Posts Tagged ‘beth crandall’

“Evan Hansen” Tells a Riveting, Credibly Human Tale at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on July 30, 2025| Leave a Comment »

Dear Evan Hansen
Book by Steven Levenson, Music & Lyrics by Benj Pasek and Justin Paul
Directed by Rob Ruggiero
Choreographed by Beth Crandall
The Muny
July 29, 2025

Michael Fabisch (center) and Cast
Photo by Emily Santel
The Muny

The Muny is continuing it’s impressive track record with another impeccable production in their 2025 season, and it’s a new one for this company. The Tony-winning musical Dear Evan Hansen is one of the more debated shows I’ve witnessed lately, but this production makes a strong argument for the sheer humanity of its characters, and especially its lead, played in a tour-de-force by a talented young actor. There’s a lot to think about here concerning friendship, the need for connection, and difficult moral choices, and this production, directed by Muny veteran Rob Ruggiero, gets the tone just right, all the while highlighting the memorable Pasek and Paul score and featuring some eye-catching production values. 

As the show begins, Evan Hansen (Michael Fabisch) is about to begin his senior year of high school, and he’s not exactly looking forward to it. Dealing with social anxiety and feeling like an outcast from his peers, he wishes he could make friends, talk to his crush Zoe Murphy (Afra Sophia Tully), and fit in more at school. He also wishes his mom, Heidi (Jackie Burns)–a nurse who also attends night school in hopes of becoming a paralegal–was around more. He’s also not so sure about the assignment his therapist gave him involving writing letters to himself, although he writes one at school in a moment of stress and it’s found by surly classmate Connor Murphy (Joshua Bess)–Zoe’s brother–which is then followed by a tragedy that begins a chain of events that eventually leads Evan into a situation that first helps him to feel more connected, but then spirals out of control. It’s a story about connection, but also the lack of it, and how the desire to belong can tempt a person to dishonesty and more.

Still, unlike some of the opinions I’ve seen from fans online, I don’t see Evan as a “bad guy”. I see him as imperfect, like we all are, and caught in a situation that is too big for him to handle on his own, while also being somewhat pushed into it by classmates Jared (Bryan Munar) and Alana (Savy Jackson) who have their own mixed motives. Also, as Evan grows closer to the Murphy family–Zoe and her parents Larry (Rob McClure) and Cynthia (Maggie Lakis)–he feels a sense of belonging that he has longed for from his own family, even though Heidi has tried her best as a single parent. 

That’s another aspect of this show that I love–it focuses not just on the teens, but on the parents, and the struggle for connection between parents and children, and the idea that even the most well-meaning of people can screw up. This show doesn’t have all the answers, but it’s a vivid portrayal of that struggle for connection and belonging, and the efforts to fix relationships when they’re broken. It also looks at the role of social media in today’s world, especially among teens.

The excellent set by Michael Schweikardt and video design by Kevan Loney are dynamic and powerful, with the social media posts projected all around the vast Muny stage, and the scenic elements moving up, down, and around as needed, keeping up with the brisk pace of the plot. The costumes by Joseph Shrope work well for the characters, and the lighting by Rob Denton and sound by John Shivers & David Patridge add much to the setting and tone of the story. There’s also a great Muny orchestra led by music director Roberto Sinha.

The cast is simply fantastic, led by the immensely relatable, vocally impressive Fabisch as Evan. Fabisch brings out all the conflicting aspects of Evan’s character clearly while remaining sympathetic, even in the first part of Act 2 in which Evan becomes the most frustrating as a character. When his moment of truth arrives, though, Fabisch’s Evan makes you feel it, and his moments with Burns’s also excellent and sympathetic Heidi toward the end are especially powerful and convincing. There are also strong turns from Tully as the conflicted Zoe, and from Lakis and McClure as the grieving Cynthia and Larry, whose sense of sorrow and yearning for connection is palpable. There are also memorable performances from Jackson as the ambitious Alana, Munar as the snarky Jared, and Bess as Connor, who appears both as himself and, later, as a sort of personification of Evan’s doubts and fears. This show also makes excellent use of the Muny’s Teen Ensemble, who lend support with energy and enthusiasm.

