Posts Tagged ‘the muny’

“Something Rotten!” Entertains in Shakespearean Style at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on August 19, 2026| Leave a Comment »

Something Rotten!
Book by Karey Kirkpatrick and John O’Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Directed by Rob Ruggiero
Choreographed by Parker Esse
The Muny
August 18, 2026

Jacob Dickey, Matt Doyle, WIll Burton and Cast
Photo by Phillip Hamera
The Muny

The Muny is closing out its 2026 season with a trip to the Renaissance, for the hilarious, Shakespearean musical comedy Something Rotten!, directed by Rob Ruggiero and choreographed by Parker Esse.  Having seen it twice before–one bigger production and one small–I was looking forward to seeing what the Muny could do with it on its giant stage in Forest Park. The result is, as expected, a laugh riot, with lots of humor and a good deal of heart as well. With a strong cast and the Muny’s typically fantastic production values, this show is a sure crowd-pleaser that draws lots of laughs and audience enthusiasm. 

The story, after an intro from a Minstrel (DeMarius  R. Copes) takes us to Elizabethan England, where brothers Nick (Matt Doyle) and Nigel Bottom (Will Burton) head up a theatre troupe, but they are having trouble finding their next hit play due to constant competition from star playwright William Shakespeare (Jacob Dickey), who seems overly interested in what the brothers produce. Nick, desperate to support his family including wife Bea (Bryonha Marie) and impending baby, finds a soothsayer named Nostradamus (Jen Cody)–not that one, but his niece–to find out what Shakespeare’s biggest hit play is going to be, along with what “the next big thing” in theatre will be. This leads Nick on a path to producing a flashy show to the frustration of poet Nigel, for whom the idea “just doesn’t sound right”. Nigel, for his part, has fallen for Portia (Elizabeth Teeter), a young Puritan woman who also loves poetry, to the great disappointment of her sanctimonious father, Brother Jeremiah (Lara Teeter). While the brothers try to work out their differences and Shakespeare schemes, much hilarity ensues leading up to the production of Omelette: The Musical. 

It’s a fun show. What’s especially good about it is that it works no matter the size of the cast or company, and it works just as well with flashier production values as it does on a more modest budget. It’s just funny, and funny goes a long way. The Muny’s production is obviously a bigger one, with a lavish set by Edward E. Haynes Jr. that takes the audience to a slightly cartoonish version of Renaissance England, as well as excellent costumes by DW, based on the original Broadway designs by Gregg Barnes. There’s also catchy lighting by Rob Denton, strong sound by Joshua Hummel, and memorable video design by Camilla Tassi. The orchestra is also excellent, doing justice to the fun score and led by music director Anne Shuttlesworth.  It’s a big, bright energetic show with brisk pacing and a load of hilarious jokes.

The cast is first-rate, as well, led by likable performances from Doyle and Burton as Nick and Nigel. Burton is especially a standout as the sensitive, creative Nigel, and his scenes with the equally excellent Elizabeth Teeter as Portia are a highlight. Marie is strong as the feisty Bea, as well, and Dickey brings a scheming energy and rock-star like quality to Shakespeare. Cody is also a scene-stealer as Nostradamus, showing off excellent physicality and comic timing. The leads are backed by a top-notch ensemble, as well, with fun moments from Adam Heller as Shylock, Lara Teeter as the dour Brother Jeremiah, and Copes as the clear-voiced Minstrel, along with a large ensemble of villagers, actors, and more. It’s an energetic troupe, executing Parker Esse’s vibrant choreography especially well. 

Something Rotten! is, simply put, a whole lot of fun. It’s great to see it make its Muny debut with such a large, vibrant production and such a strong cast and crew. If you love Shakespeare and musical theatre, like I do, it’s sure to be a special treat. All the musical insider jokes make for a special treat, as well. It’s a marvelous way to close out the Muny season. 

