‘Jersey Boys’ Uplifting Melodies, Story Hit the Right Notes at the Muny

‘Jersey Boys’ Uplifting Melodies, Story Hit the Right Notes at the Muny

 By Lynn Venhaus

“But the first time the four of us made that sound, our sound, when everything dropped away and all there was, was the music…that was the best,” – Frankie Valli

With its focus on the driven, determined and dynamic brotherhood who became the enduring superstar quartet The Four Seasons, their lively legacy lives on in the Muny’s crowd-pleasing rolling ball of thunder “Jersey Boys.”

A celebrated smash hit around the world, the smartly constructed Tony winner is a can’t-miss bio-jukebox musical because of its vibrant staging, captivating storytelling and unforgettable sound.

Not only featuring a substantial collection of hits, the charming combination of showbiz spectacle and personal struggles connect with generations authentically, garnering empathy, and the group’s hard-won success resonates.

 The rags-to-riches true stories of Frankie Valli (Pablo David Laucerica), Bob Gaudio (Andrew Poston), Tommy DeVito (Ryan Vasquez) and Nick Massi (Cory Jeacoma), blue-color kids from a tough Italian neighborhood in Belleville, New Jersey, are detailed in Marshall Brickman and Rick Elice’s straight-shooting documentary-style book.

Pablo David Laucerica, Andrew Poston, Jerry Vogel_Photo by Phillip Hamer

By presenting four different points of view, they also broke the Fourth Wall, where characters talk directly to the audience, and each one narrates their version. Being wise street guys, their salty dialogue is peppered throughout the two acts. They sure were entertaining, on stage and off.

The writing pair deftly integrated the group’s tough times and glorious moments in between 34 songs, their placement depending on recordings timeline or a means to emphasize real events.

With lead singer Valli’s unmistakable falsetto, songwriter/keyboard player Gaudio’s catchy melodies, De Vito’s guitar, and Massi’s bass, their signature sound sold 175 million records and was an essential cultural touchstone of the 1960s-1970s.

The quartet features three strong actors making their Muny debut. Indefatigable Pablo David Laucerica is a dynamo as legendary Valli, acting “Like that bunny on TV, I just keep going and going and going. Chasing the music. Trying to find our way home.”

Flashing a radiant smile often, Laucerica pours his heart and soul into the songs, and while he superbly delivers upbeat pop and moving ballads equally, one of his best numbers is the heartbreaking “Fallen Angel” about the tragic death of his daughter at 22. Frankie convincingly wrestles with his desire to perform and the need to spend more time with his family.

From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

Poston is appealing as boyish Gaudio, the self-assured songwriting wizard, while Jeacoma adds some fine-drawn heft to his Massi characterization, more than just a quirky figure eliciting laughs as the self-proclaimed “Ringo.” He’s an accomplished ‘Jersey Boys’ veteran (as is Laucerica).

In his second Muny appearance after his scene-stealing turn as the sadistic dentist in “Little Shop of Horrors” in 2023, Vasquez provides the braggadocio and is an imposing figure in his intense portrayal of slick sharp-tongued troublemaker DeVito. It’s a noteworthy muscular performance.

While they took a while to find their rhythm in the musical numbers, the four eventually clicked, their silky-smooth 4-part harmonies gelling along with their snappy movements. In their passionate portrayals, though, they established a fine rapport with each other for an immediate close-knit feeling.

First-time music director Paul Byssainthe Jr. cohesively conducted the 25-piece orchestra, emphasizing a sensational horn section that shines in the upbeat numbers.. The actors playing musicians exhibit some stylish moves.

Choreographer William Carlos Angulo’s larger dance numbers are appropriately peppy, but there is one puzzling dance interlude during a Valli solo, after his daughter’s passing. Nevada Riley, a young female dancer, enters alone, and dances in the dark, no illumination whatsoever – so how many people saw it? Could shadows have been more effective?

Wouldn’t lighting designer Rob Denton have enhanced that? Denton, one of the best in the business, has dramatically illuminated music scenes and intimate interactions effectively here. truly stunning work establishing the scenes..

Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

The Muny’s creative team transports us to the 1960s, from the smoky clubs to humble digs, to a fabled Brill Building recording studio, taping of “American Bandstand,” “The Ed Sullivan Show,” and other milestones in the 1970s and 1990. Set designer Krit Robinson has crafted a simple grid for all the moving pieces, some gritty, some finer quarters.

Costume designer Leon Dobkowski conjures up attractive vintage period pieces and status outfits, with glitzy dance and singing attire getting fancier as the gigs get bigger.

