by Nancy Bell (2025); The Roommate as Production Assistant, directed by Rebekah Scallet; The 39 Steps as Production Assistant, directed by Kate Bergstrom. Regional Theatre: Austen’s Pride as Assistant Stage Manager (STAGES St. Louis); Always, Patsy Cline as Production Assistant (Great Lakes Theatre); Merry Wives of Windsor as Production Assistant (Great Lakes Theatre). Local: Production Associate (Opera Theatre of Saint Louis); The Color Purple as Stage Manager (COCA). Education: BFA in Stage Management from Sargent Conservatory of Theatre Arts at Webster University.
Bria Trachsel (Assistant Costume Designer) Local: Our Dear Dead Drug Lord as Assistant Costume Designer (Webster University), Ride the Cyclone as Assistant Costume Designer (Webster University. Film: Hot Soda as Assistant Costume Designer (AFI Conservatory Films).
Frankie Ferrari (Assistant Intimacy Director) Local: DOLLHOUSE by Three Manufacturers (Equally Represented Arts); Scream, Echo. Scream by Summer Baer, Wolf Kings (YoungLiars); The American Revolution (Theater Unspeakable). Frankie is thrilled to assist in creating a rehearsal room where actors feel confident and at ease in the intimate moments of The Cottage. Supporting Stage Intimacy Director Jamie McKittrick, she helps uphold a safe, specific process that frees the cast to focus on the joy of telling a great story.
Kate Bergstrom (Augustin Family Artistic Director) is a seasoned director, culture shaper, and creator, bringing to this position her extensive experience in theatre, opera, and film. Dedicated to enhancing community connectivity, she infuses her dynamic energy and fosters engagement through exceptional storytelling that is both entertaining and impactful.
Kate’s most recent productions at The Rep wowed audiences with the critically acclaimed It’s A Wonderful Life: A Live Radio Play in December 2023 and The 39 Steps in 2022.
In addition to her time at The Rep, Kate has over ten years of experience directing everything from reimagined classics to new works across the country at Alabama Shakespeare Festival, Trinity Repertory Company, Marin Theatre Company, Ars Nova, Rattlestick Theater, Playwrights Center, Cleveland Play House, Curious Theatre Company, Los Angeles Theatre Center, Opera San Diego, Music Academy of the West, Redcat, LACMA, and more. Her recent world premieres include You Can’t Hide From Yourself (Playwrights Horizons Soundstage), Oh To Be Pure Again (Actor’s Express), and Letters That You Will Not Get (American Opera Projects).
As Festival Director, Kate led, produced, and programmed the Big Eddy Film Festival, a cinematic celebration of counter-current narratives that crosses the intersection of art, film, and rural imagination in upstate New York. This grew from her tenure as Founder and Producing Artistic Director of On The Verge, a company staging and producing world premieres and workshops that sparked conversation, community, and celebration at the crossroads of Santa Barbara and beyond.
Most recently Kate has worked with dozens of large corporate clients such as Google, Genetech, and Cisco co-leading multi-day programs and long-term adviserships in executive communication and leadership as a performance coach at Stand & Deliver. Kate holds an MFA in directing from Brown University and a BA in Directing and Acting from UCLA. She lives in Lafayette Square with her husband, Mike, her newly St. Louis-born son, Otto, and the family pup, Crispy.
Danny Williams (Managing Director) An experienced arts administrator, Danny Williams was named The Rep’s Managing Director in January 2022. Danny brings to this position 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 served in various roles from 2006 to 2021. In his final role at The Public as Senior Director, Finance and Administration, he managed the daily and strategic financial operations of the $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 Danny worked on at The Public include Broadway: Fun Home, Eclipsed, Hamilton, and Hair; Off-Broadway: Here Lies Love, Into the Woods, Twelfth Night, As You Like It, White Noise, and Rock Bottom.
Danny serves on the National Planning Committee for The Professional Non-Profit Theatre Coalition, working to promote lasting governmental partnership to support arts education, and workforce development and infrastructure needs in theatres across the country. He has also participated in panels at national conferences for Theatre Communications Group (TCG), the Association of Fundraising Professionals (AFP), and Tessitura Network. He also is on the board of INTAR Theatre, committed to the development and continuation of the Latine voice in American theatre and beyond.
