Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

By Lynn Venhaus

With groundbreaking visual effects and enough eye-popping sparkle to elicit thunderous roars, the Muny premiere of Disney’s “Frozen” delivers a magical spectacle.

Master storyteller John Tartaglia reimagined the stage musical to capture more of the animated film’s childlike wonder, and the Muny manufactured snow, and incorporated lasers, video projections and resplendent radiance in unprecedented ways

Elsa’s exhilarating rendition of the signature bestselling award-winning song, “Let It Go,” is achieved in such a dazzling presentation that it should induce chills. The Muny’s team has topped themselves, blending in visual storytelling through digital technology as Elsa builds her ice castle and determines to set her own course.

Feeling an electric surge, the awestruck audience reacted enthusiastically to the spellbinding number with loud cheers and a buzzy wowed ovation. Talk about an extraordinary Muny moment – and what a powerhouse vocalist Hannah Corneau is!

Maliah Strawbridge (left) and Isla Turner in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

As a beloved director and often go-to for the annual kid-friendly show (last year’s shimmering “The Little Mermaid,” 2023’s grand “Beauty and the Beast,” and 2022’s sweet “Mary Poppins,” among others), Tartaglia also captivates by drawing out the heart and humor as part of the razzle-dazzle.

To bring this fantasy-adventure to life, the Muny’s stars shine as bright as the icy kingdom of Arendelle, where princesses Elsa and Anna were forced to be separated because of the oldest sister’s unexplained chilling powers she can’t control.

The Oscar-winning film that became an instant Disney classic in 2013, loosely based on Hans Christian Andersen’s 19th century Danish fairy tale “The Snow Queen,” was instead about the power of sisterly love, self-acceptance and facing your fears. Animator and screenwriter Jennifer Lee deservedly won an Oscar for her take, and was Tony nominated for the book.

The stage adaptation opened on Broadway in 2018, its run cut short by the pandemic in 2020. While the film featured seven and a half songs, the original award-winning songwriting team of Kristen Anderson-Lopez and Robert Lopez wrote 14 new ones for this version.

Bobby Conte, Patti Murin, and Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

A standout last year as Hodel in “Fiddler on the Roof,” Corneau is luminous as conflicted Elsa while Patti Murin demonstrates her flair for comedy as vivacious Anna, recreating the role she originated on Broadway.

They offer a portrait of towering female strength and powerful connection, and blend beautifully in “For the First Time in Forever” and “I Can’t Lose You.” Both can belt, adding emotional intensity.

Equally enchanting are the spunky adolescents playing young Elsa and Anna – Maliah Strawbridge and Isla Turner, themselves rays of sunshine who perform “Let the Sunshine In,” “A Little Bit of You,” and “Do You Want to Build a Snowman” with aplomb.

Now grown and facing an eternal winter, newly crowned Queen Elsa is frightened and in hiding while loyal sister Anna searches for her. The youngest sister teams up with a rugged mountain man Kristoff, his faithful reindeer Sven, and the adorable snowman Olaf. It’s easy to warm up to these characters.

From left: Patti Murin, Jared Gertner, Ryan Lambert and Nathaniel Mahone in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

The too-good-to-be-true charismatic Prince Hans is played by Bobby Conte, whose luxuriant tenor is always memorable. It’s a welcome return after some big shows on the Muny stage – as Enjolras in 2013 “Les Miserables,” and Bob Gaudio in 2018’s “Jersey Boys,” and Edgar Rutledge in “1776,” and “Paint Your Wagon,” both in 2019, before appearing on Broadway as PJ in the gender-flipped revival “Company” and Cousin Kevin in last year’s revival of “The Who’s Tommy.”

His introduction is the charmer “Hans of the Southern Isles” and then engaging with smitten Anna in “Love Is an Open Door,” plus the darker “Monster” and “Colder by the Minute.”

High-spirited Jelani Remy makes a noteworthy debut as Kristoff, both charming and funny. He buoyantly sings “Reindeer(s) Are Better Than People” with Sven and “What Do You Know About Love?” with Anna.

The wizardry of Eric Wright at Puppet Kitchen means that Andrew A. Cano as Sven and Kennedy Kanagawa as comical Olaf endear themselves to young and old alike, stealing a scene or two. Olaf’s anthem “In Summer” is as joyful as that lovable warm hugger is.

Jelani Remy in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

Scenic designer Tijana Bjelajac has created a winter wonderland that glistens with blue and silver backdrops, and you also feel like you are in the fresh mountain air – in the July summer heat! (What magic trick or illusion did she use? Remarkable!). She also fashioned a palatial living space as well.

Those also sprinkling the pixie dust were video designer Kylee Loera, whose work here is her finest hour, topping her previous fine achievements; lighting designer Jason Lyons’ exquisite illuminations – and Northern Lights; and sound designers David Patridge and John Shivers, whose work never sounded better.

The lighting/video team  included Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).  

Costume designer Robin L. McGee, who has put her award-winning stamp on the past two “The Little Mermaid” productions as well as “Mary Poppins,” “Aida,” and “The Beauty and the Beast,” has an affinity for dressing Disney princesses, aided by fine work from wig designer Ashley Rae Callahan.

Elsa’s glittery ice blue satin gown is a stunner. Working with a primary palette of blues and greens, McGee and her team have crafted elegant ballgowns, warm winter wear, royal finery, military uniforms, townsfolk attire, and the naturalistic “Hidden Folk.” Plus hats, gloves, mittens, scarves and coats.

The Hidden Folk are based on Scandinavian folklore – “huldufolk,” and are mystical, animalistic creatures, led by parental figures Grand Pabbie (Chris Stevens) and Bulda (Cecilia Snow). In the stage version, they replaced the rock trolls from the film.

Jelani Remy (center) and the company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

Also standing out are hilarious Jared Gertner as Duke of Weselton, a cross between Austin Powers and Dr. Evil, and Ann Sanders and Jonah D. Winston regal as Queen Iduna and King Agnarr of Arendelle, Anna and Elsa’s parents.

The vibrant ensemble is joined by a 13-member teen ensemble and a 29-member youth ensemble. Tartaglia knows how to stage a large group and make it fluid. After all, he managed to place 85 people in a robust “Be Our Guest” two summers ago, which had, in addition to oversized cutlery, fireworks.

Bobby Conte and Patti Murin in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

He also directed exceptional versions of “Tarzan,” “Seussical” and “Annie,” and starred as the Cat in the Hat, the Genie in “Aladdin,” and won the St. Louis Theater Circle Award for Supporting as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” The actor-writer-director-puppeteer could survive on his wit alone but thank goodness he knows how to extract the very best from everyone involved.

(Casting update: As of July 8, Tartaglia has taken over the role of Oaken, who leads the ensemble in ‘Hygge!,” a musical number opening the second act as a replacement for the original actor who is recovering from an injury.).

