Feeds:
Posts
Comments

Posts Tagged ‘the muny’

Jerome Robbins’ Broadway
by James M. Barrie, Irving Berlin, Leonard Bernstein, Jerry Bock, Sammy Cahn,
Moose Charlap, Betty Comden, Larry Gelbart, Morton Gould, Adolph Green,
Oscar Hammerstein II, Sheldon Harnick, Arthur Laurents, Carolyn Leigh,
Stephen Longstreet, Hugh Martin, Jerome Robbins, Richard Rodgers,
Burt Shevelove, Stephen Sondheim, Joseph Stein, Jule Styne
Directed by Cynthia Onrubia
Additional Choreography by Harrison Beal, Dan Knechtges, Ralph Perkins
The Muny
June 11, 2018

Cast of Jerome Robbins’ Broadway
Photo: The Muny

The Muny’s 100th season is finally here, and it’s opening in grand style with a show that’s really several shows in one. The 1989 Tony Winner for Best Musical, Jerome Robbins’ Broadway pays tribute to a prolific director-choreographer from the Golden Age of Broadway in a production that, even though it has “Broadway” in the title, seems almost tailor-made for the Muny.

The Muny has traditionally been about big, large-cast musicals with spectacle and style, and that’s here in abundance with Jerome Robbins’ Broadway. It’s the first regional production of the show ever, apparently, and although it’s not exactly the same as the 1989 version, most of the songs are here, highlighting Robbins’ illustrious career and featuring some iconic numbers from classic shows, as well as some numbers from lesser-known shows. From On the Town, HIgh Button Shoes and Billion Dollar Baby to West Side Story, The King and I, Peter Pan, and Fiddler On the Roof, this show has a little bit of everything, dance-wise, from dramatic, ballet-influenced numbers, to jazz, to slapstick comedy, and more, staged with the usual big, bold, high-energy stage-filling style of the Muny.

There isn’t really a story here. It’s a revue, essentially, with Rob McClure as “The Setter” introducing the scenes. McClure, a Muny veteran and favorite performer, also plays several memorable roles in the production, including two roles from HIgh Button Shoes and the role of Tevye alongside Maggie Lakis as Golde in the excellent Fiddler sequence that features “Tradition”, “Tevye’s Dream”, “Sunrise, Sunset”, and the always thrilling wedding dance. There are many excellent moments here. In fact, there are so many highlights, it’s not easy to name them all. Among the standout routines is a thrilling rendition of “I’m Flying” from Peter Pan starring Sarah Marie Jenkins as a vibrant Peter Pan, along with Elizabeth Teeter as Wendy, Gabriel Cytron as Michael, and Cole Joyce as John. This sequence is particularly dazzling, with excellent flying effects by ZFX, Inc. and great use of the Muny’s electronic scenery wall. The ensemble is the star here, really, with energetic dancing from the more dramatic West Side Story moments to the high comedy of the “On a Sunday By the Sea” number from High Button Shoes. Another memorable sequence is the truly stunning dance number “Mr. Monotony” featuring powerful vocals from Muny veteran Jenny Powers and astounding dancing from Sean Rozanski, Alexa De Barr, and Garen Scribner, who also all turn in strong performances in the West Side Story sequence as Bernardo, Maria, and Tony respectively, alongside the equally excellent Davis Wayne as Riff and Tanairi Vazquez as Anita, along with an athletic, energetic ensemble of Jets and Sharks. There is so much here to see and enjoy, with Robbins’ routines recreated with an authentic look and feel, to the point where it seems for some moments as if the audience has traveled in time.

The production values here are also first-rate, with a stylish, colorful and versatile set by Paige Hathaway and remarkably authentic costume design by Robin L. McGee. There’s also excellent lighting design from John Lasiter, lending atmosphere and changing tones and moods to the various production numbers. There’s also great video design by Nathan W. Scheuer and wonderful music from the always excellent Muny Orchestra.

