Muny’s Heart-Melting ‘Dear Evan Hansen’ Is Beacon of Light in Dark Times

Muny’s Heart-Melting ‘Dear Evan Hansen’ Is Beacon of Light in Dark Times

By Lynn Venhaus

Deeply personal and profoundly moving, “Dear Evan Hansen” grabs our hearts and doesn’t let go.

Sensitively presented by director Rob Ruggiero and perceptively told by an emotionally engaged cast in its powerful Muny and Midwest regional debut, the musical is anchored by an astounding Michael Fabisch, who immediately wins us over as the awkward outcast Evan.

In his star-making turn, the captivating Fabisch, who played Evan on the most recent national tour, projects vulnerability and a remarkable range of feelings as an anxious high school senior struggling to fit in.

He is in nearly every scene — his physical stamina as impressive as the emotional depth he expresses in the signature songs “You Will Be Found,” “For Forever,” “Words Fail,” and “Waving Through a Window.”

Through a series of unfortunate events, Evan finds himself entangled in a web of lies after a troubled classmate’s suicide, which spirals out of control.

Rob McClure (left) and Michael Fabisch in the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

When you first hear that everything is based on a lie, you may have a ‘wait – what?’ reaction. However, Evan’s hard-fought journey of self-discovery resonates. He makes mistakes, and there are consequences, but ultimately, there is hope.

The story asks us not to judge Evan but understand why he created this charade — to comfort a grieving family. Forgiveness is a powerful tool here too.

The spotlight on the anonymous and anti-social Connor Murphy has a beneficial outcome — The Connor Project, a viral movement for inclusion, that grew from the students’ efforts.

Statistics tell us loneliness is at an all-time high. A National 4-H Council survey found that seven out of 10 young people say they struggle with mental health issues. I think this musical can save lives, and if it helps someone reach out, what a wonderful result. It is certain to spark conversations.

From left: Michael Fabisch, Bryan Munar and Joshua Bess in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Even during an intense summer heat wave, a highly attentive audience leaned in, rapt. Sensing that the musical connected to each person in some way, no matter what age, I was struck by the hush of the engaged crowd – except for a few overheard sniffles here and there (understandable, and with me, unavoidable).

Try getting through “So Big/So Small,” a heart-melting vocal by Jackie Burns, who plays Evan’s caring single mother Heidi.  Her husband left when Evan was 7 and has a whole new life in Colorado. She addresses her shortcomings in this tearjerker.

Burns, Broadway’s longest running Elphaba in “Wicked,” is raw and real in her portrayal of Evan’s hard-working, exhausted mom, juggling her job as a nurse’s aide, school classes to become a paralegal, and trying to provide for her son but not always being there for him.

“I knew there would be moments that I’d miss
And I knew there would be space I couldn’t fill
And I knew I’d come up short a million different ways
And I did
And I do
And I will”

Pass the tissues. Not only does this song foster empathy, but the entire show can be viewed as therapeutic/cathartic – and necessary. Oh, the dialogues to follow in homes across America.

Michael Fabisch and Jackie Burns in the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

The show is universally relatable because of its themes of mental health, grief, social anxiety, fear of being alone, yearning for acceptance, and understanding how others feel invisible or unvalidated for who they are.

While the high school setting conveys both despair and wanting to please in an overwhelming digital age, the adults are affected too, as they do ‘adulting’ in an ever-changing playing field where the goal posts keep moving.

Everybody seems to be trying to do the right thing and find their place in the world, flaws and all. That is why the cast’s ability to depict frustration, confusion and joy is felt, landing in every corner of the Forest Park seats. Who wouldn’t want an opportunity for reinvention?

An ensemble peppered with fresh faces and seasoned principal performers tugs hard at the heartstrings as their impassioned voices unite in splendid harmonies. The Act One closer, “You Will Be Found” is an anthem we always need, but more so in our contemporary cold, cruel world.

Standing out in supporting roles – and making their Muny debuts – are Joshua Bess as the anonymous and aggressive Connor, whose apathy may have masked a cry for help, Afra Sophia Tully as his sister Zoe, and Bryan Munar as tech whiz Jared, a family friend who reluctantly helps Evan become an internet sensation.