Casst of Someting Rotten!
Photo by Phillip Hamer
The Muny

The Muny is presenting Something Rotten! in Forest Park until August 23, 2026

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Energetic “Ain’t Too Proud” is a Crowd-Pleaser at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , on July 29, 2026| Leave a Comment »

Ain’t Too Proud: The Life and Times of the Temptations
Book by Dominique Morisseau, Music and Lyrics from The Legendary Motown Catalog
Directed by Marcia Milgrom Dodge
Choreographed by Rickey Tripp
The Muny
July 28, 2026

Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood
Photo by Phillip Hamer
The Muny

The Muny is currently presenting its premiere production of Ain’t Too Proud: The Life and Times of the Temptations, featuring the songs and story of the legendary Motown group. As directed by Marcia Milgrom Dodge and choreographed by Rickey Tripp, the show is an entertaining, informative look at the group’s ups and downs and a celebration of their famous music catalog, along with other Motown hits. With strong production values and a strong cast, it’s definitely a crowd-pleaser. 

The show, based on a memoir by founding member Otis Williams (James T. Lane), is narrated by Otis and follows the group from its earliest days until the present day, focusing mostly on the five “classic Temptations”–Otis, Paul Williams (Daniel Yearwood), Melvin Franklin (Jawan M. Jackson), Eddie Kendricks (Elijah Ahmad Lewis), and David Ruffin (Nick Rashad Burroughs). It follows their early days in Detroit through their rise to fame, and struggles with interpersonal issues and the changing music scene, especially in the 1960s and 70s. It’s an entertaining showcase of the group’s hit songs and style, with strong production values, although the first act seems a little long at times. Mostly, it’s about the music, and the hit songs like “My Girl”, “Ain’t Too Proud to Beg”, “Papa Was a Rolling Stone” are highlighted with energy and enthusiasm. The show also features hits by the Supremes (Candice Marie Woods, NaTonia Monét, E. J. Hamilton) and others.

The cast is strong, led by Lane in a personable performance as Otis Williams. Burroughs is also a standout vocally as David Ruffin, and Jackson is especially memorable as Melvin Franklin. There are also strong turns from Galen J. Williams as Motown executive Berry Gordy, Tyler Hardwick as Smokey Robinson, and Steve Rosen as the group’s manager, Shelly Berger. There’s also a strong ensemble, bringing style and energy to the music and evoking the style of the times especially well. Rickey Tripp’s vibrant choreography is also a highlight, as is the Muny orchestra led by music director Darryl G. Ivey. 

Technically, the show features a memorable set design by Edward E. Haynes Jr., reflecting the changing times well and filling the vast Muny stage with style. There are also excellent video projections by Kevan Loney, although the lighting by Rob Denton tends to be a little dark at times. The costumes by Gail Baldoni–based on original designs by Paul Tazewell–are vivid and stylish, and the sound by Joshua Hummel is excellent, for the most part.

Overall, Ain’t Too Proud is a lively, entertaining show celebrating a legendary Motown group with memorable performances that highlight a legendary catalog of hit songs. It fills the Muny stage with energy and a strong cast vibrant style. If you’re a fan of the Temptations and Motown in general, this is the show for you. 

Cast of Ain’t Too Proud: The Life and Times of the Temptations.
Photo by Phillip Hamer
The Muny

The Muny is presenting Ain’t Too Proud: The Life and Times of the Temptations in Forest Park until August 2, 2026

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Crowd-Pleasing “Newsies” Seize the Day at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 18, 2026| Leave a Comment »

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Denis Jones
Choreographed by Richard J. Hinds
The Muny
July 18, 2026

Cast of Disney’s Newsies
Photo by Phillip Hamer
The Muny

Disney’s Newsies is back at the Muny, having previously played there in 2017. I hailed that previous production as being ideally suited for the Muny’s space, and this latest production is no different. Newsies is a big, energetic show that does well with a larger cast, as well as the Muny’s youth ensembles. This latest edition features great production values and an excellent cast across the board, all fitting well on the Muny’s enormous stage. 