Before working in arts administration, Danny had a career as a performer and was notably featured in the 2002 Westport Country Playhouse preBroadway production of Our Town starring Academy Award winner, Paul Newman. He also performed extensively as an improvisor at various venues in New York. Williams directed several NY Fringe Festival productions including Gated and Yellow Brick Wall, both written by Marisa Marquez. From 2017–2019, Danny was an Executive Producer with the Warren Miller Performing Arts Center (WMPAC) in Big Sky, Montana. At WMPAC he produced productions of Shakespeare’s The Winter’s Tale, directed by Laura Savia; the world premiere production of Levity by Stephanie DiMaggio, directed by Stella Powell-Jones; The Last Five Years directed by Jason McDowell-Green; and [title of show] directed by Danny Sharron.
Williams also held roles with Musical Theatre International and Manhattan Theatre Club and served as an adjunct professor in the performing arts management Master of Fine Arts program at Brooklyn College. He holds degrees in marketing and theater from Fairfield University and spent a semester studying at Regents University in the United Kingdom.
The Repertory Theatre of St. Louis is the region’s premier theatre for compelling,award-winningtheatricalexperiencesthat entertain,engage,and illuminate audiences’ shared humanity.As adedicatedpartnerwithartsorganizationsinSt.Louisandacross the country, The Rep aims to expand audiences’ appreciation and understanding of the world through 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 Theatre. Performances are given at the Virginia Jackson Browning Theatre at the Loretto-Hilton Center.
The Steve Woolf Studio Series offers a selection of contemporary plays and new works that challenge audiences and provoke meaningful dialogue. These productions are staged in an intimate, flexible space, allowing for a closer connection between the performers and the audience. The series features diverse voices and stories that explore a wide range of themes and perspectives, providing a platform for emerging playwrights and innovative theatre makers.
Founded in 1975, it has produced over 130 touring productions, including a number of world premieres. 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.
Subscribers can save two ways on additional ticket purchases. Advance purchases receive a 30% discount for Mainstage productions and 10% discount for Studio productions (subject to availability). Last-minute phone or walk-up purchases (beginning 48 hours prior to a show) are discounted at 50%!
• 100% Flexibility
• Exclusive Communications
• Early access to upcoming promotions and events
• Waived fees on single ticket purchases (not available online)
Everyone deserves respect and dignity. Everyone deserves safe environments. Everyone benefits from collective learning. To learn more visit repstl.org/audiencecodeofconduct
Assistive Listening: 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 display that shows what the actors are saying or singing, at the third Sunday show for all Mainstage performances.
Mobility Accommodations: 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.
SHOW CALENDAR
The Rep strives to make the arts an integral part of our daily lives by providing learning and engagement programs designed to give patrons of all ages a ticket to the wonder, the fun, and the vital human spirit that composes the world of the arts. Patrons and educators are encouraged to contact the Learning and Community Engagement Department at 314-968-7344 or visit our website at repstl.org/lace for more information about these and other programs.
Camp Rep began as a manifestation of The Rep’s unwavering commitment to lifelong learning and the goal to foster a theatre-loving space for youth year-round. Starting in 2020 as a half-day venture, it swiftly evolved into a full-day camp by its second year. Camp Rep has grown not only in increased attendance, but has also offered a wider array of workshops encompassing acting, dance, music, stage combat, filmmaking, costume and prop design, stage management, and directing. Campers create their own performances and learn about the magic of theatre and technology behind the scenes, culminating in a final showcase for friends and family.
More than 3,000 intergenerational learners attend Lifelong Learner Matinees at The Rep each season. These matinees are typically designed for sixthj grade students and older, but we welcome learners of all ages, encouraging a diverse audience that includes all those who value continuing education through the arts.
Page 2 Stage sends Rep volunteers and staff members into community spaces to facilitate discussions about the creation and curation of a season, from play selection to the moment it comes to life on stage. Community members learn about all the different aspects of theatre and interact with props, set models, lighting fixtures, and more. All participants are encouraged to see a production in The Rep’s current season.
Activate The Rep as a resource! We offer storytelling, devised theatre, team building, view points, and movement workshops for corporate, non-profit, and educational groups of all sizes. We tailor our workshops to the needs of our community groups and offer them as one-day experiences or a multi-day workshop series.