Darryl Archibald, who flawlessly conducted a 32-piece orchestra for last season’s triumphant “Fiddler on the Roof,” returns to bring out this score’s velvety textures. He even wrote a special overture that is heard first at the Muny.

Some of the musical numbers felt like superfluous padding when I saw the (underwhelming) national tour at the Fox in November 2022. However, choreographer Patrick O’Neill has injected more whimsy and playfulness, and the dance numbers are entertaining overall.

Special mention to the team guiding the magic-making — Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production). 

I felt like a child again, catching a snowflake in my hand, and taking in the frosty opulence, the wonderment of the virtuoso creative contributions and the cast’s splendid vocal strengths.

The Muny’s marvel of next-level tech meets old-fashioned storytelling, “Frozen” will melt hearts and can bring out the kid in all of us.

Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

The Muny presents “Disney’s Frozen” July 6-14 at 8:15 p.m. nightly on the outdoor stage in Forest Park. The show is 2 hours, 20 minutes with intermission. Concessions are cashless payments. Preshow entertainment starts at 6:45 p.m. The theatre opens at 7:30 p.m. For more information, visit www.muny.org

The company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

The Muny’s Spirited ‘Bring It On’ Pops with Personality and Pizzazz

The Muny’s Spirited ‘Bring It On’ Pops with Personality and Pizzazz

By Lynn Venhaus

A spirited Muny debut that is tailor-made for that grand stage, “Bring It On: The Musical” is a marvel of motion that takes place in the cutthroat world of competitive cheerleading.

An engaging combination of original music, exhilarating dance, spunky multi-skilled performers, slick craftsmanship and a relatable finding-your-place story will win you over.

The sociable story is a teen rivalry set in two diverse socio-economic high school cultures that takes a page from “Legally Blonde” and “Mean Girls,” among others, The popular 2000 movie that inspired it starred Kirsten Dunst and Gabrielle Union, grossed $90 million worldwide and sparked five direct-to-video sequels and a TV movie.

Fun fact: Screenwriter Jessica Bedinger pitched the idea as “Clueless” meets “Strictly Ballroom” after becoming obsessed with cheer competitions on ESPN and having experience as a former music journalist covering hip-hop artists.

Taylor Sage Evans, Kennedy Holmes and Jonalyn Saxer. Photo by Phillip Hamer.

Full of pep, elaborate steps and impressive biceps, the acrobatic achievements are quite a spectacle, and 16 of the nation’s most elite college cheerleaders from the University of Kentucky are part of the energetic ensemble. The school has won 24 national championships.

Count me impressed. Their gasp-inducing athletic leaps, lifts and tumbles choreographed by cheer consultant Ryan Martin O’Connor, Kentucky head coach, combined with Jennifer Weber’s high-octane choreography, are thrilling.

While cheerleaders are a staple of film narratives since the 1950s, it is rarely the focus of traditional musical theater.

Enter a team of Broadway heavyweights who saw its appeal through a different lens – adding a hip-hop beat to a standard musical format, with other modern flourishes. Tony winners Lin-Manuel Miranda and Tom Kitt teamed up for the music, Miranda and Tony nominee Amanda Green collaborated on the lyrics, and Tony winner Jeff Whitty wrote a very funny libretto.

The Truman squad of Regine Sophia, Saxer, Katie Riedel and Evans. Photo by Phillip Hamer.

Back then, Mike Isaacson, the Muny’s executive producer and artistic director, co-produced the show with Kristin Caskey for Fox Partners, which premiered in Atlanta in 2011 and earned a 2013 Tony Award nomination for Best Musical and so did choreographer Andy Blankenbuehler, who also directed.

Missouri native Taylor Louderman and Adrienne Warren, who would later win a Tony as Tina Turner, starred as Campbell and Danielle, Jason Gotay was Randall, and Ariana de Bose made her Broadway debut as Nautica.

When it played at the Fabulous Fox in spring 2012 before its Broadway engagement, I was surprised at how enjoyable it was. With its crisp and snappy dance moves and lively performances, it seemed like a perfect fit for stages.

While a challenging commitment, the show has transferred seamlessly to the Muny’s canvas because of the entire creative team’s dedication to getting it right, from Denis Jones’ briskly paced direction to Caite Hevner’s imaginative video designs that add much to the storytelling.

Kennedy Holmes (left) and Jonalyn Saxer in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Jones, who has helmed 11 shows at the Muny and won three St. Louis Theater Circle awards, has a knack for presenting spry, ebullient shows performed gracefully with remarkable precision.

However, this show is fortified by perky performances and a perennial thoughtful message about friendship. What’s more important than winning? Purpose, self-worth and valuing true-blue relationships.

Saxer is Campbell, a sweet but driven cheerleader who is popular at Truman High School. Her main goal is to be captain and lead the team to Nationals. However, her dreams are dashed when she must transfer high schools because of redistricting.

She’s now at Jackson High School, where the cheerleading squad was disbanded. She convinces some skeptical students that competitive cheerleading would be their ticket to bigger dreams and more opportunities.

Katy Geraghty (center) and members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

She confidently delivers ballads, such as “What I Was Born to Do.” But when she has doubts or shows determination – “One Perfect Moment,” “What Was I Thinking” or even crazy-worry “Something Isn’t Right Here,” that’s when her character’s colors come out.

The clever Whitty, whose irreverent humor helped create “Avenue Q,” has altered the original conflict, dropped and brought in characters and injected Millennial speak.

He added a ruthless schemer “All About Eve” subplot, or more appropriate, “All About Eva,” a two-faced sophomore who masterminds her ascension into cheerleading royalty while orchestrating others’ demise.

Making her Muny debut as villainous Eva, Taylor Sage Evans, who was a standout as the replacement Anne Boleyn in the national tour of “Six” during the Fabulous Fox run in January, is the bouncy plastic blonde wannabe. She reveals her true colors in “Killer Instinct” and “Eva’s Rant.”

From left: Kennedy Holmes, Jonalyn Saxer, Aj Paramo and Ayla Ciccone-Burton in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

While there is much fresh talent to applaud, one of the obvious hallmarks of Muny summers are returning artists who have come back again and again to our “alone in its greatness” experience.

If actors describe Muny shows as “summer camp,” then “Bring It On” is a triumphant homecoming for Kennedy Holmes, who became a star on that stage over the past 10 years.

A Muny Kid, her big break came as Little Inez in “Hairspray” in 2015, and in recent years, she was in “Dreamgirls” and “Beautiful: The Carole King Musical” (as Little Eva). At age 14, she was an early standout on Season 15 of “The Voice” in 2018, but at the finale, came in fourth – the youngest finalist ever (she was robbed!). She’s been in demand ever since.

