KPop Demon Hunters Sing-Along
By Lynn Venhaus
Deeply personal and profoundly moving, “Dear Evan Hansen” grabs our hearts and doesn’t let go.
Sensitively presented by director Rob Ruggiero and perceptively told by an emotionally engaged cast in its powerful Muny and Midwest regional debut, the musical is anchored by an astounding Michael Fabisch, who immediately wins us over as the awkward outcast Evan.
In his star-making turn, the captivating Fabisch, who played Evan on the most recent national tour, projects vulnerability and a remarkable range of feelings as an anxious high school senior struggling to fit in.
He is in nearly every scene — his physical stamina as impressive as the emotional depth he expresses in the signature songs “You Will Be Found,” “For Forever,” “Words Fail,” and “Waving Through a Window.”
Through a series of unfortunate events, Evan finds himself entangled in a web of lies after a troubled classmate’s suicide, which spirals out of control.
When you first hear that everything is based on a lie, you may have a ‘wait – what?’ reaction. However, Evan’s hard-fought journey of self-discovery resonates. He makes mistakes, and there are consequences, but ultimately, there is hope.
The story asks us not to judge Evan but understand why he created this charade — to comfort a grieving family. Forgiveness is a powerful tool here too.
The spotlight on the anonymous and anti-social Connor Murphy has a beneficial outcome — The Connor Project, a viral movement for inclusion, that grew from the students’ efforts.
Statistics tell us loneliness is at an all-time high. A National 4-H Council survey found that seven out of 10 young people say they struggle with mental health issues. I think this musical can save lives, and if it helps someone reach out, what a wonderful result. It is certain to spark conversations.
Even during an intense summer heat wave, a highly attentive audience leaned in, rapt. Sensing that the musical connected to each person in some way, no matter what age, I was struck by the hush of the engaged crowd – except for a few overheard sniffles here and there (understandable, and with me, unavoidable).
Try getting through “So Big/So Small,” a heart-melting vocal by Jackie Burns, who plays Evan’s caring single mother Heidi. Her husband left when Evan was 7 and has a whole new life in Colorado. She addresses her shortcomings in this tearjerker.
Burns, Broadway’s longest running Elphaba in “Wicked,” is raw and real in her portrayal of Evan’s hard-working, exhausted mom, juggling her job as a nurse’s aide, school classes to become a paralegal, and trying to provide for her son but not always being there for him.
“I knew there would be moments that I’d miss
And I knew there would be space I couldn’t fill
And I knew I’d come up short a million different ways
And I did
And I do
And I will”
Pass the tissues. Not only does this song foster empathy, but the entire show can be viewed as therapeutic/cathartic – and necessary. Oh, the dialogues to follow in homes across America.
The show is universally relatable because of its themes of mental health, grief, social anxiety, fear of being alone, yearning for acceptance, and understanding how others feel invisible or unvalidated for who they are.
While the high school setting conveys both despair and wanting to please in an overwhelming digital age, the adults are affected too, as they do ‘adulting’ in an ever-changing playing field where the goal posts keep moving.
Everybody seems to be trying to do the right thing and find their place in the world, flaws and all. That is why the cast’s ability to depict frustration, confusion and joy is felt, landing in every corner of the Forest Park seats. Who wouldn’t want an opportunity for reinvention?
An ensemble peppered with fresh faces and seasoned principal performers tugs hard at the heartstrings as their impassioned voices unite in splendid harmonies. The Act One closer, “You Will Be Found” is an anthem we always need, but more so in our contemporary cold, cruel world.
Standing out in supporting roles – and making their Muny debuts – are Joshua Bess as the anonymous and aggressive Connor, whose apathy may have masked a cry for help, Afra Sophia Tully as his sister Zoe, and Bryan Munar as tech whiz Jared, a family friend who reluctantly helps Evan become an internet sensation.
Savy Jackson, last year’s Ariel in “The Little Mermaid,” is charming as the cheerful over-achieving Alana. Rob McClure, in his ninth Muny show, and his real-life wife Maggie Lakis, also a Muny vet, portray Connor’s parents Larry and Cynthia, pain and sorrow etched on their faces.
Pairing with Fabisch, Bess is light-hearted in “Sincerely, Me,” Tully has a tender duet in “Only Us.” and McClure sentimental in “To Break in a Glove.”
