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

Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

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

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

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

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

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

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

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

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

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

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

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

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

Principal Cast Bios

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

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

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

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

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

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

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

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

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

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

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

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

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

Les Miz Broadway revival 2014

About the Show

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

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

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

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

About The Muny

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

Muny Offers Special Holiday Video Series Featuring Many Favorites

Muny Offers Special Holiday Video Series Featuring Many Favorites
After a record-breaking online summer season, The Muny announced today Muny Holiday Magic. A special four-day holiday video series, Muny Holiday Magic will feature performances from Muny family across the country, including The Muny Kids and Teens. Each free pre-recorded performance will air daily at 12:00 p.m. CST Dec. 21 – 25 via The Muny’s social media platforms, including Facebook, Instagram, Twitter and YouTube.

The Muny Holiday Magic schedule is:

Dec. 21 – Members of The Muny Kids and Teens performing “Underneath the Tree.”
Dec. 22 – Members of The Muny Kids and Teens performing “The Chanukah Song (We Are Lights).”
Dec. 23 – A medley of “The 12 Days of Quarantine” and “Have Yourself a Merry Little Christmas” featuring Broadway and The Muny’s Jason Gotay, Mamie Parris, Nasia Thomas, St. Louis favorites and more than 30 Muny family from coast to coast.

“The 12 Days of Quarantine” features original lyrics written by Gordon Greenberg and Steve Rosen and stars Muny 2020 Summer Variety Hour Live! favorites Maya Bowles, Stephen Buntrock and Erin Dilly with their family, Beth Crandall, Chloe O. Davis, Colby Dezelick, Emma Gassett, Jason Gotay, Matt Kunkel, James T. Lane, Raymond J. Lee, Mamie Parris, Tony Scandora, Trevor Michael Schmidt, Jack Sippel, Blakely Slaybaugh, Gabi Stapula and Nasia Thomas, with music direction by Michael Horsley, orchestrations and arrangements by Andrew Graham, video editing by Matthew Young and many more surprises.

“Have Yourself a Merry Little Christmas,” The Muny’s take on the Meet Me In St. Louis classic, stars St. Louis favorites Leah Berry, Patrick Blindauer, Duane Martin Foster, Zoe Vonder Haar, Julie Hanson, Kennedy Holmes, Kamal Lado, Ben Nordstrom, Rich Pisarkiewicz and April Strelinger, with music direction and arrangements by Michael Horsley, video editing by Matthew Young, sound design by Bill Buzan and video captured by Switch.

Dec. 24 – Broadway, West End and Muny star Ken Page reading the timeless holiday classic The Night Before Christmas. “The voice” of not only The Muny, but also Oogie Boogie in The Nightmare Before Christmas, Ken has been a Muny staple in over 40 productions.

On Dec. 25, a compilation of the four shows will air as a complete package. Each holiday video will be available until midnight Dec. 31, 2020.
The Muny Box Office. Photo by Julia Merkle

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.
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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 largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org

‘Indecent,’ ‘Creve Coeur,’ New Jewish Theatre Are Big Winners at Eighth Annual St. Louis Theater Circle Awards Ceremony

‘Indecent,’ ‘Creve Coeur,’ New Jewish Theatre Are Big Winners at Eighth Annual St. Louis Theater Circle Awards Ceremony

            COVID-19 Pandemic Results in Production Streamcast by HEC Media

New Jewish Theatre led the way with six awards at the eighth annual St. Louis Theater Circle Awards ceremony on Tuesday, April 7, 2020. Max & Louie Productions’ performance of Indecent garnered five awards, followed by four awards to The Tennessee Williams Festival St. Louis for its production of A Lovely Sunday for Creve Coeur.

Because of the COVID-19 pandemic, the Circle’s gala event for this year’s award ceremony, originally scheduled for March 30, 2020 at the Loretto-Hilton Center, was canceled. Instead, HEC Media produced a version of the ceremonies that was streamcast on HEC Media’s Facebook page (https://www.facebook.com/hectv/live/) as well as telecast on Spectrum channel 989 and AT&T U-verse channel 99. Here is the YouTube link: https://www.youtube.com/embed/tCo0AFHbChE

Awards were given in 31 categories covering comedies, dramas and musicals as well as two categories for opera. In addition, Ken and Nancy Kranzberg received a special award for their philanthropic contributions to the arts and theater in the St. Louis area, including many developments in Grand Center. The awards honored outstanding achievement in locally produced professional theater for the calendar year 2019.

A total of 21 productions and 14 companies were recognized by the awards, including eight individuals who have received honors in previous years. Will Bonfiglio, honored as Outstanding Actor in a Comedy for his performance in New Jewish Theatre’s production of Fully Committed, received an award for the third time in the last four years.