Dear Evan Hansen is a complex show that deals with some especially difficult issues, but its overarching theme about the importance of connection and communication in relationships is clear, along with the message that people matter, even when they may feel insignificant. It’s a powerful piece of theatre, especially well staged at the Muny. Fabisch is especially one to watch, as well, and the cast around him is strong. It’s another first-rate production in the Muny’s summer season. 

Rob McClure, Maggie Lakis, Afra Sophia Tully
Photo by Phillip Hamer
The Muny

The Muny is presenting Dear Evan Hansen in Forest Park until August 3, 2025

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Intriguing Revised “Camelot” Tells a Streamlined Tale at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on June 24, 2022| 13 Comments »

Camelot
Book and Lyrics by Alan Jay Lerner, Music by Frederick Loewe
Book Adapted by David Lee
Directed by Matt Kunkel
Choreographed by Beth Crandall
The Muny
June 23, 2022

Robert Petkoff (center) and Cast of Camelot
Photo by Phillip Hamer
The Muny

Camelot is a strange show, in the sense that it never seems to be the same show depending on what production you see. Since it first played on Broadway in 1960, there have been many professional, amateur, and school productions, along with a Broadway revival in 1980 and various national tours. I’ve seen many versions, from a high school production to dinner theatre, to a couple of those tours, to the last Muny production in 2009, and there always appear to be changes to the way the story plays out, in terms of the song catalogue and the book. It’s a legendary story that has become a beloved classic, but you never really know what you’re going to see when you see Camelot. Now, the Muny is going even further in the book revisions than I’ve ever seen before with their newest production, featuring an adapted book by David Lee that streamlines many aspects of the story while focusing on the three main characters. It’s a bold endeavor, and for the most part, it works.

The book has always been considered a weakness of Camelot, despite its beloved score and beloved reputation. Revising the book has been done before, and it’s going to be done again (for Broadway later this year, in the hands of well-known playwright and screenwriter Aaron Sorkin). The current Muny production is an adaptation by writer David Lee that overhauls the script in a somewhat drastic way, omitting several characters and some songs, and creating a framing device in which a group of “revelers” tell the story of King Arthur (Robert Petkoff), Queen Guenevere (Shereen Pimentel), and Sir Lancelot (Brandon S. Chu), along with the Knights of the Round Table and the legendary court of Camelot.  It starts off somewhat abruptly once Arthur is introduced, and he starts right into his first song, “I Wonder What the King is Doing Tonight”, but soon he meets Guenevere and their chemistry is strong, lighting up the stage as they form a strong, credible bond. Eventually, though, their relationship is challenged by the arrival of Lancelot from France, and the new knight causes a stir in the King’s court and in his marriage, as Lancelot and Guenevere find it difficult to fight their attraction to one another, despite their love for Arthur. Soon, the devious Mordred (Barrett Riggins) shows up to further stir up tensions, among the increasingly bored and dissatisfied knights as well as the royal couple and Lancelot, threatening the very ideals that Arthur has built his kingdom upon. 

It’s a well-known story, but this version has distilled the story down to its basic elements, for the most part. There’s a small ensemble, but notable characters from the musical are missing–most notably Merlyn, who is relegated to off-stage status, and King Pellinore, who I found myself missing, since I think his role as a confidant for Arthur is needed in some places. I didn’t miss Merlyn, though, and Arthur’s stories about him work well even without the character’s appearing onstage. Still, what’s done here works to speed up the show a bit, and the framing device helps to emphasize the legendary nature of the story. The look and presentation of the show is also radically different, with a stylized set by Anne Beyersdorfer that is frequently in motion, striking costumes by Tristan Raines that blend elements of Medieval style with more modern rock-inspired looks that feature a lot of leather jackets and chains for the knights, along with more modern suits and dresses for Arthur and Guenevere. The set, along with Shelby Loera’s stunning lighting design and some excellent video design by Kylee Loera, works well with the staging, which takes advantage of the Muny’s turntables to keep the action, and the story, moving along. 