A fusion of musical theatre and pop, the score by composer Benj Pasek and lyricist Justin Paul is well-integrated into the recognizable story by Steve Levenson.
Golden boys Pasek and Paul, the latest EGOT winners (20 and 21st), earned Tonys and a Grammy Award for “Dear Evan Hansen,” an Oscar for “City of Stars” from “LaLa Land,” and the primetime Emmy for the song “Which of the Pickwick Triplets Did It?”, from “Only Murders in the Building” in the episode “Sitzprobe.”
With its beautiful imagery of an idyllic day, indelible poetry about friendship, and haunting melody, “For Forever” hits hard. While it’s a total fabrication from Evan to soothe the Murphys in mourning, it emphasizes Evan’s aching desire for connection.
The Muny concept for this show works well – not overpowering with razzle-dazzle but letting the identifiable story with its unforgettable characters be the focus. Ruggiero, in directing his 11th show, has a knack for staging on the outdoor space, and his insight influences the production’s vibrant tempo.
A 17-member cast, with eight principal characters and including “virtual community voices” – Kaley Bender, Vera Brown, Alex Daspit, Spencer Davis Milford, Zoe Brooke Reed, Essence Anisa Tyler, Noah Van Esse, and Oscar Williams, is expanded to include a 24-person teen ensemble on stage and eight vocalists offstage.
The projection technology, its depiction of social media, and setting the scene locations, helps illustrate the isolation – and the intimacy. Michael Schweikardt’s sleek scenic design, paired with Kevan Loney’s video design, is a terrific visual landscape.
Eschewing the need to open up scenes, Ruggiero has pared them down instead – dining room, bedrooms, school computer lab – with human interaction, strikingly illuminated by lighting designer Rob Denton.
John Shivers and David Patridge’s sound design was effective in its integration of electronic communication as well as delivering crisp vocals in musical numbers.
Music director Roberto Sinha strategically used sumptuous strings and mastered poignant orchestrations by Alex Lacamoire, while Justin Paul’s vocal arrangements added emotional heft. How can you not fall in love with that score?
Costume designer Joseph Shrope outfitted the characters in age-appropriate casual attire, and of course, Evan wore his trademark polo shirts.
The musical, which opened on Broadway in December 2016, won six of the nine Tony Awards it was nominated for in 2017, including Best Musical, Best Book of a Musical, Best Original Score, Best Actor in a Leading Role in a Musical (Ben Platt as Evan), Best Featured Actress in a Musical (Rachel Bay Jones as Heidi), and Best Orchestrations.
It ran on Broadway until Sept. 18, 2022, for nearly six years, including 1,672 regular performances and 21 previews.
Because of its enduring and extraordinary impact, the musical remains a timeless, moving experience. Emphasizing truth, the Muny’s adaptation is worthy of your time and attention – for it speaks from the heart straight to the heart. You are not alone.
The Muny presents “Dear Evan Hansen” July 28 – Aug. 3 on the Forest Park outdoor stage. For more information or tickets, visit www.muny.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus
On stage, “Dear Evan Hansen” was a deeply personal and profoundly emotional experience, which the movie attempts to achieve through pared-down scenes that opt for intimacy.
When they ‘open up’ musical numbers just to expand the landscape, that’s when it becomes less effective. Those who connected with the musical because it struck a chord about belonging and understanding in a chaotic and often cruel social media age will find this a worthy adaptation.
Evan Hansen (Ben Platt) has a severe social anxiety disorder, and his therapist wants him to write a daily affirmation letter. Because the anti-social and angry young man Connor Murphy (Colton Ryan) snatched the letter, it is found in his possession after he commits suicide. His grieving parents (Amy Adams and Danny Pino) mistake it as one their troubled son wrote to his only friend and invite Evan to dinner. Instead of telling the truth and wanting to please, he keeps up the charade, which quickly spirals out of control. Suddenly, classmates who ignored him make him an internet star.
One drawback is that Evan’s self-deprecating humor, which worked so well on stage making the nerdy high school senior relatable, is missing.
The score, by golden boys Benj Pasek and Justin Paul, still resonates in a timely way, particularly after 18 months of dealing with a public health crisis that created even more distance between people.
While nothing can duplicate the live theater ‘feels,’ this adaptation has been thoughtfully crafted to tug at your heartstrings. I mean, how cynical do you have to be to resist sharing in the desire to matter?
The musical, which opened on Broadway in December 2016, won six of the nine Tony Awards it was nominated for in 2017, including Best Musical.
When I saw the national tour in November 2019 at the Fox Theatre in St. Louis, I was a puddle, crying through most of it. I figured that the movie would provoke the ugly cry reprise, so I brought plenty of tissues along, and while I teared up through key moments, it wasn’t the waterworks that happened while discovering the stage musical. Perhaps I am now too familiar with the songs, but when Heidi (Julianne Moore) sings “So Big/So Small” (Everybody in the Fox audience could be heard sniffling through it) it’s heart-breaking, and Ben Platt’s voice just prompts eyes to tear up during the ballads.
Of course, when you first hear that everything is based on a lie, it’s a ‘wait – what?’ reaction, but because people are comforted by the tall tales, leading Evan on a journey of self-discovery, most do not get all judgy—instead, investing in the story.
There are those who think exploiting a tragedy for personal gain is abhorrent, but I can see how and why it went south – all those insecurities, the desperation driving the falsehoods/fantasy, that awareness of being an outcast. There are so many gray areas of life that can’t be sorted into black and white, and this is one of them.
Director Steven Chbosky, who knows how to genuinely portray adolescents after helming “The Perks of Being a Wallflower” and “Wonder,” taps into those socially awkward misfit feelings many people share but think they’re alone.
Pasek and Paul’s heartfelt and aching songs have won Tonys, an Oscar (for “La La Land”), Grammys and Emmys, and still pack an emotional wallop – even if they are stripped down renditions. “You Will Be Found” is the signature song that never wears out its welcome, offering a beacon of light in uncertain times.
Much has been written criticizing casting 27-year-old Ben Platt as the geeky isolated teenager. After all, he originated the role on Broadway, winning a Tony Award and much acclaim. This role is in his DNA, and he captures the emotional roller-coaster nature of the part. No one can convey the vulnerability, anxiety and yearning for acceptance better than he can.
Like Robert Preston as Harold Hill and Yul Brynner as the King of Siam, Platt will be defined by Evan Hansen for the rest of his life, no matter how many TV shows, movies and stage productions he does.
And if we’re talking age disparities, then one must mention John Travolta, Olivia Newton-John and Stockard Channing as high school students in “Grease,” and we could make a long list of examples.
I did not find him a weak link, and honestly had been worried about how he would look and fit the part on screen. Except for a bad curly hair choice, the de-aging process does not distract. I thought he was fine, and his touching interpretations of “Waving Through a Window,” “For Forever” and “Words Fail” remain the gold standard.
Colton Ryan, who was an understudy for Connor on Broadway, is strong as the black-clad hostile jerk who lashes out like a caged animal. His suicide leads to the school body creating “The Connor Project” in his honor, a benefit to re-open the Autumn Smile Apple Orchard and rename it for him.
The movie comes out during Suicide Prevention Month, and any awareness of mental health and the prevalence of young people taking their own lives is a good thing. The “if only” and “Woulda, shoulda, coulda” second-guessing is relentless after a tragedy – so the pro-active efforts of this film are appreciated.
The film was adapted by Steven Levenson, who won the Tony Award for the musical’s book, and he has altered the ending to make Evan more accountable for the mess he has created – but also shows him making amends.
Not sure why they switched the original dad character to a stepfather in Larry’s case, but Danny Pino fits as the work-and-success-obsessed guy married to Amy Adams’ Cynthia, who has provided a good life for his family but has become increasingly distant over the years.
Adams, whose experience singing includes the Disney film “Enchanted” and her breakthrough Oscar-nominated performance in “Junebug,” is earnest as a grieving mother who clings to any memento and memory of her fallen son. Evan has provided her with a lifeline, and in turn, he feels accepted.
Julianne Moore, another versatile actress, is a natural as Heidi Hansen, a hard-working single mom who tries her best to support her son’s therapy and his needs.
Kaitlyn Dever is a bright spot as Connor’s sister Zoe, Evan’s crush, who admits to not knowing her brother very well. Her song with Evan, “Only Us,” is handled well as a romance blossoms.
