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

By Lynn Venhaus

Virtuoso vocals and transfixing tangos propel the Muny’s grand-scale stylized and dramatic “Evita,” the Andrew Lloyd Webber and Tim Rice classic.

Featuring three of the most expressive voices to grace the outdoor stage this or any season, Katerina McCrimmon is the titular character, Paulo Szot is Argentinian president Juan Peron and Omar Lopez-Cepero is narrator Che, the historic revolutionary born in Argentina. The musical goes through her meteoric rise to power and influence as Argentina’s First Lady.

Through their stunning renditions of the signature songs, the trio earns the audience’s awe and admiration. Notable for their commanding stage presence, technical skills and strong delivery, they flourish in the imposing setting.  

Also standing out were tenor Daniel Torres as the charming Magaldi in “On This Night of a Thousand Stars,” and mezzo-soprano Sabrina Santana poignant as Peron’s mistress, whose heart-tugging “Another Suitcase in Another Hall” is one of the evening’s highlights.

The glamourous and charismatic Evita, who died tragically of cervical cancer at age 33 in 1952, grew from humble beginnings to beloved icon. Marrying Peron in 1945, she became a populist leader after his election in 1946, later described as the “Spiritual Leader of the Nation.”

Paulo Szot and Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

The story starts in 1934 when the poor Maria Eva Duarte was 15. As Evita, she championed the rights of the working class, women and the poor, establishing social programs and instrumental in women’s suffrage. But she also had her detractors, not accepted by the aristocracy.

McCrimmon, who is skilled at bringing the house down, for she toured as Fanny Brice in the most recent revival of “Funny Girl” and her rendition of “Don’t Rain on My Parade” was a highlight of the Fox 2024-2025 Broadway season.

With her tour-de-force delivery, she creates a magical Muny moment with the showstopper “Don’t Cry for Me Argentina.” Image-wise, she’s breathtaking in a shimmering flouncy white ballgown with silver sparkles, standing poised on a stately balcony/staircase representing Casa Rosada, the government seat.

With customary finesse, the Muny’s execution is nearly flawless. Innovative director Josh Rhodes, who also choreographed, had a specific vision and meticulously followed through, collaborating with the associate director and choreographer Lee Wilkins. Natalia Nieves-Melchor is the assistant choreographer and dance captain.

Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

Rhodes’ flair for incorporating novel ideas was evident in “Chess” two years ago, and now, this time.

McCrimmon and Szot are a good match together, first paired in “I’d Be Surprisingly Good for You.” Tony winner as Emile de Becque in Bartlett Sher’s acclaimed 2008 revival of “South Pacific,” his rich, warm baritone is powerful in “The Art of the Possible,” “A New Argentina,” and shows range in the tender “She Is a Diamond.”

A bona fide star in three previous Muny shows, Omar Lopez-Cepero is an exceptional Che. As a cynical commentator, he snarls, he scowls, he expresses his disdain for Evita’s opportunistic and manipulative ways. And his songs are just as passionate.

He’s an observer, Greek chorus, challenger and critic on stage most of the time. Lopez-Cepero’s intensity comes through singing “Oh What a Circus,” “High Flying Adored,” “The Chorus Girl Hasn’t Learned,” “The Money Kept Rolling In” and “Dice Are Rolling,” among others.

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

Lopez-Cepero was memorable in “On Your Feet!”, “The Unsinkable Molly Brown” and “Paint Your Wagon” in recent years, and he owns this role, making his performance unforgettable.

Best of all is music director Ben Whiteley’s brilliant orchestrations and conducting. He has brought out vivid colors in the musical imagery through captivating use of instrumentations.

He exuberantly captures Latin rhythms, jazz influences and pop melodies in the anthemic score.

Each orchestra piece stands out, thanks to the top-shelf skills of the 24-piece orchestra. Their work is exquisite from “A Town Square in Buenos Aires” through 26 more compositions to the finale “Lament.”

Sabrina Santana and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Sound designers David Patridge and John Shivers also enhanced the aural experience.