Jonalyn Saxer and Bryce Williams in the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Now 20 and a student at USC, she’s a poised leading lady as Danielle, the ‘crew’ dance team chief at Jackson High. Talk about a Muny moment! It’s so gratifying to see her easily slip into this role that requires her to be a fluid hip-hop dancer and master the vivacious pop and hip-hop lyrics by Miranda and Green..

Saxer, who was an appealing Peggy Sawyer in Jones’ “42nd Street” here in 2016, works well with Kennedy as they navigate their differences, singing together superbly in the touching “We’re Not Done.” Among her credits are multiple Broadway shows, the first national tour of “Mean Girls” and the 2021 Spielberg film of “West Side Story.”

In a scene-stealing performance, Katy Geraghty, as Bridget, is the wackiest sidekick this side of Ethel Mertz. She also endears as a girl who was an ‘outsider’ all her life but finally fits in at her new school.

Geraghty is quickly becoming a Muny favorite, after her hilarious turn as Sister Mary Patrick in “Sister Act” two summers ago. (She was also impressive as Little Red in the 2022 Broadway revival of “Into the Woods.”)

Saxer, Holmes, Geraghty. Photo by Philip Hamer.

Another memorable Muny performer with 11 shows here, Sean Harrison Jones plays Steven, a Truman cheerleader and Campbell’s boyfriend. He was in the original Broadway cast of “The Outsiders,” in “Hamilton” on Broadway and national tour, and was Action in the 2021 film of “West Side Story.”

With his easy-going demeanor and soaring tenor, Bryce Williams stands out as Randall, a popular Jackson student and DJ who befriends Campbell. They share a lovely duet “Enjoy the Trip.” It’s an impressive Muny debut, and he’s still in college.

When Campbell’s first day at the new school is chaotic, the “Do Your Own Thing” number firmly establishes the rules and draw the lines. “Move!” is a savvy directive. Music director Anne Shuttlesworth never lets up.

The scenes at Jackson are where the show gets into a rhythmic groove, and the opening second act number “It’s All Happening” is a rousing fired-up anthem.

The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Supporting players who added much sass and satire were Katie Riedel as the golden girl Skylar, a spot-on Paris Hilton imitation, with terrific comic timing. One of her zingers in an a-ha moment — “Omigod, everyone’s gone through all this, like, personal growth, but I’m exactly the same person I was a year ago. Oh well! I like myself. Always did.”

In contrast, Regine Sophia is a sunny Kylar (real name Inez), who hangs with Skylar.

Danielle’s posse includes Nautica and La Cienega – and Ayla Ciccone-Burton and AJ Paramo are a dynamic duo. Randall’s buddies Twig and Cameron are winsomely played by Kevin Trino Perdido and Brandon O’Neal Bomer.

Special recognition must go to dancer Bailey “Bailrok” Munoz, who wowed the crowd with a spectacular breakdance routine in the Leprechaun mascot outfit during “Friday Night, Jackson.” Munoz won “So You Think You Can Dance” competition show in Season 16, the only breakdancing winner in the show’s 18 seasons.

Dancer Bailey Munoz as the mascot with members of the company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Weber, who was Tony nominated for “& Juliet,” has designed choreography as vibrant as O’Connor’s vigorous cheer routines. Those numbers, including “Bring It On,” “Legendary,” “Crossing the Line” and the finale “I Got You” are dazzling.

To allow for the splashy dance numbers, Ann Beyersdorfer’s scenic design is masterful fluidity and function, efficiently mobile for the major cheer numbers, too. Jason Lyons’ harmonious lighting designs set the scenes and the sound work of John Shivers and David Patridge was clear and cohesive.

Continuing effective design work, Tristan Raines’ costumes were conducive to movement and represented high school fashions while Ashley Rae Callahan’s wig designs blended in well.

With its disarming good-time vibe, “Bring It On” pops with personality, energizing with uplift and inspiration – and is just so darn much fun.

Surprise guests on Wednesday night! From left: Mike Isaacson, Kwofe Coleman, Amanda Green, Lin-Manuel Miranda and Tom Kitt with the company of “Bring It On: The Musical.” Photo by The Muny | Emily Santel

The Muny presents “Bring It On: The Musical” June 16 – June 22 nightly at 8:15 p.m. in Forest Park. The musical is 2 hours and 10 minutes long, with one intermission. For more information, visit www.muny.org

This review is based on Tuesday’s rain-shortened one-act performance and Thursday’s full production

The company of the 2025 Muny production of “Bring It On: The Musical.” Photo by Phillip Hamer

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

By Lynn Venhaus

When the Muny teams up with visionary director John Tartaglia, they create a magical world, and it always takes us to a happy place.

Enamored by only a few chords of “The Little Mermaid” score’s breezy calypso music, the luscious blue green turquoise palette of scenic designer Ann Beyersdorfer’s dazzling seascape and video designer Katherine Freer’s vibrant underwater kingdom teeming with marine life, and we’re eager to dive into this glistening fairy tale fantasia.

With his track record of infusing shows with whimsy and wonder, one expects Tartaglia to achieve new heights for the Muny’s third presentation of Disney’s cherished musical – and wow does he.

Imaginatively staged and seamlessly incorporating all the wizardry available – including innovative use of puppetry from revered Puppet Kitchen International, with designs by Eric Wright, and stunning aerials by ZFX, Hans Christian Andersen’s fish-out-of-water romance enchants in exciting new ways.

If you took away the bells and whistles, this Douglas Wright book adaptation of the Dane’s 1837 short story would still tug on your heartstrings, because stripped down, it is ultimately about families giving each other the greatest gifts –roots and wings.

Rich Pisarkiewicz (left) and Michael Maliakel in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Headstrong Ariel has an insatiable wanderlust, as does Prince Eric, whose zest for adventure pulls him away from his birthright. They disobey to chart their own course, and that comes with risks. She rescues him from drowning, and that remarkable visualization involving flying apparatus is thrilling.

All Disney princes and princesses yearn – and these restless royals must triumph. (And Michael Maliakel knows about being a hero — he played “Aladdin” for three years on Broadway.) The handsome heir is bewitched by the mermaid’s beautiful voice, and the spunky teen falls hard for a forbidden but enticing human world.

With their appealing ardor, Savy Brown and Maliakel are adorable as the made-for-each-other pair. Both have lush voices, and they convey their longing through his fervent renditions of “Her Voice” and “One Step Closer” and her luxe delivery of the iconic “Part of Your World” plus the engaging opener “The World Above.”

The classic true love’s kiss trope is significant because it will break dastardly Ursula the Sea Witch’s curse, so that Ariel can keep her voice and become human. And there isn’t a more intoxicating love song than “Kiss the Girl,” especially with the moonlit romantic mood achieved in the second act.

Ever since lyricist Howard Ashman and composer Alan Menken wrote the game-changing music for the 1989 animated film, generally regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance of the 1990s, “The Little Mermaid” has endured as a beloved pop culture fixture.

Books, videos, merchandise, the stage musical in 2007, and a live-action remake film in 2023 continue to entertain fans around the world.

From left: Adam Fane, Nicole Parker and Kennedy Kanagawa in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

The Muny presented this wildly popular Disney title in 2011 and 2017, and costume designer Robin L. McGee is back from the latter’s creative team seven years later to put a fresh spin on a wide range of colorful outfits.

In a pivotal scene, an iridescent seafoam green dress makes Ariel even more radiant, and in a sixth-time collaboration with Puppet Kitchen International, Ursula’s octopus tentacles (real guys inside) remain a marvel in motion.

Tartaglia has opted for the villain to be more cartoonish rather than menacing, and newcomer Nicole Parker is campy, wears garish makeup, and alternates between exaggerated cackling and screeching as the slinky wicked witch.

Gearing it towards a younger audience, the director made it less dark, although “Poor Unfortunate Souls” makes her intentions clear, and “Daddy’s Little Girl,” alongside her henchmen, oozes spite.

Her electric eel minions, Flotsam and Jetsam, are also softened. Kennedy Kanagawa and Adam Fane are nimble in their slithery headdresses and eerie in their numbers, especially “Sweet Child.”

The three standout comical characters — confidante fish Flounder, silly seagull Scuttle and skittish sidekick Sebastian the crab – ingratiated themselves quickly with the audience.

From left: Leia Rhiannon Yogi, Jen Cody and Savy Jackson in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Leia Rhiannon Yogi is a cheerful Flounder, demonstrating her dexterity with the bright-hued puppet, while the sublime Fergie L. Philippe, so memorable as Emmett in “Legally Blonde” two summers ago, steals every scene he is in as the lovable calypso-singing crustacean.

He joyously leads the vivacious super-sized spectacle, “Under the Sea,” complete with swirling sea creatures including jellyfish, swimming turtles and Pufferfish. The Oscar-winning Best Song is arguably the show’s best number on the gigantic stage.

Muny fan favorites Jen Cody, Ben Davis and Christopher Sieber each bring their own distinct interpretation to their integral supporting roles.

A limber comedienne, Cody does backflips and handsprings as firecracker Scuttle, mangling English and denoting her crisp comic timing. She blithely leads a rollicking “Positoovity” and “Positaggity.” She has previously delighted audiences as the grandma in “The Addams Family,” Elizabeth in “Young Frankenstein” and stripper Tessie Tura in “Gypsy,” among other amusing roles.

Natural leading man Davis, last seen in his virtuoso St. Louis Theater Circle Award-winning performance as “Sweeney Todd,” is an imposing regal – and buff – King Triton, who must put aside his prejudices and doubts for his daughter’s happiness.

He brings necessary gravitas to the role, although the glow-in-the-dark scepter seems cumbersome at times. His rich baritone is such a pleasure, and he imbues his song “If Only (Triton’s Lament)” with real emotional heft. The reprise with the quartet of Ariel, Eric, Sebastian and Triton is quite lovely.

Christopher Sieber in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Emily Santel

Christopher Sieber, who was a terrific Daddy Warbucks in the charming “Annie” directed by Tartaglia in 2018, has fun being over-the-top as the fussy French Chef Louis in his signature number “Les Poissons.”

The actor has been nominated for the Tony Award twice, as the original Lord Farquaad in “Shrek the Musical” (Fun fact: Tartaglia was Pinocchio) and Sir Dennis Galahad in “Spamalot” (More fun facts: Ben Davis played Galahad in the 2013 Muny production, and both Sieber and Davis were in the Muny’s 2017 “Jesus Christ Superstar,” with Sieber as King Herod and Davis Pontius Pilate).

Versatile veteran actor Rich Pisarkiewicz gets an opportunity to shine in a role well-suited to his talents – Prince Eric’s loyal guardian Grimsby. He is in his 44th season at the Muny, and this is his 87th show.

Some of the creative team worked with Tartaglia on last year’s extraordinary “Disney’s Beauty and the Beast,” including McGee, Beyersdorfer, lighting designer Jason Lyons, wig designer Ashley Rae Callahan, sound designers John Shivers and David Patridge, and ebullient choreographer Patrick O’Neill. His movements reflect people moving as if in water.

Tartaglia’s background includes puppetry with Jim Henson on “Sesame Street,” and is back working on “Fraggle Rock” on Disney Plus these days. His artistry is obvious, and this joins his other unique Muny productions “Mary Poppins,” “Matilda,” “The Wizard of Oz,” and “Tarzan” in recent years as examples of his unmistakable playfulness and indomitable spirit. He kept the tempo lively and brisk.

Savy Jackson and Ben Davis in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Music Director Michael Horsley’s elegance is noteworthy too. The hummable tunes and featured personalities keep us interested, easily earning smiles on a summer night from lots of families in attendance.

The creative artists’ inspired flourishes refreshed this chestnut, with the most striking aspect the constantly moving aquatic tableau – Beyersdorfer’s neon-splashed set, Freer’s mesmerizing video, Lyons’ sumptuous illuminations, McGee’s striking looks, Wright’s original puppets, O’Neill’s dance steps and the belief that the whole team could produce the impossible.

Everyone involved brought the best parts of themselves to this project, and its splendor shines brightly.

The Muny presents “Disney’s The Little Mermaid” July 8 through July 16 nightly at 8:15 p.m. on the outdoor stage in Forest Park. The runtime is nearly 2 hours and 20 minutes, including one 15-minute intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Fergie L. Philippe and Jen Cody in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

By Lynn Venhaus

Dream roles, meet dream cast. The highest caliber of vocal excellence on display cannot be understated, for this third mounting of “Les Miserables” at the Muny shimmers with glorious voices.

In the iconic roles of fugitive ex-convict Jean Valjean and his relentless pursuer Inspector Javert, Broadway veterans John Riddle and Jordan Donica surpassed their powerhouse reputations with a fiery tango as the obsessive adversaries.

Riddle, a Muny standout who won the St. Louis Theater Circle Award last year for his tour de force in “Chess,” and Donica, Tony Award nominee as Lancelot in ‘Camelot,” wowed in all aspects.

Let’s put it this way: If they sang the words to websites’ terms and conditions, you’d listen intently to every phrase before clicking ‘accept.’

With his pure, exquisite tenor and nuanced falsetto, Riddle’s stunning rendition of the showstopping emotional ballad “Bring Him Home” ranks among the most heartfelt Muny moments of all time, and his impassioned “Who Am I?” was breathtaking. His performance had to have pierced everyone’s hearts all the way to the back row.

Jordan Donica, John Riddle. Photo by Phillip Hamer.

Donica’s rich baritone intensity on “Stars” and “Soliloquy” depicted Javert’s inner turmoil.

They are the lightning to the chorus’ thunder, as the sprawling ensemble’s lush harmonies soared into the beautiful summer night of June 18.

And the Muny audience – 7,700 on Tuesday – leaned in, its affection palpable. (And more than a few misty eyes noticeable). You could have heard a pin drop during its 2 hours and 45 minutes runtime.

The epic scope of this stirring sung-through adaptation of Victor Hugo’s 1,463-page novel from 1862 on post-Revolutionary France makes for a challenging and daunting production, especially for a Muny-sized version.

With its massive cast, towering multi-level set revolving on the turntable, and complex story to tell, the revered classic requires everyone involved to be at the top of their game.

While a show of this magnitude isn’t without flaws, the achievement of pulling off one of the grandest musicals ever represents the Muny at its finest. Previous acclaimed productions were in 2007 and 2013, and that one remains burned in my brain as among the best.

John Riddle sings “Bring Him Home.” Photo by Phillip Hamer.

First, this is “Les Miserables.” Beloved. Adored. Claude-Michel Schönberg’s and Alain Boublil’s musical sensation started a landmark world-wide run in London in 1985 before it came to Broadway in 1987, packing houses for 16 years. It was revived in 2006 and 2014.

Over three decades, it has been seen by 130 million people in 53 countries and is the sixth longest-running Broadway musical of all-time. Currently, a U.S. national tour is underway.

Fun fact: This company’s director Seth Sklar-Heyn, music director James Moore and choreographer Jesse Robb are the core artistic team behind that current tour. Sklar-Heyn is also executive producer of all “Les Miz” companies in the U.S., on behalf of the legendary impresario Cameron Mackintosh.

The basics are thus: French peasant Jean Valjean served nineteen years for stealing a loaf of bread for his sister’s starving child, and breaks his parole. He is aided by a merciful bishop in Digne (Ken Page) and makes a fresh start, but is hunted by Javert.

Redeeming himself, he has assumed a new identity as Monsieur Madeleine, a wealthy factory owner and mayor of Montreuil-sur-Mer.

Eventually, a group of young idealistic students attempt to overthrow the government at a barricade in Paris. It’s 1832 and the city is in upheaval because General Lamarque, the only official who seems to care about the poor, is about to die.

The Paris Uprising battle scenes are powerful and dramatic, crystallizing several of the plot points.

Emily Bautista in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

There are many moving parts, by virtue of the dense story’s blend of revolution and romance, good and evil. While I’m a fan, some of the subplots can be confusing if you aren’t overly familiar with the source material.

A prerequisite is reading the show synopsis, which takes up a full page in the Muny program. Trust me, you need it. It can be overwhelming for newbies and if it’s been awhile since you saw it, doesn’t hurt to refresh.

It races through many years and multiple locations, so buckle up. One needs to focus on who is propelling the plot forward, and there are times when you can’t necessarily spot that character right away because of the busyness.

For instance, I don’t think this staging made Fantine’s predicament clear in a crowded factory scene, nor was an artistic choice for Javert’s death (spoiler alert) as effective as what I’ve seen before.

Photo by Phillip Hamer.

No matter if it’s your second time or 12th, there are certain expectations every fan has. Not all interpretations can satisfy pre-conditioned notions in one’s head, but no one can quibble with the enthralling vocals.

While most shined in their solo moments, the actors’ emoting varied. Fantine has limited time to establish her plight as a desperate and destitute single mom, although Teal Wicks superbly delivered a touching “I Dreamed a Dream,” if not nailing the role’s set-up.

Red Concepcion and Jade Jones as the Thenardiers were not as funny as they could have been, for a show in need of the broad comic relief that “Master of the House” and “Beggars at the Feast” provides. They were less buffoonish and more pathetic.

A major crowd-pleaser was scene-stealer Will Schulte as the streetwise urchin Gavroche, endearing in his number “Look Down.” Another youngster, Kate Kappel, sweetly sang “Castle on a Cloud” as hopeful Little Cosette.

The young performers acting as rebels were among the most impressive – especially poignant Emily Bautista as the tragic Eponine and James D. Gish a revelation as devoted Enjolras.

She tugged at our heartstrings with “On My Own” and Gish was all vigor and verve in his zealous commitment to the cause in “Red and Black,” “Do You Hear the People Sing?” and the rousing showstopper “One Day More.”

From left: Noah Van Ess, Dan Klimko, Peter Neureuther and the company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Cosette, Fantine’s daughter now living with Valjean, and student leader Marius’ love story is told ardently – with Gracie Annabelle Parker and Peter Neureuther the dashing couple. Marius’ mournful “Empty Chairs at Empty Tables” gets to me every time.

The company of 77 sings their hearts out. Twenty members of the St. Louis Symphony Chorus — soprano, alto, tenor and bass-baritone — joined 35 professional actors and 22 local youth performers on stage (and backstage)

The sumptuous, assured musical direction and conducting by virtuoso James Moore is significant. Working with Schonberg’s music score and lyrics by Herbert Kretzmer, from original French text by Alain Boublil and Jean-Marc Natel, he is using new orchestrations from Christopher Jahnke, Stephen Metcalfe and Stephen Brooker.

Moore’s body of work – 12 shows at the Muny– has been distinctive, bringing out the shadings in Stephen Sondheim’s “Sweeney Todd,” “West Side Story” (fervent Leonard Bernstein-level!)  and “Gypsy,” but his efforts leading an epic “Les Miz” delivers an extraordinary aural treat. Special mention of associate music director Michael Horsley whose contributions are important.

And the exceptional 25-member orchestra, whose musicality is peerless, brings out all the feelings in this music. As a native of Belleville, Ill., I must mention recently deceased Bellevillian Vicky Smolik, who played trumpet in the Muny orchestra for 45 years. This opening production is dedicated to her memory.

Photo by Phillip Hamer.

From the bombastic opening chords and the score’s rich repetitive motifs, through the robust anthems, yearning expressions and tender love songs, the orchestra has produced numerous chill-inducing moments.

DirectorSklar-Heyn has made sure a zippy pace is maintained. Praise must be heaped on the stage manager Willie Porter and her three assistant stage managers Sarah Azizo, Eric Elz, and Joshua Vinik for the smooth flow of action.

The ace technical wizards included lighting designer Jason Lyons, scenic designer Ann Beyersdorfer, video designer Shawn Duan, and sound designers John Shivers and David Patridge.

Gail Baldoni’s costume design was mostly gritty, with class distinctions for the lavish wedding attire, nobility and military uniforms, and Ashley Rae Callahan’s wig design coiffed the characters’ appropriately.

“Les Miz” celebrates courage, conviction and community, and its recurring themes are timeless. You can see why it endures and feel how passionate both the performers and the audience are about it in this Muny opener to the 106th season.

The Muny presents “Les Misérables” at 8:15 p.m. nightly, June 17-23 on the outdoor stage in Forest Park. The show is 2 hours, 45 minutes, with an intermission. For more information, visit www.muny.org.

Teal Wicks in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

‘Les Miserables’ to Kick Off Muny’s 106th Season with Large Cast, Expert Designers, and StL Symphony Chorus

‘Les Miserables’ to Kick Off Muny’s 106th Season with Large Cast, Expert Designers, and StL Symphony Chorus

The Muny has announced its full cast, design and production teams for Les Misérables, which opens the theatre’s 106th season and runs June 17-23 on the James S. McDonnell Stage in Forest Park.

“We are ready to storm the barricade of Muny 106 with this beautiful musical,” said Muny Artistic Director & Executive Producer Mike Isaacson. “The cast, crew and artistic team are striving to create a production you’ll remember for a lifetime.”

Joining the previously announced John Riddle (Jean Valjean), Jordan Donica (Javert), Teal Wicks (Fantine), Red Concepción (Thénardier), Jade Jones (Madame Thénardier), Ken Page (The Bishop of Digne), Emily Bautista (Éponine), Gracie Annabelle Parker (Cosette), Peter Neureuther (Marius), James D. Gish (Enjolras), Kate Kappel (Little Cosette), Grace Moore (Young Éponine) and Will Schulte (Petit Gervais/Gavroche) are Lee H. Alexander, Leah Berry, Patrick Blindauer, Matías De La Flor, Chris Hunter, Dan Klimko, Ángel Lozada, Daniel Brooks McRath, Sydni Moon, Grant Pace, Sarah Pansing, Nicholas Pattarini, Tim Quartier, Shelby Ringdahl, Matt Rosell, Grace Marie Rusnica, Liv Shivener, Sydney Short, Cecilia Snow, Kyle Timson, Noah Van Ess and Annie Zigman. The company also will be joined by the Muny Kids and Muny Teens Youth Ensemble.

The Les Misérables creative team is led by Director Seth Sklar-Heyn, with Choreographer Jesse Robb, Music Director James Moore and Associate Musical Director Michael Horsley.

The production includes Associate Choreographer Paige Parkhill, Scenic Designer Ann Beyersdorfer, Costume Designer Gail Baldoni, Lighting Designer Jason Lyons, Co-sound Designers John Shivers and David Patridge, Video Designer Shawn Duan, Wig Designer Ashley Rae Callahan and Production Stage Manager Willie Porter.

The Telsey Office is the official casting partner of The Muny.

As previously announced, 20 singers from the St. Louis Symphony Chorus will join the company as the supernumerary chorus for “Do You Hear the People Sing?,” “One Day More” and “Finale: Do You Hear The People Sing? (Reprise).” The singers are Nicholas Bashaw, Annemarie Bethel-Pelton, Rachel Buttram, Laurel Dantas, Mary Donald, Lea Frost, Megan Glass, John Herget, Matthew Jellinek, Jei Mitchell Evens, Hannah Nelson, Brian Pezza, Valerie Reichert, Greta Rosenstock, Paul Runnion, Matthew Stansfield, Philip Touchette, Robert Valentine, Nicole Weiss and Tristan Wood. Members of the St. Louis Symphony Chorus will appear as a courtesy and in partnership with the St. Louis Symphony Orchestra.

The Muny artistic staff includes Artistic Director & Executive Producer Mike Isaacson, Associate Artistic Director Michael Baxter, Production Manager Tracy Utzmyers and Music Supervisor Michael Horsley.

Here is John Riddle singing “Bring Him Home’ in rehearsals at The Muny, with music director James Moore accompanying him on piano.
https://youtu.be/t33Cj8KB7g8?si=BM-_IyQ3AQVz5QBg

Principal Cast Bios

JOHN RIDDLE (Jean Valjean) received a St. Louis Theater Circle Award for his performance of Anatoly Sergievsky in last season’s production of Chess. Other Muny: Disney’s The Little Mermaid, Titanic, Show Boat, Legally Blonde and others. Broadway: The Visit (OBC), Frozen (OBC) and Raoul in the final company of The Phantom of the Opera. Off-Broadway/NY: Cal Hockley in Titanique the Musical (Lortel nomination), The Secret Garden in Concert (Lincoln Center), Cinderella’s Prince in Into the Woods (Town Hall). National tour: Evita. Regional: Kennedy Center, Long Wharf Theatre, Goodspeed, Pittsburgh Civic Light Opera, Casa Mañana, Naples Opera. Other: Cincinnati Pops Orchestra, American Pops Orchestra.

JORDAN DONICA (Javert) most recently starred as Sir Lancelot in the Lincoln Center Theater production of Camelot, for which he received a Tony Award nomination. He originated the role of Freddy Eynsford-Hill in the Tony-nominated My Fair Lady (Lincoln Center Theater) and starred as Raoul in Broadway’s The Phantom of the Opera. New York City Center Encores!: Into the Woods (Rapunzel’s Prince). Tour: Hamilton (first national tour, Marquis de Lafayette/Thomas Jefferson, SF/LA companies). Concerts: Washington National Opera, Pasadena Symphony, The New York Pops (Carnegie Hall), Indianapolis Symphony and Lincoln Center Theater’s Camelot. Featured performer at the American Songbook Hall of Fame. TV: Jordan Chase in the CW’s Charmed. Directing: The Exonerated in conjunction with the Center on Wrongful Convictions, Little Prints by Anna Mulhall.

TEAL WICKS (Fantine) On Broadway, Teal originated the roles of Lady in The Cher Show, Mary Barrie in Finding Neverland and Emma Carew in the revival of Jekyll & Hyde. She made her Broadway debut as Elphaba in Wicked after playing the role to critical acclaim in Los Angeles and San Francisco. Off-Broadway and across the US, Teal has created lead roles in The Ballad of Little Jo (Two River Theater), The Blue Flower (Second Stage/A.R.T.), Piece of My Heart: The Bert Berns Story (Signature Theatre NYC), The Life of the Party (TheatreWorks, with Andrew Lippa) and Fahrenheit 451 (59E59). TV/streaming appearances include The Peripheral (Amazon), The Night Agent (Netflix), NCIS: New Orleans, Evil, Elementary, The Good Wife, Chicago Justice.

RED CONCEPCIÓN (Thénardier) Broadway: Chicago (Amos Hart). National/International tours: Miss Saigon (The Engineer, US national and UK/Ireland tours). Asian and Philippine credits: Priscilla, Queen of the Desert (Adam/Felicia; Manila and Singapore; Gawad Buhay Outstanding Male Lead in a Musical and Aliw Award for Best Actor in a Musical), Equus (Alan Strang), The Normal Heart (Tommy), Annie (Rooster), Rodgers & Hammerstein’s Cinderella (Lionel), West Side Story (A-rab) and more.

JADE JONES (Madame Thénardier) The Muny: Disney & Cameron Mackintosh’s Mary Poppins, The Color Purple. Off-Broadway: Vanities. Regional: Disney’s Beauty and The Beast (Belle), A.D. 16, The Amen Corner, Macbeth, Into the Woods, The Wiz, 110 in the Shade, Sweeney Todd, School Girls; or, The African Mean Girls Play. TV: Chicago P.D., Cinderella: The Reunion, A Special Edition of 20/20 (ABC).

KEN PAGE (The Bishop of Digne) has performed in over 45 shows on the Muny stage. Ken is widely known as the voice of Mr. Oogie Boogie in the classic Disney/Tim Burton animated film The Nightmare Before Christmas. He has performed the score live at The Hollywood Bowl, Barclays Center NY, LA’s Banc of California Stadium, Glasgow, London (SSE Arena, Wembley), Dublin and Tokyo. Film: Dreamgirls, Torch Song Trilogy, All Dogs Go to Heaven and more. Ken made his Broadway debut in the all-Black revival of Guys and Dolls as Nicely-Nicely Johnson (Theatre World Award). Other Broadway: Cats (Old Deuteronomy, OBC video/film cast), Ain’t Misbehavin’ (OBC, LA, Paris, Drama Desk Award for Best Actor, Grammy Award cast album), The Wiz (Lion). London’s West End: Children of Eden (Father, OLC), My One and Only in Concert (London Palladium). Mr. Page’s solo concert, Page By Page, was released on CD (LML Music). He is the recipient of a Lifetime Achievement Award from the Manhattan Association of Cabaret Artists (MAC), Project One Voice/Black Theatre and the St. Louis Arts Foundation.

EMILY BAUTISTA (Éponine) made her Broadway debut in the 2017 revival of Miss Saigon, where she understudied the lead role of Kim. She later returned to the role full time on the first national tour. In between the Broadway and touring productions of Miss Saigon, Emily took on the role of Éponine in Cameron Mackintosh’s North American touring production of Les Misérables. Following her time on tour, Emily made her London debut in the world premiere of Vanara: The Legend in the lead role of Ayla. On television, she is recognized for her role as Elodie on Pretty Little Liars: Original Sin. Additionally, Emily has made notable appearances in films The Compound (2021) and Which Brings Me to You (2023).

GRACIE ANNABELLE PARKER (Cosette) Regional: Guys and Dolls (Sarah Brown, The Carnegie), Brigadoon (Fiona, Wagon Wheel), Legally Blonde (Ensemble). Gracie is a recent graduate of the University of Cincinnati College-Conservatory of Music, BFA musical theatre.

PETER NEUREUTHER (Marius) Regional: Newsies (Jack Kelly) at the Warsaw Federal Incline Theater. Peter is a recent graduate of the University of Cincinnati’s College-Conservatory of Music (CCM).

JAMES D. GISH (Enjolras) Broadway: Wicked (Fiyero). Off-Broadway: The Light in the Piazza (Fabrizio, New York City Center Encores!), The Jerusalem Syndrome (Mickey Rose, York Theatre, OOBC). National tours: Beautiful (Gerry Goffin), Les Misérables (Feuilly). Recent regional: Daddy Long Legs (Jervis, Phoenix Theatre Co.), West Side Story (Tony), Newsies (Jack Kelly) and The Toxic Avenger (Toxic Avenger).

KATE KAPPEL (Little Cosette) was last seen at The Muny in The Sound of Music (Gretl von Trapp) and in the Youth Ensemble of Joseph and the Amazing Technicolor Dreamcoat and Sister Act. Kate is 12 years old and just finished the sixth grade at South City Catholic Academy in St. Louis. She is a vocal student at Lisa Christine Studios and learns dance at the Professional Dance Center, where she is a member of the Ensemble competition team. Kate is a member of the Muny Kids and Muny Holiday troupes.

GRACE MOORE (Young Éponine) is 10 years old and is going into fifth grade, where she sings with her school choir and is a student house leader. Grace studies dance at Performing Arts Centre. She performs with the competition team and is a classroom helper. She studies voice with Kelly Stinnett Studios.

WILL SCHULTE (Petit Gervais/Gavroche) made his Muny debut in the Youth Ensemble of Beauty and the Beast last summer and is so excited to be performing with the Muny Kids touring troupe this summer. Will has also performed with Gateway Center for Performing Arts and was most recently seen as Kassim in Aladdin Jr. at his school. Will studies voice with Katie Kopff and also enjoys playing tennis. He will be attending St. Louis University High School in the fall.

Les Miz Broadway revival 2014

About the Show

Les Misérables previously was produced at The Muny in 2007 and 2013. The show includes music by Claude-Michel Schönberg and lyrics by Herbert Kretzmer, with a book by Alain Boublil and Claude-Michel Schönberg. Set against the backdrop of post-Revolutionary France and based on Victor Hugo’s 1862 novel, this celebrated musical follows the journey of Jean Valjean, an ex-convict seeking a fresh start, and his relentless pursuer, Javert. Its powerful songs and thrilling story of love, passion, sacrifice and redemption have been beloved the world over for generations.

Performances of Les Misérables begin at 8:15 p.m. nightly, June 17-23. Single-performance tickets and season tickets are on sale now at muny.org, by calling (314) 361-1900 or at the Muny Box Office in Forest Park.

To learn more about the Muny production of Les Misérables and the show’s history, visit muny.org/show/les-mis. For actor headshots, show logos, video and other assets, visit the Muny Press Room at muny.org/press.

Season 106 at The Muny also includes Dreamgirls (June 27-July 3), Disney’s The Little Mermaid (July 8-16), Fiddler on the Roof (July 19-25), Waitress (July 30-Aug. 5), In the Heights (Aug. 9-15) and Anything Goes (Aug. 19-25).

About The Muny

The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, we welcome more than 350,000 theatregoers each summer for seven world-class productions. Now celebrating 106 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. For more information, visit muny.org.

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

By Lynn Venhaus

The fourth time is indeed the charm. Infused with extra Muny Magic, this “Disney’s Beauty and the Beast” makes you believe in happily ever after.

Under the brilliant direction of John Tartaglia, this imaginatively staged, and elegantly crafted musical will make you laugh out loud and shed a tear, for it grabs your heart in the opening number “Belle” and never loosens its grip on your emotions until the final bow.

This beloved romantic fantasy has endured since the 18th century, first as a French fairy tale, then as a 1946 film by Jeanne Cocteau where an arrogant prince is cursed to spend his days as a hideous monster but has a chance to regain his humanity by earning a young woman’s love.

In 1991, modern audiences fell in love with Disney’s 30th animated feature that went on to make history as the first animated feature to be Oscar-nominated for Best Picture. With its Academy Award-winning original score and touching title song, the script was tailor-made to be adapted into a stage musical, which happened in 1994, and played on Broadway for 13 more years. Screenplay writer Linda Woolverton is credited with the book and Tim Rice wrote additional lyrics, and the stage version has become a global sensation.

