Posts Tagged ‘the muny’

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

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

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

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

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

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

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

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

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

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

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

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The Muny Plays a Brilliant Game with Dazzling, Complicated “Chess”

Posted in St Louis Theatre, tagged , , , , , , , on July 8, 2023| Leave a Comment »

Chess
Music by Benny Andersson and Björn Ulvaeus
Lyrics by Tim Rice
Based on an Idea by Tim Rice
Directed and Choreographed by Josh Rhodes
The Muny
July 6, 2023

Jarrod Spector, John Riddle and Cast of Chess
Photo by Phillip Hamer
The Muny

The Muny’s lates production has been much anticipated by theatre geeks like me. Chess is one of those shows that’s celebrated for its spectacular score and intriguing concept, but has had trouble over the years assembling all the component parts into a show that works, especially in terms of the book and story details. It’s basically been a “work-in-progress” for roughly 40 years, but it’s such a fun one, and such a great showcase for performers and voices, that its been tinkered with and re-staged–both in concert form and as full productions–in various forms since the 1980s. At the Muny, the cast is stellar and the visuals and staging are spectacular, and even though the book problems are still there, I’m not sure how much that matters since the end result is just so  supremely intriguing and entertaining.

With music by Benny Andersson and Björn Ulvaeus of ABBA fame, and lyrics by the celebrated Tim Rice, Chess started as a best-selling concept album in 1984, followed by a stage production in London in 1986 and a revamped Broadway version in 1988. Since then, there have been many productions and recordings, with the Broadway album (on cassette tape) being my real introduction to the show when I was a teenager (aside from the radio hit “One Night in Bangkok” a few years earlier). This is one of those shows that inspires passion in its fans, and while I don’t consider myself an uber-fan of the show, I’ve had a fondness especially for its score since those days listening to that tape and singing along with my brother. I’ve heard various recordings over the years, as well as parts of the filmed concert that aired on PBS a few years ago, but I hadn’t gotten the chance to see it live until now. As I  imagine many other “musical geeks” in the audience feel, I’m grateful to the Muny for staging such a vibrant, full-scale production that features some truly breathtaking visuals and magnificent voices. 

The story is tied to its time, with a setting around 1986, when the show first debuted in London. It parallels the world of international competitive chess with the Cold War tensions between the United States and the Soviet Union. Strategies, gameplans, and manipulations are not just confined to the chess board, as governments’ reputations become involved, as well as the lives and loves of the people involved in the game. The first act focuses on the World Championship matchup between American champion Frederick “Freddie” Trumper (Jarrod Spector) and Soviet challenger Anatoly Sergievsky (John Riddle), and all the political and personal intrigue that surrounds the match, as well as their highly contrasting personalities and complicated personal relationships. The central figure, though, is Florence Vassy (Jessica Vosk), who serves as Freddie’s second as well as being romantically involved with him. The Hungarian-born, mostly American-raised Florence finds herself exasperated with Freddie’s ego and unpredictability while finding herself mutually attracted to Anatoly, who faces pressures from his handlers to put the interests of his government ahead of his own. As the story plays out, the politics and personalities get more complicated, and Anatoly’s loyalties are challenged, with his Soviet handlers bringing his estranged wife Svetlana (Taylor Louderman) into the mix to help keep him in line. The story can get a little muddled at times and hard to follow, especially since much of it is opera-like with large portions of sung dialogue, but wow, that score! With classics like “Nobody’s Side”, “Pity the Child”, “Anthem”, “Someone Else’s Story”, and “I Know Him So Well”, and the dynamic staging by director Josh Rhodes and a top-notch creative team, this show manages to keep interest even when the relationships and complications can occasionally feel rushed or incomplete.

What shines through the most in terms of the story is the love of the pure game of chess, and that theme also provides an excellent basis for the visuals. The spectacular set by Edward E. Haynes, Jr. and dynamic video design by Alex Basco Koch form a stylish backdrop for the action, as well as emphasizing the chess themes and kinetic energy of the staging. Rob Denton’s striking lighting also contributes to the overall flair of the show, as do Emily Rebholz’s detailed, stylish period costumes. The staging is vibrant and energetic, with a fantastic, enthusiastic ensemble that supports the excellent leads and works as a cohesive group in the various production numbers featuring director Josh Rhodes’s precise choreography.