The casting is strong, as well, led by a charming performance from Petkoff as the idealistic but self-doubting Arthur. He’s a joy to watch, and his chemistry with Pimentel’s Guenevere is palpable. Pimentel is also excellent, with strong stage presence and a glorious voice, bringing energy to “The Simple Joys of Maidenhood”, “The Lusty Month of May”, and more. Chu is good as Lancelot, with a strong voice, although he doesn’t quite have the bold presence that the character demands from his first appearance, and his scenes with Pimentel aren’t as electric as they should be, although this improves as the show goes on. Other standouts include Riggins as the gleefully malevolent Mordred, oozing stage presence from his first moment on stage. There are also memorable turns from the trio playing Camelot’s top three knights–Daryl Tofa as Sir Lionel, Sarah Quinn Taylor as Ser Sagramore, and Evan Ruggiero as Sir Dinadan. There’s also a strong ensemble and some excellent, energetic choreography by Beth Crandall and some well-paced staging of musical numbers, most notably the cleverly staged “C’est Moi”, which shows Lancelot’s journey to Camelot while he sings. 

This is a Camelot like you’ve never seen it before, and it’s certainly a crowd-pleaser. While I did find myself missing some of the elements that were cut out, I find this staging excellently paced and well-cast, with strong singing and a dazzling set and production values. The finale works especially well, with the emphasis on the legendary nature of this story, and for the most part, the cast brings a “shining moment” to the Muny with excellent style. 

 

Shereen Pimentel, Robert Petkoff, Brandon S. Chu and the Cast of Camelot
Photo by Phillip Hamer
The Muny

The Muny is presenting Camelot in Forest Park until June 28th, 2022

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Crowd-Pleasing “Sound of Music” Makes the Most of Its Setting at the Muny

Posted in Uncategorized, tagged , , , , , , , , , on August 4, 2021| Leave a Comment »

The Sound of Music
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Directed by Matt Kunkel
Choreographed by Beth Crandall
The Muny
August 3, 2021

Kate Rockwell, Michael Hayden, Jenny Powers, and the Von Trapp Children
Photo: The Muny

The hills are alive, and so are the trees, the stage, the scenery, the lights, and the video in the Muny’s latest production of the classic Rodgers and Hammerstein musical, The Sound of Music. Although there is a strong cast here, for the most part, and the audience loved every minute, what shines here especially is the technical artistry, as well as the integration of the setting with the Muny’s natural environment in Forest Park, with the return of the live trees on stage. The classic songs and characters are here, as well, but what’s especially stunning is the sheer spectacle.

This is a show that the Muny has produced many times, although it’s only the second time I’ve seen it here, even though I’ve seen several other productions in various other venues. Here, it’s the familiar show with all the iconic characters and 1930’s Austrian setting, although a few little tweaks have been made. First, when aspiring nun Maria (Kate Rockwell) is first seen, she’s given a bit of a “Julie Andrews moment” in a nod to the famous film by way of this production’s eliminating the usual nuns’ prelude and Maria’s introduction to the title song. The first words we hear are “the hills are alive”, just like the film. Maria also gets a striking entrance standing on a stump that rises out of the stage, as Rockwell is flanked by those lovely trees as well as some stunning projections by video designer Caite Hevner, whose work is one of the true highlights of this production.  We then follow Maria, who is having trouble fitting into convent life, as the wise Mother Abbess (Bryonha Maria Parham) sends her to test her calling by serving as a governess to the widowed Captain George von Trapp (Michael Hayden) and his seven neglected children, (Elizabeth Teeter, Victor De Paula Rocha, Amelie Lock, Parker Dzuba, Jillian Depke, Abby Hogan, and Kate Scarlett Kappel). Maria’s initial idea is to help the children prepare for a new stepmother, as the Captain has been courting wealthy widow Elsa Schraeder (Jenny Powers), but as most of us know, things don’t quite turn out to plan, for Maria, for the Captain and the children, or for Austria itself, as the brutal, menacing Nazi regime is poised to take over the country.