Other noteworthy supporting turns include Nik Dodani as tech whiz and Evan’s confidante Jared and Amandla Stenberg as the cheerful over-achiever and environmental activist Alana who spearheads The Connor Project..
Stenberg collaborated with Pasek and Paul on a new song for the film, “The Anonymous Ones,” which is an outstanding addition.
However, they have removed four songs from the original score, including the two moms’ duet on parenting, “Anybody Have a Map,” and that is a shame. However, listen closely to the marching band during the pep rally and you will hear that and “Good for You.” “Disappear” and “To Break in a Glove” were also cut.
“Dear Evan Hansen” remains a moving experience, a timeless message for today and a hard-fought journey on acceptance and healing.
“Dear Evan Hansen” is a musical drama directed by Steven Chbosky and starring Ben Platt, Amy Adams, Julianne Moore, Kaitlyn Dever, Nik Dodani, Colton Ryan and Amandla Stenberg. It is rated PG-13 for thematic material involving suicide, brief strong language and some suggestive reference. The runtime is 2 hours, 17 minutes. It is out in theaters on Sept. 24. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Described by the Los Angeles Times as a “cultural phenomenon,” Dear Evan Hansen comes to St. Louis’s Fabulous Fox Theatre Oct. 22 – Nov. 3. In advance of the start of performances, the production announced today that it will host a digital ticket lottery offering fans the chance to purchase a limited number of $25 tickets available per performance.
The digital lottery will begin accepting entries 48 hours prior to the first performance in St. Louis and will be accepted until 9 a.m. local time the day before the performance. Fans who have been selected will be notified daily via email and can then purchase up to two (2) tickets at $25 each. The ticket lottery will continue on a rolling basis for every performance in the engagement. All entrants are encouraged to follow Dear Evan Hansen on Instagram (@dearevanhansen), Twitter (@dearevanhansen) and Facebook (@DearEvanHansen) for additional lottery news and information.
Entrants must be 18 years or older. A valid, non-expired photo ID that matches the name used to enter is required for pickup. Seat locations awarded by the lottery are subject to availability. Additional details and times will be announced in each tour city by the local theatre box office prior to the engagement. Additional lottery requirements can be found at www.luckyseat.com/dearevanhansen.
The winner of six 2017 Tony Awards, including Best Musical, Dear Evan Hansen features a book by Tony Award-winner Steven Levenson, a score by Grammy®, Tony® and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal).
Declared “One of the most remarkable shows in musical theater history” by the Washington Post’s Peter Marks, Dear Evan Hansen opened at the Music Box Theatre to rave reviews on December 4, 2016. There, it has broken all box office records and struck a chord with audiences and critics alike, including New York Times critic Jesse Green, who, in his May 2019 re-review of the show, declared it “more and more ingenious with each viewing. It is more hopeful than ever.”
The Broadway production recently celebrated its two-year anniversary with a special donation to the Smithsonian, where the show’s iconic blue polo and arm cast will now be part of the permanent collection of the National Museum of American History in Washington, DC. A record-breaking US national tour launched in October 2018 and is currently playing across North America, and a limited engagement recently opened at Toronto’s Royal Alexandra Theatre, where it runs through July 21, 2019. The show’s second international production will open in the West End on November 19, 2019 at London’s Noel Coward Theatre.
The Grammy Award-winning Original Broadway Cast Recording of Dear Evan Hansenproduced by Atlantic Records, was released in February 2017, making an extraordinary debut on the Billboard 200 and entering the chart at #8 – the highest charting debut position for an original cast album since 1961 – and went on to win the 2018 Grammy Award for Best Musical Theatre Album. A deluxe version of the cast recording, including six bonus tracks and a pop cover from Katy Perry of “Waving through a Window” is now available digitally.
A special edition coffee table book authored by Levenson, Pasek and Paul, Dear Evan Hansen: through the window (Grand Central Publishing / Melcher) is now available, offering an in-depth, all-access look at the musical, including never-before-seen production photos and cast portraits, behind-the-scenes stories, and a fully annotated script by the authors.