As for the leads, they are truly stellar, led by a magnificent, powerfully sung turn by Vosk as Florence, who makes an ideal focal character for the story. Spector is also memorable as the cocky Freddie, with strong vocals on his songs, especially the searing, emotional “Pity the Child”. Riddle, as Anatoly, is also strong, with lush vocals on his signature song “Anthem” and good chemistry with Vosk’s Florence. Louderman also makes the most of her relatively small role as Svetlana, turning in a strong duet with Vosk on “I Know Him So Well” and delivering an emotional, relatable “Someone Else’s Story”. There are also memorable performances from Rodney Hicks as Walter De Courcey, a member of Freddie’s entourage who is more than he may first seem; Tally Sessions as Alexander Molokov, Anatoly’s manipulative second; and Phillip Johnson Richardson as the Arbiter, who narrates some of the show and referees the chess tournaments, who shows off some impressive dance moves. The cast works well together, with strong vocal harmonies that highlight the iconic score, even though there is some muddled sound mixing that makes the group singing hard to understand at times. The performers are backed by a first-rate band, as well, led by music director Jason DeBord.

I remember being excited when the Muny first announced this production, and I’ve seen a good deal of enthusiasm among theatre fans online, especially considering the impressive cast, and the fact that this show isn’t produced as much as fans would like. Overall, I would say this production was well worth the wait. Yes, Chess is a show with a complicated history, and at this point I’m not sure if there will ever be an ideal book, but the concept and especially the music make this a beloved show among its fans, and it’s got plenty to please those who may not have heard of it, as well. It’s also sponsored by the St. Louis Chess Club and World Chess Hall of Fame and Museum, which emphasizes the longtime connection that St. Louis has with the game of chess. It’s a dazzling, must-see triumph for the Muny. 

Jessic Vosk (Center) and Cast of Chess
Photo by Phillip Hamer
The Muny

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

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

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

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

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

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

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

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

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

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

Ashley Blanchet, Ben Crawford
Photo by Phillip Hamer
The Muny

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

This review was originally posted at kdhx.org

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The Muny’s Thoughtfully Staged “Beautiful” Opens the Season in Style

Posted in Snoop's Soapbox, tagged , , , , , , , , , , on June 14, 2023| Leave a Comment »

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Directed by Marcia Milgrom Dodge
Choreographed by Patricia Wilcox
The Muny
June 13, 2023

Steven Good, Sara Sheperd, Noah Weisberg, Jarrod Spector, Jackie Burns
Photo by Phillip Hamer
The Muny

The Muny’s 105th season has begun in Forest Park, and it’s off to a great start. Beautiful: The Carole King Musical is making a strong impression way beyond simple nostalgia. With a great cast, excellent production values, and thoughtful staging, it’s a tribute not just to a great singer-songwriter, but to several musical eras and the overall evolution of the pop music scene. 

As the title says, this show is about Carole King, the legendary singer-songwriter known for her collaborations with first husband Gerry Goffin, as well as her celebrated solo career. Even though King’s career went beyond the early 1970s, this show focuses mostly on her formative years, beginning and ending in 1971 and framed as a reflection/flashback showing how King got to this point, a concert at Carnegie Hall supporting her famous album Tapestry. From that legendary stage, we go back to Brooklyn in the late 1950s, where teenage Carole (Sara Sheperd) is a college student and aspiring songwriter, even though her mother, Genie (Sharon Hunter) wants her to be a teacher. Carole is persistent, and heads to Times Square and the office of record producer Don Kirschner (Noah Weisberg), who buys her first song. Soon, she finds herself struggling to write good lyrics, and meets Gerry Goffin (Steven Good), who becomes her writing partner and, eventually, her husband. The story then follows their success as songwriters and the development of the music industry and the trends in music, as well as Carole and Gerry’s friendship and professional rivalry with fellow songwriting couple Cynthia Weil (Jackie Burns) and Barry Mann (Jarrod Spector). The story also covers Carole’s personal struggles with her increasingly difficult marriage, as well as her development as an artist in her own right. 