The cast here is good, with some particular standouts, like Teeter in an especially thoughtful turn as eldest Von Trapp daughter Liesl, John Scherer as the enterprising concert promoter Max Detweiler, and, especially, Parham as the Mother Abbess, who not only displays a strong sense of wisdom and compassionate authority, but also a fantastic voice on songs like “My Favorite Things” and the iconic “Climb Ev’ry Mountain”. Rockwell is a spunky Maria, and Hayden takes a while to find his energy, but eventually gives a thoughtful, memorable performance as the Captain, especially shining in his moments with Rockwell and the children. Other standouts include Depke as the observant young Brigitta, and Kappel in a spirited performance as youngest daughter Gretel. The children as a group show a strong sense of family connection. Powers also gives a strong, if somewhat subdued, performance as Maria’s romantic rival Elsa. 

The staging is clever, with a colorful set by Paige Hathaway and excellent use of the Muny’s turntable in conjunction with the scenic and video design. There’s a particularly stunning moment in Act 2 during the wedding in which set, video projections, staging, and Shelby Loera’s superb lighting design come together to awe-inspiring, almost cinematic effect. There are also excellent period-specific costumes by Tristan Raines. In fact, the production is nearly flawless from a technical standpoint, aside from a few obvious and distracting wigs. Also worth noting is the melodious Muny Orchestra led by music director Ben Whitely.

Overall, The Sound of Music at the Muny is an entertaining, fully realized experience that makes the most of its venue. If you love this show, I imagine you’ll enjoy this production. It’s a well-staged production that truly makes its location one of the stars of the show.

Kate Rockwell, Bryonha Marie Parham
Photo: The Muny

The Muny is presenting The Sound of Music in Forest Park until August 9, 2021

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Bold, Whimsical “Matilda” Makes Magic at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , , , on August 6, 2019| Leave a Comment »

Matilda
Book by Dennis Kelly, Music and Lyrics by Tim Minchin
Orchestrations and Additional Music by Chris Nightingale
Directed by John Tartaglia
Choreographed by Beth Crandall
The Muny
August 5, 2019

Mattea Conforti (center), Laura Michelle Kelly (right) and cast
Photo: The Muny

The final show in the Muny’s 101st season is a production of one my favorite 21st Century musicals, which is being billed as Roald Dahl’s Matilda. That’s accurate, since it’s a much lauded, award-winning adaptation of Dahl’s modern classic book. Still, this production might also accurately be described as “Mary Engelbreit’s Matilda” in terms of its overall look and style. That look is entirely intentional on the Muny’s part, and St. Louis’s own Engelbreit has worked with the designers to develop its theme. It’s also a resounding success, not just visually but in the entire production itself, which manages to fit the show into Engelbreit’s style while also preserving the overall tone of Dahl’s work and that of the original creators of the musical. It’s visually stunning, certainly, but it’s also a triumph of music, performance, and overall whimsical energy.

