Posts Tagged ‘the muny’

The Muny’s “Bring It On” is Sweetly Goofy, High-Energy Fun

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

Bring It On: The Musical
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda, Lyrics by Amanda Green & Lin-Manuel Miranda
Directed by Denis Jones
Choreographed by Jennifer Weber
Cheer Consultant & Choreography by Ryan Martin O’Connor
The Muny
June 17 and June 19, 2025

Jonalyn Saxer (Center) and Cast
Photo by Phillip Hamer
The Muny

Bring It On: The Musical is an appropriate opening show for the Muny’s 2025 season, with it’s enthusiastic, high-energy production and highly entertaining story with a large dose of hamminess and goofball humor. It took me two tries to finally see the whole show, since the Tuesday show was rained out after the first act, but I’m glad I finally got to see it, because while the first act is fun, the second act is better. Also, the acrobatic, turbo-charged cheerleading routines take it up a notch later in the show, which is an entertaining blend of traditional Broadway and hip-hop styles, along with some superb dance routines choreographed by Jennifer Weber, who is perhaps best known for &Juliet. It also has a connection to Muny Artistic Director/Executive Producer Mike Isaacson, making it an ideal show for the Muny’s colossal stage.

The story does take a bit of time to get going, after a promising opening number featuring Campbell (Jonalyn Saxer) and her Truman High School cheerleading squad. Campbell is an earnest, cheer-obsessed rising senior who starts out wanting nothing more than to be the captain of her squad and guide them to a championship at Nationals. She has the support of fellow cheerleaders, the ditzy and bossy Skylar (Katie Riedel) and Skylar’s BFF Kylar (Regine Sophia), as well as Campbell’s goofball boyfriend Steven (Sean Harrison Jones), along with perky, somewhat worshipful newcomer Eva (Taylor Sage Evans), so everything looks promising going into the school year. Then however, there’s a twist, as Campbell is abruptly informed that school redistricting has assigned her to a new school, Jackson High School, that features a totally different social scene and doesn’t even have a cheerleading squad. Instead, they have a hip-hop dance crew led by Danielle (Kennedy Holmes) and her friends Nautica (Ayla Ciccone-Burton) and La Cienega (AJ Paramo). They’re also joined by the Bridget (Katy Garaghty), a former classmate of Campbell’s who has also been redistricted, and who finds a much more welcoming atmosphere at Jackson, having been seen as something of an outcast at Truman. 

While this show largely revolves around Campbell’s personal journey of self-discovery, it also features themes of individuality, self-expression, inclusivity, friendship, honesty, and what “winning” really means. I appreciate that it isn’t really presented as “good school’ vs. “bad school”, although the Truman squad is decidedly more stereotypically “cheerleadery” than Jackson’s. Still, there’s only one real villain here, and despite Evans’s fantastically over-the-top performance as Eva, I’m not even sure a villain was necessary. It’s a fun show that increases in energy and focus as it goes along, and especially after the transfer to Jackson. Also, I think some of the Truman characters (especially Steven) are just essentially forgotten about later in the show, but for the most part, this is fun, high-energy dance-and-cheer fest that features excellent performances all around, especially from the perky-and-earnest Saxer as Campbell, Holmes as the tough-but-fair Danielle, and the scene-stealing Garaghty as the outspoken and eminently likeable goofball Bridget. There are also good turns from Bryce Williams as laid-back DJ–and potential love-interest for Campbell–Randall; Riedel and Sophia as the perky Skylar and Kylar; and Kevin Trinio Perdido and Brandon O’Neal Bomer as Jackson guys Twig and Cameron. There’s great support all around from the strong ensemble, including the Muny’s enthusiastic Teen Ensemble.

The singing is great, with a mix of styles mostly in the pop and hip-hop range, with an expected element of “classic Broadway” along for good measure.  The ensemble is fantastic, and the dance and cheer sequences are dazzling, featuring the cheer direction of University of Kentucky cheer coach Ryan Martin O’Connor and actual Kentucky cheerleaders making up the majority of the squads. There’s also an excellent Muny Orchestra led by music director Anne Shuttlesworth.

Visually, the show is a stunner, with a bright, dynamic set by Anne Beyersdorfer, striking video design by Caite Hevner, and dazzling lighting by Jason Lyons. The costumes by Tristan Raines and wigs by Ashley Rae Callahan also contribute much to the overall look and vibe of the show. The sound by John Shivers and David Patridge is also well done, despite one slight mic issue early in the show on Thursday.

The Muny is a vibrant St. Louis tradition, and its latest season is looking especially promising with its confident introduction of Bring It On: The Musical. The characters are fun, the story is heartfelt with a deliberate air of goofiness, and while the story takes a while to really get going, it’s non-stop entertainment once it does. It’s a good start to a new season, and I’m look forward to the rest of the shows in this highly-anticipated Muny lineup. 