This free conversation series takes a creative approach to building community through dialogue and helps us discover the subtle truths that unite our human experience. Throughout the year, The Rep hosts thought-provoking public forums intended to provide a safe space for the free exchange of ideas. This series explores the intersectionality of art and civic life with experts and thought leaders and skillfully discusses the issues that matter most to our community.
community partners
We partner with nonprofits and civic leaders to increase the authenticity of our productions, expand access to world-class storytelling, and provide action steps for inspired audiences to positively affect their communities.
In partnership with the St. Louis County Library, we offer discounted tickets to select performances at The Rep and provide shuttle transportation to and from the theatre, with Rep staff on board to talk about the organization and the production.
For select shows of our season, guides at the St. Louis Art Museum develop a curated tour of the museum of pieces with some connection to themes and ideas presented in our mainstage season. The tours are free to attend and do not require an RSVP, but space is limited.
Kate Bergstrom
Associate Artistic Director
Delaney Piggins
Artistic and Community
Impact Associate
Matthew Cox
Executive Artistic Assistant
Gregory Almanza
Director of Production
Jayson M. Lawshee
Production Associate
Taijha Silas
Technical Director
Emilie Weilbacher-McMullan
Assistant Technical Director
Victoria Esquivel
Charge Scenic Artist
Scott Loebl
Scenic Artists
Stephen Pollihan
James Van Well
Scenic Shop Foreman
Dave McCarthy
Scenic Carpenters
Daniel Roach, Jr.
Danny McCarthy
Scott DeBroux
PROPS
Properties Manager
Eric William Barnes
Assistan Properties Manager
Abigail Stuckey
Props Assistant
Rachel Seabaugh
Costume Director
Michele Siler
Assistant Costume
Shop Manager
Elena Jaquez
Head Draper
Elizabeth Eisloeffel
Draper
Paula Buchert
First Hands
Carrisa Sexton
Wes Wyman
Wardrobe Supervisor
Kelsi Washington
Danny Williams
Lighting & Sound Supervisor
Jonathan Scully
Mainstage Head Electrician
Connor Meers
Studio Electrician
Casey Morris III
Lighting Programmer
Lou Ritter
Mainstage Sound Engineer
Joshua Riggs
Studio Sound Engineer
Sean Wilhite
Stage Manager
Shannon B. Sturgis
General Manager
Dan Schultz
Senior Manager, Administration
Laura Wandersee
Company and Facilities Manager
Michael Ward
Director of Board Relations and Institutional Events
Bailey Pashia
Attorney
Sara Robertson, Polsinelli PC
Database Analyst
David Raines
Box Office Manager
Kristy Kannapell
Assistant Box Office Managers
Michael Dorn
Christian Hoffman
Box Office Representatives
Carl Wickman
Julie George
Michelle Dougherty
House Manager
Kyle Shoemake
Assistant House Manager
Madison Bailey
Front of House Staff
MacKenzie Bernard
Piper Billingsley
Caroline Bush
Shannon England
Kati Fraizer
Beth Greco
Ben Hammock
Avery Kelley
Concessions Staff
Alex Godefroid
Lisa Lackey
Mariah Rogers
Development Manager
Rob Kapeller
Institutional Giving Manager
Laurel Considine
Development Assistant
Molly Rowland
Finance Lead
Mike Parentin
Business Manager
Suzanne Bodenstein
Accounting Assistant
Marsha Whitler
Auditor Rubin Brown
Director of Marketing
Angel Azzarra
Public Relations
Frances White
Digital Marketing Associate
Ash Moon Thompson
Marketing Associate
Camryn Moore
Graphic Designer
Delores Eddington
Director of Lifelong Learning
Brian Coats
BRIAN L. CLEVINGER, PH.D. PRESIDENT
ANN
CADY SCOTT VICE PRESIDENT
SUSAN
STITH VICE PRESIDENT
JUDI SCISSORS
SECRETARY
Charmain Aaron greater st louis, inc
Trish Alexandre community volunteer
Wendi Alper-Pressman* armstrong teasdale llp
David Alpers community volunteer
Margaret Augustin* community volunteer
Patrick Aydt merrill wealth
Amy Bantle washington university school of medicine
Michelle Brady ernst & young
Jana Broadie community volunteer
Brian Clevinger* prolog ventures
Abby Devereux thrivent
Erica J. Driver the little bit foundation
Scott Fehr evernorth health services
David Frey* caleres
Frank Hamsher* skyline public strategies llc
Laurie Hiler* cbg enterprise, inc
Ven Houts community volunteer
TRISH ALEXANDRE VICE PRESIDENT, VOLUNTEERS
GWEN M. MIDDEKE IMMEDIATE PAST PRESIDENT
Toni Jackson community volunteer
Dan Jay* community volunteer
C. Brendan Johnson polsinelli
John S. Kingston thompson coburn llp
Jill Magruder the cigna group
Gwen Middeke* community volunteer
Michael James Reed actor and educator
Jane Robert* community volunteer
Pat Schutte* community volunteer
Judi Scissors* community volunteer
Ann Cady Scott* civic leader
Mike Serverian edward jones
Steven Sherman charter communications, inc
Susan Stith* concordance
Jeanine Suchecki professor emeritus at uconn health
Susan D. Tuteur* community volunteer *executive committee
Among our most vital 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 call the Development Department at (314) 687-4030.