I’ve seen this show before, when the national tour based on the Broadway production came to the Fox Theatre. That was an excellent production, and I was sort of expecting a similar staging at the Muny, but this isn’t a replica of that staging. As directed by Marcia Milgrom Dodge and featuring a dynamic set by Ryan Douglass, this show evokes the look, sound, and overall vibe of the era with an always moving but also reflective energy. The costumes by Tracy Christensen fit the characters well and illustrate the changing times with style. There’s also dazzling lighting by Rob Denton and excellent video design by Kylee Loera. The Muny Orchestra, led by music director Charlie Alterman, does an excellent job with the familiar score of pop hits by King and a variety of others including the Shirelles, the Righteous Brothers, The Drifters, and more. 

As for the cast, Sheperd makes an ideal Carole King, with her strong vocals and relatable stage presence. Sheperd manages to do justice to King’s hit songs as well as portraying the artist as she grows and matures. Sheperd works especially well with Good, who’s impressive as the increasingly troubled Goffin; as well as Burns and Spector, who display strong chemistry and great voices as Weil and Mann. There’s also excellent work from Weisberg as the ambitious, encouraging Kirschner, and Hunter as King’s supportive mother. The ensemble, playing a variety of roles from famous recording artists, to fans, to friends, is also memorable, contributing to the story with energy and strong vocals. 

It was a packed audience on press night, full of appreciative fans who clapped along to the music, danced in their seats, and contributed to the enthusiastic Muny atmosphere on a truly beautiful evening in Forest Park. This production of Beautiful certainly lives up to its title. It’s a thoughtfully staged, ideally cast show that serves as a magnificent beginning to a promising Muny season.

Sara Sheperd (Center) and Cast of Beautiful: The Carole King Musical
Photo by Phillip Hamer
The Muny

The Muny is presenting Beautiful: The Carole King Musical in Forest Park until June 18, 2023

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Go, Go, Go, Muny! Joyous “Joseph” Closes the Season in Style

Posted in St Louis Theatre, tagged , , , , , , on August 14, 2022| Leave a Comment »

Joseph and the Amazing Technicolor Dreamcoat
Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Josh Rhodes
The Muny
August 13, 2022

Jason Gotay, Jessica Vosk
Photo by Julie A. Merkle
The Muny

The Muny is closing out its 2022 summer season with a bright, colorful, truly joyful performance of a crowd-pleasing classic. Joseph and the Amazing Technicolor Dreamcoat has been done a few times at the Muny before, and this is the third production I’ve seen there. As with any production of this show, though, each one has had its own unique style and energy. Joseph… is one of those shows that lends especially well to different direction and interpretations, and this latest production is a prime example of a staging that retains the “essence” of the show but also does its own thing, with a superb cast and its own dazzling, colorful style.

The story, based on the biblical tale from the book of Genesis, follows Joseph (Jason Gotay) on his journey from favored son of Jacob (Eric Jordan Young), to being sold into slavery and taken to Egypt, to being sent to jail, to rising to a place of prominence in the court of Pharaoh (Mykal Kilgore). All the while, it’s framed as a story being told by a Narrator (Jessica Vosk), and the Muny Kids and Teens are used especially well in this production, as the children’s chorus who listen to the Narrator’s tale and in various roles throughout the story. The show also features a variety of musical styles, from country to rock, to pop, to calypso, and more. It’s Andrew Lloyd Webber and Tim Rice’s first collaboration, first written as a short production for a school choir, and expanded over the years. It’s not a heavy or deep show, but it’s a whole lot of fun, and an excellent showcase for its leading performers as well as some key featured roles. 

As I’ve mentioned, this show is especially versatile, and I’ve never seen two productions that looked the same, although they all managed to maintain that overall energetic and fun spirit. This production is big, bright, and colorful, as is fitting for the Muny stage, with a whimsical set by  Edward E. Haynes, Jr. that blends elements of the ancient and the modern. Leon Dobkowski’s costumes are also striking, from the Narrator’s pop-star glamour looks to Joseph’s more laid-back (mostly) looks, to more flashy looks for Pharaoh and Potiphar (also played by Young), as well as a variety of looks for the ensemble to suit the various production numbers. There’s also excellent atmospheric lighting by Jason Lyons, dynamic video design by Greg Emetaz, and fun puppet designs by Dorothy James and Andy Manjuck. There’s also a great Muny Orchestra led by music director Charlie Alterman, playing those catchy tunes with great enthusiasm. 