Taylor Sage Evans, Kennedy Holmes, Jonalyn Saxer
Photo by Phillip Hamer
The Muny

The Muny is presenting Bring It On: The Musical in Forest Park until June 22, 2025

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The Muny Sets Sail for Fun with Lively “Anything Goes”

Posted in St Louis Theatre, tagged , , , , , , , , , , , on August 21, 2024| Leave a Comment »

Anything Goes
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse & John Weidman
Directed by Marcia Milgrom Dodge
Choreographed by Jared Grimes
The Muny
August 20, 2024

Cast of Anything Goes
Photo by Phillip Hamer
The Muny

The Muny’s 2024 season is cruising to a lively end with a vibrant production of the classic Cole Porter musical Anything Goes. First appearing on the Muny’s stage in 1940, this is a show that’s undergone several revisions over the years, all featuring the same general story, silly old-fashioned humor, and memorable score. This latest version emphasizes style, energetic choreography, and spot-on comic timing as a stellar cast makes this show about an ocean cruise sail smoothly and with tremendous, dazzling energy and production values that fill the massive stage with music and good old-fashioned fun.

The plot has a lot going on, and it’s full of old-style stage humor, slapstick, suggestive jokes, sight gags, and plot contrivances as a disparate collection of characters find themselves on an ocean liner sailing to England from New York. Nightclub performer Reno Sweeney (Jeanna de Waal) is front and center, along with her old friend, stockbroker Billy Crocker (Jay Armstrong Johnson), who has fallen in love suddenly with debutante Hope Harcourt (Kimberly Immanuel)–to the smitten Reno’s initial disappointment. When Billy finds out that Hope is sailing to England to marry Lord Evelyn Oakleigh (George Abud), Billy stows away on board in hopes of changing her mind while avoiding his boss, Elisha Whitney (Lara Teeter), who has given Billy an important business assignment back in New York. Also on board is gangster-in-disguise Moonface Martin (Kevin Chamberlin)–Public Enemy #13, along with Erma (Adrienne Hicks), who attracts the attentions of many of the sailors. As Reno and her “Angels” (Kristen Grace Brown, Candice Hatakeyama, Bethany Ann Tesarck, Danielle Jackman) are preparing to entertain in the ship’s lounge, and the ship’s Captain (Eric Jordan Young) obsessed with finding a celebrity on board, and with juvenile delinquents Spit (Spencer Jones) and Dippy (Joe Capstick) finding enterprising ways to make money, there’s a lot of reasons for joking, singing, and dancing, making for a lively, fast-moving and hilarious show. Also, the new script has been revised to remove some problematic elements, adding to the enjoyment of the show.

The cast is great, led by de Waal’s tour-de-force performance as the singing, dancing, wisecracking and lovelorn Reno, who goes through heartbreak and newfound love in the course of the show. She along with the hilarious Chamberlain as Moonface and the smooth-voiced, slick dancing Johnson as Billy, form the core trio in this show. Johnson also has great chemistry with the also excellent Immanuel as the conflicted Hope. There are also fun comic turns by Hicks as the amorous Erma, Teeter as the nearsighted, Yale-obsessed Whitney, Ann Harada as Hope’s mother Evangeline, and Abud as the eagerly curious Evelyn. There’s also a great ensemble filling out the smaller roles with style and energy, especially in the spectacular production numbers choreographed by Jared Grimes with lots of impressive tapping. 

The show looks spectacular, as well, with an expansive set by Edward E. Haynes, Jr. that makes the most of the Muny’s enormous stage, as well as delightfully whimsical video design by Kylee Loera. The costumes by Tristan Raines are appropriately detailed, colorful, and period appropriate, and there’s also excellent lighting by Rob Denton and sound by John Shivers and David Patridge. And then there’s the impressive Muny Orchestra churning out those delightful Cole Porter melodies, led by music director Ben Whiteley. 

Anything Goes has everything–music, humor, wit, and a brilliant cast delivering a new version of this classic show in a smooth, quickly paced production. It’s simply delightful, and a marvelous way to close out the season. This has been a great summer for the Muny, and it’s ending in memorable fashion. I can’t wait to find out what next year will bring.

Jeanna de Waal, Kevin Chamberlin, Jay Armstrong Johnson
Photo by Phillip Hamer
The Muny

The Muny is presenting Anything Goes in Forest Park until August 25, 2024

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Vibrant “In the Heights” Entertains in Grand Muny Style

Posted in St Louis Theatre, tagged , , , , , , on August 11, 2024| Leave a Comment »

In the Heights
Music and Lyrics by Lin-Manuel Miranda, Book by Quiara Alegría Hudes
Conceived by Lin-Manuel Miranda
Directed and Choreographed by William Carlos Angulo
The Muny
August 10, 2024

Benji Santiago (center) and Cast
Photo by Phillip Hamer
The Muny

Before Hamilton, and before Lin-Manuel Miranda was a household name, there was In the Heights. Miranda’s first Tony-winning musical hit, In the Heights is now onstage at the Muny, in a production directed and choreographed by William Carlos Angulo that makes the most of the venues grand stage and outdoor setting. With a great cast and strong production values, this show brings New York’s Washington Heights neighborhood and its memorable residents to life in a dazzling, heartwarming, and hopeful presentation that’s sure to make a memorable impression on the Muny’s enthusiastic audiences.