This is an old-school musical revue with lots of energy and a big cast to fill out the enormous Muny stage. Jerome Robbins’ Broadway is a collection of numbers that serves as an ideal first show for the Muny’s 100th season. It’s a retrospective, but also a celebration of musical theatre’s past as the Muny prepares to move into the future. It’s a dazzling start to a long-awaited season in Forest Park.

West Side Story Dancers
Photo: The Muny

The Muny is presenting Jerome Robbins’ Broadway in Forest Park until June 17, 2018.

Read Full Post »

The Muny Centennial Gala
An Evening With the Stars
May 19, 2018

Matthew Morrison, Heather Headley
Photo: The Muny

The Muny is 100! A summer tradition that generations of St. Louisans grew up with, the Muny has endured many changes over the years, but in 2018, it’s still here and it’s thriving. And now, the Muny has kicked off its centennial season with a gala extravaganza that celebrates its history as well as–both intentionally and unintentionally–demonstrating some time-honored Muny traditions, such as how to deal with rain delays.

Note the date I’ve listed at the top of this article. That’s not the published date for this extravaganza. In fact, the lavish centennial celebration dinner did take place on the advertised date of Friday, May 18, and every effort was made to stage the show, as well. As the thousands of attendees took their seats and waited, the Muny’s technical crews did their best to ready the stage for the event during a brief respite from the rain that had been drenching St. Louis essentially all day. There was hope, but alas, the rain started up again, and Executive Producer Mike Isaacson ran onstage to make the announcement that the show would have to be postponed until the next night–Saturday, May 18. So, at the same time one day later, the crowds returned and the show went on, but not without a few more weather-related hitches. The show started on time, but the unpredictible St. Louis weather made for two rain delays lasting about 20 minutes each. Still, even with these stoppages, the show started strong and didn’t lose its momentum.  It was a treat from start to finish, bringing back some Muny favorites and legendary stars as well as highlighting frequent Muny ensemble members and the Muny Kids and Teens.

“An Evening With the Stars” was no exaggeration, with a stellar lineup hosted by Broadway star Heather Headley, who has appeared at the Muny as the Witch in Into the Woods, and Broadway and TV star Matthew Morrison, who is perhaps best known for Glee. These two served as presenters for the event and also got their moments to shine, with Morrison leading a fun production number featuring a condensed version of the musical Hairspray, and Headley bringing down the house with her powerful vocals on a medley from Funny Girl. There were also standout performances and stories from Patrick Cassidy, who sang “Till There Was You” from The Music Man alongside fellow Muny alum Jenny Powers, as well as recounting a story from the filming of the movie that starred his mother, Shirley Jones, who also sent along a video greeting. There was also a stirring rendition of “Memory” from Cats by beloved Muny favorite Ken Page, an energetic ensemble tap number of “We’re In The Money” led by Lara Teeter, and Graham Rowat leading the entire cast in singing “The Quest (The Impossible Dream)” from Man of La Mancha. Other memorable segments included two songs from the classic A Chorus Line–“What I Did For Love” sung by an impressive group of longtime Muny veterans and regulars, and then the grand finale, a spectacular dance to the showstopping “One”, featuring energetic dancing and well-timed fireworks from behind the stage and from the sides of the auditorium itself. It was a truly stunning conclusion to spectucular show.

Ensemble
Photo: The Muny

As wonderful as the whole show was, though, I think special note should be made of two legendary performers who commanded the stage with stories and songs, demonstrating the longevity of their extraordinary talents. I’m referring to the truly superb Chita Rivera and Tommy Tune, who proved that even after decades in the business, their remarkable talent, energy and stage presence are still very much in evidence. The 85-year-old Rivera and 79-year-old Tune–who both starred in Bye Bye Birdie at different times but never together–treated the audience to a delightful rendition of the show’s last scene and the song “Rosie”, showing excellent stage chemistry in the process, and expert, energetic tapping from Tune. Rivera also had a great moment telling stories from the making of the original production of Chicago and singing the signature “All That Jazz”, and although the choreography has been simplified, her attitude and style are still there in force. For me, a lifelong theatre fan who had never before been given the opportunity to see these great stars live, their performances were the clear highlight of the already stellar production.