The whole production is  big and lively, as is fitting for the Muny, and in keeping with the overall whimsical tone of the piece. The pacing is just right, as well, with a great deal of energy without being rushed. It’s not a long show, but the excellent cast makes the most of every moment here, along with the top-notch direction and choreography by Josh Rhodes. The whole cast is wonderful, led by the charming and boyish Gotay as Joseph. Gotay’s strong stage presence and great voice are just right for this role, and he works especially well in his scenes with the dynamic Vosk, who is a powerhouse as the Narrator, with equally excellent stage presence and a truly stunning voice. Kilgore is also a standout in a different interpretation of Pharaoh than usual. Usually, Pharaoh is played as an Elvis Presley impersonator, but not here. Here, Kilgore’s acrobatic, rock-styled vocals are showcased in a performance that is more reminiscent of Lenny Kravitz (thanks to my friend and St. Louis Theater Circle colleague, Tina Farmer, for that observation). There’s a strong supporting cast, as well, with memorable performances from all of Joseph’s brothers, especially Harris Milgrim as Reuben leading “One More Angel in Heaven”, Sean Ewing as Simeon leading “Those Canaan Days”, and, especially, Darron Hayes as Judah leading “Benjamin Calypso”. This is a fun show, and the cast here, from the leads to the ensemble to the Muny Kids and Teens, does an excellent job, making this show a joy to watch, and hear, from start to finish. There’s also an especially spirited “Megamix” at the end of the show that showcases the whole cast in ideal fashion.

Overall, this has been a great year for the Muny. From the excellent encore of Chicago a the beginning of the season to the stunning Sweeney Todd and The Color Purple, to this fantastic closing show, the Muny has been at its best, even though this year did include one of the more controversial productions I’ve seen (Camelot, which I enjoyed for the most part, but which many apparently didn’t like). Still, regardless of what you thought about any other productions this season, this Joseph… is a good one to see as an example of the energy, style, excellent casting, and sheer spectacle that the Muny has to offer. As staged on the Muny’s big stage in Forest Park, it’s an Amazing Technicolor Dream show! 

Cast of Joseph and the Amazing Technicolor Dreamcoat
Photo by Phillip Hamer
The Muny

The Muny is presenting Joseph and the Amazing Technicolor Dreamcoat in Forest Park until August 18, 2022

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Intense, Impeccably Cast “Color Purple” Makes a Strong Impression at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , , on August 5, 2022| 1 Comment »

The Color Purple
Based upon the Novel by Alice Walker and the Warner Bros./Amblin Entertainment Motion Picture
Book by Marsha Norman, Music and Lyrics by Brenda Russell, Allee WIllis, and Stephen Bray
Directed by Lili-Anne Brown
Choreographed by Breon Arzell
The Muny
August 4, 2022

Tracee Beazer, Anastacia McCleskey
Photo by Julie A. Merkle
The Muny

The Muny is continuing it’s excellent 2022 season with a remarkable Muny debut production of The Color Purple. The musical, based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s Oscar-nominated movie, is a sweeping, intensely emotional tale that features memorable characters and a strong musical score. At the Muny, with a top-notch cast led by a stunning leading performance, as well as stellar direction and production values, this show makes a lasting impression. 

The story, set in Georgia in the early-to-mid 20th Century, centers around Celie (Anastacia McCleskey), a young woman who is brought up by an abusive father, giving birth to two children as a a teenager and being forced to give them up. She then is essentially given by her father to Mister (Evan Tyrone Martin), a bitter widower who beats her, calls her ugly, and makes no secret of the fact that he would have preferred her sister, Nettie (Nasia Thomas), who is chased away by Mister after refusing his advances. Separated from the only person she knows who truly loves her, Celie lives a difficult life driven by fear; doing whatever Mister wants and enduring his wrath, until a series of influential people come into Celie’s life and encourage her to stand up for herself and discover the beauty she hasn’t been able to see. These people include the outspoken, strong-willed Sofia (Nicole Michelle Haskins), who marries Mister’s son Harpo (Gilbert Domally); and popular singer Shug Avery (Tracee Beazer), who has her own complicated history with Mister. Shug and Celie soon form a strong connection, and Celie also receives news that gives her hope of seeing her sister again. Nothing is simple or easy, as complications arise, people come in and out of Celie’s life, couples get together, break up, and sometimes reconcile, and Celie learns how to see and assert her own worth and value life beyond what has been dictated to her from childhood. 