The story is well-structured in that, while a lot is happening, it’s fairly easy to follow. Usnavi (Benji Santiago) is the protagonist and narrator, introducing the audience to his neighborhood, the predominantly Latino Washington Heights in New York City. Usnavi runs a bodega assisted by his teenage cousin Sonny (Miguel Gil), and it seems like everyone comes to his store for their coffee and lottery tickets, so Usnavi knows basically everybody. There’s the Rosario family: Kevin (Martín Solá) and Camila (Karmine Alers), who run a local taxi company, and Nina (Ariana Burks), their daughter who is returning to the neighborhood from her first year at Stanford with a secret she’s reluctant to share. There’s also Benny (Alex Joseph Grayson), who works for the Rosarios and wants to start his own cab company someday, and who shares a mutual attraction with Nina. Usnavi is attracted to Vanessa (Alysia Velez), who works at the local beauty salon run by Daniela (Darilyn Castillo), who loves to share the local gossip with Carla (Marlene Fernandez), who also works at the salon. And then there’s Abuela Claudia (Nancy Ticotin), who is essentially the neighborhood’s honorary grandmother, and who practically raised Usnavi after his parents died when he was young. There are also local neighborhood characters such as Piragua Guy (Eddie Martin Morales)–who sells frozen treats and hopes to keep his business going–and local street artist and Sonny’s friend Graffit Pete (U. J. Mangune). Over the course of the story, we learn about the hopes, dreams, disappointments and concerns of the characters and their community, as times change, revelations are shared, the summer heats up, and someone just may win a jackpot.

The big stage works well for Arnel Sanciancou’s expansive and detailed set, which makes the most of the Muny’s turntable and Caite Hevener’s vibrant projections. Rob Denton’s lighting, the sound by John Shivers and David Patridge, and Leon Dobkowski’s marvelous costumes work together to excellent effect to bring the St. Louis audience into the world of this New York City neighborhood, and the summer heat described in the story is also appropriate for St. Louis summers, although on the night I saw it the weather was mercifully mild. A few uniquely Muny touches are added as well, such as real fireworks that are perfectly timed with the music at the end of Act 1. There’s also a superb Muny orchestra led by music director Roberto Sinha, playing Miranda’s memorable score with style and serving as an strong background for the first-rate vocals of the cast.

As for the cast, everyone is marvelous, led by the supremely likable Santiago in a charming performance as Usnavi, who has excellent moments with the also excellent Gil as Sonny and Velez as Vanessa. Burks is also a standout as Nina, with strong vocals and amiable stage presence, working well with Grayson’s determined Benny as well as Solá and Alers as her parents. Castillo as Daniela and Fernandez as Carla have some fun comic moments as well, and Morales is in excellent voice as Piragua Guy. Ticotin, as Abuela Claudia, is marvelous as well, giving a heartwarming, powerfully sung performance that forms the “heart” of the show. The leads are backed by a spirited ensemble who fill out the neighborhood with energy and enthusiastic dancing in the production numbers.

In the Heights is a great show for the Muny. This thoroughly entertaining production fills the stage, and Forest Park, with music, energy, and fireworks, both literal and emotional. It’s a heartwarming story of family, friendship, and community in the midst of struggles and changing times and circumstances. It’s another marvelous success for the Muny’s 2024 season.

Cast of In the Heights
Photo by Phillip Hamer
The Muny

The Muny is presenting In the Heights in Forest Park until August 15, 2024

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“Waitress” Delivers an Entertaining, Sweet Treat at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on August 1, 2024| Leave a Comment »

Waitress
Book by Jessie Nelson, Music and Lyrics by Sara Bareilles
Directed by Lili-Anne Brown
Choreographed by Chloe O. Davis
The Muny
July 31, 2024

Nicole Michelle Haskins, Lissa deGuzman, Jessica Vosk
Photo by Phillip Hamer
The Muny

Who doesn’t like pie? Well, maybe a few people don’t, but if you do, the latest production from the Muny will probably have you wanting to bake, or at least buy, one (or several). Waitress, with a score by singer-songwriter Sara Bareilles, is on stage now in Forest Park with a unique look and atmosphere compared to the Broadway production, and the national tour that I saw at the Fox five years ago. With impressive production values that make the most of the Muny’s outdoor venue and huge stage, and a first-rate cast led by a remarkable lead performance, this Waitress is serving up an entertaining, engaging musical treat.