TRISH ALEXANDRE PRESIDENT
LYNN YEARWOOD
VICE PRESIDENT
VICKI HELLING
TREASURER
Trish Alexandre
Susan Barley
Ann Bronsing
Elizabeth Cobin
Dorothy Diehl
Denise Eschenbrenner
Karen Fairbank
Glenda Hares
ELIZABETH COBIN SECRETARY
ANN STRAW IMMEDIATE PAST PRESIDENT
Vicki Helling
Laurie Hiler
Lisa Jones
Marcia King
Margie Knapp
Linda Lowry
Barbara Mennell
Karen Miller
Shirley Raitzch
Marilyn Raphael
Rocky Rosen
Helen Sandifer
Cindy Schnabel
Carol Schreiner
Ann Straw
Linda Vandivort
Brian Welch
Lynn Yearwood
Volunteering at The Rep is your chance to be part of the magic both onstage and behind the scenes. Whether ushering performances, supporting special events, or lending a hand in the office, the gift of your time helps us create exceptional theatre experiences for our community and beyond.
To learn more and sign up, please visit https://www.repstl.org/support/ ways-to-support/volunteer/ or scan the QR code below.
The Repertory Theatre of St. Louis is grateful to the following donors who have made contributions of $2,000 or more in the last year.
Artistic Director’s Circle
$20,000+
Anonymous (3)
James Berges & Elizabeth Mannen Berges
Patty & Kent Chapin
John & Anna Beth Goodman ✠
Ven & Cynthia Houts
Sally Lemkemeier
Gwen & Paul Middeke
Jane & Bruce Robert
Pat & Ken Schutte
Ann Cady Scott
Mary Strauss ✠
Steve & Christine Tillery
Susan & Peter Tuteur
Spotlight Angel
$10,000 - $19,999
Wendi Alper-Pressman & Norman Pressman ✠
David & Melanie Alpers ✠
Ted & Robbie Beaty
Kathy Berg
Mark & Teri Brenner
Vicki & Brian Clevinger ✠
Elizabeth & Don Cobin
C & L
Dr. Connie Gibstine
Bill & Linda Hentchel
Laurie Hiler ✠
Mark & Peggy Holly
Antonnette M. Jackson
Dr. Stuart Kornfeld
Kent A. Lewis ✠
Mei Chen Welland ✠
Spotlight Benefactor
$5,000 - $9,999
Joseph & Trish Alexandre
Joseph & Lauren Allen
Patrick Aydt
Darla & Brad Baker
Susan Barley
P.E. Belloli & Dave Shimek
Mary Alice Dwyer-Dobbin
Scott & Andrea Fehr
Marti & Bob Fowler
Dr. Anne Carol Goldberg & Ronald Levin ✠
Jan & Ronald Greenberg
Laura & Ted Greenberg
Lee & Gina Hoagland ✠
Brendan Johnson
Sally Johnston
Nancy & Kenneth Kranzberg ✠
Chris & Jill Magruder
Jerry & Judy Potthoff
Terry & Sally Schnuck ✠
Bevis & Patience Schock
Judi Scissors
Christine Secorsky & Greg Sacho
Janet Shatz
Steve Sherman & Patsy King
Jeanine Suchecki
Stephen Trampe & Jenny Gupta
Dr. Katherine Kreusser & Dr. Robert Young
Spotlight Patron
$2,000 - $4,999
Anonymous (3)
Trish & Michael Abbene ✠
Margaret Augustin
Costas & Assimo Azariadis
Carolyn Becker
Christy Beckmann
Sandy Belfi & Linda Keeney
Ms. Sandra Bellon
Nancy Berg