The creative eye-popping video designs by Kylee Loera and Greg Emetaz immerse us in the music business and frame the times. They incorporated hand-held cinema verité footage of interviews with the older Four Seasons, played by Drew Battles, Michael James Reed, and Jerry Vogel. The smooth, seamless integration is some of their best work.

For the Rock Hall induction scene, some members of the audience appeared confused, thinking that the older actors were the real Four Seasons when they came on stage in tuxedos. They stood up cheering, snapping photos. Unfortunately, only two of the actual members are living – Gaudio and Valli, and they were not present. (However, Gaudio did make an appearance in 2018, being introduced one night to the Muny crowd.)

From left: Tristen Buettel, Nevada Riley and Stephanie Gomerez in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | MaryKatherine Patteson

For anyone that considers these timeless songs part of the soundtrack of their lives, this is a nostalgic boogaloo down memory lane. It’s not only Boomer bliss, or for fans only, but other generations can appreciate the universal themes of ambition, friendship, love, disappointment, heartbreak and making your dreams come true.

Director Maggie Burrows presented the major music numbers with panache, especially the back-to-back hits “Sherry” (their first hit in 1962), “Big Girls Don’t Cry,” “Walk Like a Man,” and “Ragdoll.” The ‘earworm’ tunes keep coming in robust fashion — “Let’s Hang On,” “Working My Way Back to You,” “C’mon, Marianne” and “Stay” among them.

Standing out are thrilling interpretations of “December 1963 (Oh, what a Night)” – their last no. 1 hit in 1976, “Can’t Take My Eyes Off of You,” and “Who Loves You,” a rousing finale that had the crowd on its feet – and singing and clapping along to the forever hummable “December 1963” encore/curtain call.

The iconic “Can’t Take My Eyes Off of You,” released in April 1976, has a fascinating backstory that gets its deserving Muny moment. After being turned down, the embattled song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, making it Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You.” Solid gold first time out of the gate as a solo artist.

With an extended ovation and loud cheers for Laucerica’s virtuoso rendition, that reaction indicated it was an audience favorite. And the staging, with its silhouetted horn section, was a nifty touch.

Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel

In fine support are Shea Coffman as record producer and lyricist Bob Crewe (but saddled with an ill-fitting wig), John Leone – who was in the original Broadway cast — as business leader, family man and fixer Gyp de Carlo, Mike Cefalo as Joe Pesci (yes, that Joe Pesci), and Tristen Buettel as Frankie’s first wife, Mary Delgado.

Of course, the ensemble seamlessly plays multiple roles. D’Marreon Alexander, Matt Faucher, Stephanie Gomerez, Reina Guerra, Jimin Moon, Ben Nordstrom, Matt Rivera, and Fernando Trinidad III complete the ensemble, with Kaley Bender and Noah Van Ess as swings.

Currently, the 13th longest-running show on Broadway with 4,642 performances, “Jersey Boys” ran for 11 years from Nov. 6, 2005, to Jan. 15, 2017. In 2006, it won four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design.

As the first theater to present it after the Broadway run, residence companies and national tours, The Muny featured it as a world regional premiere during the 100th year centennial season in 2018, and the joint was jumping.

While this production could have been tighter and crisper (under-rehearsed, affected by oppressive heat, perhaps?), overall, it is a rollicking, entertaining evening.

Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

This quintessential American Dream tale hasn’t lost its luster. Come for the classic hits, enjoy the laughter, delivered vigorously. Humor abounds, so do emotional tugs through their relatable journey navigating the pitfalls of fame and money.

Leaving with enough good vibes to remain uplifted, I haven’t been able to get the songs out of my head since I exited the outdoor Muny stage Tuesday for the final show of the redefining and memorable 107th season.

How lucky we are to be alive right now, connecting with each other through the time-honored tradition of sitting under the stars and seeing Broadway-quality shows Muny-style. Onward and upward for next summer!


The Muny presents “Jersey Boys” from Aug. 18 through 24 at the outdoor stage in Forest Park. It is 2 hours, 20 minutes and has an intermission. This has adult content. For tickets, go to: www.Muny.org or call the box office at 314-361-1900, located at 1 Theatre Drive in Forest Park, or MetroTix at 314-534-8111.

From left: Andrew Poston, Ryan Vasquez, Cory Jeacoma and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer


The 108th Season

The Muny will announce the seven shows in its 2026 season on Dec. 1, which happens to be Cyber Monday. The invitation-only live event will be livestreamed for virtual participation. Time will be announced later.