Adam Koch’s majestic scenic design, accompanied by Paige Seber’s moody lighting design, and Steven Royal’s distinct black-and-white video design, all Muny debuts, create an immersive regal tableau. Fun fact: 20 years ago, Koch was a young assistant stage designer at the Muny. Welcome back!

One of the most eye-catching elements is world-class tango dancers Junior Cervila and Noelia Guerrero – you can’t take your eyes off them. Cervila choreographed the tango-infused numbers.

They are mesmerizing in their first act introduction, then “Waltz for Eva and Che,” the finale, and most beautifully presented in the bittersweet ballad “You Must Love Me.”

From left: Katerina McCrimmon, Noelia Guerrero and Junior Cervila in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Written by Webber and Rice for the 1996 film adaptation, it not only became a stand-alone hit for Madonna, but also won Best Original Song at the 1997 Academy Awards. It has since been incorporated into the show.

 “Rainbow High,” where McCrimmon directs her transformation so that she can be adored and their ‘savior,’ ramping up the “star quality,” is also impressive, as is a feisty, playful “Buenos Aires.”

An articulate 20-person ensemble, representing different social classes, becomes a community, and their movements represent a changing cultural landscape – Rhodes’ vibrant choreography spotlights the country’s sociopolitical changes.

Andrés Acosta, Leyla Ali, Marissa Barragán, Leah Berry, Patrick Blindauer, Jordan Casanova, Marilyn Caserta, Junior Cervila, Devin Cortez, Nicholas Cunha, Kyle de la Cruz Laing, Daniel Alan DiPinto, Kylie Edwards, Noelia Guerrero, Natalia Nieves-Melchor, Zibby Nolting, Arnie Rodriguez, Leann Schuering, Trevor Michael Schmidt, Sharrod Williams and Noah Van Ess are featured – in celebration and in mourning. An ensemble of ten Muny Kids and eight Muny Teens are also incorporated. Shout-out to stage manager Kelsey Tippins.

Omar Lopez-Cepero and the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

First-time costume designer Brian Hemesath brings considerable show business credentials with him – Three-time Emmy winner for “Sesame Street,” 100 digital shorts for The Lonely Island on SNL 2002-2015 and work on Spielberg’s “West Side Story” and John Wick films.

His timeline for Evita’s evolution from peasant to model, radio star, actress and First Lady is a mix of flashy and classy. Wig designer Kelley Jordan’s work is exemplary, complimenting his various looks.

The alluring presentation is not the issue. Webber and Rice’s storytelling is the show’s weakest aspect. Partly because throughout time, Eva has become a historical footnote, and many are not familiar with her controversial story.

Katerina McCrimmon and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Is she a heroine or a villainess? It’s up to you to decide, but the musical’s format is hampered by unsympathetic viewpoints. You also may need a tutorial before you go, if you are unaware of the backstory.

This is not to say that the cast isn’t impassioned, because they are, and are fully committed to giving their all. They try very hard to make it an inspirational touchstone.

I’ve always found this musical cold – even though I invariably admire the performers. After seeing a national tour at the Fox Theatre in 2015 and an equal parts gritty and elegant presentation at the Repertory Theatre of St. Louis in 2018, I’m still waiting for the show to give me a reason to care.

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

Nevertheless, the Muny’s creative teams’ craftsmen and artists have premiered one of the most dazzling productions with precision and clarity. Rhodes and company are authentic in historical context.

(Full disclosure, outside of “Jesus Christ Superstar,” not the biggest fan of Webber-Rice’s main claims to fame. I feel they are more about spectacle and bombast than an emotional investment. I hope for something to move the needle but so far not yet. So, there is that.)

Their ambitious and very theatrical sung-through musical “Evita” became a sensation first in London in 1978, starting with a rock opera concept, transferring to Broadway a year later and becoming the first British musical to win the Tony in 1979.

It made stars of its leads, Patti LuPone and Mandy Patinkin, who won Tony Awards (show nominated for 11, won 7).