Kate Bergstrom & Mike Riley
Holly & Marc Bernstein
Mark D. Bernstein ✠
Sam C. Bertolet & Helen D. Ziercher
Catherine S. Bollinger
Joan & Chris Bowe
Sean & Michelle Brady
Michael & Arlue Briggs ✠
Jana Broadie
Ann Bronsing
Suzan Kelsey Brooks
Barbara M. Bryant
Linda & Jack Bryant
Sara Burke
Elaine Coe ✠
Dr. Kevin & Lisa Coleman
Robert & Rebecca Courtney
Myra & Gene Crandall ✠
The Preeti Dalawari & John Vandover Charitable Fund
Mike & Sue Darcy
Dr. Debbie A. Depew
Michael Dern ✠
Pamela Wing Dern ✠
Jim Donnelly & Tracey Temanson
Joan & John Dougherty
Mr. and Mrs. Henry Dubinsky
Peter Dunn
Richard Engelsmann & Diane Buhr Engelsmann
David Frey
Kirk & Alice Fritsch
Mr. & Mrs. Ronald Fromm
Ed & Julie Glotzbach
E.L. Green ✠
Mike & Jen Greer
Tim & Elizabeth Hampton ✠
Frank Hamsher & Peggy Guest
Glenda Hares
Kathleen Locklar Heimann
Margaret & Michael Heinz
Marian & Maurice Hirsch
Joanne & Joel Iskiwitch
Mike Isaacson & Joe Ortmeyer
Daniel G. Jay &
Mary Ann Lazarus
Dr. Theresa & Zulfikar Jeevanjee
Jeanne & Aron Katzman
Mr. & Mrs. Ronald Kessler
John & Becky Kingston
Scott & Mary-Kay Kirchner
Nancy Koplar
Gerry Kowarsky
Paul & Martha LaFata
Linda Lowry
Laura & David Margolis
Mike Maskus & Cathy Augustin
David & Ginny McDonald
C. Arden Mennell
Liz & Brian Mischel
James & Susan Morrell
John & Christy Nickel
Andrew & Lori O’Brien
Mike & Barb Quinn
John & Lauren Rice
Freda & Harry Rich ✠
Mary & Peter Rohr
John H. Russell
Tom & Kathy Ryan
Cathy & Tom Sakiyama
Mrs. Peter E. Sargent
Paul & Cindy Schnabel
Carol Schreiner
Steve & Marlene Schumm
Julian & Helen Seeherman, The Seeherman Charitable Fund ✠
Janice & Steve Seele ✠
Carol & Jake Shepley
Diane Sher
Lisa & Allan Silverberg ✠
Thad Simons, Kenneth Simons, & Ellen Nahlik, Simons Family Charitable Trust
Donna & Howard Smith
Dr. John Sopuch
Susan & Drexel Stith
Ann & Jack Straw ✠
Mary Susman & Thomas Herm
Terry Thornton
Joan Tiemann
Selden Y. Trimble, in memory of Joyce Price Trimble
Lynne & Jim Turley
Paul & Linda Vandivort
James and Mary Walters
Richard & Mary Weinstock
Drs. Craig & Terri Weldon
Mike & Barbara Willock
Richard & Shirley Wilt
David & Debbie Windus
Lynn & Darrell Yearwood
We do our best to recognize every donor accurately. If you notice an error in your listing, please don’t hesitate to reach out to the Development Office at (314) 687-4030.
Gifts received 8/11/2024 – 8/11/2025
$250,000+ $100,000 ‒ $249,999 ✠ $50,000 ‒ $99,999
$25,000 ‒ $49,999 $10,000 ‒ $24,999
* In memoriam
Want to dive deeper into the dramatic arts and make new friends in our Rep community? Join our monthly play-reading book club, Rep Reads!
1. Sign up at the QR CODE below.
2. Read this month's play.
3. Join us for conversation and connection!
September: Home, I’m Darling by Laura Wade Tuesday, September 9, 2 pm | Zoom (Virtual)
NEW! Tuesday, September 9, 6 pm | LHC Lobby Wednesday, September 11, 2 pm | The Novel Neighbor
Judy has Johnny’s slippers waiting for him when he arrives home from work, the kitchen’s clean, the rooms are aired...yet this is not the 1950s, but a 21st-century ‘arrangement’ agreed between the two of them. With clothes, furniture and a (faulty) fridge from the 1950s, Judy and Johnny try to ‘live the dream’, with specific roles and a perfectly ordered life.
A Number by Caryl Churchill | October 14–15
In the Red and Brown Water by Tarell Alvin McCraney | November 11–12
Each year, the Leading Ladies unite to sponsor a production in The Rep’s mainstage season. This year, we invite you to join us in underwriting Gypsy: A Musical Fable, directed by Augustin Family Artistic Director
Kate Bergstrom.
We are grateful to the generous donors who championed last season’s
Ken Ludwig’s Sherwood: The Adventures of Robin Hood. Learn more about this vibrant circle of theatre lovers at repstl.org/support/leading-ladies.
LYNN NOTTAGE
$10,000 +
The Augustin Family
JULIE TAYMOR
$7,500 - $9,999
IDINA MENZEL
$5,000 - $7,499
Jane M. Robert
Pat Schutte
SUZAN-LORI PARKS
$2,500 - $4,999
Michelle Brady
Pamela Wing Dern ✠
Jill Magruder
Judi Scissors
MARIANNE ELLIOTT
$1,000 - $2,499
Anonymous
Trish Alexandre
Wendi Alper-Pressman ✠
Suzan Kelsey Brooks
David Frey
Nancy Scanlon Koplar
Nancy Kranzberg ✠
Christine Krueger
Hannah Langsam
Gwen Rogers
Ann Cady Scott
Diane Sher
Susan Tuteur
Mei Chen Welland ✠
Helen D. Ziercher
PAULA VOGEL
$500 - $999
Trish Abbene ✠
Christy Beckmann
Sandy Belfi
Pamela Belloli
Tamarra Breiner
Ann Bronsing
Terri Ciccolella
Elizabeth Cobin
Dorothy Diehl
Joan D. Dougherty
Roberta S. Frank
Barbara Gervais
Carolyn Gold
Laura Greenberg
Jen Greer
Glenda Hares
Julie Hohman
Joanne Iskiwitch
Dr. Theresa Jeevanjee
Linda Keeney
Merritt McCarthy
Elizabeth Meteer
Karen Miller
Cynthia Prost
Carol Schreiner
Lisa Easton Silverberg ✠
Judith Smart
Teri Steinberg
Ann H. Straw ✠
Terry L. Thornton
Linda Vandivort
Susan Warshaw
Lynn Yearwood
ANIKA NONI ROSE
$250 - $499
Nancy Berg
Elaine E. Coe ✠
Susan Darcy
Linda Hensley
Jeane Jae
Suzie Nall
Lynn Rawlings
Judith Roach
Katharine E. Tate
Barbara Toumayan
Barbara Turkington
Ashley M. Whalen
PHILLIPA SOO
$100 - $249
Ilene Brooks
Bette L. Bude
Irene Clasen
Terry S. Coleman
Sharon Dougherty
Michelle Drabin
Karen L. Fairbank
Jo Ann Fiandaca
Sophia Finder
Vicki Helling
Jan Hermann
Toni Jackson
Marcia King
Margie Knapp
Susan B. Knight
Suzanne Levin
Constance Lohr
Dorothy Lovelace
Linda Lowry
Barbara Mennell
Marilyn Raphael
Kris Rinne
Margaret Cohen Voss
Donna Weinsting
Lisa Zarin
We do our best to recognize every donor accurately. If you notice an error in your listing, please don’t hesitate to reach out to the Development Office at (314) 687-4030. Gifts received 6/1/2024 – 5/31/2025
We can do it, all we need is a hand!