The story of Jenna (Jessica Vosk) is a bit messy, to say the least. She’s a talented pie-baker who works as a waitress at Joe’s Pie Diner, while also making the pies and inventing the recipes, giving them quirky names and often reciting the recipes as she thinks them up. These are the parts that’s going to make many in the audience want to visit the nearest bakery after the show. In addition to the pies, though, Jenna has a rough life–finding out she’s pregnant and not knowing what to feel. She’s living with a selfish, abusive husband, Earl (Ben Crawford) and wondering if she will be stuck in a similar existence as her mother (Kaitlyn Louise Smith, seen in flashback sequences), who taught Jenna to bake and endured a violent relationship with Jenna’s father. Meanwhile, Jenna’s friends and co-workers at the diner, the tough-talking Becky (Nicole Michelle Haskins) and the socially anxious Dawn (Lissa deGuzman) have their own difficulties, with Becky caring for an ailing husband and hiding a personal secret of her own, while Dawn tries to work up the nerve to start dating, and then deals with the attentions of a persistent suitor, Ogie (Troy Iwata), to whom she is attracted but who also initially makes her nervous. There’s also Cal (Jonah D. Winston), the crusty cook and manager of the diner, and Joe (Cleavant Derricks), the diner’s owner, who acts rough around the edges and tells stories of his earlier amorous exploits, and who also forms a friendship with Jenna. Jenna’s story continues as Joe makes her aware of  an upcoming pie contest, in which she could win money to help her start a new life, while she also meets her new OB/Gyn, Dr. Pomatter (Devin DeSantis), with whom she develops an attraction that’s hard to resist. 

It’s a complex story, as Jenna navigates her life and considers various choices, as do her friends and co-workers. Like real life, things can get messy, and there are difficulties and regrets along the way, and some of the characters are more likable than others–sorry, show, but I’m still not much of a Dr. Pomatter fan, even though I like him more this time than I did in the touring show, owing to the strong performance from DeSantis, who has believable chemistry with the excellent Vosk. Vosk, for her park, is fantastic, with a powerful voice and relatable stage presence. She works well with her fellow waitresses, especially–the also excellent Haskins and deGuzman, who both have their moments to shine. There are also standout performances from Iwata as the enthusiastic and quirky Ogie, Derricks as the cranky but kind Joe, Winston as the gruff Cal, and Patricia A. Jewel as Dr. Pomatter’s nurse, Norma. Crawford is also memorable in a villainous turn as the controlling, possessive Earl. There’s also a strong ensemble, including adults and teens, to back up the leads and add to the overall atmosphere of this vibrant production.

Another area in which this production especially shines is in its overall look and atmosphere, which departs quite a bit from the Broadway and touring shows. The setting, described as “The American South” in most synopses I’ve seen, has been defined as Texas here, judging by the flag flying on the diner’s roof and the overall layout of the diner itself, which reminds me a lot of places I’ve seen and visited on trips to the Lone Star State. Wilson Chin’s set is simply stunning, filling the stage with an authentic looking diner with outdoor seating, a real camper trailer, and real cars parked on the stage with appropriate Muny flair. The costumes by Raquel Aderno are superb, as well, veering away from the distinctive look of the Broadway production and adopting a vibrant, eye-catching color palette that works especially well in the large Muny space. There’s also excellent video design by Mike Tutaj, lighting by Heather Gilbert, and sound by John Shivers and David Patridge. Bareilles’s wonderful score is brought to life memorably as well by the lush-sounding Muny Orchestra led by music director Andra Velis Simon.

This show is a new one for the Muny, and it’s a truly impressive production. With moments of humor, drama, poignancy, and hope, this is a production that helps viewers take a new look at the material even if they’ve seen the show before. It’s a bit of a complicated story with occasionally crass moments, but the ultimate message is finding hope in the midst of life’s imperfections. Waitress is a fairly popular show, which has developed a following over the past few years, and this production directed by Lili-Anne Brown has gone its own way and achieved sweet success. 

Cast and Set of Waitress
Photo by Phillip Hamer
The Muny

The Muny is presenting Waitress in Forest Park until August 5, 2024

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The Muny’s Impressive “Fiddler” Reminds Us Why It’s a Classic

Posted in St Louis Theatre, tagged , , , , , , , , , on July 21, 2024| Leave a Comment »

Fiddler on the Roof
Book by Joseph Stein, Music by Jerry Bock, Lyrics by Sheldon Harnick
Directed by Rob Ruggiero
Original Choreography by Jerome Robbins Adapted for the Muny Stage by Parker Esse
The Muny
July 20, 2024

Adam Heller and Cast
Photo by Phillip Hamer
The Muny

Fiddler on the Roof is about to be 60 years old, and it still resonates with audiences around the world. It’s been performed at the Muny ten times before, and now that it’s on stage again, it’s as fresh, vibrant, and poignant as ever. Under the direction of Rob Ruggiero and featuring an excellent cast led by Muny veteran Adam Heller as Tevye and featuring a superlative Muny Orchestra led by music director Darryl Archibald, this show is as timeless, timely, and tuneful as ever.