Chita Rivera, Tommy Tune
Photo: The Muny

The techical values of this event were also impressive, with direction by Matt Kunkel, music direction by  Michael Horsley, and Choreography by Michael Baxter. The set by Paul Tate dePoo III was simple but elegant, and the costumes by Robin L. McGee and hair and makeup by Kelley Jordan sparkled and dazzled. There was also exellent lighting and video design by Rob Denton, Nathan W. Scheuer, Matthew Young, and Shelby Loera. It was a great looking, great sounding, star-studded production that’s fitting of a 100-year anniversary celebration for such storied St. Louis institution.

The big show was only part of the celebration, though. In addition, the Muny hosted a “Birthday Bash” open house event on Sunday, May 20 featuring many free events that allowed the St. Louis public an even closer look at what makes the Muny so distinctive. With historical displays, vehicles that were used in various shows such as the Jeep from South Pacific and a Ford Model T car from  Thoroughly Modern Millie, as well as showtune karaoke, a ferris wheel, and a fascinating backstage tour and opportunity to step on the famous, enormous Muny stage, it was an excellent way for the Muny to share even more of its rich history with its audience.  The Muny has gotten off to a great start celebrating 100 years in Forest Park. Next on the schedule: its much-anticipated 100th season of musical theatre, which begins soon, on June 11 with the Jerome Robbins’ Broadway.

Read Full Post »

Muny Magic at the Sheldon: Our Leading Men

Conceived by Megan Larche Dominick and Michael Horsley, Book by Michael Fling
October 18, 2017

This is my first year attending the Muny’s regular concert event, Muny Magic at the Sheldon. They’ve been doing this for three years now and this is the fifth edition, featuring celebrated Muny performers and highlighting the history of the Forest Park institution. This year, going into the much talked about 100th anniversary season, the Muny’s producers have assembled a collection of classic songs saluting and remembering the leading men of the Muny, sung by four excellent leading men who have appeared in recent productions–Ben Davis, Davis Gaines, Jay Armstrong Johnson, and Mykal Kilgore. Overall, I would say it’s an entertaining, worthy tribute to these excellent performers and the legendary composers and  leading men that have performed at the Muny over the years.

The stage is simply set, with stools for the singers and a small but excellent musical ensemble, directed by music director Michael Horsley. There’s also a large video screen, on which is projected the pictures and credits of a host of well-known leading men who have performed at the Muny including Bob Hope, Cary Grant, Ben Vereen, Jerry Orbach, and Muny favorite Ken Page, who was in the audience and received a standing ovation when his presence was acknowledged from the stage by Kilgore before Kilgore launched into an energetic, vocally dynamic rendition of “Ain’t Misbehavin'”.

The format is that of a scripted concert, with jokes and witty rapport among the foursome as they took turns singing songs associated with the Muny’s long history, as well as highlighting the upcoming 100th season with selections from each of the scheduled shows, including comic moments such as the men singing “It’s the Hard Knock Life” from Annie, as well as an upbeat performance of “December 1963 (Oh, What a Night) from Jersey Boys, Johnson’s spirited rendition of “All I Need Is the Girl” from Gypsy, Davis’s joyful “Singin’ In the Rain”, and Kilgore’s powerful “Home” from The Wiz, as well as Gaines leading the audience in a sing-along of “Meet Me In St. Louis”.  Other highlights included some spectacular vocal showcase moments including Davis’s “This Nearly Was Mine” from South Pacific and (accompanying himself on guitar) “Edelweiss” from The Sound of Music, as well as Johnson’s “Something’s Coming” from West Side Story and “If I Loved You” from Carousel. Gaines singing a medley from Man of La Mancha and the classic “Ol’ Man River” from Show Boat, and Kilgore’s soaring, emotive “Corner of the Sky” from Pippin. All four men are stunning vocalists, and this show gave them many opportunities to display their talents, both as individuals and as a group on songs like “Brotherhood of Man” from How to Succeed In Business Without Really Trying, and “Fugue For Tinhorns” form Guys and Dolls.