This is a rich portrait of complex, well-drawn characters, and also of life situations affected by segregation and racist systems in the South in the first part of the 20th Century, as well as of the effects of authoritarianism and sexism. It’s a poignant, often intensely emotional story that requires a strong, talented cast, which this production clearly provides. Celie is a challenging character to play, requiring a strong sense of presence, a clear portrayal of the character’s vulnerability and inner strength, as well as a top-notch singing voice. At the Muny, McCleskey shines, displaying all those essential qualities and commanding the stage whenever she is on. She also has great chemistry with her equally strong co-stars, including the terrific Beazer as the worldly, outgoing Shug, Haskins in a memorable turn as the bold Sofia, and Thomas as the loyal, determined Nettie. Other standouts include Martin, ably portraying the complicated and contrasting aspects of Mister’s character; Domally, excellent as Harpo; and Erica Durham in a fun comic performance as aspiring singer and Harpo’s sometime-girlfriend Squeak. The standouts are supported by a stellar ensemble, as well, with excellent vocals and energetic movement to Breon Arzell’s dynamic choreography.  There’s also a great Muny orchestra led by music director Jermaine Hill. 

The production values here are, as usual for the Muny, excellent, and the overall design is in different ways both minimalist and expansive.  Arnel Sancianco’s unit set is fairly minimal, although it covers the huge Muny stage well, and serves as an ideal setting for the story, as Heather Gilbert’s detailed lighting design and Paul Deziel’s stunning video designs add atmosphere, texture, and specificity. There are also striking costumes by Samantha C. Jones that fit the characters well, adding to the vibrancy and emotion as the story unfolds. 

 Even if you haven’t seen The Color Purple before, or experienced this story in its other forms, this production is an ideal introduction to this sweeping, intense, and ultimately hopeful story. It’s a memorable exploration of character, family, and community, at times harrowing, heartbreaking, and heartwarming, centering around a tour-de-force central performance. It’s a modern classic story and musical, given a remarkable staging at the Muny.

Nicole Michelle Haskins, Gilbert Domally, Erica Durham and Cast of The Color Purple
Photo by Phillip Hamer
The Muny

The Muny is presenting The Color Purple in Forest Park until August 9, 2022

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

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

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

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

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

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

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

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

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

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

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

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The Muny Brings “Sweeney” to Stage in Intense, Fully-Realized Production

Posted in St Louis Theatre, tagged , , , , , , , , on July 18, 2022| Leave a Comment »

Sweeney Todd: The Demon Barber of Fleet Street
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
From an Adaptation by Christopher Bond
Directed by Rob Ruggiero
The Muny
July 17, 2022

Ben Davis, Carmen Cusack
Photo by Phillip Hamer
The Muny

The Muny has gone darker and grittier with its latest production, and it’s brilliant! Sweeney Todd: The Demon Barber of Fleet Street is one of legendary composer/lyricist Stephen Sondheim’s masterpieces, but it hadn’t been performed at the Muny before, and it’s taken a while for this production. First announced  for the eventually cancelled 2020 season and then postponed again after last year’s season was shortened, this production has been long-anticipated, and I’m glad to say it’s been well worth the wait. With first-class production values that use the vast Muny stage ideally, a sumptuous sounding full orchestra, and a wonderful cast, this is a production of a modern classic that brings all the intense energy with chilling results. 