The 2020 presentation featured nominees from two companies, Black Mirror Theatre and The Q Collective, which were represented for the first time in consideration of St. Louis Theater Circle Awards.  Each company received an award for outstanding achievement.

In all, 25 local companies received nominations in 33 categories for comedy, drama, musical and opera, as well as 125 individuals up for awards. Honorees who have previously received St. Louis Theater Circle Awards include Will Bonfiglio, J. Samuel Davis, Kari Ely, Michael Hamilton, Patrick Huber, Sean M. Savoie, Margery and Peter Spack, and Maggie Wininger.

The mission of the St. Louis Theater Circle is simple: To honor St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington D.C., pay tribute to their own local theatrical productions with similar awards programs.

Nominations for the St. Louis Theater Circle Awards were divided into categories for musicals, dramas, comedies and operas.  More than 120 local professional theatrical productions were staged in the St. Louis area in 2019.

Honorees of the eighth annual St. Louis Theater Circle Awards are:

Outstanding Ensemble in a Comedy

A Lovely Sunday for Creve Coeur, Tennessee Williams Festival St. Louis

Outstanding Supporting Actress in a Comedy

Kelley Weber, A Lovely Sunday for Creve Coeur, Tennessee Williams Festival St. Louis

Outstanding Supporting Actor in a Comedy

Patrick Blindauer, Love’s Labors Lost, Shakespeare Festival St. Louis

Outstanding Actress in a Comedy (tie)

Katie Kleiger, Pride and Prejudice, Repertory Theatre of St. Louis

Maggie Wininger, A Lovely Sunday for Creve Coeur, Tennessee Williams Festival St. Louis

Outstanding Actor in a Comedy

Will Bonfiglio, Fully Committed, New Jewish Theatre

Outstanding Director of a Comedy

Kari Ely, A Lovely Sunday for Creve Coeur, Tennessee Williams Festival St. Louis

Outstanding Production of a Comedy

Brighton Beach Memoirs, New Jewish Theatre

Indecent

Outstanding Ensemble in a Drama

Indecent, Max & Louie Productions

Outstanding Supporting Actress in a Drama

Carly Uding, Translations, Black Mirror Theatre

Outstanding Supporting Actor in a Drama

J. Samuel Davis, District Merchants, New Jewish Theatre

Outstanding Actress in a Drama

Donna Weinsting, Salt, Root and Roe, Upstream Theater

Outstanding Actor in a Drama

Gary Wayne Barker, District Merchants, New Jewish Theatre

Outstanding Director of a Drama

Joanne Gordon, Indecent, Max & Louie Productions

Outstanding Production of a Drama

Indecent, Max & Louie Productions

Outstanding Set Design in a Play

Margery and Peter Spack, Brighton Beach Memoirs, New Jewish Theatre

Outstanding Costume Design in a Play

Felia Davenport, District Merchants, New Jewish Theatre

Outstanding Lighting Design in a Play

Patrick Huber, Indecent, Max & Louie Productions

Outstanding Sound Design

Phillip Evans, Indecent, Max & Louie Productions

Outstanding Set Design in a Musical

Mary Engelbreit and Paige Hathaway, Matilda, The Muny

Outstanding Costume Design in a Musical

Sarah Porter, La Cage aux Folles, New Line Theatre

Outstanding Lighting Design in a Musical

Sean M. Savoie, Man of La Mancha, Stages St. Louis

Outstanding Musical Director

Charles Creath, Don’t Bother Me, I Can’t Cope, The Black Rep

Outstanding Choreographer

Dexandro Montalvo, Such Sweet Thunder, Shakespeare Festival St. Louis,

Big Muddy Dance Company, Jazz St. Louis, Nine Network of Public Media

Outstanding Ensemble in a Musical

Matilda, The Muny

Outstanding Supporting Actress in a Musical

Taylor Louderman, Kinky Boots, The Muny

Outstanding Supporting Actor in a Musical

Tielere Cheatem, La Cage aux Folles, New Line Theatre

Outstanding Actress in a Musical

Kendra Kassebaum, Guys and Dolls, The Muny

Outstanding Actor in a Musical

Luke Steingruby, Hedwig and the Angry Inch, The Q Collective

Outstanding Director of a Musical

Michael Hamilton, Man of La Mancha, Stages St. Louis

Outstanding Production of a Musical

Such Sweet Thunder, Shakespeare Festival St. Louis,

Big Muddy Dance Company, Jazz St. Louis, Nine Network of Public Media

Outstanding New Play

Nonsense and Beauty, by Scott C. Sickles, Repertory Theatre of St. Louis

La Boheme

Outstanding Achievement in Opera (tie)

Terence Blanchard and Kasi Lemmons, Fire Shut Up in My Bones, Opera Theatre of Saint Louis