The story, inspired by a real newsboys’ strike in New York City in 1899, follows a group of “newsies” who sell papers to support themselves. When Joseph Pulitzer (Michael Park) raises the prices the newsies pay for papers, newsies’ leader Jack Kelly (Jack Roden) calls for a strike. Joined by newcomer Davey (Bryce Williams), Davey’s little brother Les (Jaron Bentley), Jack’s friend Crutchie (Nolan Almeida) and more, the newsies attract the attention of the city and aspiring reporter Katherine (Kayla Pecchioni), who is attracted to Jack and has a secret of her own. Together, the newsies strive to be heard, gathering allies along the way including Vaudeville entertainer Medda Larkin (Anastacia McCleskey), while Pulitzer does what he can to foil their strike. Meanwhile, a lot of singing and athletic dancing ensues. 

This is a fun show, with likable characters and a clear villain, and lots of dancing–spinning, leaping, tapping, and more. The score is memorable, with lots of “anthem” type songs and a few catchy ballads along the way. The cast the Muny has assembled is excellent, doing justice to the material, and led by Roden in a dynamic, charismatic performance as Jack Kelly. He works especially well with the equally excellent Pecchioni as the persistent Katherine and standout Williams as the earnest, intelligent Davey. There are also memorable performances from young Bentley as Les, McCleskey as the kindly Medda, and Park as the greedy Pulitzer, as well as Almeida in an endearing performance as Crutchie. The leads are supported by an excellent ensemble, including an energetic youth ensemble all displaying the requisite energy and enthusiasm in the show’s many production numbers. The energy is infectious, judging by the crowd reaction at the performance I saw. 

The production values are spectacular, with a fantastic set by Tijana Bjelajac that utilizes the large Muny stage well, as well as all of its features including the turntable. The projection design by Caite Hevner is also excellent, supporting the set design well and contributing much in the way of period atmosphere. There are also eye-catching costumes by Emily Rebholz. The lighting by Paige Seber and sound by Joshua Hummel also work to contribute to the overall energetic vibe of the show. There’s also astounding choreography by Richard J. Hinds, adding much to the overall energy of the show. Special note goes to the superb Muny Orchestra led by music director Annbritt duChateau, which more than does justice to Alan Menken’s excellent and catchy score. 

With productions like this, I can understand why Disney’s Newsies has become so popular. It makes the most of its assets–characters, dancing, period flavor and a first-rate score–and appeals to the audience with style. It’s a splendid addition to the Muny’s 2026 season, and I wouldn’t be surprised if it comes back again in a few years. 

Bryce Williams, Jack Roden, Jaron Bentley, Kayla Pecchioni
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Newsies in Forest Park until July 22, 2026

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“Shrek” Entertains with Humor and Heart at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on June 27, 2026| Leave a Comment »

Shrek: The Musical
Book & Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
June 26, 2026

Nik Walker (center) and Cast
Photo by Phillip Hamer
The Muny

Shrek has arrived in Forest Park, and he’s leading a lively, entertaining cast and crew. This is the second production of Shrek: The Musical at the Muny, with the previous production being in 2013. I saw that show and liked it, but this time, director John Tartaglia, choreographer Patrick O’Neill and company have pulled out all the stops to stage this vibrant, energetic ode to a gruff but likable ogre who is reluctantly pulled out of his swamp for a life-changing adventure.

This show basically tells the story of the first Shrek movie, but it adds a bit of backstory for Shrek (Nik Walker, with Young Shrek played by Solomon Rosenthal) and Princess Fiona (Kara Lindsay, played as a child by Lake Schultz and a teen by Amelie Lock). The basic story, though, is the same as the film–Shrek’s private swamp has been overrun by displaced fairy tale characters who have been banished there by the vain Lord Farquaad (Troy Iwata), who is trying to rid the land of Duloc from those he deems “freaks”. Farquaad also wants to marry a princess so he can become king, and so he sends Shrek on a quest to rescue Fiona from a dragon-guarded castle. Along the way, Shrek meets the relentlessly friendly Donkey (Marcus M. Martin) and forms a reluctant friendship. Through the course of the adventure, Shrek battles a dragon (a fantastic multi-person puppet voiced by Solome Smith) and his own personal demons while Fiona tries to hide a secret of her own. If you’ve seen the film, you know how this plays out, but here the songs add dimension to the story in intriguing ways, as well as a fun level of live theatre energy.

The cast is marvelous, led by the ideally cast Walker as the gruff, grumpy, but sensitive Shrek. Walker’s vocals are excellent on songs like “Who I’d Be” and “Build a Wall”, and he has excellent rapport and chemistry with Martin’s hilarious Donkey and Lindsay’s perky Fiona. Lindsay, for her part, also brings a lot of energy and stellar vocals to her role, and Martin’s comic timing is spot on. There’s also a delightfully comic, physical performance from Iwata as the gleefully self-absorbed Farquaad, and a vocally spectacular turn from Smith as the voice of the dragon, with “Forever” being among the highlights of the show. The leads are well-supported by an excellent ensemble and youth ensemble, with standout performances by Tyler Joseph Ellis as Pinocchio, and Aymee Garcia as the Sugar Plum Fairy and Gingy. It’s an energetic company all around, singing well and performing Patrick O’Neill’s vibrant choreography with energy and style. 

The show also looks and sounds great. Adam Koch’s multi-level set is colorful and versatile, and is well-supported by Kylee Loera’s vibrant video design. There are also eye-catching costumes by Robin L. McGee based on the original costume design by Tim Hatley; and memorable wigs by Jeff Knaggs. The costumes are clearly inspired by the film, but they go their own way in a few places, as well. There’s also excellent lighting by Jason Lyons and sound by Joshua Hummel. Also, the puppets in the show are especially notable, including some excellent rat puppets by Jim Henson’s Creature Shop and the truly spectacular, colossal dragon puppet by James W. Wojtal, Jr. There’s also an excellent Muny orchestra led by music director Ben Whitely, doing justice to Jeanine Tesori’s memorable score. 

Shrek: the Musical still may not be as great as the film in my mind, but it holds its own as a vibrant, energetic show with humor and heart. It’s a treat for all ages, and I noticed the large number of families with children in the audience. This is a broad-appeal show that brings wonder, delight, and laugh-out-loud comedy to Forest Park with undeniable charm. 

Marcus M. Martin and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Shrek: The Musical in Forest Park until July 2, 2026

 

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The Muny Takes a Thoughtful, Vibrant New Look at Modern Classic “Jersey Boys”

Posted in St Louis Theatre, tagged , , , , , , , , , on August 20, 2025| Leave a Comment »

Jersey Boys
Book by Marshall Brickman and Rick Elice
Music by Bob Gaudio, Lyrics by Bob Crewe
Directed by Maggie Burrows
Choreography by William Carlos Angulo
The Muny
August 19, 2025

Cast of Jersey Boys
Photo by Phillip Hamer
The Muny

The Muny is closing out its 2025 summer season with a show that’s become a modern classic, and is to my mind, the “gold standard” of one of the two main subsets of what are often called “jukebox” musicals–the bio-musical focusing on the story of a particular artist or band. With memorable songs by legendary pop-rock group The Four Seasons and an especially strong book, this show takes a close look at the group’s four original members and their relationships with each other and with the passage of time. It’s a great show, but the Muny is taking a slightly new approach with this production that lends a thoughtful new focus to the proceedings, all the while still delivering those show-stopping Four Season hits with top-notch vocals and energy.

In his on-stage intro before the show and in his note in the program, artistic director and executive producer Mike Isaacson talks about the concept of time, and how that element is such an important part of the Jersey Boys narrative. I’ve noticed that as well over the years, in that time just keeps moving, as does the action, and that much of the drama and intrigue of the show comes from watching the characters age, grow, and adjust to the changing times and situations. While following the four original Four Seasons, each gets to tell part of the story in turn, starting with guitarist and self-styled “leader” Tommy DeVito (Ryan Vasquez), and then by keyboardist/songwriter Bob Gaudio (Andrew Poston), eccentric bassist Nick Massi (Cory Jeacoma), and finally by lead vocalist Frankie Valli (Pablo David Laucerica). The story follows these four from their beginnings as struggling young musicians in their tight-knit New Jersey neighborhood, to world-famous celebrities with a trove of memorable hits that topped the pop charts–including “Sherry”, “Walk Like a Man”, “December, 1963 (Oh, What a Night)”, and many more. It also deals with their personal triumphs and tragedies, including marriage and family issues, interpersonal conflicts, trouble with the law, and the overall effects of fame on these four boys from Jersey. 

It’s already a well-told story, and I’ve enjoyed every production of this show I’ve seen (this one is my fourth), but this one takes a new angle that adds even more to the reflective nature of the show and the emphasis on the passage of time. For this version. older versions of the four leads (Michael James Reed as Tommy, John Leone as Bob, Drew Battles as Nick, and Jerry Vogel as Frankie) to start off the narration and appear again at the end for the final segment after a time jump in the story. This convention works well, and all of the actors do an excellent job of portraying the characters as recognizable older versions of the younger “main” actors. It also adds an element of emotion to the already stunning conclusion of the show, as we see the older Four Seasons look back on how they used to be, while hearing the strong, soaring voices of the band in their prime. 

The casting is fantastic, with the main roles ideally cast. Vasquez as the tough-talking DeVito, Jeacomo as the quieter and somewhat peculiar Massi, Poston as the ambitious, business-minded and more “clean cut” Gaudio, and Laucerica as the vocally impressive, magnetic Valli are all excellent in vocals and stage presence. Their older counterparts are also memorable, also playing various other roles in the story as needed, with Leone standing out as gangster Gyp DeCarlo. There’s also a strong turn by Tristen Buettel as Frankie’s first wife, Mary Delgado. The whole ensemble is strong, full of energy and enthusiasm, performing the dazzling vocals and vibrant choreography by William Carlos Angulo with vigor and style.

This Jersey Boys is also a great looking show, continuing the trend this summer of finding the ideal staging for the Muny rather than simply following what’s been done elsewhere, or even previously at the Muny. The production makes the most of all the technological improvements that the company has added over the past few years, with a stylish, versatile set by Krit Robinson that makes the most of the giant Muny stage and its turntable, screens, and movable platforms. The dynamic, always-moving tone of the show is augmented by means impressive video design by Kylee Loera and Greg Emetaz that also highlights the eras and changing times. Rob Denton’s dazzling lighting adds to the glitz and glamour and occasional grit of the rock ‘n roll lifestyle, as well, along with the superb sound design by by John Stivers and David Patridge. There’s also excellent musicianship by all involved, especially the excellent Muny Orchestra conducted by music director Paul Byssainthe Jr. 

If you love Jersey Boys and/or the Four Seasons, you will probably love this show. Even if you aren’t as familiar with the show or its subject, there’s a lot to love here, from the music to the energy to the well-crafted book and dynamic story. It’s a new approach to this show that also adds an extra element while keeping the vibe and spirit of the show intact. It’s a strong tribute, and a memorable show in its own right. It’s also a fitting closer to a truly fantastic 2025 season at the Muny.

Andrew Poston, Cory Jeacoma, Ryan Vasquez, Pablo David Laucerica
Photo by Phillip Hamer
The Muny

The Muny is presenting Jersey Boys in Forest Park until August 24, 2025

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Glittery, Campy “La Cage” Entertains in Style at the Muny

Posted in Snoop's Soapbox, St Louis Theatre, tagged , , , , , , , , on August 10, 2025| Leave a Comment »

La Cage aux Folles
Book by Harvey Fierstein, Music and Lyrics by Jerry Herman
Based on the Play by Jean Poiret
Directed by Marcia Milgrom Dodge
Choreographed by Richard J. Hinds
The Muny
August 9, 2025

Michael James Scott, Norm Lewis
Photo by MaryKatherine Patteson
The Muny

The Muny is currently revisiting a show it hasn’t staged in almost 40 years. La Cage aux Folles has been staged and revived many times around the world since its Broadway debut in 1983, and its catchy Jerry Herman score features well-known songs such as “I Am What I Am” and “The Best of Times”. It’s so catchy, in fact, that the songs have been playing in my head on repeat since I saw the Muny’s sparkling, dazzling production in Forest Park last night. Featuring a top-notch cast of Broadway and Muny veterans, this is a show that entertains in flashy, campy style, while also communicating heartfelt themes of family, individuality, and belonging.

The show, based on a popular French play that has been the inspiration for several films (including 1996’s The Birdcage), is set in St. Tropez, France, in a nightclub known for its popular drag shows. The shows are emceed by Georges (Norm Lewis), who lives in an apartment above the club with his longtime partner Albin (Michael James Scott), also known as “Zaza”, the club’s headlining star, who is backed by a memorable chorus of dancers and performers known as “Les Cagelles” (Julia Feeley, Cory Hammond, Kodiak Thompson, Michael Milkanin, Aaron Graham, Gordon Semeatu, Cooper Stanton, Michael Di Leo, Duncan B. Smith, Owen Kent Ing, Kaylee Olson, Kyle White). The two have also raised Georges’s son Jean-Michel (Mason Reeves), who has recently arrived after a time away with surprising news. He’s getting married, and not only that, but his fiancée, Anne (Cameron Anika Hill) is the daughter of an ultra-conservative politician. Also, her parents, the Dindons (Terence Archie, Allison Blackwell) are coming to visit so they can meet Jean-Michel’s parents, but there’s a catch that throws the whole family dynamic out of balance and hurts Albin deeply, although this is a comedy, so I don’t think it’s a spoiler to say that things get better, and there’s also a lot of glitter, colorful costumes, and fantastically campy nightclub routines to the tune of those super-catchy Jerry Herman melodies. 

This production looks a little different than I had been expecting, since I usually associate this show with lots of pink and gold and glitter. Here, the glitter is there, but the palate is much more colorful. There is a fair amount of pink, especially in the restaurant run by Georges and Albin’s bubbly friend Jacqueline (Meghan Murphy), but there’s also a lot of blues, greens, purples, and more. The costumes, designed by Bobby Pearce are simply spectacular, outfitting Zaza and La Cagelles in a series of eye-catching outfits, and with the rest of the characters outfitted in suitable style. There’s also memorable work from wig designer Tommy Kurzman. The set by Matthew Buttrey is also colorful, dazzling, and versatile, adding to the atmosphere in the nightclub scenes and the outdoor scenes in the sunny French Riviera. There’s also marvelous lighting by Jason Lyons, and excellent video design by Kylee Loera and Greg Emetaz. The Muny Orchestra, led by music director Darryl Archibald, brings lush energy to the classic score, as well. 

As for the cast, they shine as bright as the set, if not more. Lewis is charming as Georges, and in great voice on numbers like “Song On the Sand” and “Look Over There”. His chemistry with Scott’s equally marvelous Albin is excellent, as well. Scott makes the most of every moment as Albin/Zaza, from the campier moments to the more emotional scenes like the stellar, show-stopping “I Am What I Am”. These two are the heart of the show, but they are surrounded by a memorable cast of characters, led by Reeves as the earnest, if misguided (at first) Jean-Michel, who has strong chemistry with Hill’s likable (but underwritten) Anne. Archie and Blackwell are suitably stuffy as the Dindons, with Blackwell showing an underlying desire to break free of her husband’s restrictions, and displaying a marvelous operatic soprano in moments when she gets to sing. There’s also a scene-stealing turn from Troy Iwata as Georges and Albin’s butler/maid Jacob, who desperately wants to be in the show at the club. There are also memorable turns from Murphy as the vivacious Jacqueline, Michael Hartung as the club’s stage manager, Francis, and Milkanin as the forceful Hanna, one of the more prominent Cagelles who is in a relationship with Francis. The rest of the cast, including Les Cagelles and an energetic Teen Ensemble, add to the energy and spark of this fun production.

Ultimately, La Cage aux Folles is a lot of fun. It’s been a long time since it’s appeared on the vast Muny stage, and it fits well. With style, heart, energy, and that timeless classic score, this is another memorable hit for the Muny’s 2025 season. 

Norm Lewis (Center) and Cast
Photo by BreAnna Kay Creative
The Muny

The Muny is presenting La Cage aux Folles in Forest Park until August 14, 2025

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“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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Star Quality is on Dazzling Display in the Muny’s Impeccably Staged “Evita”

Posted in St Louis Theatre, tagged , , , , , , , on July 20, 2025| Leave a Comment »

Evita
Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Josh Rhodes
Tango Choreography by Junior Cervila
The Muny
July 19, 2025

Katerina McCrimmon
Photo by Phillip Hamer
The Muny

The Muny has done some fantastic productions over the years, and I’ve been attending shows there since 2004. With their latest production of Andrew Lloyd Webber and Tim Rice’s Evita, however, I think they may have outdone themselves. In fact, the way this show is cast, directed, and designed, it fits so well on the colossal Muny stage that it almost appears as if the show was written for this venue. With an ideal cast featuring a dazzling star performance in the title role, this show is a must-see for anyone who loves to see the best of musical theatre in St. Louis.

The classic rock opera about the famous and controversial Argentinian First Lady Eva Perón has been staged around the world since beginning as a concept album 1976, then opening on stage in London in 1978 and on Broadway in 1979. It’s structured as a rock opera, with sung dialogue and very few spoken lines, featuring music styles ranging from pop to rock to tango and more. In  my mind, it’s Lloyd Webber’s best score, and there’s a marvelous Muny Orchestra here led by music director Ben Whitely that brings out all the passion and style of the music. 

Evita isn’t a straightforward bio-musical, either. It tells Eva’s story of how she rose from obscurity to fame to political power and influence in 1940s and 50s Argentina, but it also critically examines her influence, motives, and appeal, as well as the people’s adoration of her as something like a saint. The character of Che (Omar Lopez-Cepero) is onstage from the beginning, representing the everyday Argentinian people as the Perón regime rises to power and the ambitious Eva (or “Evita” as she is often referred to by her admirers) becomes an actress, then a political figure and icon, eventually dying young (of cancer) while still in the midst of her fame and influence. 

Many celebrated performers have brought their “star quality” to the leading role over the years, and here at the Muny, the part is taken by the fantastically talented Katerina McCrimmon, who recently headlined the national tour of Funny Girl that I saw when it came to the Fox. She was excellent in that, and she shines here as well, with incredible stage presence and a powerful voice that’s more than up to the task of singing this celebrated score with memorable songs like “Buenos Aires”, “Rainbow High”, and “Don’t Cry For Me, Argentina”. McCrimmon owns the stage, and also shares it well with equally excellent co-stars Omar Lopez-Cepero as the show’s “voice of people”, Che, and the glorious-voiced opera and Broadway vet Paulo Szot as Juan Perón. Both of these performers have strong chemistry with McCrimmon.

Other standouts include Daniel Torres as Augustin Magaldi, a popular singer who becomes involved with young Eva and first brings her to Buenos Aires; along with Sabrina Santana in a  notable cameo role as a young mistress of Perón’s who is sent away after Eva moves in, performing the memorable “Another Suitcase in Another Hall” with heartbreaking emotion and strong vocals. There are also two tango dancers, Noelia Guerrero and tango choreographer Junior Cervila, who make an indelible impression dancing with energy and passion in two featured numbers including a particularly moving rendition of “You Must Love Me” (which was written for the 1996 film) sung by McCrimmon as the two dance. There’s also a fantastic ensemble playing various roles and adding to the overall spirit of the show with enthusiasm, excellent singing, and dynamic dancing choreographed by director Josh Rhodes. 

The set by Adam Koch is strikingly effective, as well, augmented by memorable video design by Steven Royal and dazzling lighting by Paige Seber. The use of the stage’s turntable is especially notable here, adding style and emotional emphasis to Eva’s famous balcony scene and adding a smooth and energetic sense of movement as the story unfolds. Brian C. Hemesath’s costumes are meticulously designed and crafted, as well, suiting the characters and mid-century Argentinian setting particularly well. 

Evita at the Muny is among the best shows I’ve ever seen there, and that’s not hyperbole. It’s a truly fantastic show, with emotion, energy, excellent movement and vocals, and a first-rate cast that includes a remarkable rising star in the leading role. This is a classic show brought to life with stunning immediacy, and it’s not to be missed. 