From left: Katerina McCrimmon, Daniel Torres, Omar Lopez-Cepero and members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

A 1996 movie starred Madonna and Antonio Banderas, and a 2012 Broadway revival starred Ricky Martin. London’s West End has revived the musical five times, including a current Jamie Lloyd interpretation starring Rachel Zegler.

The Muny debuted the show in 1985, and reprised it in 1989, 1996 and 2001. So, it’s been 24 years since a fresh take.

With its superlative all-around singers and their polished stage presence, “Evita” is a stylish whirl of dance and recognizable musical numbers.

The Muny presents “Evita” July 18 -24 at 8:15 p.m. nightly at the outdoor stage in Forest Park, 1 Theatre Drive.The musical is 2 hours, 20 minutes with an intermission. For more information, visit www.muny.org

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Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

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. AlexanderLeah BerryPatrick BlindauerMatías De La FlorChris HunterDan KlimkoÁngel LozadaDaniel Brooks McRathSydni MoonGrant PaceSarah PansingNicholas PattariniTim QuartierShelby RingdahlMatt RosellGrace Marie RusnicaLiv ShivenerSydney ShortCecilia SnowKyle TimsonNoah 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 BashawAnnemarie Bethel-PeltonRachel ButtramLaurel DantasMary DonaldLea FrostMegan GlassJohn HergetMatthew JellinekJei Mitchell EvensHannah NelsonBrian PezzaValerie ReichertGreta RosenstockPaul RunnionMatthew StansfieldPhilip TouchetteRobert ValentineNicole 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 MermaidTitanicShow BoatLegally 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, EvilElementaryThe Good WifeChicago 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 PoppinsThe Color Purple. Off-Broadway: Vanities. Regional: Disney’s Beauty and The Beast (Belle), A.D. 16, The Amen CornerMacbethInto the WoodsThe Wiz110 in the ShadeSweeney ToddSchool 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: DreamgirlsTorch Song TrilogyAll 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.

By Lynn Venhaus

Noteworthy for its fleet-footed cast and flawless execution, the rip-roaring romp “Clue” is a winning combination at Stages St. Louis.

In its first non-musical presentation since 1989, the company strikes comedic gold with a farcical whip-smart whodunit patterned after the classic murder mystery board game and based on the 1985 movie that has blackmail on the menu. I haven’t laughed this hard at live theater in a long time.

Is Professor Plum the guilty one with the candlestick in the Library or Miss Scarlet with the rope in the Ballroom? We will find out what really happened in this briskly paced 90-minute escapade that connects the charades, deceptions, and secret passageways during an unusual dinner party.

The hilarious hijinks kick off on a dark and stormy night in 1954, in a well-appointed Boddy Manor, located in a remote area of New England.

As the oddball characters cavort through the mansion’s rooms and corridors, this exceptional quick-witted ensemble shows why each performer is at the top of their game, deftly demonstrating skills in slapstick and impeccable comic timing. Together, they are a finely tuned troupe, zany like the original Monty Python’s Flying Circus in movement and delivery. Let the silly walks begin!

Photo by Phillip Hamer.

The six suspects are named according to the familiar game designed by Anthony E. Pratt and first manufactured by Waddington’s in England in 1949. Updated over the years, the current American edition, labeled “classic detective game,” is published by Hasbro, which bought the franchise from Parker Brothers in 1992.

The players’ task is to determine who murdered the game’s victim, in what room the crime took place, and which weapon was used, with cards and miniature props divvied up. Each player, representing a token color, takes on the role of either Colonel Mustard, Mr. Green, Mrs. Peacock, Professor Plum, Miss Scarlett, or Mrs. White, rolls the dice to move around the nine rooms, and collects clues to deduce the correct answer (which are secretly placed in a special solution envelope).

This stage play version, first performed in 2019, was written by Sandy Rustin, whose “The Cottage” opened on Broadway this summer. She adapted the screenplay by Jonathan Lynn (“My Cousin Vinny”), who also directed the movie.

The 1985 film, with Tim Curry playing the butler, was marketed with the gimmick of three different endings, and this version seems to jumble the endings’ best parts – wisely keeping the robustly delivered last line. New material was added by Hunter Foster and Eric Price.