This show is so well known that many viewers will already know the story. In a small village in early 20th Century Russia, Tevye the Milkman (Heller) and his wife, Golde (Jill Abramovitz) live in a close-knit Jewish community that holds its traditions dear, although times are changing and their lives will soon be thrown off-balance, within families, in the village at large, and in the outside world. Tevye’s five daughters successively challenge long-held traditions and beliefs–especially the three eldest, Tzeitel (Samantha Massell), Hodel (Hannah Corneau), and Chava (Emerson Glick). Meanwhile, the news of disruptions and discord throughout the land continues to creep into the little village of Anatevka, getting closer and closer to radically changing the lives of everyone who lives there. As the story plays out, the familiar songs such as “Tradition”, “Matchmaker”, “If I Were a Rich Man”, “Sunrise, Sunset” and more are featured, highlighting the themes of connection, conflict, tradition and change.

This is a show that works so well, it’s not easy to mess it up, but it’s also so familiar that it’s fairly easy to just coast through and do a “good enough” version. At the Muny, this Fiddler is a lot more than just “good enough”. Led by Heller’s enthusiastic, charming performance as Tevye, this cast makes the stage come alive with strong voices and excellent stage presence and chemistry. Heller and the equally strong Abramovitz work especially well together, and all of the daughters are also memorable, well-matched by their suitors, Max Chernin as Motel, Clay Singer as Perchik,  and Andew Alstat as Fyedka. There are also standout performances by Cheryl Stern in a fine comic turn as Yente the matchmaker; Jeremy Radin as Lazar Wolf the butcher; and Susan J. Jacks and Blair Goldberg who make the most of their roles as Grandma Tzeitel and Fruma-Sarah in the “Tevye’s Dream” sequence.  There’s a strong ensemble across the board, and the production numbers are especially impressive, with strong choreography recreated by Parker Esse based on Jerome Robbins’s original work. There’s also that excellent orchestra adding much in the way of atmosphere and sweeping emotion.

The look of this production is also impressive, with an inventive set by Tijana Bjelajac augmented by excellent video design by Kevan Loney, giving the show a timeless look that fits with the mood of the show, but somewhat veers away from the more traditional sets that many productions of this show seem to use. There’s also striking lighting by John Lasiter and meticulously detailed costumes by Alejo Vietti, along with wigs by Tommy Kurzman. 

Overall, this is a Fiddler that tells its story well, with the well-known themes and iconic score given a notable production on the vast stage in Forest Park. It’s a timeless tale, with a great cast and a marvelous score. At the Muny, it’s a classic show that still resonates as much as I imagine it ever could. 

Hannah Corneau, Samantha Massell, Emerson Glick
Photo by Phillip Hamer
The Muny

The Muny is presenting Fiddler on the Roof in Forest Park until July 25, 2024

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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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Tuneful, Energetic “Dreamgirls” Entertains in Style at the Muny

Posted in St Louis Theatre, tagged , , , , , , , on June 29, 2024| Leave a Comment »

Dreamgirls
Book and Lyrics by Tom Eyen, Music by Henry Krieger
Directed by Robert Clater
Choreographed by Lesia Kaye
The Muny
June 28, 2024

Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson, Ron Himes
Photo by Phillip Hamer
The Muny

Dreamgirls is back at the Muny, and it’s impressive. Last staged on the Muny stage in 2012, this new production has the same director and choreographer as before, and a great deal of fast-paced energy. With a catchy soundtrack, strong production values that evoke the time and place especially well, and a great cast, this Dreamgirls is an entertaining delight.

Although the story is fictional, it bears a strong resemblance to that of the development of Motown and particularly Diana Ross and the Supremes. Here, the main focus is on Effie White (Tiffany Mann) who starts the show along with her young friends Deena Jones (Aisha Jackson) and Lorrell Robinson (Courtnee Carter) at a talent contest at New York’s famed Apollo Theatre, hoping for their big break in show business as the Dreamettes, along with Effie’s brother, C. C. (Aramie Payton), who writes songs for the group. There, they meet ambitious car salesman Curtis Taylor, Jr. (Charl Brown), who manages to get the Dreamettes a gig touring as backup singers for R&B star James “Thunder” Early (Nick Rashad Burroughs). Soon, the group rises in popularity, but Effie is bothered by Curtis’s attentions to Deena and his ambitions for the group–eventually renamed the Dreams–that seem to involve Deena more and Effie less. Over the years, we see the group’s rise to fame and Effie’s struggles to be seen and appreciated as an artist. It’s a story of hopes, dreams, and ambitions occasionally hampered by heartbreak, love triangles, and greed, with a driving soundtrack and a brisk pace that emphasizes motion and constant change.

The show is perhaps best known for its excellent R&B, soul and pop score, including the showstopper “(And I’m Telling You) I’m Not Going” and other memorable songs such as “I Am Changing”, “One Night Only” and the title song. It’s a sweeping tale that takes place mostly in various performance venues, with clever staging for the concert sequences that often lets the audience look on from the viewpoint of backstage. All the technical elements work together well here, maintaining the look, sound, and atmosphere of the 1960’s and 70’s with impressive detail, from Edward E. Haynes, Jr.’s versatile set to Elain J. McCarthy’s evocative video design, to Rob Denton’s dazzling lighting. There are also strikingly detailed period costumes by Leon Dobkowski, and a first-rate Muny Orchestra led by music director Anne Shuttlesworth.