This is a big production, as is fitting the huge stage at the Muny, and all the lavish production values are here, fitting the darker and more horror-themed tone with just the right blend of gritty realism and old-style theatrical thrill. The story, following revenge-minded barber Todd (Ben Davis) upon his return to London after many years exiled in Australia, is well-cast and expertly paced. All the well-known characters are here and impeccably cast, from Todd’s admirer and eventual partner-in crime, meat pie baker Mrs. Lovett (Carmen Cusack), to his arch-nemesis Judge Turpin (Robert Cuccioli), who lusted after Todd’s wife in the old days and, after had Todd exiled on trumped-up charges, has been raising the barber’s daughter Johanna (Riley Noland) and aims to marry her now that she’s older. There’s also Anthony Hope (Jake Boyd), a young sailor who rescues Todd on his way back from Australia and soon becomes enamored with Johanna. Todd, for his part, is fixated mostly on getting revenge on the judge and his accomplice, the weaselly Beadle Bamford (Stephen Wallem), while Mrs. Lovett has her own plans for Todd, and for her pie shop. It’s a complex and eventually gruesome tale with interweaving plotlines, callbacks, and clues that come together gradually at first, and then pick up speed in the second act, leading to a shocking but essentially inevitable conclusion. 

While the Muny has occasionally produced darker, more cynical shows like Chicago, and Little Shop of Horrors, Sweeney Todd heads into even grimmer territory, as anyone who knows the basic plot will realize, even if it takes most of Act 1 to get to the “meat” of the story (pun most definitely intended). All the intricate plotting leads to a fully realized story and a pace that becomes more brisk as the story plays out, and in the hands of director Rob Ruggiero, this Sweeney never misses a beat. With a marvelously detailed and dynamic set by Michael Schweikardt, detailed costumes by Alejo Vietti, chillingly evocative lighting by John Lasiter and striking video design by Caite Hevner, as well as a superb orchestra led by music director James Moore, this is an ideal Sweeney Todd for this venue.

Nothing is “too much”, either–it’s all what it needs to be, including an ideal cast, led by the charismatic, big-voiced Davis as the moody, vengeful Todd, who is well-matched scene-for-scene by the equally superb Cusack as the devoted, single-minded Mrs. Lovett. Cusack also has a great voice, along with good comic timing and lots of energy. Other standouts include Cuccioli and Wallem as the appropriately villainous Judge Turpin and Beadle Bamford; Boyd and Noland as well-matched youthful lovers Anthony and Johanna; Lincoln Clauss as the young, impressionable Tobias Ragg, who gets taken in by Mrs. Lovett and comes to mistrust Todd; and Julie Hanson, in strong voice as the mysterious Beggar Woman who, in many ways, is the key to this whole story. There’s an excellent ensemble, as well, all in superb voice, singing Sondheim’s complex harmonies with energy and precision. 

So far, this is a remarkable season for the Muny, and this production just may be the best so far. It’s a long-awaited production (by me, anyway) that’s proven to be worth the hype. It’s a big, intense, emotional, well-cast, gloriously sung show that brings out all the chilling intensity that you would expect from Sweeney Todd. There’s much to think about here, and it’s not just blood and gore–and that aspect is done with just the right level of spectacle without being overly sensationalized. It’s not a show for all audiences, but if you know what to expect, this production delivers all the characterization, emotion, and intensity with much to think about, as well. It’s a true must-see at the Muny. 

Cast of Sweeney Todd
Photo by Phillip Hamer
The Muny

The Muny is presenting Sweeney Todd in Forest Park until July 22, 2022

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Vibrant “Mary Poppins” Soars at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , on July 7, 2022| Leave a Comment »

Mary Poppins
Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman
Book by Julian Fellowes
New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe
Co-Created by Cameron Mackintosh
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 6, 2022

Cast of Mary Poppins
Photo by Phillip Hamer
The Muny

Mary Poppins has flown into the Muny for the second time. After an entertaining production nine years ago, the “Practically Perfect” nanny is back, and this time she has a bit of an edge. The latest presentation in the Muny’s 2022 season is big, vibrant, and sharper than ever, with a great cast and loads of energy, led by two stellar performers in the leading roles. 