As part of the merry menagerie, Mr. Boddy is the host who has been blackmailing the other dinner guests for years. Jeff Cummings is appropriately condescending and threatening, handing out gift-wrapped weapons to each, spelling out the dangers ahead. When he winds up dead, they become suspects. Their color-coded names are aliases, assigned to prevent real identities being exposed. It doesn’t appear that they are that innocent, and the plot thickens (insert menacing laugh here).

Whodunit? Photo by Phillip Hamer

In a virtuoso performance, Mark Price tickles the funny bone as the butler Wadsworth, a master manipulator who seems to be putting the puzzle together, but whose antics question everything we’ve seen and heard. With his rapid back-and-forth delivery and devil-may-care spirit dialed to 11, he is physically reminiscent of a younger Robin Williams in “Mork and Mindy.” He nimbly seizes control of every scene in the second act, earning breakout applause, and has the audience howling with laughter.

A Broadway veteran, Price is reprising his role from the Paper Mill Playhouse in New Jersey production in January 2022, postponed from a planned bow in ’20, delayed by the pandemic. The original direction by Casey Hushion is noted in the program, and this production is directed with tremendous zeal by Steve Bebout.

Bebout highlights each character’s eccentricities and keeps us guessing as to whodunit. The story structure isn’t as dependent on the characters as it is on the performances, and this cast is a marvel of perpetual motion and goofy quirks to keep us interested.

Could it be the self-important Mrs. Peacock, married to a U.S. senator accused of taking bribes? Flamboyant in blue, Zoe Vonder Haar struts around in fine fashion, exaggerating slurping soup and putting on airs.

Or is it the vampy Miss Scarlett, a smooth operator who runs an underground brothel in Washington D.C.? Diana DeGarmo, who has already impressed at Stages in “Always… Patsy Cline” and “Aida,” continues her hot streak, sashaying in a satiny red gown, sultry attitude to match.

Or the third suspicious woman, Tari Kelly as dramatic Mrs. White, who claims she is innocent in the death of her nuclear physicist husband. However, this international woman of mystery is hiding other secrets and motives, giving off a black widow vibe.

The men project peculiarities and appear not to be very smart, even Professor Plum, whose fall from grace includes a patient’s death. Looking all stuffed-shirt with purple bowtie, Graham Stevens is the annoying agitator.

Colonel Mustard, David Hess, on right. Photo by Phillip Hamer.

As Colonel Mustard, in his medal-detailed military jacket, David Hess seems clueless and not in sync with anyone else, evoking laughs through his obvious befuddlement.
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Mr. Green, who seems rather strait-laced and buttoned-up, has a terrific reveal sequence that is not worth spoiling, for Charlie Franklin brings the house down as this clever chameleon.

The help is mischievous and mystifying, with Lari White sassy and sexy in a skimpy French maid outfit, affecting a spot-on accent, too, and Leah Berry funny as the demanding, no-nonsense cook who doesn’t suffer fools and knows knife skills.

Cameron Jamarr Davis conveys authority and reliability as “The Cop” among other roles, and Cummings re-appears in minor parts as well.

As outstanding as the cast is, the production’s artisans have matched their vigor. Lee Savage’s production design creates rooms Agatha Christie and Sherlock Holmes would have been comfortable in, while lighting designer Sean M. Savoie’s expert shades of illumination provide key shadows and moods. Costume designer Brad Musgrove has captured each character’s personality through a color palette that defines their attire and accessories. Sound designer Beef Gratz’s superb atmospheric contributions make sounds ranging from thunderstorms to creaking doors an integral part of the story.

The zest evident in presentation is this show’s most attractive quality, the sheer thrill of watching a high-wire act without a net. Stages St. Louis leaves us smiling on a summer night, and I’m still chuckling reminiscing about what I saw.

“Clue” at Stages St. Louis. Photo by Phillip Hamer.

Stages St. Louis presents “Clue” from July 21 (previews) through Aug. 20 in the Ross Family Theatre at the Kirkwood Performing Arts Center, 210 E. Monroe St., in Kirkwood, Mo. For more information, visit: https://stagesstlouis.org.

Photo by Phillip Hamer.

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By Lynn Venhaus

This much I know is true: “The Sound of Music,” created during the golden age of musicals — (and the reason it’s referred to as a golden period is crystal clear), is such a crowd-pleaser that it will never fall out of favor.

The Muny’s latest creation of the evergreen 1959 Rodgers and Hammerstein classic drew 7,847 on opening night, and you could feel the joy in the air. With the arrival of Alpine weather in St. Louis, it was also a pleasurable experience outdoors.

By the time Bryonha Marie Parham, as Mother Abbess, finished her powerful and poignant rendition of “Climb Ev’ry Mountain,” which closed the first act, the crowd leapt to its feet with thunderous applause. At curtain call, a hearty standing ovation began early and when Kate Rockwell, radiant as the sunny Maria Rainer, took her bow, the cheers were deafening.

The tension-filled book by Howard Lindsay and Russel Crouse, based on the real-life story of widowed Captain von Trapp of the Austrian Navy, his budding romance with governess Maria, who cares for and tutors his seven children, and how they flee after the Third Reich takeover of their country in 1938, provides dramatic and emotional depth.

Through this last collaboration of influential composers Oscar Hammerstein II and Richard Rodgers, they’ve integrated some of their best songs — The Sound of Music boasts their most popular hits – to guarantee widespread appeal. Then, add the iconic Oscar-winning 1965 film, which cemented its place in pop culture history.

This is the 11th time in 57 years that the Muny favorite has been presented in Forest Park, and the first since 2010. The experienced creative team has honored the beloved musical by not varying from a traditional approach – why mess with a time-honored story or the lush score?  and the lush score but keeping it fresh with rising talent and new outlooks.

Freshened up with rising talent and new outlooks, Director Matt Kunkel has capably emphasized the show’s major arcs of love, faith and courage.

Music Director Ben Whiteley smoothly conducts the velvety string-laden score, reminding everyone why we know all the words and music to “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the title song.

Elizabeth Teeter and Andrew Alstat. Photo by Phillip Hamer.

With many exceptional voices, the ensemble comfortably handles some of the most enduring standards in the American theater.

While some casts are more dynamic than others in Muny productions, striking a delicate balance in tone with nuns and Nazis, the women lead the way here.

And not just on stage, but behind-the-scenes. For the first time in Muny history, Shelby Loera is the lead lighting designer on a show. In 103 seasons. Bravo for breaking that ceiling!

Caite Hevner took charge of the video design and Beth Crandall choreographed the sophisticated party dances and the peppy kids’ numbers. Paige Hathaway was the scenic designer, using the new trees as a backdrop.

Costumes were designed by Tristan Raines, a familiar fashionista at the Muny, and the wedding scene finery was a standout.

As usual, the von Trapp children steal the show. You expect the actors playing Liesl (Elizabeth Teeter), Friedrich (Victor de Paula Rocha), Louisa (Amelie Lock), Kurt (Parker Dzuba), Brigitta (Jillian Depke), Marta (Abby Hogan) and Gretl (Kate Scarlett Kappel) to be endearing, but these kids are not only supremely talented but project professionalism on stage.

And they harmonize beautifully – especially their fun “The Lonely Goatherd” number during a frightening thunderstorm and the always special “So Long, Farewell.”

As the eldest girl, Teeter, daughter of local theater legend Lara Teeter, demonstrated that she is a poised and polished performer wise in years.

She has appeared on Broadway with Helen Mirren in “The Audience” and as Jane Banks in “Mary Poppins,” not to mention cute-friendly roles at the Muny, including Flounder in “The Little Mermaid” and Gretl in the 2010 “The Sound of Music.”

An accomplished dramatic actress, she can be seen as fragile Laura in “The Glass Menagerie” at the Tennessee Williams Festival in St. Louis Aug. 19-29.

With their clear confident voices, Teeter and Andrew Alstat, as Rolf, deliver a strong “Sixteen Going on Seventeen.” Unfortunately, she is saddled with an unrealistic-looking brown wig, an odd choice, which overwhelms her face.

Kate Rockwell, von Trapp children, Michael Hayden. Photo by Phillip Hamer.

Another distraction is that Michael Hayden does not fit the Captain von Trapp role as we’ve become accustomed to over the years –typically imposing and dashing. A Tony nominee for “Judgment at Nuremberg,” who also has Shakespeare credits, Hayden obviously is a noteworthy performer, but something was “off,” and he certainly didn’t click with Rockwell like Georg and Maria should. (I wondered if he was ill? There is usually an underlying reason.). He seemed tentative in spots and wasn’t comfortable with the guitar on “Edelweiss.”

In addition, his suits appeared ill-fitting and the coat of his dress uniform he wore at the wedding was way too long. This is a rare misfire from the Muny costume shop, normally known for their crisp tailoring.

He’s not the worst Captain von Trapp I’ve seen. That distinction goes to the wooden and unprepared George Peppard, yeah the guy in “Breakfast at Tiffany’s,” in 1982. However, I have heard that “Dallas” star Ken Kercheval tops that list in a 1993 version, where he had to use the book.

Costumes were designed by Tristan Raines, a familiar fashionista at the Muny, and the wedding scene finery was a standout.

Two bright spots are fan favorites Jenny Powers and John Scherer. The elegant and statuesque Powers glides across the stage as Elsa Schraeder, also known as the Baroness, and has a lovely duet, “How Can Love Survive?” with Scherer as Max, the cynical impresario.

The pair are an effortless match. Powers has been one of the Muny’s most durable leading ladies – as “Mary Poppins,” Morticia in “The Addams Family,” Abigail Adams in “1776,” Tanya in “Mamma Mia!” and Guinevere in “Camelot,” to name a few.

Scherer, known for his impeccable comic timing, has been in “Kinky Boots,” “Young Frankenstein,” “Spamalot” and “The Addams Family.”

Fine supporting work is carried out by David Hess as the dutiful butler Franz and St. Louis actors Michael James Reed as the imperious and threatening SS officer Herr Zeller, Leah Berry as skeptical head of the postulants Sister Margaretta, April Strelinger as stern housekeeper Frau Schmidt, and versatile Jerry Vogel doing triple duty as the officiating priest at the wedding, Baron Elberfeld and Admiral von Schreiber.

But the show belongs to the delightful Rockwell, so memorable in “Tarzan” and “Beauty and the Beast” during the past decade. She’s a bona fide star, pitch perfect as the spunky and big-hearted Maria. It’s a graceful and winning performance that easily captured the audience’s heart.

Whether it’s a fond childhood memory or a family favorite passed down through generations, “The Sound of Music” pleased the theatergoers ready to be enchanted.

Its inspiration was intact, too – go climb those mountains!

Photo by Phillip Hamer

“The Sound of Music” runs Aug. 3-9 at the Muny outdoor stage in Forest Park. Tickets can be purchased in person at the box office, online at muny.org or by calling 314-361-1900, ex. 1550.

The remaining shows of the 2021 season are Seven Brides for Seven Brothers (Aug. 12 – 18), On Your Feet! (Aug. 21 – 27) and Chicago (Aug. 30 – Sept. 5). Emerson is the season sponsor. For more information, visit muny.org. 

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.  

Jenny Powers and John Scherer. Photo by Phillip Hamer

By Lynn Venhaus
Managing Editor
The game-changing musical “Oklahoma!” is celebrating its 75th anniversary, and Stages St. Louis has honored that legacy with a rollicking hoedown. Their colorful collaboration burns bright with vivid characterizations.
The ensemble’s good cheer emanates. Based on Lynn Riggs’ 1931 play, “Green Grow the Lilacs,” the first book musical by Oscar Hammerstein II and Richard Rodgers focuses on romantic conflicts — between Laurey and her two suitors, Curly and Jud, and Ado Annie and two men she’s drawn to Ali Hakim and Will Parker.
Set on the Oklahoma territory in 1906, the musical reflects both its innocent time and the rugged pioneer spirit, the hands that built America. Director Michael Hamilton conveys a strong sense of community throughout, and the cast does its part, creating dynamic interactions in a small prairie town.

The cast infuses the old-fashioned characters with plenty of personality, making them appealing to a modern audience. The characters don’t remotely resemble any contemporary archetypes, so they remain quaint caricatures, and the ensemble plays them broadly.
Blake Price, Sarah Ellis and Zoe Vonder Haar in “Oklahoma!”As Curly and Laurey, Blake Price and Sarah Ellis have a playful chemistry together as they tussle, clearly meant for each other, and their vocal ease is a high point of the show.
Price sets the tone with “Oh What a Beautiful Morning” and is a convincing charmer in “The Surrey with the Fringe on Top.” Their “People Will Say We’re in Love” is a superb rendition as they project yearning.
Ellis showcases a satiny soprano, outstanding on “Out of My Dreams” with the girls, and flawless both “People Will Say We’re in Love” and reprise.
But then there’s hired hand Jud (versatile David Sajewich), whose undercurrent of menace has some others on edge. Today, he’s viewed as a tragic figure who boils over in frustration and anger, misunderstood. You do feel sympathy for Jud, especially when Sajewich sings “Lonely Room.”
Sparks fly with the comical love triangle between lively Ado Annie, cowboy Will Parker and peddler Ali Hakim, who play their characters strictly for laughs.
Con O’Shea-Creal, with a winning smile and jaunty demeanor as Will, is convivial in “Kansas City,” an ebullient dance number unleashing rodeo spirit!
Newcomer Lucy Moon is the spunky boy-crazy lass Ado Annie and animated Matthew Curiano, with crackerjack comic timing, had the crowd on his side as the charming peddler stuck in the middle.
Zoe Vonder Haar, who has been part of Stages St. Louis for 31 of its 32 years, crackles as Aunt Eller. Her spunky delivery is another bright spot.
Stages’ veterans Leah Berry stood out as Gertie Cummings, with her distinctive laughter, while John Flack as crusty Andrew Carnes and Steve Isom as the lawman Cord Elam capably crafted lived-in characters. In Flack’s case, his shotgun-daddy character is a real “character” – he was straight out of Yosemite Sam’s playbook.
With their first collaboration, the legendary songwriting duo of Rodgers and Hammerstein set the gold standard with their innovations in 1943, seamlessly integrating music, dance, drama and comedy. They changed musical history and won a special Pulitzer Prize for their efforts.
The music effortlessly flows, and each number is crisply delivered and smooth as corn silk. Stuart M. Elmore handled the orchestral design while Lisa Campbell Albert oversaw the music direction.
The robust rendition of the title song brings out the community pride at being settlers in this new land. Since I learned it in fourth grade music class, it has always been one of my favorites, especially with the exquisite harmony and the modulated delivery.
Agnes DeMille’s landmark original choreography is honored by choreographer Dana Lewis. While the Dream Ballet is a beautiful component of this show, it’s a wee bit jarring when the Dancing Curly is a different guy – primo ballet dancer Nicholas De La Vega (who stood out in The Muny’s “Jerome Robbins’ Broadway” this summer) when Dancing Laurey is ballet-trained Ellis. Effortless nonetheless.
With the cast’s vitality shining through, the dance sequences fit the stage well. Costume designer Brad Musgrove has made eye-popping homespun costumes that stand out too.
The intimate staging at the Robert G. Reim Theatre works well for the large ensemble. Scenic Designer James Wolk’s work is stunning. His scrim and set evoked early American paintings and breathtaking vistas of what motivated pioneers to embark on an adventure. Sean Savoie’s exquisite lighting design accented every scene beautifully.
Steeped in Americana, this vigorous “Oklahoma!” honors our country’s love of the land, and our hard-working ancestors who believed in the American Dream and most definitely, the pursuit of happiness.
What a fitting way to end Stages’ 32nd season.
Photos by Tom Sakiyama