The evening was a an excellent showcase for these superb leading men, and a fitting tribute to the Muny’s past as well as a celebration of its present, and its future. It’s a great concert, with an enthusiastic and highly appreciative audience as well.  I’m glad I was there to see and hear it.

 

Read Full Post »

Mike Isaacson

The Muny revealed the lineup for their historic 100th season today, and I was honored to be invited to attend the press conference making the announcement. It looks like the Muny has a lot of exciting events in store to celebrate this milestone year, and as I sat there listening to the announcements, I found I was listening not just as a “member of the press”, but as a fan for whom St. Louis is my adopted hometown. I’ve been seeing shows at the Muny since my family and I first moved here in 2004, and in a fun coincidence, the first show I saw there is one that will also be part of the Muny’s 100th season.

The are many great shows and events planned for next year, as announced by the Muny’s Marketing and Communications director Kwofe Coleman and Executive Producer Mike Isaacson, following introductory remarks by the Muny’s President and CEO, Dennis Reagan. In addition to the lineup of seven musicals, there will be parties, an exhibit at the Missouri History Museum, and a documentary on HCTV as well as Judith Newmark’s continued “Muny history” article series in the St. Louis Post-Dispatch. For more information, see the Muny 100 page on their official website.  Now, on to the list!

Dates and exact order will be announced at a later date, but the full line-up of shows is as follows:

Jerome Robbins’ Broadway

The Wiz

Singin’ In the Rain

Annie

Gypsy 

Jersey Boys

Meet Me in St. Louis

I have a lot of thoughts about this list, but for the most part, I think it’s a great lineup. In Isaacson’s introductions of the shows, he repeatedly talked about the Muny’s legacy and its historical reputation, as well as the idea of musical theatre as an American innovation. These are all American shows, with some having a long history at the Muny. There are two shows here, Jerome Robbins’ Broadway and Jersey Boys, that will be regional theatre premieres. There are also time-honored classics and more modern classics. There’s also, as I mentioned above, the first show I ever saw at the Muny, Meet Me In St. Louis, which is an obvious choice considering what this show means for the history of this city.  It’s a lineup that is sure to appeal to a wide audience, as the Muny generally seeks to do, and I’m looking forward to seeing what Isaacson’s Muny will do with them. Also, while I’m familiar with all of these shows and have seen the movies and/or televised versions of six of them, I’ve only seen three of them live on stage before, so this will be a particularly interesting season for me to cover.  I’m looking forward to it, and to all of the various celebrations the Muny has in store for their 100th season.

 

Read Full Post »

Newsies, the Musical
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed and Choreographed by Chris Bailey
The Muny
August 7, 2017

Cast of Newsies
Photo: The Muny

Thinking of shows that seem like they are made for the Muny, I think Newsies would be a prime example. The big, energetic Disney musical is ideally suited for a large outdoor stage like the Muny’s, and there’s a lot of room for the youth ensembles as well. As the closing show for the Muny’s 99th season, Newsies proves to be an excellent fit for the venue, as well as a rousing, well-cast and immensely entertaining production.

The show, based on the Disney film, tells a fictionalized version of a true story–a strike by newsboys in New York City in 1899. Here, the focus is on a group of “newsies” who deliver papers for the New York World newspaper, led by Jack Kelly (Jay Armstrong Johnson), a teenage orphan with artistic talents and dreams of moving west. When World publisher Joseph Pulitzer (Davis Gaines) decides to raise the prices that the newsies pay for the papers they sell, Jack finds himself the leader of an impromptu union, along with his friend Crutchie (Daniel Quadrino), his new friends Davey (Spencer Davis Milford) and Davey’s little brother Les (Gabriel Cytron), and the rest of the neighborhood’s newsies, with hopes of rallying support from those from other papers and throughout the city. The movement is covered by ambitious reporter Katherine Plumber (Tessa Grady), who harbors a secret and finds herself attracted to Jack. As the movement grows, Pulitzer, the show’s obvious villain, grows agitated, and the newsies enlist the help of local entertainer Medda Larkin (Ta’rea Campbell), for whom Jack occasionally works painting backdrops for her theatre. The newsies’ strike becomes front page news, but Pulitzer’s efforts to stop it threaten to run Jack out of town and make conditions even worse for the newsies.

I’ve seen this show before, twice, on tour, first in Chicago and then here in St. Louis. I enjoyed both of those productions, but I think this production works even better not only because of its excellent cast, but because of the unique staging opportunities the Muny affords. The Muny Kids and Teens, for instance, are ideally suited for a show like this, to fill out the cast in a way that doesn’t seem manufactured or forced in the least. The direction and choreography by Chris Bailey is in a similar vein to the touring show, but the big Muny stage lends a great advantage for this show full of energetic leaping, spinning, and tapping.  Michael Schweikardt’s set also works well, with movable set pieces in the steel-beam platform style of the tour, but allowing for more flexibility of movement for the production and its large cast. There’s also excellent lighting by John Lasiter, striking video design by Nathan W. Scheuer, and colorful period costumes by Leon Dobkowski to help complete the overall look and atmosphere of the production.

The cast here is simply superb.  Johnson, with his strong voice and amiable stage presence, makes an ideal Jack Kelly. His scenes with his fellow newsies and with Grady’s terrific, spunky Katherine are highlights of this production. There’s also great work from Milford as Davey, young Cytron as Les, Campbell as Medda, and all of the newsies as well. I’ve always thought Pulitzer has been written as something of a cartoon villain in this show, but Gaines does an excellent job with the role as it’s presented. There’s a first-rate ensemble as well, including the Muny’s Youth Ensemble, helping to populate the Muny stage and contribute the energetic, tuneful production numbers.

Newsies is a fun show, with a big, enthusiastic cast. And at the Muny, it’s bigger, bolder, and better than ever. It’s been a great season at the Muny, and this show closes it out with style.

Cast of Newsies
Photo: The Muny

The Muny is presenting Newsies in Forest Park until August 13, 2017.

Read Full Post »

A Chorus Line
Book by James Kirkwood and Nicholas Dante, Music by Marvin Hamlisch, Lyrics by Edward Kleban
Direction and Choreography by Denis Jones
The Muny
July 29, 2017

Cast of A Chorus Line
Photo: The Muny

A Chorus Line is a legendary show. It’s a Pulitzer Prize-winner that ran on Broadway for 15 years, which was a record for a long time. It’s somewhat odd to think that such a “small” show had achieved such big success, but it shouldn’t be that strange considering its human drama, memorable score, and timeless appeal, especially for anyone who has at any time been involved in theatre and especially dance. The Muny is almost too big a venue to put on this show, really, although this latest production, the show has been “opened up” in a few ways that, for the most part, are successful and add to the classic appeal of this show.

The premise is fairly simple. A group of dancers are trying out for roles in the chorus of an unnamed Broadway show, and the director, Zach (Ivan Hernandez) interviews them to find out more about their backgrounds, what dance means to them, and why they want this job. Most of the dancers are veteran performers for whom this is a “make or break” type of situation career-wise, although there are a few younger dancers in the group who are looking for their big breaks. Even though the roles are cast near the end of the show, the real drama here is not as much about who gets the job and who doesn’t. What’s most interesting is who these people are, and how they got to where they are now. There’s a small semi-romantic subplot involving one of the dancers, Cassie (Bianca Marroquin), but the real drama, and the real romance, is about the stage life itself. The show’s most famous number, “What I Did For Love”, for instance, isn’t about a romantic relationship, but rather about the dancers’ relationship with their art. This show is, with all its drama and occasional critiques of the business, still essentially a love letter to the life of a performer. It has a St. Louis connection as well, as a few of the dancers involved in the original talk sessions that led to the development of the show were from here, and the few references to St. Louis in the show are met with enthusiastic applause from the audience.

The show here at the Muny has been modified slightly to fit the enormous Muny stage and to include the Muny’s youth ensembles, with varying degrees of effectiveness. For the most part, the additional ensemble members in some scenes do succeed in helping the show fill out its space, although sometimes the inclusion of the kids’ ensemble seems unnecessary. For instance, it’s interesting to see the dancers tell the stories of their childhood experiences aided by the addition of a child performer as a younger version of the older actor, but this works better in some situations (“I Can Do That”) than in others (“At the Ballet”). There are other ways the show is opened up, as well, such as through the use of video projections designed by Nathan W. Scheuer, which are especially effective in Cassie’s (Bianca Marroquin) featured number, “The Music and the Mirror”.   The set, by Paige Hathaway, is fairly simple, and that works for this show, and Andrea Lauer’s costumes are appropriate for the characters and the mid-1970s setting of the piece. There’s also extremely effective lighting by Rob Denton that helps maintain the overall atmosphere of this production.

The cast here is excellent, and each gets a moment to shine, although some more than others. The entire company is strong, excelling in singing and acting as well as dancing. The standouts for me are Ian Paget as Paul, whose “showcase moment” is a heartbreaking monologue near the halfway point of the show (there is no intermission), as well as Holly Ann Butler as the tough-talking Sheila. There’s also Madison Johnson as the somewhat flight Kristine, who has a problem with singing, highlighted in the song “Sing”, a clever duet with her husband and fellow auditioner Al (Rick Faugno). Other standouts include Marroquin as the determined Cassie, Sean Harrison Jones as the athletic dancer Mike, Evan Kinnane as the socially awkward Bobby, and especially Hannah Florence as the dedicated dancer Diana, who shines leading the cast in “Nothing” and “What I Did For Love”. The whole ensemble is strong, though, displaying energy and style in the production numbers and solos alike, and performing director Denis Jones’s dynamic choreography well, especially in the show’s iconic closing number “One”.

A Chorus Line is, to use a somewhat overused term, iconic. it’s one of those shows that everyone who loves musicals should see at least once, and even though the show has been modified slightly to fit the huge stage and play to the enormous audience at the Muny, its essence is preserved. It’s a celebration of music, dance, and humanity, well represented in this fine production.

Cast of A Chorus Line
Photo: The Muny

The Muny is presenting A Chorus Line in Forest Park until August 4, 2017.

Read Full Post »

The Unsinkable Molly Brown
Lyrics and Music by Meredith Willson, Book and Additional Lyrics by Dick Scanlan
Based on the Original Book by Richard Morris
Musical Adaptation by Michael Rafter
Direction and Choreography by Kathleen Marshall
The Muny
July 21, 2017

Beth Malone (Center) and Cast
Photo: The Muny

I wasn’t around when The Unsinkable Molly Brown originally debuted on Broadway in 1960.  In fact, I wouldn’t be born until years later. Still, sitting at the Muny on a hot, humid Friday night, I felt like I was witnessing something I never thought I’d be able to see–the performance of a new, classic musical from the Golden Age of Broadway. This new, highly revised version of the show has been several years in the making, and several of the old familiar songs are still there, but still, with this production at the Muny, there’s this unmistakable air of something new, and it’s wonderful.