As for the cast, everyone is excellent. The much-coveted role of Effie is taken here by Mann in a dynamic, emotional, superbly sung performance that commands the stage from her very first appearance. She is the heart and soul of this production. The rest of the cast is also fantastic, with Jackson as Deena, Carter as Lorrell, and Natalie Kaye Clater as later member of the Dreams Michelle Morris all in great form and strong voice. Brown is also memorable as the ambitious, manipulative Curtis, and Burroughs is a standout in a strong display of showmanship as Jimmy Early. There’s strong support as well from Payton as C.C. and Ron Himes as Jimmy’s first manager Marty, who later manages Effie. The leads are backed by an energetic ensemble who help to bring the world and era of the show to life with strong vocals and impressive dancing, choreographed with flair by Lesia Kaye.

Dreamgirls has become a classic musical, although in its 40+ year history, this is only the second staging at the Muny. I’m sure this will not be the last Muny production, though, as it works so well on that massive stage and in the Forest Park environment. As for this latest version, it’s nothing short of marvelous, with a terrific cast and dazzling production values. It’s a thoroughly entertaining production. 

Cast of Dreamgirls
Photo by Phillip Hamer
The Muny

The Muny is presenting Dreamgirls in Forest Park until July 3, 2024

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Exquisitely Staged “Les Misérables” Opens the Muny Season in Epic Fashion

Posted in St Louis Theatre, tagged , , , , , , , , , , on June 19, 2024| Leave a Comment »

Les Misérables
A Musical by Alain Boublil and Claude-Michel Schönberg
Based on a Novel by Victor Hugo
Music by Claude-Michel Schönberg, Lyrics by Herbert Kretzmer
Original French Text by Alain Boublil and Jean-Marc Natel
Directed by Seth Sklar-Heyn
Choreographed by Jesse Robb
The Muny
June 18, 2024

Jordan Donica, John Riddle
Photo by Phillip Hamer
The Muny

Les Misérables is a modern classic musical. Based on Victor Hugo’s 19th Century French novel, this show has taken the world by storm over the past 40 years. Now, the Muny is staging their third production of this epic show in Forest Park, and it’s a staging that more than lives up to the show’s epic reputation. With well thought-out direction by Seth Sklar-Heyn that highlights the meaning of moments both big and small, along with first rate singing, a stellar cast, and impressive production values, the Muny’s season is getting off to a spectacular start. 

This story has become quite familiar to anyone who has seen the show, read Hugo’s sprawling novel, or watched any of the filmed adaptations (musical and non-musical) of the book. It’s a story of love, loss, redemption and revolution, with a backdrop of class struggles around France in the first half of 19th Century. The focus is mainly on  reformed escaped convict Jean Valjean (John Riddle)–who has vowed to turn his life around after a life-changing encounter with the forgiving Bishop of Digne (Ken Page). Valjean’s persistent nemesis is the determined, unforgiving Inspector Javert (Jordan Donica), who has made it is mission to track down Valjean and return him to prison. Meanwhile, Valjean meets the tragic Fantine (Teal Wicks) and feels honor-bound to care for her young daughter Cosette (played as a child by Kate Kappel, and as a young woman by Gracie Annabelle Parker), who is initially being cared for and neglected by the greedy Thénardier (Red Conceptión) and his equally greedy wife, Madame Thénardier (Jade Jones). Eventually, the scene shifts to a decade later in Paris, where the Thénardiers are leading a gang of con artists and thieves, and their daughter Éponine (Emily Bautista) is enamored with the idealistic young student Marius (Peter Neureuther), although he only has eyes for the newly-arrived Cosette. The students, led by Enjolras (James D. Gish) are planning a rebellion, and Javert is planning to foil it, although he is soon distracted when he becomes aware that Valjean is now in town. All the plans, ideals, hopes, dreams, and schemes come together in the explosive second act, and anyone who knows the story is aware of where it all leads. Romance, redemption, tragedy, comic relief, idealism, and hope are all in store, and at the Muny, the result is simply thrilling.

This production is staged with a great deal of thought and care, filling the huge Muny stage with a massive cast, but still managing to maintain a degree of intimacy when necessary, and emphasizing the meaning of the words in this epic-scale show. It’s highly personal, with particularly impressive personnel on hand in the key roles. Riddle is a noble, relatable Valjean, with a soaring voice and obvious connection with Fantine, Marius, Cosette, and–in a more combative sense–Javert. Donica  gives a powerful performance as Javert, with a stubborn determination and a magnificent voice that is sometimes reminiscent of original Broadway Javert Terrence Mann. Conceptión and Jnooes are energetic scene-stealers as the scheming Thénardiers, as well. The younger characters are also well cast, with Bautista as a particularly sympathetic Éponine, Neureuther and Parker showing strong chemistry as Marius and Cosette, and Gish makes for a charismatic Enjolras. Kappel as Little Cosette and Will Schulte as street urchin Gavroche also give winning performances. It’s a strong cast all around, with truly spectacular vocals from the ensemble, bolstered by a group of singers from the St. Louis Symphony Chorus. Ensemble numbers like “One Day More” and the finale simply soar with strong harmonies and lush vocal arrangements. There’s also energetic choreography by Jess Robb that adds to the overall dynamics of the story.