For the first time, subscribers can renew current tickets or secure new season tickets when they unveil the season 108 lineup.

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From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica with the company of the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel
From left: John Leone, Shea Coffman, Drew Battles, Michael James Reed and Jerry Vogel in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

The Muny’s Glitzy ‘La Cage Aux Folles’ is Musical Comedy a la Mode

The Muny’s Glitzy ‘La Cage Aux Folles’ is Musical Comedy a la Mode

By Lynn Venhaus

Release the serotonin! The Muny goes big with the glitzy, grand feel-good musical “La Cage Aux Folles” that will make you laugh, gasp and cheer as you walk away uplifted.

The ensemble’s ebullience was a joy to behold. Bon Voyage as we head for entertaining escapades in Saint-Tropez.

Over-the-top is the intention of this pizzazzy production — a gleaming spectacle overflowing with vibrant energy, a bonhomie spirit, snazzy style, rousing renditions of composer-lyricist Jerry Herman’s optimistic score, all layered with Harvey Fierstein’s sharp farcical humor.

I’m not sure who was having more fun – the actors on stage or the audience. From the opening introduction on, the crowd was eager to be delighted, its mood palpably upbeat.

I was swept away by two of Broadway’s biggest and brightest stars, Norm Lewis as Georges and Michael James Scott as Albin, who make a dynamic duo, their sumptuous vocals soaring into the full-moonlit night. They appeared to be having the best of times.

Michael James Scott (left) and Norm Lewis in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson

They headline a cohesive cast that’s as committed to excellence as they are – limber in movement, bold and beautiful in appearance, and luminous in song and dance.

Directed with poise and finesse by Marcia Milgrom Dodge, this musical appeals not only in richly textured vocals, but visually with its mélange of Vegas showgirl looks, nods to Moulin Rouge, broad comedy, and dazzling French Riviera setting.

The “Guess Who’s Coming to Dinner?” premise starts with suave Georges, who owns a drag club in the South of France and is in a committed relationship of 20 years with the flamboyant Albin, who is the club’s star drag queen, Zaza.

Georges’ anxious son Jean-Michel (Mason Reeves) pops in for a big favor – he asks that his father pretend to be straight for one night, and his mother figure hidden away, because his fiancé’ Anne (a posh, likable Cameron Anika Hill) has parents that are ultra-conservative. He has invited them to visit.

The priggish future father-in-law Edouard Dindon (Terence Archie) is a well-known right-wing politician opposed to the LGBTQ+ community, and his uptight wife Marie (Allison Blackwell) is all about status. Exposing the same-sex couple could lead to the headline-making shutdown of La Cage Aux Folles (French translation: “The Cage of Madwomen.”)

From left: Troy Iwata, Cameron Anika Hill, Mason Reeves, Terence Archie and Allison Blackwell in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson

The virtuoso Lewis, who commands any stage with his deep baritone, is silky smooth in his tender solo ballads – the reflective “Song in the Sand” and heart-tugging “Look Over There.” A renowned Broadway veteran, he’s also starred in films, TV and on global stages.

Scott, a graduate of The Conservatory at Webster University who is currently playing the Genie in “Aladdin” on Broadway, is a comedic gem as Albin, radiating theatricality and deep devotion to his family, doting on Jean-Michel.

So, he is hurt by having to pretend he is not gay because he proudly accepts himself. As the initial plan falls apart, he shows he’s willing to compromise, a selfless gesture.

Scott brings down the house with his defiant declaration “I Am What I Am,” a powerfully sung anthem that closes Act One with a flourish. The ovation was deafening.

In another signature song, “The Best of Times,” he solos and leads the group in a sing-along that expands from the actors to the audience, about living happily in the present, a catchy, melodic tune with hopeful meaning that closes the show.

Meghan Murphy in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | Emily Santel

Nevertheless, chaos escalates, and hilarity ensues. No matter how many times I’ve seen the movies or the musical gales of laughter are unleashed, and this time was no exception.

The “Masculinity” sight-gag number where Albin tries to act macho, as coached by Georges, is side-splitting, and as the charade eventually collapses in precise physical comedy “Dishes (Cocktail Counterpoint)” provides more belly laughs.

Herman, the legendary composer behind “Hello, Dolly!” and “Mame,” wrote songs that combined humor and heartfelt emotions.

The show features sweet and sentimental moments, with passionate emphasis on acceptance, people trying to hold on to their dignity while others would like to strip it away, and what it means to be a family.