Roland Wood, Rigoletto, Opera Theatre of St. Louis

Outstanding Production of an Opera

La Boheme, Union Avenue Opera

Special Award

Ken and Nancy Kranzberg

Members of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Michelle Kenyon, snoopstheatrethoughts.com; Gerry Kowarsky, Two on the Aisle (HEC Media); Chuck Lavazzi, KDHX; Sarah Bryan Miller, St.Louis Post-Dispatch; Judith Newmark, judyacttwo.com; Ann Lemons Pollack, stlouiseats.typepadcom; Tanya Seale, Broadwayworld.com; Lynn Venhaus, PopLifeSTL.com; Bob Wilcox, Two on the Aisle (HEC Media); and Calvin Wilson, St. Louis Post-Dispatch.Eleanor Mullin, local actress and arts supporter, is the group’s administrator. 

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ The St. Louis Theater Circle on Facebook.

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‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

By Connie Bollinger
Contributing Writer
Full disclosure: I ordinarily don’t enjoy audience interactive productions However, “Flanagan’s Wake,” playing now through March 21 at the Playhouse at Westport Plaza, proved to be a delightful exception.

Part improv, part scripted, part interactive,”Flanagan’s Wake” tells the story of an Irishman’s funeral and the family and friends who come together in an Irish pub to toast him on his way to paradise.  

Already a long-running smash hit in Chicago, Emery Entertainment has moved the interactive play to St. Louis, where the locals memorialize his passing with plenty o’ pints, zany sing-a-longs and witty tales.

There’s a priest, of course, dear Father Damon Fitzgerald, played by Alan Knoll, whose penchant for sacrilege and gambling is well presented. Knoll tells a thumping good story about the deceased and about an unknown Apostle named Kevin.

Alan Knoll as Father Fitzgerald. Photo by John Flack

Mother Flanagan is there, an ancient, salacious, Gaelic speaking old blister, played to perfection by Bill Burke. Mayor Martin O’Doul (Lynn Berg) hosts the gathering, as it’s his Pub after all.

Brett Ambler is Brian Ballybunion, a fun-loving handsome young man with big dreams. Dustin Petrillo plays Mikey, Teresa Doggett is Kathleen Mooney, the Irish Pagan, and Jennifer Theby-Quinn is Fiona Finn, Flanagan’s long-time fiance.

Music Director Charlie Mueller commands the pub piano, accompanying some of the most surprising songs we’ve ever heard, and three patient bartenders (Janelle Pierce, Sean Seifert, and Matt Billings) round out the cast, along with Patrick Blindauer playing the accordion.

The assembled audience are the cousins and friends come to participate in Flanagan’s send-off.

A romp of this magnitude requires a talented director and an equally skilled stage manager. Luckily, Director Lee Anne Mathews and Stage Manager Emily Clinger are up to the challenge, keeping the action moving along at a break-neck pace but never giving us the feeling of being rushed. 

The cast of “Flanagan’s Wake” are Improv wizards. Brett Ambler creates a wonderfully funny song out of thin air right before our eyes. Theresa Doggett’s Pagan Kathleen tells a  tale of a visit from the “Little People”  that is both surprising and, I’m sure, mostly improvised.

The Mayor, Lynn Berg, also spins a yarn about Flanagan that incorporates audience suggestions and never misses a beat; but for me, the favorite is Jennifer Theby-Quinn’s Fiona, the long suffering, hard drinking, short-tempered fiance whose Banshee;like wails of grief will literally make your ears ring. Fiona throws herself on Flanagan’s casket at every opportunity, causing brother Mikey (Dustin Petrillo) to have to wrestle her off kicking and screaming. 


Some of you may remember Ms Theby-Quinn in Westport’s production of “Avenue Q,” where she played Kate Monster and Lucy the Lounge Singer. Indeed, much of the cast of “Flanagan’s Wake” have St. Louis connections.

Teresa Doggett (Kathleen) recently appeared in “Pride and Prejudice” at the Rep and is also the resident Costume Designer for the Union Avenue Opera.

Jennifer Theby-Quinn as Fiona Finn. Photo by Jack Flack

Bill Burke (Ma) comes to the Playhouse from St. Louis’ own Stray Dog Theater where he recently played in “The Tempest” and “Macbeth.”  Patrick Blindauer has appeared in movie and television productions as well as several productions at the Muny.  Brett Ambler played Brian in “Avenue Q” last year at Westport, and  Dustin Petrillo’s St. Louis credits include Myriad Productions’ “Heathers the Musical” where he played JD.

“Flanagan’s Wake” is irreverent, loud, sarcastic, and delightful — just like family.  