Savy Jackson in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Savy Jackson, last year’s Ariel in “The Little Mermaid,” is charming as the cheerful over-achieving Alana. Rob McClure, in his ninth Muny show, and his real-life wife Maggie Lakis, also a Muny vet, portray Connor’s parents Larry and Cynthia, pain and sorrow etched on their faces.

Pairing with Fabisch, Bess is light-hearted in “Sincerely, Me,” Tully has a tender duet in “Only Us.” and McClure sentimental in “To Break in a Glove.”

A fusion of musical theatre and pop, the score by composer Benj Pasek and lyricist Justin Paul is well-integrated into the recognizable story by Steve Levenson.

Golden boys Pasek and Paul, the latest EGOT winners (20 and 21st), earned Tonys and a Grammy Award for “Dear Evan Hansen,” an Oscar for “City of Stars” from “LaLa Land,” and the primetime Emmy for the song “Which of the Pickwick Triplets Did It?”, from “Only Murders in the Building” in the episode “Sitzprobe.”

With its beautiful imagery of an idyllic day, indelible poetry about friendship, and haunting melody, “For Forever” hits hard. While it’s a total fabrication from Evan to soothe the Murphys in mourning, it emphasizes Evan’s aching desire for connection.

Michael Fabisch (center) and members of the company of the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

The Muny concept for this show works well – not overpowering with razzle-dazzle but letting the identifiable story with its unforgettable characters be the focus. Ruggiero, in directing his 11th show, has a knack for staging on the outdoor space, and his insight influences the production’s vibrant tempo.

A 17-member cast, with eight principal characters and including “virtual community voices”  – Kaley Bender, Vera Brown, Alex Daspit, Spencer Davis Milford, Zoe Brooke Reed, Essence Anisa Tyler, Noah Van Esse, and Oscar Williams, is expanded to include a 24-person teen ensemble on stage and eight vocalists offstage.

The projection technology, its depiction of social media, and setting the scene locations, helps illustrate the isolation – and the intimacy. Michael Schweikardt’s sleek scenic design, paired with Kevan Loney’s video design, is a terrific visual landscape.

Eschewing the need to open up scenes, Ruggiero has pared them down instead – dining room, bedrooms, school computer lab – with human interaction, strikingly illuminated by lighting designer Rob Denton.

John Shivers and David Patridge’s sound design was effective in its integration of electronic communication as well as delivering crisp vocals in musical numbers.

Michael Fabisch and Afra Sophia Tully in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Music director Roberto Sinha strategically used sumptuous strings and mastered poignant orchestrations by Alex Lacamoire, while Justin Paul’s vocal arrangements added emotional heft. How can you not fall in love with that score?

Costume designer Joseph Shrope outfitted the characters in age-appropriate casual attire, and of course, Evan wore his trademark polo shirts.

The musical, which opened on Broadway in December 2016, won six of the nine Tony Awards it was nominated for in 2017, including Best Musical, Best Book of a Musical, Best Original Score, Best Actor in a Leading Role in a Musical (Ben Platt as Evan), Best Featured Actress in a Musical (Rachel Bay Jones as Heidi), and Best Orchestrations.

It ran on Broadway until Sept. 18, 2022, for nearly six years, including 1,672 regular performances and 21 previews.

Because of its enduring and extraordinary impact, the musical remains a timeless, moving experience. Emphasizing truth, the Muny’s adaptation is worthy of your time and attention – for it speaks from the heart straight to the heart. You are not alone.

The Muny presents “Dear Evan Hansen” July 28 – Aug. 3 on the Forest Park outdoor stage. For more information or tickets, visit www.muny.org.

The company of the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

By CB Adams

Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations. 

“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour. 

Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances. 

To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell. 

As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.  

“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement. 

Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.

As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way. 

“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family. 

The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders. 

This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”

Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com   

Episode 2 of Muny’s ‘Summer Variety Hour Live’ Showcases the Stars Under the Stars

Episode 2 of Muny’s ‘Summer Variety Hour Live’ Showcases the Stars Under the Stars

By Lynn Venhaus
The sights and sounds of nights gone by are such a welcome sentimental journey on the exciting new online Muny Mondays.

But the variety show is not all a “Remember When” montage, and that is what sets it apart. With a fresh batch of pixie dust, the Muny’s second episode of its smash hit Summer Variety Hour Live more than met expectations after such a sensational series launch July 20.