This is an impeccably staged production, with a clever, versatile set by Ann Beyersdorfer that consists of various moveable pieces that can be arranged into many different configurations. The barricade scenes are especially striking here. There’s also remarkable lighting by Jason Lyons, sound by John Shivers and Davide Patridge, and video design by Shawn Duan that add to the epic atmosphere of the story. The costumes by Gail Baldoni and wigs by Ashley Rae Callahan are also impressive, suiting the characters well and adding to the overall look of the production. There’s also a great Muny orchestra led by music director James Moore, bringing the well-known score to life with vibrancy and resonance.

If you love Les Misérables, I think you’re likely to especially love this version. It has spectacle and impressive production values, as well as poignancy and heart. It’s a thrilling beginning for what promises to be a marvelous 2024 season at the Muny.

Cast of Les Misérables
Photo by Phillip Hamer
The Muny

The Muny is presenting Les Misérables in Forest Park until June 23, 2024

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The Muny Finishes Stellar Season with Joyous “Sister Act”

Posted in St Louis Theatre, tagged , , , , , , , , , on August 16, 2023| Leave a Comment »

Sister Act
Music by Alan Menken, Lyrics by Glenn Slater
Book by Cheri Steinkellner & Bill Steinkellner
Additonal Book Material by Douglas Carter Beane
Directed and Choreographed by Denis Jones
The Muny
August 15, 2023

Cast of Sister Act
Photo by Phillip Hamer
The Muny

The Muny is ready to boogie! Audiences should be ready, as well, because the closing entry in their wonderful 2023 season is the joyful, disco-filled Sister Act, which fills that big stage with abundant energy, style, and fun. The cast is great, the production looks fabulous, and the audience seems to love every  minute. 

The stage version of this show essentially follows the plot of the popular 1992 film starring Whoopi Goldberg, but with a few important differences. First, this version has a full musical score with songs by Alan Menken and Glenn Slater, as opposed to the classic 1960s songs of the film. Also, the setting has been adjusted so that the story now takes place in late 1970’s Philadelphia, where Deloris Van Cartier (Bryonha Marie) aspires to become a singing sensation, and her chosen genre is disco. When she unexpectedly witness a murder committed by her crime boss/nightclub owner boyfriend Curtis Jackson (Alan H. Greene), Deloris turns to the police, and former high school classmate, Officer Eddie Souther (James T. Lane), who arranges for Deloris to hide out in the convent at Queen of Angels Church, where she takes on the guise of “Sister Mary Clarence”.  Although the more traditionalist Mother Superior (Mamie Parris) is suspicious of this brash new addition to her ranks, Deloris soon builds a rapport with the other nuns, including the perky Sister Mary Patrick (Katy Geraghty) and the shy postulant Mary Robert (Meredith Aleigha Wells), along with the snarky Mary Lazarus (Madeleine Doherty). Before too long, Deloris has the nuns’ choir singing the rousing disco tunes that she loves, drawing an enthusiastic following in the once-struggling parish, while continuing to frustrate the Mother Superior and causing worry for her and  Eddie, who are concerned that the determined Curtis and his cronies TJ (Darron Hayes), Pablo (Brandon Espinoza), and Joey (Rob Colletti) will find her and put the whole convent in danger. 

At the Muny, as staged and choregraphed by Denis Jones, this is a fast-paced, tuneful, and ultimately heartfelt show that celebrates friendship and human connection, with the uplifting disco, pop, R&B, and gospel-influenced score providing a memorable soundtrack for the story. The cast is, in Deloris’s words “Fabulous, Baby”, led by Bryonha Marie as an engaging, determined but vulnerable Deloris, with a great voice and excellent comic abilities. Parris is also excellent as the initially stern but well-meaning Mother Superior, with an equally stunning voice. The supporting cast is also strong, with memorable turns by Wells as the shy young Mary Robert, who learns to assert herself and raise her strong, powerful voice; and Garaghty as the endearingly plucky Mary Patrick. Lane is also excellent as Eddie, whose chemistry with Deloris is strong; and Greene is suitably menacing as the sinister Curtis, with Hayes, Espinoza, and Colletti getting some funny moments as Curtis’s henchmen. There’s also a fun turn from Thom Sesma as Monsignor O’Hara, who becomes a surprisingly enthusiastic supporter of the choir as they spread the “Sunday Morning Fever” in their performances at the church. The leads are joined by fantastic ensemble, as well, including the Muny Kids and Teens, as the energetic production numbers fill the Muny stage with enthusiastic energy and tuneful, disco-infused joy.