While the stage show and the classic Disney film have much in common, they are not the same. The stage version–which debuted in London in 2004 and on Broadway in 2006–features some fairly significant changes. Differences include a new book that adjusts the story somewhat and includes elements from P.L. Travers’s books, as well as adding some new songs and changing the settings of some of the more familiar movie songs. It’s still the story of a mysterious and even magical nanny (Jeanna De Waal) who flies into the lives of the Banks family–children Jane (Laila Fantroy) and Michael (Gabe Cytron), and parents George (Nehal Joshi) and Winifred (Erin Davie). This family needs some help, as George is absorbed in his work at a bank and a professed need for “precision and order”, Winifred is feeling inadequate and neglected by her husband, and the children have been subjected to a series of sub-par nannies and have difficulty living up to their father’s rigid expectations. Soon, Mary Poppins arrives and, with the help of the charming jack-of-all-trades Bert (Corbin Bleu), shows the family what their world can be like if they just remember what is important. 

I’ve seen the stage show four times now, beginning with the London production in 2006, and including the last time the Muny presented it in 2013. While, for the most part, I’ve enjoyed the stage version, I’ve had some issues with the way the adaptation has flattened out some of the characters, such as the the Banks parents and especially Winifred. Also, while I’ve seen excellent performers in the role of Mary, the performances always seem to take a while for her to establish that “spark” that she needs to carry the show. This production has remedied those issues to a large degree in the form of casting, as De Waal brings a bit of a wry edge to to Mary Poppins that works especially well with the slightly darker tone of the stage show. She’s also in excellent voice, and works well with the thoroughly winning Bleu as Bert. Davie also adds an air of substance to Winifred Banks that I’ve haven’t seen before, with a standout performance that adds depth and interest to her story. Joshi works well with Davie and with the also excellent Fantroy and Cytron. There are also memorable comic performances from Zoe Vonder Haar and Barrett Riggins as the Banks family’s household servants Mrs. Brill and Robertson Ay, as well as Debby Lennon in a menacing and vocally impressive appearance as George’s imperious childhood nanny, Miss Andrew. Another especially memorable performance is that of Darlesia Cearcy as the Bird Woman, whose soaring voice and excellent harmonizing with De Waal makes “Feed the Birds” one of the true highlights of this production. There’s also a first-rate ensemble, lending strong support and contributing much energy to the production numbers, featuring spirited choreography by Patrick O’Neill.

This production looks great, as well, with a big, bold, colorful production featuring a versatile set by Paige Hathaway, detailed and whimsical costumes by Robin L. McGee, and dazzling lighting by Rob Denton, as well as eye-catching video design by Alex Basco Koch and spectacular flying effects by EFX. There was a bit of an problem with Lennon’s microphone in the performance I saw, but the issue was covered well, as Lennon was given a hand-held mic which added an amusing “evil lounge singer” vibe to her character that worked surprisingly well. The Muny orchestra is also in fine form, as led by music director Brad Haak, providing a full, rich sound to the well-known score.

This is probably the best stage version of Mary Poppins I have seen, with a lot of energy, musicality, and heart, and that little witty edge that gives it something extra. With memorable performances from De Waal. Bleu, and the rest of the cast, and dazzlingly vivid production values, this is a show that’s sure to please theatregoers of all ages. It’s a “Jolly Holiday”, indeed.

Jeanna De Waal, Corbin Bleu
Photo by Julie A. Merkle
The Muny

The Muny is presenting Mary Poppins in Forest Park until July 13, 2022

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Intriguing Revised “Camelot” Tells a Streamlined Tale at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on June 24, 2022| 13 Comments »

Camelot
Book and Lyrics by Alan Jay Lerner, Music by Frederick Loewe
Book Adapted by David Lee
Directed by Matt Kunkel
Choreographed by Beth Crandall
The Muny
June 23, 2022

Robert Petkoff (center) and Cast of Camelot
Photo by Phillip Hamer
The Muny

Camelot is a strange show, in the sense that it never seems to be the same show depending on what production you see. Since it first played on Broadway in 1960, there have been many professional, amateur, and school productions, along with a Broadway revival in 1980 and various national tours. I’ve seen many versions, from a high school production to dinner theatre, to a couple of those tours, to the last Muny production in 2009, and there always appear to be changes to the way the story plays out, in terms of the song catalogue and the book. It’s a legendary story that has become a beloved classic, but you never really know what you’re going to see when you see Camelot. Now, the Muny is going even further in the book revisions than I’ve ever seen before with their newest production, featuring an adapted book by David Lee that streamlines many aspects of the story while focusing on the three main characters. It’s a bold endeavor, and for the most part, it works.