The only version of this show I had seen before was a high school production many years ago, but it doesn’t really matter what version of this show you may have seen, because this one is different. It’s a total re-imagining of the story, still focusing on Margaret “Molly” Brown (Beth Malone), but with new songs from composer Meredith Willson’s catalog of lesser-known works. There’s an entirely new book, as well, with new characters and a story that tracks more with Brown’s real life, even though for show purposes she’s still “Molly” here–apparently, she went by “Maggie” in real life. Anyway, when we first see Malone’s plucky, feisty Molly, she’s an uneducated but highly ambitious young woman newly arrived in the mining town of Leadville, Colorado, although she really wants to be in Denver, pursuing her dream of becoming rich and influential. Still, a series of events keeps her in Leadville, where she gets to know a group of miners including the stubborn and persistent J.J. Brown (Marc Kudisch), who eventually becomes her husband. She also meets Julia (Whitney Bashor), the young English widow of a miner who was killed in an accident, as well as the miner’s three friends Erich (David Abeles), Arthur (Paolo Montalban), and Vincenzo (Justin Guarini).  The story then follows Molly as she helps J.J. make his fortune in gold mining, and as she becomes an active member of Denver society and an activist for several causes. Of course, the story of her surviving the sinking of the Titanic is also here, but so much else is different. It’s a whole new show, completely in the spirit of an “old” show.

For anyone who hasn’t seen the “original” Molly Brown, I’m convinced anyone seeing it now would think this was the original. The beauty of using “new” songs written by Meredith Willson rather than having a new composer try to write in his style is that the songs–even with modified lyrics–fit right into the show, in terms of tone and style, and they sound completely authentic. The new book makes a lot more sense than the old book, as well, in that while it still contains fictional elements, it’s more in tune with the real life of the woman on whom it is based. With this production, we get to see Molly as a philanthropist and activist, as she was in real life, and the tensions between her and her husband are given more of a realistic basis. Also, the new characters fit into the story well, and it doesn’t seem revisionist at all. It seems like the show should always have been like this, and in overall atmosphere it’s very much a classic musical. This is a remarkable feat for all involved.

Also remarkable is the excellent cast that has been assembled here, and especially the casting of the title role. The term “star quality” gets thrown around a lot in theatre, but I can’t think of a better term to use when describing Beth Malone’s performance. The minute she steps on the vast Muny stage, she owns it. This is a story that spans more than 20 years of Molly’s life, and Malone convincingly navigates the character’s growth over the years, from young, uneducated and spunky, to older, wiser, more educated and still spunky. And Malone can sing and dance with energy and strength, as well. Her combative but affectionate chemistry with the excellent Kudisch as J. J. is also a highlight of this production. There’s a wonderful supporting cast as well, led by the smooth-voiced Guarini, Abeles, and Montalban as Molly’s and J.J.’s miner friends, and by Bashor as the earnest, also strong Julia. There’s a great, energetic ensemble, as well, and the miners’ ensemble at the beginning is especially notable, with powerful voices and athletic dancing. Director/choreographer Kathleen Marshall’s choreography is dynamic and memorable as well, and the ensemble performs it with verve and gusto.

Molly’s world, from Leadville to Denver, to Europe and beyond, is well-realized in the production design here, with Derek McLane and Paul Tate dePoo III’s bold and colorful set design providing an excellent backdrop to the story. There are also bright and detailed costumes by Paul Tazewell and believable wigs by Leah J. Loukas. Rob Denton’s lighting, and Nathan W. Scheuer’s video designs also contribute to the overall look and atmosphere of this rousing, energetic production. There were a few minor sound issues on opening night, but I expect these will be dealt with as the show continues to run. The musical arrangements by music director Michael Rafter–well played by the superb Muny Orchestra–are also excellent, contributing to the overall classic Broadway vibe of this production.

Possibly because of the weather this week, they could have called this Molly Brown “Unmeltable”. Still, despite the extreme heat in St. Louis this summer, if the Muny’s latest production  of The Unsinkable Molly Brown can be defined by one word, that word has to be “unmissable”.  With a strong ensemble and truly stellar lead performance, this is a spectacular show that is worth sitting through the weather to see.

Beth Malone, Marc Kudisch
Photo: The Muny

The Muny is presenting The Unsinkable Molly Brown in Forest Park until July 27, 2017.

Read Full Post »

Older Posts »