Posts Tagged ‘maggie burrows’

The Muny’s “Little Shop” Impresses with Performances, Technical Wizardry

Posted in St Louis Theatre, tagged , , , , , , , , , on July 27, 2023| Leave a Comment »

Little Shop of Horrors
Book and Lyrics by Howard Ashman, Music by Alan Menken
Based on the film by Roger Corman, Screenplay by Charles Griffith
Directed by Maggie Burrows
Choreographed by William Carlos Angulo
The Muny
July 26, 2023

Cast of Little Shop of Horrors
Photo by Phillip Hamer
The Muny

The Muny’s excellent 2023 season is continuing this week with the modern classic horror/comedy musical Little Shop of Horrors. It’s a show I’ve seen before in various productions, including the popular 1986 film and the last Muny production in 2011. This year, the little show is bigger and bolder than ever with some truly remarkable production values, strong direction, and a first-rate cast. It’s not a large-cast show and it’s not very long in running time, but there’s a lot of talent on that huge Muny stage, and this production makes the most of the tone, setting, and excellent score.

This show brings the “Skid Row” neighborhood to the stage with flair, by means of Kristen Robinson’s well-crafted, detailed set and Greg Emetaz’s eye-catching video design. Based on a 1960s b-grade horror film, it takes us into the world of nerdy, neglected Seymour (Robin de Jesús), who works at a rundown flower shop owned by Mr. Mushnik (Michael McGrath) and pines after his co-worker Audrey (Pattie Murin), who is in an abusive relationship with a sadistic dentist, Orin (Ryan Vasquez, who plays several roles). When Seymour’s new “strange and unusual plant”, that he’s dubbed Audrey II (manipulated by Ryan Patton, voiced by Nicholas Ward) starts demanding to be fed human blood, this starts a chain of events that first seem to benefit Seymour, but soon threaten him, those he loves, and eventually, the rest of the world. There’s a memorable cast of characters, an increasingly dark tone that’s alternately comic and terrifying, and a prominent Greek chorus of 1960’s styled street urchins and “girl group” singers named Crystal (Kennedy Holmes), Chiffon (Taylor Maire Daniel), and Ronnette (Stephanie Gomérez), who narrate and comment on the story. It’s a Faustian tale with a warning, as with vividly drawn characters and a memorable score well-played by the Muny Orchestra led by music director Andrew Graham. 

The staging is spectacular. This isn’t a big show, generally, but director Maggie Burrows and the excellent creative team have managed to fill that big stage with much detail and some impressive effects without losing the show’s overall spirit. In addition to the great set and video production, there are also marvelous costumes by Leon Dobkowski, along with fantastic puppet design by James Ortiz, and dazzling lighting by Rob Denton. This show looks and feels just the way it should, with a few welcome surprises in staging in terms of how the plant is portrayed, that are still in keeping with the tone of the show.

The cast is still relatively small, as well, for a Muny show, with only the principals and a moderately sized Youth Ensemble, who all put in strong, energetic performances. As for the leads, everyone is doing a great job, with  de Jesús the biggest standout in an engaging, terrifically sung turn as Seymour. Holmes, Daniel, and Gomérez are also stellar as the ubiquitous Crystal, Chiffon, and Ronnette, whose singing and dancing is especially impressive. There’s also great support from Vasquez in a variety of roles, including the gleefully violent dentist Orin. Murin and McGrath are also strong as Audrey and Mushnik, and Murin’s scenes with de Jesús are compelling. And then there’s Audrey II, with truly fantastic performances by Ward on vocals and Patton manipulating the meticulously detailed, evolving puppet. This is a somewhat tricky show in terms of tone, considering it’s a comedy, but there are also some seriously dark moments. This cast gets the energy, tone, and atmosphere just right. 

The Muny is on a roll this year. 2023 marks the 20th season I’ve seen shows here, and so far, it has been the best in terms of overall quality and consistency. I have seen some great shows here, but even with its reputation for excellence, the Muny is outdoing itself this season. Little Shop of Horrors is another example of that excellence. It’s  a comedy, but with some dark and genuinely chilling moments. It’s a truly impressive feat of theatrical performance and technical wizardry.

Travis Patton, Robin de Jesús
Photo by Phillip Hamer
The Muny

The Muny is presenting Little Shop of Horrors in Forest Park until July 31, 2023

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The Muny Brings Energy, Enthusiasm, and Heart to “Legally Blonde”

Posted in St Louis Theatre, tagged , , , , , , , , , on July 29, 2022| Leave a Comment »

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Maggie Burrows
Choreographed by William Carlos Angulo
The Muny
July 28, 2022

Kyla Stone (Center) and Cast of Legally Blonde
Photo by Phillip Hamer
The Muny

Legally Blonde is at the Muny, but not without some troubles due to the weather. Still, despite one rescheduled performance as a result of flooding and a bit of a delay before the Thursday night performance due to technical checks following more rain, the show went on. And it was worth the wait, because this show is full of energy, and is a whole lot of fun. 

The story, based on the novel by Amanda Brown and the 2001 MGM movie, centers around Elle Woods (Kyla Stone), a UCLA fashion student who follows her college boyfriend Warner (Dan Tracy) to Harvard Law School after he dumps her just before graduation because the perky, pink-clad, Malibu-raised Elle doesn’t fit his “serious” ideal. Elle, with support from her peppy Delta Nu sorority sisters, is determined to prove Warner wrong and win him back. So she applies to Harvard and is accepted, making the journey East to Boston and, for Elle, to a whole new world that isn’t entirely ready for her. Here, she makes some new friends, like her law school mentor Emmett (Fergie L. Phillippe) and hairdresser Paulette (Patti Murin), as well as some rivals, like Warner’s “serious” new girlfriend Vivienne (Olivia Kaufmann), while struggling at first to adjust to the Harvard atmosphere and earn a prestigious internship from cutthroat Professor Callahan (Sean Allan Krill). After a few trials (pun intended) and tribulations, Elle gradually learns more about herself and her own intelligence and inner strength, all the while finding out who her real friends are and how to navigate the law school world as her unique “legally blonde” self. 

This production is, simply put, a whole lot of fun. With a great cast led by the energetic, vocally strong Stone as Elle, the story never has a dull moment. Stone is clearly enjoying herself as Elle, and her chemistry with the also great Phillipe as Emmett is palpable, and their scenes are a highlight of this production. Also strong is Murin as the kind but self-doubting Paulette, showing off great stage presence and vocals on her showcase “Ireland” number. There’s also excellent support from Kelsey Anne Brown, Gabi Campo, and Khailah Johnson as Elle’s “Greek Chorus” of sorority sisters Margot, Serena, and Pilar. Krill makes an ideal villain as the self-serving, creepy Callahan, and there’s a fun turn from Hayley Podschun as fitness guru and murder trial defendant Brooke Wyndham. There’s strong work all around, from the leads to the energetic ensemble, and even including two adorable dogs–Ricky as Elle’s dog Bruiser, who has some scene-stealing moments; and Myrtle as Paulette’s dog Rufus. There’s vibrant choreography by William Carlos Angulo, and the staging is brisk and lively. 

What’s also lively and impressive is Tim Mackabee’s set, which features some surprising elements like an actual pool onstage in the opening scene, and several versatile set pieces. There’s also eye-catching video design by Kylee Lorra, and excellent atmospheric lighting by Rob Denton. Leon Dobkowski’s costumes also impress, suiting the characters well, and managing to help tell Elle’s story as she navigates her law school career. The Muny Orchestra, led by music director Lon Hoyt, sounds great, as well.

Legally Blonde is a fun show, especially when the cast is as enthusiastic as this one. While it’s not the strongest score and book I’ve seen, it’s certainly a crowd-pleaser, and this production finds a lot of emotion and heart. It’s another entertaining success in the 2022 Muny season. 

Fergie L. Phillipe, Kyla Stone
Photo by Phillip Hamer
The Muny

The Muny is presenting Legally Blonde in Forest Park until August 1, 2022

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Uplifting “On Your Feet!” at the Muny Celebrates Music, Relationships

Posted in St Louis Theatre, tagged , , , , , , , , on August 22, 2021| Leave a Comment »

On Your Feet! The Story of Emilio & Gloria Estefan
Book by Alexander Dinelaris
Featuring Music Produced and Recorded by Emilio & Gloria Estefan and Miami Sound Machine
Directed by Maggie Burrows
Choreographed by William Carlos Angulo
The Muny
August 21, 2021

Omar Lopez-Cepero, Arianna Rosario
Photo by Phillip Hamer
The Muny

On Your Feet! at the Muny is what you may expect in some respects. It’s high energy, crowd-pleasing, and full of hit songs from Gloria Estefan, Emilio Estefan, and Miami Sound Machine. It’s big, bright, and lots of fun, but it’s also a celebration not only of music or an artist or a band, but of love, determination, and devotion.