The book has always been considered a weakness of Camelot, despite its beloved score and beloved reputation. Revising the book has been done before, and it’s going to be done again (for Broadway later this year, in the hands of well-known playwright and screenwriter Aaron Sorkin). The current Muny production is an adaptation by writer David Lee that overhauls the script in a somewhat drastic way, omitting several characters and some songs, and creating a framing device in which a group of “revelers” tell the story of King Arthur (Robert Petkoff), Queen Guenevere (Shereen Pimentel), and Sir Lancelot (Brandon S. Chu), along with the Knights of the Round Table and the legendary court of Camelot.  It starts off somewhat abruptly once Arthur is introduced, and he starts right into his first song, “I Wonder What the King is Doing Tonight”, but soon he meets Guenevere and their chemistry is strong, lighting up the stage as they form a strong, credible bond. Eventually, though, their relationship is challenged by the arrival of Lancelot from France, and the new knight causes a stir in the King’s court and in his marriage, as Lancelot and Guenevere find it difficult to fight their attraction to one another, despite their love for Arthur. Soon, the devious Mordred (Barrett Riggins) shows up to further stir up tensions, among the increasingly bored and dissatisfied knights as well as the royal couple and Lancelot, threatening the very ideals that Arthur has built his kingdom upon. 

It’s a well-known story, but this version has distilled the story down to its basic elements, for the most part. There’s a small ensemble, but notable characters from the musical are missing–most notably Merlyn, who is relegated to off-stage status, and King Pellinore, who I found myself missing, since I think his role as a confidant for Arthur is needed in some places. I didn’t miss Merlyn, though, and Arthur’s stories about him work well even without the character’s appearing onstage. Still, what’s done here works to speed up the show a bit, and the framing device helps to emphasize the legendary nature of the story. The look and presentation of the show is also radically different, with a stylized set by Anne Beyersdorfer that is frequently in motion, striking costumes by Tristan Raines that blend elements of Medieval style with more modern rock-inspired looks that feature a lot of leather jackets and chains for the knights, along with more modern suits and dresses for Arthur and Guenevere. The set, along with Shelby Loera’s stunning lighting design and some excellent video design by Kylee Loera, works well with the staging, which takes advantage of the Muny’s turntables to keep the action, and the story, moving along. 

The casting is strong, as well, led by a charming performance from Petkoff as the idealistic but self-doubting Arthur. He’s a joy to watch, and his chemistry with Pimentel’s Guenevere is palpable. Pimentel is also excellent, with strong stage presence and a glorious voice, bringing energy to “The Simple Joys of Maidenhood”, “The Lusty Month of May”, and more. Chu is good as Lancelot, with a strong voice, although he doesn’t quite have the bold presence that the character demands from his first appearance, and his scenes with Pimentel aren’t as electric as they should be, although this improves as the show goes on. Other standouts include Riggins as the gleefully malevolent Mordred, oozing stage presence from his first moment on stage. There are also memorable turns from the trio playing Camelot’s top three knights–Daryl Tofa as Sir Lionel, Sarah Quinn Taylor as Ser Sagramore, and Evan Ruggiero as Sir Dinadan. There’s also a strong ensemble and some excellent, energetic choreography by Beth Crandall and some well-paced staging of musical numbers, most notably the cleverly staged “C’est Moi”, which shows Lancelot’s journey to Camelot while he sings. 

This is a Camelot like you’ve never seen it before, and it’s certainly a crowd-pleaser. While I did find myself missing some of the elements that were cut out, I find this staging excellently paced and well-cast, with strong singing and a dazzling set and production values. The finale works especially well, with the emphasis on the legendary nature of this story, and for the most part, the cast brings a “shining moment” to the Muny with excellent style. 

 

Shereen Pimentel, Robert Petkoff, Brandon S. Chu and the Cast of Camelot
Photo by Phillip Hamer
The Muny

The Muny is presenting Camelot in Forest Park until June 28th, 2022

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