Rob McClure and Maggie Lakis

If you were curious as to how they could top the inaugural show, now that we know the formula, one look at the lineup beforehand answered that quickly. Tony nominee Taylor Louderman singing live under the Culver Pavilion! Tony nominee and fan favorite Rob McClure, versatile veteran of six Muny shows, singing “Suddenly Seymour” with his wife Maggie Lakis, who has been in two Muny musicals, from their home in Philadelphia. McClure’s Muny debut was “Little Shop of Horrors” in 2011, so that was fitting. The cast of 2017’s spectacular “The Little Mermaid,” lead by Commodore Primous III as Sebastian, reuniting to sing a buoyant “Under the Sea.” I mean, the deck was stacked.

The best way to describe the ebb and flow of the carefully curated selection of acts is to compare it to a multi-course gourmet dinner especially crafted to include favorite dishes, comfort food, bold choices and unique taste treats, every bite bursting with flavor.

When the “Wow” factors were unveiled — those unforgettable Muny moments that you will always recall with awe, so grateful to have experienced it in person – they blew me away. It isn’t hard to pick five, ten or 20 out of your head if you are a regular. (We probably share some of the same ones – we’ll have to compare notes).

And this supersonic flash came from two performers I saw in ensembles but did not know their names: Nkeki Obi-Melekwe and Chloe O. Davis. I will never forget them now.

Nkeki Obi-Melekwe

Nkeki soared singing “If You Knew My Story” from “Bright Star” during her time, a selection to reinforce color-blind casting. Nkeki, a Michigan graduate, appeared in the Muny’s 2017 “All Shook Up” and went on to play Tina Turner in “Tina the Musical” in London’s West End in April 2019, then move to Broadway in October.

If you are unfamiliar with “Bright Star,” the musical by Steve Martin and Edie Brickell, it came out the same year “Hamilton” did and lost the Tony Award for Best Musical to the landmark show in 2016.

Chloe O. Davis, a dancer who grew up in St. Louis and was in “All Shook Up” and “The Wiz” in recent years, was featured in “My Tribute to Black Broadway and Black Choreography: I Thrive Now Because You Dared Then,” a dance she conceived and choreographed.

As she used Forest Park as her stage, she gave us a history lesson that stirred “all the feels.” She created the styles of famous black choreographers, using audio and visual clips in addition to her dance moves – East St. Louis’ international icon Katherine Dunham, George Faison, Debbie Allen, Hope Clarke, Gregory Hines, Donald Byrd, Bill T. Jones and Camille A. Brown among them.

Chloe O Davis

Moving. Powerful. Elegant. Truly a shining moment.

A delightful song-and-dance interlude was courtesy of three dynamos Maya Bowles, Trevor Michael Schmidt and Gabi Stapula, whose high-spirited “There’s Gotta Be Something Better Than This” from “Sweet Charity” captured our anxiety and their eagerness to get back to the business of entertaining. These chorus gypsies reminded us how ensemble cohesiveness is so important to any big splashy musical.

Gabi also works with the Muny Teens, and their fun-loving mashup of “Bring On the Monsters” from “The Lightning Thief: The Percy Jackson Musical” and “Drive It Like You Stole It” from “Sing Street” again showcased how talented some local students are – and their sunny dispositions. I’m a big fan of the 2016 movie “Sing Street,” which is writer-director John Carney’s third film about the transforming power of music (“Once” and “Begin Again”), and its stage adaptation was set to open on Broadway in April after rave reviews off-Broadway.

The power ‘hour’ also featured behind-the-scenes stories about what’s happening at The Muny, including being able to pull off the stunning fireworks at the Centennial Gala, and the amusing game show throwback Munywood Squares. With interesting fun facts, hosted by Gordon Greenberg and featuring nine Muny performers in the Zoom grid,  including E. Faye Butler, J. Harrison Ghee, Ann Harada, Raymond J. Lee, Vicki Lewis, Steve Rosen, Jeffrey Schecter, John Scherer and Christopher Sieber. This week’s good sport contestants were photographer Phillip Hamer and Muny company manager Sue Greenberg. Fun remembering the raccoon who waddled on to the stage in “The Addams Family” in 2014!

Taylor Louderman

On an intermittent rainy night, star Taylor Louderman was accompanied by four socially distanced musicians, to sing live the power ballad “Astonishing” from “Little Women.” Always nice to include a female empowerment song, this one from Louisa May Alcott’s timeless and timely heroine, Jo March. From Bourbon, Mo., 60 miles southwest of St. Louis, Taylor went from Muny Teen to Tony nominee as Regina George in “Mean Girls.” She made her Broadway debut in 2012’s “Bring It On!,” has been in seven Muny shows and won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for last summer’s “Kinky Boots.” (And this year, finished her bachelor’s degree that she had started at Michigan in 2009 and was married five weeks ago to Brooks Toth).

The archival footage of past summer shows is a fond trip down memory lane, starting with Muny titans Beth Leavel and Ben Davis in 2015’s “Oklahoma!” Leavel, Tony winner for “The Drowsy Chaperone” and nominee for ‘The Prom,” is a frequent St. Louis Theater Circle Award nominee, winning for her Mamma Rose in 2018 “Gypsy.” Davis, seen last year as Sky Masterson in “Guys and Dolls,” has been nominated multiple times, and once joked during an interview that he is the ‘Susan Lucci’ of the Circle Awards.

Davis was in the now legendary production of “Spamalot” in 2013 as Sir Galahad. Host Mike Isaacson introduced “Always Look on the Bright Side of Life,” which holds the distinction of being the most popular song at funerals, pointing out how weather affected the show. I remember that on opening night June 17, a steady rain was falling after torrential downpours for days preceding it. So, there was little opportunity to rehearse outdoors. The audience for the show opener of the 95th season was so eager to see this Muny premiere that we came in droves with our umbrellas — and were mightily rewarded.

It’s a night I’ll never forget. During the curtain call, actor John O’Hurley, playing King Arthur, stopped the show to introduce Monty Python founder and show creator Eric Idle! Whoops, cheers and thunderous applause! Everyone on their feet. I turned to my companion and said: “We are in the presence of a Python!” Oh, be still my heart. It was pure bliss – he led us in “Always Look on the Bright Side of Life” after mentioning this was the largest audience to ever see the musical and he wanted to see if we could get in the Guinness Book of World Records for our sing-a-long.

Oh, what a night! I had the good fortune to interview John O’Hurley later that fall when he was touring as Billy Flynn in “Chicago,” and we had a pleasant conversation about that enchanted evening.

Another splendid memory was shared with the incredible “We’re in the Money” from the extraordinary 2016 production of “42nd Street,” choreographed by Denis Jones, St. Louis Theater Circle Award winner. That curtain call – go see it on YouTube – as the cast cascaded down a staircase will go down as my favorite (next to “A Chorus Line”) in Muny history.

All these elements are what make summer nights special at the Muny, and spotlighting the world-class talent – from the musical theater majors from the best schools in the country to the stars with Broadway credentials — who come together in Forest Park – is one I like to emphasize. Years ago, seasons were headlined by ‘names’ – mostly from TV – and while recognizable, I much prefer having the best talent possible give us their all on that stage. Drama geek that I am, I read all the bios and notice who returns to the Muny, who creates magic on the stage, or is given the part of a lifetime.

And in that spirit, the Summer Variety Hour Live emphasizes how many parts make each show happen.

And it is a warm, familiar embrace at a time we all need a hug.

On July 20, The Muny 2020 Summer Variety Hour Live! drew more than 30,000 viewers from across the U.S. and around the world. This total sets a new, record-breaking first in The Muny’s live-streaming history.

On July 27, we were connected by the calypso beat of newly crowned EGOT winner Alan Menken, the banjo picking of brilliant Steve Martin, the Britpop synthesizer of ‘80s New Wave, the zaniness of silly comic geniuses, homages to Busby Berkeley and Broadway chestnuts, the triumph of a ‘local’ small-town girl with a dream, sweetness, sincerity, showmances and people who think sitting under those stars in St. Louis is like coming home.

These shows (5 total, 3 left) are exclusive, one-time-only streams and will not be available after the Thursday night airing. The July 30 re-airing will include audio description and captions. The link is: youtube.com/themunytv

The Muny’s online 2020 season is sponsored by World Wide Technology. Episode 1 was made possible by US Bank and Episode 2 by Edward Jones. They announce the next lineup every Wednesday.