A bona fide classic with its iconic characters, lush score and engaging blend of romance, comedy, and drama, Muny audiences have enjoyed presentations in 2005 (the attendance record holder for nearly five years), 2010, and an outstanding one in 2015.

Because it’s a perennial family favorite, honestly this production didn’t have to be as good as it is – because we’d be enchanted anyway, and all those little girls who showed up in yellow gowns wouldn’t be disappointed.

Photo by Phillip Hamer

Yet, this is an extraordinary effort. The best one to date under the stars is inspired because Tartaglia knows how to spark joy. An expert at finessing humorous moments with a flair for the dramatic, Tartaglia showcases his versatile talents as a director and his experience as a musical comedy performer. After all, he joined the Broadway company as Lumiere in 2006.

A true visionary, Tartaglia has brought out the whimsy, charm, sense of family, and genuine feelings in this Disney classic. On this stage before, he’s directed “Shrek,” “Matilda,” “Annie,” Disney’s “Tarzan,” “Wizard of Oz” and last year’s “Mary Poppins.”

A puppeteer and “Sesame Street” alumni, he’s best known as a creative and Tony-nominated star of the original Broadway cast of “Avenue Q.” He’s played memorable roles at The Muny, including the Genie in the pre-Broadway tryout of “Aladdin” in 2012, The Cat in the Hat in “Seussical” in 2014 and won the St. Louis Theater Circle Award as Outstanding Supporting Actor in a Musical as Hysterium in “A Funny Thing Happened on the Way to the Forum” in 2017.

He loves the Muny and the Muny loves him, and we are the richer for this mutual admiration society. His ability to create one-of-a-kind storytelling outdoors shines through, from the pep in the step of the ensemble to his dazzling use of pyrotechnics.

Incorporating a cast of 85 in super-sized renditions of the showstopper “Be Our Guest” and an amusing, rousing “Gaston,” the creative team is in sync and up to the challenge. Choreographer Patrick O’Neill and associate choreographer Bryan Thomas Hunt go for big and bold, and music director Ben Whiteley, who has held the Muny baton for all four “Beauty and the Beast” shows, brings out all the textures in the timeless songs by Alan Menken and Howard Ashman.

The performers have put their heart and soul into this show, from an acrobatic Tommy Bracco cavorting as buffoonish LeFou to Debby Lennon’s virtuoso vocals as excitable diva Madame de la Grande Bouche.

Ashley Blanchet as Belle. Photo by Phillip Hamer.

Ashley Blanchet is the epitome of a Disney Princess. As the lovable independent Belle, she is a savvy combination of sweet and spunky, heart-tugging in a glorious “Home” and the hopeful “A Change in Me.” The way she stands up for herself is refreshing.

As the imposing, bitter Beast, Ben Crawford’s rich, robust voice is one of the evening’s most pleasant surprises, and he brings a depth of yearning and regret to the role that’s palpable. Even under his involved make-up, you feel his change from a sullen prince cursed for being cavalier and haughty to someone trying to change for the better. His powerful “If I Can’t Love Her” brought down the house to close the first act.

Crawford has portrayed the legendary Phantom on Broadway, but his last role at the Muny hardly tipped us off to his capabilities, for he played the cruel and cocky Chuck in “Footloose” four years ago. He and Blanchet have a believable chemistry, carrying off the opposites attract tension and tenderness with touching sincerity.

The castle’s support staff provided crowd-pleasing antics, with the delightful duo of Kelvin Moon Lo as kind-hearted candelabra Lumiere and Eric Jordan Young as fussy butler-turned-mantel clock Cogsworth leading the pack.

While good-natured Ann Harada has the comedic chops and warmth to play motherly cook Mrs. Potts, her rendition of the Oscar-winning title song is shriller than satisfying as a major moment.

Michael Hobin is an adorable Chip, and Holly Ann Butler has fun as the saucy Babette. The group’s rendition of “Human Again” is a wistful beauty.

Blanchet, Claybourne Elder. Phillip Hamer photo.

Broadway veteran Claybourne Elder is a standout as swaggering narcissist Gaston, emphasizing the blowhard’s ridiculous vanity while eventually turning into a spiteful, vicious bully, first targeting Belle’s eccentric dad Maurice (Harrison White). When Belle slapped him, the crowd erupted in applause.

A highly skilled visual design team has crafted a stunning castle and quaint Old-World village, with Belleville, Ill., native Ann Beyersdorfer’s opulent scenic design, Greg Emetaz’s expressive video design and Jason Lyons’ effective lighting design. The only thing that felt out of place was a jarring depiction of Gaston losing his footing in the climactic fight scene on screen.

Accenting the characters are Robin McGee’s luxurious and intricately embellished costume designs and Ashley Rae Callahan’s period wig designs. McGee, who grew up in Highland, Ill., designed the 2015 show, but didn’t rely on any previous outfits this time, and elevated the looks here with an accomplished team of seamstresses working overtime in the costume shop. Belle’s pillowy, shimmering ballgown is jaw-dropping.

Noteworthy are the puppet designs by Dorothy James and Andy Manjuck, especially in making the scary wolves’ eyes glow bright red as they roamed the woods.

This lavish production has all the elements to succeed as an unforgettable evening of entertainment, especially for a wide audience. Typically, the ‘children’s show’ introduces a new generation to the unique experience the Muny offers..

On Friday night, it appeared to win over many youngsters who remained rapt through the entire two acts – particularly one young man a few rows in front of me. His view was blocked by a rather large adult at curtain call, so he moved to the aisle to stand and cheer.

He made me smile wider, recalling watching other youths mesmerized over the years (reviewing since 2009). I’m one of those kids who first came with my grandmother, about 10 years old, awestruck by the grandeur. How many of us became forever fans that way?

The Muny triumphs once more with a deluxe and endearing “Disney’s Beauty and the Beast,” a heart-warming reminder that we get to connect again because of this 105-year St. Louis tradition. Don’t miss your chance to get sprinkled with pixie dust on a splendid summer evening.

Be Our Guest. Phillip Hamer Photography.

“Disney’s Beauty and the Beast” runs from June 22 to 30 in Forest Park, nightly at 8:15 p.m. For more information, visit www.muny.org

Notes: Show sponsor Ameren and The Muny are promoting Ready Readers, a nonprofit supporting literacy, by collecting new and gently used children’s books, suitable for readers aged 12 and under. A table has been set up near the box office so that patrons can drop off books before the show.

For a deeper dive into the Disney Animation Renaissance, the documentary “Waking Sleeping Beauty” is currently streaming on Disney +, as is the poignant documentary “Howard,” which honors the late lyricist Howard Ashman for his tremendous contributions to music. He died at age 40 from AIDS complications, in 1991.

Phillip Hamer Photography.

The company of Beauty and the Beast. Phillip Hamer Photography