Each year, the Leading Ladies unite to sponsor a production in The Rep’s mainstage season. This year, we invite you to join us in underwriting Gypsy: A Musical Fable, directed by Augustin
Family Artistic Director Kate Bergstrom. repstl.org/support/leading-ladies scan to support
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 the Development Department at (314) 687-4030.
$100,000 +
The Berges Family Foundation
The Shubert Foundation Inc.
Whitaker Foundation
$25,000 - $99,999
Pershing Charitable Trust
$10,000 - $24,999
Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation
Employees Community Fund of Boeing
Gardner Capital
Mary Ranken Jordan and Ettie A. Jordan Charitable Foundation
New Growth Horizon Foundation
John and Carolyn Peterson Charitable Foundation
Tito’s Handmade Vodka
The Trio Foundation
US Bank
$5,000 - $9,999
Enterprise Mobility Foundation
$2,500 - $4,999
Colton’s Cause
Excel Business Concepts
Edward Chase Garvey Memorial Foundation
Graybar Foundation
Washington University in St. Louis Center for the Humanities
Webster University
$1,000 - $2,499
Commerce Bancshares Foundation
Joy Waltke Fisher Fund of the St. Louis Community Foundation
Moneta Charitable Foundation
Gifts received 8/18/2024 - 8/18/2025
Anonymous (4)
Robert Bilzing
Leona Lee Bohm*
Mr. & Mrs. Thomas Brossard
Mrs. L. L. Browning Jr
Mrs. Iva Jean Conerly*
Joseph Corrigan*
Margaret Crumpacker, M.D.
Ralph & Selma Dennis*
Larry Essmann*
David* & Carol Gast
Brad L. Graham*
Ms. Susan Gregg*
Dr. Paul O. Hagemann*
Sally Parriott Hailand*
Tim & Elizabeth Hampton
Glenda Hares
Marian & Maurice Hirsch
Dea Hoover & Declan Rutan
William Eager Howard III
Henry J & Jean E. Lechner
Jack & Ellen Lippard*
Stanley & Lucy Lopata*
Angela Davis Malles*
Gwen & Paul Middeke
Doris A. Murdoch*
Garie & Ken* Perry
Marilyn & Bob Raphael
Arthur & Loretta Seltzer*
Glenn Sheffield*
Donald J.* & Shirley B. Sher
Lisa & Allan Silverberg
Gerald & Marjorie Smith*
Mary Strauss
Yolanda Taylor*
Judi Tomlinson*
Margaret Tumiati
Robert & Bernice Williams*
Mike & Barbara Willock
Steve Woolf*
Judy & Lon Zimmerman
* In memoriam
To learn more about planned giving, call the Development department at (314) 687-4030.
SEASON STUDIO SERIES SPONSOR
SEASON STUDIO SERIES SPONSOR
Thank you so much for seeing the show! Whether you are a loyal subscriber or joining us for the first time, we are grateful that you’ve dedicated time to support live theatre in St. Louis.
Each season, The Rep depends on the generosity of our community to produce
Make a one-time gift or join our monthly giving program.
Online: Visit us at repstl.org/support or scan the QR codes below.
By Phone: Call the Development Department at (314) 687-4030.
By Mail: Send a check to:
The Repertory Theatre of St. Louis, Attention: Development Department, 130 Edgar Road, Saint Louis, MO 63119
The Rep accepts tax-free distributions from Donor Advised Funds and Qualified Charitable Distributions from retirement savings accounts.
Our EIN is 43-0970273. For any questions, please contact the Development team at development@repstl.org or 314-687-4030
world-class theatre on our stages. Ticket and subscription sales cover less than half of our operating expenses.
Please consider supporting The Rep. Your gift, no matter the size, plays a crucial role in sustaining our work this season.
For more information on making a donation of stock to The Rep, please contact the Development team at development@repstl.org or 314-687-4030.
Enhance your gift to The Rep through your employer’s matching gift program. Learn more at repstl.org/matching-gifts.
Become an active player in carrying on the tradition of fine theatre with a planned gift to The Rep. Learn more at repstl.org/support/encore-circle
To learn more about ways to begin or expand your giving story with The Rep, call the Development Department at (314) 687-4030.