At first sight, I fell in love with the original 1978 French film “La Cage aux Folles,” which was adapted from the same-titled farce by Jean Poiret in 1973. So, when director Mike Nichols teamed up with his old comedy partner Elaine May for a 1996 American remake starring Robin Williams and Nathan Lane, they struck comedic gold with “The Birdcage.” The beloved film has made nearly $200 million at the box office.

The lavish Broadway musical first appeared in 1983, ran for 1,761 performances over more than four years, and was nominated for nine Tony Awards, winning six. It also won for its bigger, bolder revivals in 2004 and 2010.


The Muny premiered the larger-than-life romp in 1986, and now, 39 years later, it’s back with the elaborate splash the largest outdoor theater masters so well.

For her 10th Muny show, Dodge, who imbued a vintage vaudeville vibe to her “Anything Goes” production last summer, leans into the comic calamities in Fierstein’s script, and benefits from a game supporting cast with slapstick expertise.

Norm Lewis (left) and Michael James Scott in the 2025 Muny production of “La Cage aux Folles.” Photo by BreAnna Kay Creative

Troy Iwata, a scene stealer as clog-dancing Ogie in last summer’s “Waitress,” again stops the show with his laugh-out-loud hijinks as Jacob, the couple’s temperamental butler who identifies as the maid. His physical comedy, particularly with the guests’ luggage, combined with his zesty one-liners, are highlights.

Also adept at crisp comic timing is Michael Hartung, who is the nightclub stage manager Francis. This is his 12th Muny show.

In her Muny debut, vivacious Meghan Murphy is chic restaurateur Jacqueline, working the sequins, and providing a solution for a potential scandal. Also making their Muny debuts are the pair playing the pompous Dindons, and Archie and Blackwell dive into their characters’ transformations with glee.

The sparkling ensemble features Leah Berry, Patrick Blindauer, Michael Di Leo, Kylie Edwards, Julia Feeley, Aaron Graham, Cory Hammond, Owen Kent Ing, Madison Johnson, Brian Liebson, Michael Milkanin, Kaylee Olson, Vincent Ortega,  Gordon Semeatu, Duncan B. Smith, Cooper Stanton, Kodiak Thompson, YaYa Vargas, Kyle White, Jonah D. Winston –that includes the sensational Les Cagelles, along with the Teen Ensemble Jayden Jones, Keira Leung, Adaeze Loynd, and Jack Mullen.

The company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson

Richard J. Hinds’ inspiring choreography is the cherries on top of a banana split, with flashy promenades and an eye-popping can-can. The dozen “Les Cagelles” are the super-deluxe gender-bending showstoppers – in their rainbow-hued extravagant costumes and glittering headdresses designed by Bobby Pearce, who evidently knows how to make an entrance.

Their looks were enhanced by Tommy Kurzman’s wig designs and makeup designer Heather Aurora Hardin’s bright palette choices.

Music Director Darryl Archibald elegantly conducted the largest Muny orchestra of the season, and their lush sounds captured the score’s emotional resonance as well as its optimistic fervor. Jim Tyler is credited with the orchestrations, and Don Pippin supervised music and arranged vocals. G Harrell arranged dance music.

The stellar creative team collaborated on a 42-year-old show that could be considered an old-fashioned traditional musical – but its freshness and lively interpretation is everlasting. Matthew Buttrey’s scenic design featured ornate risque décor and an austere church-like atmosphere for deep contrasts, while Jason Lyons’ colorful lighting design added glamour, and Kylee Loera and Greg Emetaz video designs filled in locale flavor

Terence Archie and the company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson

With its thoughtful themes of family, acceptance and tolerance, this warm and wonderful show is not just flashy fluff, but also shines with authenticity..

In a world that doesn’t always value diversity in families, this musical amplifies real family values. After all, love is love is love is love.

The Muny presents “La Cage Aux Folles” from Aug. 8 to 14 nightly at 8:15 p.m. on the outdoor stage in Forest Park. Its runtime is 2 hours and 30 minutes with a 15-minute intermission. With its adult themes and situations, it is considered suitable for adults and teenagers. For more information, visit www.muny.org.

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The company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | Emily Santel

The Muny Visualizes Storytelling with Lasers, Projections in ‘Frozen’

The Muny Visualizes Storytelling with Lasers, Projections in ‘Frozen’

When Disney’s Frozen opened Sunday night on the James S. McDonnell Stage in Forest Park, the production debuted cutting-edge digital mapping projections, lasers and other technologies never before used at The Muny.