Cast of Evita
Photo by Phillip Hamer
The Muny

The Muny is presenting Evita in Forest Park until July 24, 2025

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“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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Hospitality, Humanity Brought Into Focus in The Muny’s Heartfelt “Come From Away”

Posted in St Louis Theatre, tagged , , , , , , , on July 2, 2025| Leave a Comment »

Come From Away
Book, Music and Lyrics by Irene Sankoff and David Hein
Directed by Seth Sklar-Heyn
Choreographed by Jesse Robb
The Muny
July 1, 2025

Heidi Blickenstaff (Front) and Cast
Photo by Phillip Hamer
The Muny

The world had a crisis and Gander, Newfoundland stepped up. It’s become a well-known story of September 11, 2001, as planes were grounded on the remote Canadian island and the small town and neighboring towns played hosts to approximately 7,000 displaced airline passengers and crew. Come From Away, the musical that tells Gander’s story, is a folksy, heartfelt tale with much well-place humor, celebrating hospitality, ingenuity, and humanity, as a few thousand people worked to find hope amid the heartbreaking tragedy of 9/11. Currently onstage at the Muny under the direction of Seth Sklar-Heyn, this remarkable show is being staged with heart, energy, and a stunning mixture of complexity and simplicity. 

There is a fantastic cast assembled, with each performer playing a variety of roles. The cast here appears to be slightly larger than the touring cast I saw a few years ago at the Fox, but it’s not too big as to overwhelm the heartfelt simplicity of this show, with its intertwined tales based on real accounts of people who lived through those days in Gander almost a quarter century ago. The music is a mixture of folk-inspired tunes and traditional Broadway sounds, and the look is stunningly memorable, with a simple but beautifully decorated autumnal-themed set by Edward E. Haynes, Jr., memorable mood lighting by Rob Denton, excellent video design by Mike Tataj, and colorful costumes by Gail Baldoni. The orchestra led by music director Evan Roider adds a lush tone to the memorable score, and the overall local atmosphere that, despite having a host of featured characters, features Gander as the show’s real “star”.

While the overall tone is one of hospitality and hope, there is real poignancy here as well as flawed humanity on display, as strained relationships, xenophobia and distrust for a Muslim character are depicted amid the stories of the largely well-meaning Newfoundlanders working to make the most suitable temporary home for their thousands of guests. Standout subplots include SPCA worker Bonnie (Andréa Burns) trying her best to care for the various animals on the grounded planes; as well as a friendship that develops between local schoolteacher Beulah (Zoe Vonder Haar) and passenger Hannah (Tamika Lawrence), who waits for news of her NYC firefighter son. There’s also the budding attraction between the British Nick (John Bolton) and Texan Diane (Ashley Brown), the first day on the job of local TV news reporter Janice (Abigail Isom), and the story of Beverley Bass (Heidi Blickenstaff), who pilots one of the stranded planes and also gets to tell her true life story in the show-stopping “Me and the Sky”. The locals and visitors are well represented, with one of the most memorable scenes being what’s called a “Screech In” at a local bar, in which some of the “Come From Away” guests are inducted as honorary Newfoundlanders in a fun, quirky ceremony .

The cast is fantastic across the board, with standouts being those already mentioned, as well as Adam Heller as the town’s mayor, Alan H. Green as a passenger who starts out suspicious of the locals’ hospitality but grows to appreciate it, and Trey DeLuna and Jason Tam as a pair of bickering boyfriends both named Kevin. The entire cast is full of energy, telling the story in a way that credibly conveys the confusion, struggle, heartbreak, humanity, and hope in this remarkable story.

Come From Away isn’t a long show. In fact, it’s one of those rare shows that the Muny has done without an intermission. Still, it packs a lot of story, character, music, and emotion into its relatively short running time. It’s a profoundly affecting and unique piece of theatre. 

Ashley Brown, Zoe Vonder Haar, John Bolton, Adam Heller
Photo by Emily Santel
The Muny

The Muny is presenting Come From Away in Forest Park until July 2, 2025

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