In addition to winning six 2017 Tony awards and a 2018 Grammy Award, Dear Evan Hansen has won numerous other awards, including the 2017 Drama League Award for Outstanding Musical Production and for the off-Broadway production, two Obie Awards, a Drama Desk Award, and two Outer Critics Circle Awards and two Helen Hayes Awards. Dear Evan Hansenis also the winner of the Broadway.com Audience Choice Awards three years running, and was just proclaimed the Best Long-Running Show and the Best Touring Production in the 2019 Broadway.com Audience Choice Awards.
Dear Evan Hansen, produced by Stacey Mindich, features scenic design by David Korins, projection design by Peter Nigrini, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by Nevin Steinberg, and hair design by David Brian Brown. Music supervision, orchestrations and additional arrangements are by Alex Lacamoire. Ben Cohn is the Associate Music Supervisor. Vocal arrangements and additional arrangements are by Justin Paul. Danny Mefford is the choreographer. Casting by Tara Rubin Casting/Xavier Rubiano. Sash Bischoff, Adam Quinn and Danny Sharron are the Associate Directors. Judith Schoenfeld is the Production Supervisor. US General Management 101 Productions.
For more information, please visit DearEvanHansen.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Fabulous Fox Theatre brings the Best of Broadway to St. Louis with the announcement of the 2019–2020 U.S. Bank Broadway Series, including four new musicals that will make their St. Louis debuts. The seven-show season ticket package is headlined by pop culture phenomenon DEAR EVAN HANSEN. The season opens with the winner of four Tony® Awards including Best Revival of a Musical, HELLO, DOLLY!. Get ready to dance into 2020 with SUMMER: THE DONNA SUMMER MUSICAL,followed bythe 2018 Tony® Award Winner for Best Musical, THE BAND’S VISIT. Embark on a mesmerizing joyride through a world of pure imagination with Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY. The memory lives again when CATS, the record-breaking musical spectacular, comes to St. Louis in April and HAMILTON returns to close out the season for a limited five-week engagement! The season also features seven series specials that will include St. Louis’ most “popular” musical WICKED.
HELLO, DOLLY! | October 1-13, 2019
Winner of four Tony® Awards including Best Musical Revival, HELLO, DOLLY! is the universally acclaimed smash that NPR calls “the best show of the year!” and the Los Angeles Times says “distills the mood-elevating properties of the American musical at its giddy best.”DirectorJerry Zaks’ “gorgeous” (Vogue) new production is “making people crazy happy!” hails The Washington Post. Afterbreaking box office records week after week and receiving unanimous raves on Broadway, this HELLO, DOLLY! is now touring America, paying tribute to the original work of legendary director/choreographer Gower Champion – hailed both then and now as one of the greatest stagings in musical theater history. Rolling Stone calls it “a must-see event. A musical comedy dream. If you’re lucky enough to score a ticket, you’ll be seeing something historic. Wow, wow, wow, indeed!”
DEAR EVAN HANSEN | October 22 – November 3, 2019
The much anticipated DEAR EVAN HANSEN, winner of six 2017 Tony® Awards including Best Musical and the 2018 Grammy® Award for Best Musical Theater Album, is coming to St. Louis this fall. A letter that was never meant to be seen, a lie that was never meant to be told and a life he never dreamed he could have, Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. DEAR EVAN HANSEN is the deeply personal and profoundly contemporary musical about life and the way we live it. DEAR EVAN HANSEN has struck a remarkable chord with audiences and critics everywhere, including The Washington Post which says DEAR EVAN HANSEN is “one of the most remarkable shows in musical theatre history.” The New York Times calls it “a gut-punching, breathtaking knockout of a musical.” And NBC Nightly News declares the musical “an anthem resonating on Broadway and beyond.” DEAR EVAN HANSEN features a book by Tony Award-winner Steven Levenson, a score by Grammy®, Tony and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal).
SUMMER: THE DONNA SUMMER MUSCAL | January 15-26, 2020
She was a girl from Boston with a voice from heaven, who shot through the stars from gospel choir to dance floor diva. But what the world didn’t know was how Donna Summer risked it all to break through barriers, becoming the icon of an era and the inspiration for every music diva who followed. With a score featuring more than 20 of Summer’s classic hits including “Love to Love You Baby,” “Bad Girls” and “Hot Stuff,” this electric experience is a moving tribute to the voice of a generation. SUMMER: THE DONNA SUMMER MUSICAL takes us through Donna Summer’s tumultuous life, tempestuous loves and mega-watt musical hits. Spend the night in her electrifying universe.