These stunning, cinematic innovations blend seamlessly with The Muny’s three existing LED walls, hand-painted scenery and other more traditional storytelling techniques to transport theatregoers to the kingdom of Arendelle.

The Muny premiere of Disney’s Frozen is presented by Edward Jones and runs through July 14. Performances begin at 8:15 p.m. nightly.

“This is Muny history — it’s another game changer for the kind of storytelling we’re able to do,” said Muny Artistic Director & Executive Producer Mike Isaacson. “I’m so grateful to our lighting department, led by Rob Denton, our set designers and our creative team for their two-year effort on this production. I’m gobsmacked by the results. St. Louis must come see this magical creation.”

🎥 Watch video from opening night of Disney’s Frozen

Digital mapping projection transforms ordinary surfaces into dynamic display areas by projecting video or other visual content onto them. For Disney’s Frozen, four 40,000-lumen laser projectors at the back of the theatre are used to create snow, ice, wind and other effects on the booms, stage floor and other pieces of scenery designed by Tijana Bjelajac. The two sets of booms — The Muny’s handpainted backdrops that open and close — are 72 feet wide and 23 feet high.

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

“On a Broadway show, projectors are typically about 20,000 lumens,” said Rob Denton, lighting department lead at The Muny. “But these projections are traveling a distance of about 400 feet, and the images are being laid on top of one another to achieve the intensity we need to be visible before sunset.”

The use of projections at The Muny has been in the works for about two years, and the technology is integrated with existing onstage automation systems — the digital images are able to track the movement of the booms, the turntable and other elements.

In addition to projections, four powerful lasers — positioned onstage and focused on structures at the back of the theatre — help to underscore key magical moments in the production. These lasers are significantly brighter than those typically seen in theatrical or concert settings.

Because The Muny sits beneath multiple flight paths for nearby airports, the use of lasers required approval from the Federal Aviation Administration.

“We’ve known for a few years that Disney’s Frozen was coming down the pipeline, so we took steps early to hit the benchmarks we needed to be able to pull this off,” Denton said. “It’s exciting that we’re ready to make that leap and that we have the right production to debut this technology.”

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

The lighting/video team for the Muny production of Disney’s Frozen includes Jason Lyons (lighting designer), Kylee Loera (projection/video designer), 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).  

Disney’s Frozen is led by John Tartaglia (director). The Muny artistic staff includes Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production). 

Projectors were rented from St. Louis-based Gateway Studios & Production Services. Lasers are rented from Squeek Lights.

The successful introduction of projections and lasers in Disney’s Frozen opens the door to incorporate this technology in future Muny productions.

Over the years, The Muny has continually evolved with the times and technology — from pioneering a revolutionary 48-foot turntable in 1930 to installing its first LED wall in 2012, and culminating in a 2018 stage rebuild that introduced three LED walls, automation tracks to move scenery, and a cutting-edge lighting system designed to deliver both grand spectacle and intimate storytelling. In 2024, the sound system was upgraded, ensuring that each note of every show is crystal clear — from the boxes to the free seats.

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

About Disney’s ‘Frozen’

Full of magic and humor, Disney’s Frozen features beloved songs from the Oscar-winning 2013 film, along with a dozen new songs written for the stage. In the kingdom of Arendelle, sisters Anna and Elsa grow increasingly distant. When Elsa becomes queen and her hidden powers spiral out of control, she flees, plunging the kingdom into an eternal winter. Determined to bring Elsa home to the castle, Anna embarks on an epic adventure with friends. It’s a powerful tale of sisterhood, acceptance and the meaning of true love. Disney’s Frozen includes music and lyrics by Kristen Anderson-Lopez and Robert Lopez, with a book by Jennifer Lee.

Season 107 at The Muny also includes Evita (July 18-24), Dear Evan Hansen (July 28-Aug. 3), La Cage aux Folles (Aug. 8-14) and Jersey Boys (Aug. 18-24).

Single-performance tickets start at just $21 and are on sale now at muny.org or metrotix.com, by calling (314) 534-1111 and at the Muny Box Office, located at 1 Theatre Drive in Forest Park.

A 20% group discount is available for parties of 15 or more. To start the free reservation process, visit muny.org/groups or call (314) 595-5708.

Visit muny.org/frozen to read content notes and more for Disney’s Frozen; watch In Focus , a Muny original series; and hear Muny Unscripted, a new podcast available exclusively on Spotify. 

About The Muny

Now in its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.

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

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer