Posts Tagged ‘patrick o’neill’

“Disney’s Frozen” at the Muny Makes for a Winter Wonderland in a STL Summer

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 8, 2025| Leave a Comment »

Disney’s Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 7, 2025

Bobby Conte, Patti Murin, Hannah Corneau
Photo by Emily Santel
The Muny

Frozen is a phenomenon that has turned into a franchise, but it started out as a single animated film in 2013. It has since spawned sequels and a successful Broadway musical that has been produced and toured in various countries around the world.  The Muny is now presenting its first production of the show, and it’s somewhat ironic that it’s  being staged in the middle of a particularly hot St. Louis summer, considering the story features a song about summer sung by a snowman, comically emphasizing the fact that snow and summer heat don’t usually mix. At the Muny, however, these elements prove to be a successful combination, providing an entertaining respite from the heat as well as a dazzling spectacle that makes the most of a somewhat minimalist set and at least one truly jaw-dropping special effect. Add that to a terrific cast and energetic staging, and it becomes a successful recipe for wintry wonder in Forest Park. 

The story will be familiar to many, considering how ubiquitous the franchise has become, as reflected by the many families with small children in Frozen-inspired outfits in the audience at the Muny. It’s a popular story of magic, mystery, secrets hidden and revealed, sisterhood, family, and love in various forms. It also challenges a few familiar “fairy tale” tropes and features a score of memorable songs including the iconic, Oscar-Winning “Let It Go”. The main focus is on the sisters Anna (Patti Murin) and Elsa (Hannah Corneau), who are close as children, but are driven apart as a result of an incident that causes Elsa and her parents (Ann Sanders as Queen Iduna, Jonah D. Winston as King Agnarr) to conceal her magic ice powers from Anna and the rest of the world, and further events cause Elsa to become even more reclusive and fearful.  

Years later, when the sisters are young adults and Elsa is about to be crowned Queen, the gates are opened in both the literal and figurative sense, as Anna becomes enamored with the outside world and with Prince Hans (Bobby Conte), who she just met. Meanwhile, Elsa still struggles to control her powers, which unleashes a sudden winter on the Kingdom of Arendelle and a self-imposed exile for Elsa. As Hans is left in charge of the Kingdom, Anna heads out to find Elsa, with the help of ice-merchant Kristoff (Jelani Remy) and his reindeer, Sven (Andrew A. Cano). They are soon joined by Olaf the snowman (Kennedy Kanagawa), as they race to find Elsa before the townspeople–who are quickly beginning to view Elsa as a monster–get there first. 

It’s a well-done show, for the most part, with a few new songs added to the film score, as well as an expanded story that seems a bit choppy at times, but comes together well in the end. The showcase number “Let It Go” isn’t given quite the setup it needs, but the excellent Corneau as Elsa delivers it with energy and vocal power, and the technical effects are truly stunning, including the most spectacular quick costume change I have ever seen onstage. Even though the set by Tijana Bjelajac is fairly minimal compared to the touring production I saw at the Fox a while back, it works well for the Muny’s stage and in conjunction with some truly spectacular video projections by Kylee Loera, as well as dazzling lighting by Jason Lyons (including lasers), and excellent sound design by John Shivers and David Patridge. The costumes by Robin L. McGee are colorful and eye-catching as well, and the puppet design by Eric Wright and Puppet Kitchen is memorably fantastic, aided by the strong and especially memorable performances of Kanagawa as  Olaf and Cano (accompanied by another performer in the costume) as Sven. There’s also a great Muny Orchestra led by music director Darryl Archibald that brings out all the style and emotion of the memorable score.

The cast is fantastic, including strong performances from Isla Turner and Maliah Strawbridge as Young Anna and Elsa, respectively, who figure into the story quite a bit. Their adult counterparts are also excellent, with the aforementioned Corneau bringing out the right level of emotion and reserve as Elsa, and original Broadway Anna Patti Murin bringing a bouncy, likable energy to the role. Both performers portray a believable sisterly bond, as well, and the chemistry between Murin and both of and her leading men–the awkwardly charismatic Conte as the initially likable but mysterious Hans, and the stubborn-but-charming Remy as Kristoff–is strong and believable. There are also memorable turns from Jared Gertner as the snooty, skeptical Duke of Weselton; Mark Saunders as the enthusiastic trader Oaken, who leads the hilarious Act 2 opening production number “Hygge”; and Chris Stevens and Cecilia Snow as Pabbie and Bulda of the “Hidden Folk”, who figure in the story in various ways. There’s a strong, energetic ensemble as well, including the Muny Teen and Youth Ensemble, plays various roles and adding much enthusiasm to Patrick O’Neill’ clever and vigorous choreography.

Ultimately, Disney’s Frozen works especially well as the Muny’s “family show” for 2025. Although the show itself isn’t quite as tightly plotted as the film, it’s an entertaining spectacle in its own right, and it looks great on that big Muny stage. It’s also a fun wintry change of pace in the midst of another sweltering St. Louis summer. 

Jelani Remy (Center) and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Frozen in Forest Park until July 14, 2025

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The Muny’s Energetic “Mermaid” Brings Out the Fun Under the Sea

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 13, 2024| Leave a Comment »

The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman & Glenn Slater, Book by Doug Wright
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 10, 2024

Savy Jackson, Fergie L. Phillippe, and Cast
Photo by Phillip Hamer
The Muny

The Muny is taking its audience “Under the Sea” again, for its third staging of Disney’s The Little Mermaid. As this year’s “family show”, this production takes theatregoers on a colorful musical adventure in a vibrant staging directed by Muny veteran John Tartaglia. On the big Muny stage, the sea is brought to life by a strong cast and dazzling production values, including especially inventive usage of flying effects and puppetry.

The story is well-known to anyone who is familiar with the original animated film, its more recent live-action adaptation, or the stage show. The title character is Ariel (Savy Jackson), a mermaid and the daughter of Triton (Ben Davis), the King of the Sea. Noted for her remarkable voice, Ariel would rather be spending time on the ocean’s surface than attending concert rehearsals with court composer Sebastian the crab (Fergie L. Phillippe). There, she and her fish friend Flounder (Leia Rhiannon Yogi) meet with the enterprising seagull Scuttle (Jen Cody), who offers inventive descriptions of the discarded human artifacts Ariel finds to add to her collection. Soon, she meets Prince Eric (Michael Maliakel), who would rather be spending time at sea than becoming king. Of course, Ariel falls in love with him, saves his life after a shipwreck, and ends up making a deal with the devious Sea Witch Ursula (Nicole Parker)–trading for voice for legs with the stipulation that she must get Eric to kiss her within three days, or else she is doomed to forfeit her soul. Thankfully, Sebastian, Flounder, and Scuttle are there to help, but Ursula’s henchmen, the electric eels Flotsam and Jetsam (Kennedy Kanagawa, Adam Fane) hang around in an effort to thwart their plans. Some new songs by Alan Menken and Glenn Slater have been added to the show along with film favorites by Menken and Howard Ashman,  including the popular “Under the Sea”, “Part of Your World” and “Kiss the Girl”.  The book by Doug Wright has added some backstory for Triton and Ursula, as well as Prince Eric and his guardian Grimsby (Rich Pisarkiewicz). The scenes between Ariel and Eric are extended, as well, and the ending plays out a bit differently than in the original film. Overall, it’s the story audiences will recognize, brought to life on the large Muny stage with vibrancy and a good deal of energy, with thoughtful staging by director Tartaglia and enthusiastic choreography by Patrick O’Neill, backed by a terrific Muny Orchestra led by music director Michael Horsley.

This isn’t just the Muny’s third production of this show–it’s also the third one I’ve seen, having attended both previous Muny versions. For many in the audience, though–especially the many children attending–this is a new experience, so too much comparing isn’t all that useful. For me, though, it’s interesting to notice the similarities–especially to the last staging in 2017, where some of the costumes, and especially the look and operation of Ursula’s costume, is essentially identical, with Parker’s Sea Witch surrounded by tentacles each played by a different ensemble member. The use of puppetry and flying, however, is used even more in this production than either of the previous two, with kudos to Puppet Kitchen International, Inc. for the puppets and ZFX for the flying (well, swimming, really). This is a great looking production, with a vivid sense of color and variety in the various sea creatures and land dwellers. The costumes by Robin L. McGee are colorful and whimsical, and Ann Beyersdorfer’s detailed set is eye-catching, augmented by Katherine Freer’s fun video design and atmospheric lighting by Jason Lyons. 

As for the cast, it’s especially strong, led by the delightful Jackson as Ariel, with all the likable personality and excellent vocals required for the role. Maliakel as Eric is also memorable, displaying a great voice as well, and fantastic chemistry with Jackson, making their scenes together a highlight of the production. There are also memorable turns from Davis as the loving but occasionally overbearing Triton and Parker as the gleefully villainous Ursula, backed by marvelously sneaky performances form Kanagawa and Fane as the devious Flotsam and Jetsam. Phillippe makes a great Sebastian, as well, with excellent support from the clear-voiced Yogi as Flounder and the delightfully comic Cody as the tap-dancing Scuttle. There’s a strong ensemble in support, with a good deal of enthusiasm on big numbers like “Under the Sea” and “Kiss the Girl”. 

Overall, this is The Little Mermaid that audiences will expect, with a good deal of energy, heart, and memorable visuals. If I have to sum it up in one word, it would be “fun”. It’s a musical treat for all ages from the Muny.

Michael Maliakel, Savy Jackson, and Cast
Photo by by Phillip Hamer
The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until July 16, 2024

This review was originally published at kdhx.org

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The Muny Brings Energy and Heart to Crowd-Pleasing “Beauty and the Beast”

Posted in St Louis Theatre, tagged , , , , , , , , , , on June 26, 2023| 1 Comment »

Disney’s Beauty and the Beast
Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice
Book by Linda Woolverton
Directed by John Tartaglia
Chorographed by Patrick O’Neill
The Muny
June 23, 2023

Cast of Disney’s Beauty and the Beast
Photo by Phillip Hamer
The Muny

Disney’s Beauty and the Beast is a modern classic. Whether it’s the original animated film, the stage production, or the more recent live action film version, this story has found a large, enthusiastic audience over the years. Currently in St. Louis, the Muny is staging a huge, heartfelt production that especially showcases its two leads, as well as an energetic ensemble and some impressive production values. 

Considering its adaptations and the enduring popularity of the original movie, the Disney version of the classic tale is perhaps even more well-known than its source story, at least in America. It’s so popular that it has even spawned many memes and jokes, as well as fan theories that, although inaccurate in my opinion, are widely repeated. But  regardless of what you may think of the story, there’s little doubt that it’s popular, and that the iconic image of Belle in her gold dress and the Beast in his blue coat is easily recognizable by many. The stage show takes the familiar story, with all its iconic moments from the film, and fleshes it out a bit, including some darker moments that aren’t included in the original film, as well as some memorable new songs, and a bit more focus on the servants in the Beast’s castle, who have been transformed into household objects by the same spell that turned the selfish young Prince into a Beast, who is hoping to find true love so he and everyone in his household can become human again.

Belle is the focus character, as is usual, and she’s as strong-willed and intelligent as ever, while being seen as odd by her neighbors in a small French village, and as an object of vanity by the good-looking but self-obsessed Gaston. When Belle makes a deal with the Beast to free her father, the heart of the story is set into motion, and we see how she becomes a catalyst for the Beast’s self-reflection and eventual change. The stage show takes a little more time to explore this relationship, as well as the relationship between the Beast and his servants, including Lumiere, Cogsworth, and Mrs. Potts; as Gaston continues to plot to get his way, leading to an inevitable confrontation. 

The Muny and director John Tartaglia have assembled an excellent cast for this production, led by Ashley Blanchet in a terrific turn as a particularly strong-willed, relatable Belle. Blanchet also has a powerful voice that shines on solo songs like “Home” as well as production numbers like the opening song. Ben Crawford, as the Beast, is also excellent, with strong vocals, memorable stage presence, and excellent chemistry with Blanchet as well as a believable rapport with his household staff, who are all well-cast. Kelvin Moon Loh as the charming Lumiere and Eric Jordan Young as the fastidious Cogsworth especially stand out, and Ann Harada as Mrs. Potts also has some memorable moments, although her voice isn’t quite as strong as those of others I’ve seen in the role. There are also some fun moments from Debby Lennon as opera singer-turned-wardrobe Madame de la Grande Bouche, Holly Ann Butler as maid-turned-feather duster Babette, and Michael Hobin as Mrs. Potts’s son Chip, who has been transformed into a teacup. Claybourne Elder hams it up impressively as the villainous Gaston, as well, matched by Tommy Bracco in a hilarious performance as sidekick LeFou. There’s also a strong ensemble playing everyone from townspeople to enchanted objects, who lend energy and enthusiasm to the production numbers, memorably choreographed by Patrick O’Neill and occasionally featuring some eye-catching pyrotechnics.

Visually, the show is recognizable as the Disney classic while also featuring its own spin on the classic look. The set by Ann Beyersdorfer is versatile and detailed, aided by memorable video design by Greg Emetaz, which for the most part is excellent, although there is one unintentionally humorous video moment late in the show that detracts from the overall weight of an important scene. The lighting by Jason Lyons and detailed costumes by Robin McGee also add to the entertaining and occasionally thrilling atmosphere of the production, along with some whimsical puppets designed by Andy Manjuck and Dorothy James. There’s also a great Muny Orchestra led by music director Ben Whiteley, playing that lush, melodic score with style.

Disney’s Beauty and the Beast at the Muny is, for the most part, a rousing success. It’s a classic tale of love, compassion, and standing out from the crowd, brought to Forest Park again with wit, style, and and occasional touches of whimsy, melancholy, and glamour. Although some moments may be scary for very young children, this is a show that should appeal to all ages, and the crowd certainly loves it. It’s another entertaining entry in the Muny’s 2023 season. 

Ashley Blanchet, Ben Crawford
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Beauty and the Beast in Forest Park until June 30, 2023

This review was originally posted at kdhx.org

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The Muny Ushers In a New Era with Fun, Flashy “Guys and Dolls”

Posted in St Louis Theatre, tagged , , , , , , , , , on June 11, 2019| Leave a Comment »

Guys and Dolls
Music and Lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows
Directed by Gordon Greenberg
Choreographed by Lorin Lotarro and Patrick O’Neill
The Muny
June 10, 2019

Cast of Guys and Dolls
Photo:The Muny

The stage looks bigger. That was my first impression when the Muny’s Executive Producer and Artistic Director, Mike Isaacson, appeared on the newly rebuilt stage to introduce this season’s opening production, Guys and Dolls. It’s a new era for the Muny, unveiling its newly revamped performance area and technical setup, and they’ve chosen a classic 1950s-set Broadway musical to introduce the “new Muny” to the audience. I’m not sure if the stage really is any bigger, but it looks big, shiny, and new, but what’s not new is the expectation of an excellent show, and the Muny has delivered that with an energetic, fast-paced and thoroughly entertaining production of this well-known “musical fable”.

Guys and Dolls is a show of its time, and that time is the early 1950s. The place is Damon Runyon’s stylized New York City. It’s not supposed to be gritty and realistic. It’s broad comedy, for the most part, and the sensibilities can be jarring to 21st century eyes. The focus is on gamblers and the women who probably shouldn’t love them, but do anyway. Nathan Detroit (Jordan Gelber) is the proprietor of a notorious “floating crap game” who, along with his cohorts Benny Southstreet (Jared Gertner) and Nicely-Nicely Johnson (Orville Mendoza) is eager to find a new place to host the game while they avoid the watchful eye of the persistent police Lt.Brannigan (Rich Pisarkiewicz). He’s also been engaged for 14 years to the increasingly exasperated nightclub dancer Miss Adelaide (Kendra Kassebaum), who is nursing a frequent cold apparently brought on by her stress over the situation. Meanwhile, high rolling gambler Sky Masterson (Ben Davis) is in town, and in order to secure the money he needs for his crap game location, Nathan makes a bet with Sky, involving the pious young Sarah Brown (Brittany Bradford), who works for the struggling Save-a-Soul Mission. It’s a show full of larger-than-life and deliberately broad characterizations, with stereotypical gamblers and visions of New York City, along with a great score and lots of energetic dancing.

One notable fact, casting-wise, about Guys and Dolls is that there are four equal leading roles. It’s not a lead couple and a supporting couple. All four roles–Adelaide, Nathan, Sarah, and Sky–share the same prominence, and the casting for all four is essential. The roles here are memorably played, and the chemistry (“yeah… chemistry!”) is excellent. Davis and Bradford show off strong voices in their roles, and Bradford shows strong comic ability with her fun rendition of “If I Were a Bell”. Gelber is fun as a the marriage-avoidant and crap-game obsessed Nathan, and Kassebaum conveys Adelaide’s increasing weariness along with her genuine love of–and exasperation with–Nathan with impressive presence and energy, delivering a strong rendition of “Adelaide’s Lament” especially. The supporting players are well-cast, as well, led by Mendoza and Gertner who make a fun comic team, and by beloved Muny regular Ken Page in a charming turn as Sarah’s kind, devoted grandfather and co-worker at the mission, Arvide Abernathy. There’s a vibrant, energetic ensemble as well, contributing to dazzling group numbers like “Sit Down You’re Rockin’ the Boat” and “The Crapshooter’s Dance”, which also showcase the dynamic choreography of Lorin Latarro and Patrick O’Neill.

Technically, this production is wondrous, making the most of the new capabilities of the new and improved Muny stage. Paul Tate dePoo III’s stylish, colorful set shows off the neon boldness of old-school New York, aided by the excellent video design by Nathan W. Scheuer and lit up brightly by lighting designer Rob Denton. There are excellent, vividly styled period costumes by Tristan Raines, as well. There’s also a great Muny Orchestra and music direction by Brad Haak that bring Frank Loesser’s classic score to life with verve.

Guys and Dolls is a fun show. It’s big, bold, and full of energy, filling the Muny’s enormous stage with stylized characterizations and energetic singing and dancing. I’m not sure if the new stage really is bigger, but it seems that way, and it certainly looks newer, with some new aspects that add to its versatility. It’s a new stage for a new era, and Guys and Dolls is ushering that new era, and the Muny’s 101st season, with style.

Cast of Guys and Dolls
Photo: The Muny

The Muny is presenting Guys and Dolls in Forest Park until June 16, 2019

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