Emilio and Gloria Estefan are well-known now, but everyone has a history, and this musical is theirs, with the emphasis, for the most part, on Gloria (Arianna Rosario). That makes sense since Gloria has been the one in the spotlight for the most part, first as lead singer of Miami Sound Machine and then as a solo recording artist. Really, though, she and husband and producer Emilio (Omar Lopez-Cepero) have been partners in music since they first started working together. This show goes back further than their meeting, though, as Little Gloria (Isabella Ianelli) sends tapes of her singing to her father José Fajardo (Martín Solá) while he is serving in Vietnam. The story then follows Gloria and her family as Gloria gets older, including her mother, Gloria Fajardo (Natascia Diaz), her younger sister Rebecca (Cristina Sastre), and her grandmother Consuelo (Alma Cuervo). It’s Consuelo who is convinced that the young Gloria should pursue a career in music, and encourages her to audition for Emilio’s band. She does, and the band grows from a popular local act focusing on Latin music to an international pop music sensation.

Throughout the story, we see continued demonstrations of determination and devotion–of Gloria’s parents and grandparents as they flee Cuba to settle in Miami; of Gloria to her family as her father falls ill with multiple sclerosis; of Consuelo, who never gives up on encouraging Gloria in her musical ambitions; of Emilio to Gloria and their mutual drive for innovation and success. It’s a heartwarming story, told with a fair amount of flashback as stories unfold and challenges arise and are overcome, culminating in Gloria’s famous 1991 performance on the American Music Awards. 

I’ve seen this show before, when the tour based on the Broadway production played at the Fox Theatre. Here, there’s some continuity with that production, as Alma Cuervo, who plays Consuelo, also played the same role on that tour (as well as in the original Broadway cast), and as she was on tour, she is excellent here, providing a lot of the “heart” in this story. Also strong are Diaz as Gloria Fajardo, who is determined and devoted for her own part, although she harbors some regrets. There are also strong performances from Solá as José, Sastre in the somewhat small role of Rebecca, and especially young Iannelli, who lights up the stage with much energy and an excellent voice as Little Gloria. At the center of this show, of course, are Rosario and Lopez-Cepero as Gloria and Emilio. These two, who are also married in real life, display a great deal of chemistry, and their scenes together are a highlight. They also give winning individual performances, with Rosario bringing all the stage presence, vocal quality, and energy necessary for her role, and Lopez-Cepero displaying the strength and determination, as well as a clear sense of love for his family, that characterizes Emilio in this story. There’s also an excellent ensemble, doing a terrific job with all those high-energy dance numbers choreographed by William Carolos Angulo.

Visually, the show fills the large Muny stage with vibrant style, with a vivid, versatile set by Tim Mackabee, dazzling costumes by Leon Dobkowski, great lighting by Rob Denton and memorable video design by Kate Ducey. There’s also a great band (brought onstage for much of the second act) led by music director Lon Hoyt. There were quite a few issues with the microphones on opening night, with some dialogue being difficult to hear, and the otherwise excellent “Reach” number suffering from not being able to fully hear some of the ensemble solos. I hope this improves as the show continues its run. 

Still, for the most part, this is big, fun, enthusiastically performed and heartwarming show. The well-known songs like “Get On Your Feet”, “The Rhythm is Gonna Get You”, and “Conga” are here, and the audience clearly appreciates it, right up to the “Megamix” medley of hits at the end.  What I find especially memorable about this show in addition to the music, however, is the portrayal of strong and enduring relationships. On stage at the Muny for the first time, On Your Feet! brings a lot of heart along with the familiar tunes. 

Arianna Rosario (Center) and Cast of On Your Feet!
Photo by Phillip Hamer
The Muny

The Muny is presenting On Your Feet! in Forest Park until August 27, 2021

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