The show also looks great, with a colorful, versatile set by Edward E. Haynes, Jr. that makes excellent use of the Muny’s turntable, and dynamic video design by Kevan Loney. There are also eye-catching costumes Leon Dobkowski and memorable wig design by Kelley Jordan. The lighting by Shelley Loera is also spectacular, adding dazzle to the proceedings, and there’s also a great Muny Orchestra led by music director Michael Horsley.

Sister Act is a glorious, energetic ending to a spectacular lineup of shows for the Muny. With a rousing, fittingly Muny-style finale that pulls out all the stops, and a fun, heartwarming story led by a supremely talented cast and crew, this production is a resounding success. I’ve been attending Muny shows since 2004, and as far as I’m concerned, this has been this best season yet. I’m looking forward to what they have in store for next year. 

Cast of Sister Act
Photo by Phillip Hamer
The Muny

The Muny is presenting Sister Act in Forest Park until August 20, 2023

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Strong Casting, Production Values Bring “Rent” to Life at the Muny

Posted in St Louis Theatre, tagged , , , , , , , on August 6, 2023| 1 Comment »

Rent
Book, Music, and Lyrics by Jonathan Larson
Directed by Lili-Anne Brown
Choreographed by Breon Arzell
The Muny
August 5, 2023

Lincoln Clauss (Center) and Cast of Rent
The Muny

If someone had told me 15 years ago that I would eventually be seeing Rent at the Muny, I’m not sure if I would have believed them. But now, it’s here, and it’s great.  The Pulitzer Prize-winning show that took Broadway by storm in the 1990’s is now onstage in Forest Park, in a vibrant, terrifically cast production that serves as a good introduction to the show for those who haven’t seen it before, as well as highlighting the strengths of the story for those who already know and love it. 

This Rent may not please some die-hard purists, considering it doesn’t have the classic look of the Broadway show, and some of the grittier elements have been toned down a bit for the Muny stage. Still, this production was obviously made by people who love this show, and it is the relationships and the emotion that shine through in this new production that brings an immediacy and energy to the story that, even with its mid-90’s setting, feels fresh and vibrant for today’s audiences. The story, with its inspiration from Puccini’s opera La Bohème and focus on struggling artists and others in New York City’s East Village, is very much of its time, but it doesn’t seem as dated as I had been expecting. This version has also been scaled to fit the Muny’s huge stage, with an excellent multilevel set by Arnel Sanciano that represents the neighborhood with vivid detail. There’s also fantastic use of video design by Paul Deziel, featuring images from the era as well as the films recorded by one of the leading characters, aspiring filmmaker Mark (Lincoln Clauss). The costumes by Raquel Adorno are appropriately of the era, and suit the characters well. There’s also memorable lighting by Heather Gilbert, and an excellent Muny Orchestra led by music director Jermaine Hill. 

The story and characters are familiar if you know the show, and if you don’t, this serves as a good introduction. There’s filmmaker Mark,  along with his wannabe rock-star roommate Roger (Vincent Kempski); and the troubled and ailing dancer Mimi (Ashley De La Rosa), who shares a strong attraction with Roger, but he is afraid to commit for various reasons.  The rest of the characters are mostly part of the same group of friends, former friends, lovers and former lovers who deal with various struggles, mostly due to high housing prices, greed, drug addiction, and the AIDS epidemic. Performance artist Maureen (Lindsay Heather Pearce), used to date Mark but is now in a volatile relationship with lawyer Joanne (Anastacia McCleskey); out-of-work professor Collins (Terrance Johnson, standby for Evan Tyrone Martin) becomes involved with the charismatic drag queen and street performer Angel (Adrian Villegas); and Benny (Tré Frazier), who used to be Roger and Mark’s roommate but now owns their building after marrying into wealth, deals with the pressures he’s getting as a result of his new social position as well as his own former involvement with Mimi. The hopes, fears, struggles, loves, and losses of this group over the course of a year form the basis the plot, featuring a series of memorable songs and leading up to an emotionally charged conclusion.

What I think works especially well in this production is the development of the various relationships, and the overall sense of connection among the group of friends, even despite their conflicts. The cast is uniformly strong, with notable standouts being Kempski and De La Rosa, who show palpable chemistry as Roger and Mimi; as well as Pearce as the fiercely determined Maureen, McCleskey as the equally determined but frequently exasperated Joanne, and Villegas as the memorable Angel, who has great moments with Johnson’s also excellent Collins. The voices are strong across the board, as well as strong ensemble energy from an enthusiastic supporting cast including the Muny Teen Ensemble. 

Rent is an almost 30-year-old show that’s making its Muny debut with style, energy, and most of all heart. I’m glad to see it in such a big, well-produced version with such a strong cast. It’s another strong entry in the Muny’s stellar 2023 season. 

Cast of Rent
Photo by Phillip Hamer
The Muny

The Muny is presenting Rent in Forest Park until August 10, 2023

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