Also the source material was adapted into a popular film in 1996, although the musical is directly based on the book rather than the film. The tone is bold, whimsical, and in keeping with Dahl’s usual style, focuses on darker themes while also showing good characters along with the bad. The intelligent, talented Matilda Wormwood (Mattea Conforti) is born into a family who not only doesn’t appreciate her talents and interests–her self-centered, materialistic parents (Josh Grisetti and Ann Harada) actively discourage and disparage them, spending most of their time on their own pursuits and doting on their older child Michael (Trevor Michael Schmidt), who seems to spend most his time watching TV, playing video games, and repeating his parents’ words. The five-year-old Matilda takes refuge in reading books far beyond her grade level, and telling stories to the encouraging librarian Mrs. Phelps (Darlesia Cearcy). When Matilda starts school, she goes to the imposing Crunchem Hall, presided over by the imperious, vindictive headmistress Agatha Trunchbull (Beth Malone). Matilda does manage to make friends, gaining influence despite Miss Trunchbull’s efforts to undermine her, and develops a bond with her kind but insecure teacher Miss Honey (Laura Michelle Kelly), who also lives in fear of Miss Trunchbull but is determined to help Matilda. Meanwhile, Matilda continues to tell her stories to Mrs. Phelps, and this tale–concerning an Escapologist (Colby Dezelick) and an Acrobat (Gabi Stapula) who fall in love and get married–ends up tying in to the rest of the story in a surprising manner.

The tone is somewhat dark throughout much of the show, with a brilliant book by Dennis Kelly and the clever, ingenious lyrics by composer Tim Minchin, focusing on themes of bullying vs. acceptance, selfishness vs. kindness, and independence vs. coerced conformity, centering on the singular figure of one bold, unconventional girl and her influence on the world around her, as well as on the trials, disappointments, aspirations, and joys of childhood and the influence of people’s childhood experiences and environment on the adults they become.

It’s a remarkable show in its own right, but this production is not like you may have seen it before. In contrast to the Muny’s earlier (and excellent) staging of Kinky Boots, which was essentially a re-creation of the Broadway production, this Matilda looks very different to its London and Broadway productions, although it retains much of the tone and general movement style, reflected in John Tartaglia’s direction and Beth Crandall’s superb choreography.  The look and style are inspired by Engelbreit, who was in the audience on opening night. It’s a vividly realized vision, with versatile sets by Paige Hathaway, colorful costumes by Leon Dobkowski, dazzling lighting by Rob Denton, and clever video design by Nathan W. Scheuer, all working together to achieve a world very much in keeping with both Dahl’s tone and Engelbreit’s visual work. It works very well for this show, which also features an excellent Muny Orchestra led by music director Michael Horsley, giving energetic life to Minchin’s wonderful score.

The cast here is also stellar, led by the fantastically talented young Conforti as the brave, precocious Matilda. Having played the role on Broadway, Conforti has the presence and energy of a seasoned performer, bringing a straightforward boldness and an excellent voice to the part. Malone, as the crass, vicious Trunchbull, is also a standout with an imposing presence and great vocals on songs like “The Hammer” and “The Smell of Rebellion”. She’s also the first woman I’ve seen play the role, which has been more often played by a man. Other standouts include the always excellent Kelly as a particularly sympathetic Miss Honey, Grisetti as the gleefully smarmy Mr. Wormwood, Harada as self-absorbed Mrs. Wormwood, and Sean Ewing in a hilariously physical performance as Mrs. Wormwood’s ballroom dance partner, Rudolpho. There are also some strong performances from the show’s child performers, especially Owen Hanford as the determined Bruce Bogtrotter, and Ella Grace Roberts as Matilda’s self-appointed best friend, Lavender. The ensemble is impressive, as well, particularly the youth ensemble, who perform with much energy and attitude on group numbers like “School Song”, “When I Grow Up”, and the artfully confrontational “Revolting Children”. The dancing is energetic and precise, as is the staging, in keeping with the style of the show, and the result is energetic, engaging, and supremely entertaining.

This is a Matilda like I’ve never seen it before, even though I had seen the production once in London and once on tour here in St. Louis at the Fox Theatre. With a first-rate cast and a superb sense of style inspired by the work of Mary Engelbreit, this show is sure to engage hearts and minds. It’s a wonderful way to conclude the excellent, newly energized 101st season at the Muny.

Beth Malone (center) and cast
Photo: The Muny

The Muny is presenting Matilda in Forest Park until August 11, 2019

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