THE BAND’S VISIT | February 25 – March 8, 2020
Spend an evening in the company of unforgettable strangers at THE BAND’S VISIT—now one of the most celebrated musicals ever with ten 2018 Tony® Awards including Best Musical. And now it’s also a Grammy Award® winner for Best Musical Theater Album. THE BAND’S VISITrejoices in the way music brings us to life, brings us to laughter, brings us to tears, and ultimately, brings us together. In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local café owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her café, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up.
Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY | March 17-29, 2020
Roald Dahl’s amazing tale is now St. Louis’ golden ticket! It’s the perfect recipe for a delectable treat: songs from the original film, including “Pure Imagination,” “The Candy Man,” and “I’ve Got a Golden Ticket,” alongside a toe-tapping and ear-tickling new score from the songwriters of Hairspray. Willy Wonka is opening his marvelous and mysterious chocolate factory…to a lucky few. That includes Charlie Bucket, whose bland life is about to burst with color and confection beyond his wildest dreams. He and four other golden ticket winners will embark on a mesmerizing joyride through a world of pure imagination. St. Louis audiences will experience the wonders of Wonka like never before – with Oompa-Loompas, incredible inventions, the great glass elevator, and more, more, more at this everlasting showstopper!
CATS | April 7-19, 2020
CATS, the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in over 30 countries and 15 languages, is now on tour across North America! Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—”Memory”. Winner of 7 Tony Awards® including BEST MUSICAL, CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Andrew Lloyd Webber (The Phantom of the Opera, School of Rock, Sunset Boulevard), original scenic and costume design by John Napier (Les Misérables), all-new lighting design by Natasha Katz (Aladdin), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom) and direction by Trevor Nunn (Les Misérables) make this production a newCATS for a new generation!
HAMILTON | May 5 – June 7, 2020
HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now. With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s biography of Founding Father Alexander Hamilton.
Series Specials
Seven Broadway specials will be offered to 2019–2020 season ticket holders for priority seating before their public on-sale dates.
The party starts with Jimmy Buffett’s ESCAPE TO MARGARITAVILLE October 18-20, the musical comedy featuring both original songs and your most-loved Jimmy Buffett classics. See what all the noise is about with STOMP November 15-17, now celebrating 25 years in New York City. CIRQUE DREAM HOLIDAZE lights up the Fox stage with its popular and electrifying holiday stage spectacular November 29-30. St. Louis’ most “popular” musical WICKED returns for the holidays December 4-29.JERSEY BOYS will take you from the streets of New Jersey to the Rock ‘n’ Roll Hall of Fame January 30-February 2. RIVERDANCE comes back to St. Louis with a powerful and new 25th Anniversary production February 14-16. Back by popular demand, the Pulitzer Prize and Tony® Award winning show RENT continues to speak loudly and defiantly to audiences February 21-23.
New seven-show season ticket packages will go on sale May 8 at 10 a.m. Current U.S. Bank Broadway season ticket holders will receive their renewal information the week of March 18. On-sale dates for individual shows will be announced later. For more information, please call the Fox Subscription office at 314-535-1700. Groups of 10 or more should call 314-535-2900 for special rates and reservations. The Broadway Series at the Fabulous Fox Theatre is presented by U.S. Bank.
2019 – 2020 U.S. Bank Broadway Series Shows and Specials:
(The Seven Season Ticket shows are in bold)
HELLO, DOLLY! * October 1-13, 2019
Jimmy Buffett’s ESCAPE TO MARGARITAVILLE * October 18-20, 2019
DEAR EVAN HANSEN * October 22 – November 3, 2019
STOMP * November 15-17, 2019
CIRQUE DREAMS HOLIDAZE * November 29-30, 2019
WICKED * December 4-29, 2019
SUMMER: THE DONNA SUMMER MUSICAL * January 15-26, 2020
JERSEY BOYS * January 30 – February 2, 2020
RIVERDANCE New 25th Anniversary Show * February 14-16, 2020
RENT 20th Anniversary Tour * February 21-23, 2020
THE BAND’S VISIT * February 25 – March 8, 2020
Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY * March 17 – 29, 2020
CATS * April 7-19, 2020
HAMILTON * May 5 – June 7, 2020
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Megan Ketcherside
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.