The Playhouse @Westport presents “Flanagan’s Wake” Jan. 24 through March 21. Performances run Thursdays, Fridays and Saturdays at 7:30 p.m., with a special Tuesday, March 17, St. Patrick’s Day performance. Tickets are available at www.metrotix.com or at the box office one hour prior to show time. Groups of 10 or more should call 314-616-4455 for special rates. The Playhouse is located at 635 Westport. Visit www.playhouseatwestport.com for more information.

Theresa Doggett and Dustin Petrillo dance. Photo by John Flack.


Take Ten with Patrick Blindauer

Take Ten with Patrick Blindauer

By Lynn Venhaus
Managing Editor
Rain, heat, humidity and bugs. Acting on outdoor stages brings its own set of
problems, which Patrick Blindauer knows first-hand. He performed in three shows
this summer, kicking off the season with Shakespeare Festival St. Louis as
Costard in “Love’s Labors Lost,” then moving on to the Muny in “1776” and
“Footloose.”

“I’ve never been as aware of the weather as I am when
working outdoors. If I see it’s going to be hot, I have to make sure to start
hydrating an hour or so beforehand. I’m also a big proponent of sunscreen and
bug-spray,” he said.
An above-average rainfall has wreaked havoc on performance schedules, and recently,
an extreme heat wave has made performing outdoors a challenge. In “Footloose,”
he is rocking a permed mullet as Coach Roger Dunbar. Although when the weather
broke, Monday’s crowd was the highest of the season – a beautiful night at the
Muny.

“Footloose” is the third time he is working in a show with his wife, Rebecca Young.

“First was “My Fair Lady” at Stages St. Louis and then there was “Annie” at the Muny last year (She played Warbucks’ maid Mrs. Pugh, he was Bundles – picking up the laundry at the orphanage). This year we’re actually playing husband and wife (Eleanor Dunbar, who is on the Bomont school board),” he said.

Young is a veteran of regional and national stages. She toured in “The Producers” and the Radio City Christmas Spectacular, appeared in “Carnival!” at the Kennedy Center and at Stages St. Louis in “Fiddler on the Roof” and “On the Town,” in addition to the “My Fair Lady,” where she met Patrick. They have been married for eight years and have one daughter, Magnolia, aka Maggie, who is 3 years old.

Blindauer graduated from the Conservatory of Theatre Arts at Webster University and moved to New York City in 1998. He can be seen in the Oscar-winning “A Beautiful Mind” – he had one line — and was on seven episodes of “Strangers with Candy,” a Comedy Central series that ran for three seasons. Never mind working with Russell Crowe. What was working with Amy Sedaris like?

“She’s awesome. So sweet off-camera, but such a cut-up on
the set. She would have an idea for a moment and do a couple of different takes
so they could pick later. I’m so glad she’s having continued success,” he said.

The Rime of the Ancient Mariner presented by Upstream Theater at Kranzberg Arts Center in St. Louis, MO on April 9, 2015.

He returned to St. Louis in 2011 and became known for an eclectic body of work. He is versatile enough to join Jerry Vogel in the intense drama “The Rime of the Ancient Mariner” at Upstream Theater and to cavort as the accordion-playing Cheshire Cat in the musical “Wonderland: Alice’s Rock and Roll Adventure” at Metro Theatre Company last holiday season.

Besides this year’s Shakespeare Festival, he has worked
with the group in last year’s “Romeo and Juliet,” as part of the prologue and
played Peter and the Apothecary. He was in the Festival’s “Shake in the Streets”
original “Twelfth Night” take “The World Begun,” performed in north St. Louis in
September 2015.

He thinks the festival is one of the city’s best summer
traditions.

“It’s incredible. Where else can you have a picnic and
watch free Shakespeare under the stars with thousands of other people?” he
said.

Patrick Blindauer as Costard in “Love’s Labors Lost”His performance as Costard in “Love’s Labors Lost”received rave reviews from theater critics. A comic character, he is a country bumpkin who is arrested for not adhering to the king’s proclamation that all men of the court avoid the company of women for three years.

He enjoyed portraying Costard and the opportunity to work with executive producer Tom Ridgely, who directed for the first time after moving here last year.

“Costard is such a fun role. He’s a clown who also figures into the plot, and I was given lots of freedom to play around, which I appreciated,” he said. “Tom speaks the speech very well, and I thought that he fostered a collaborative, congenial atmosphere in the rehearsal hall. I’d love the chance to work with him again.” Another fun role was the iconic Cowardly Lion in “The Wizard of Oz” for the Variety Theatre in 2017. He will return in this year’s “Mary Poppins,” set for the Touhill Center for the Performing Arts Oct. 18-20 and 25-27. The Variety Children’s Charity sponsors an annual musical that includes children with physical and developmental disabilities working with professional actors.

The Variety Theatre’s “The Wizard of Oz” in 2017“Variety is an amazing organization, one that truly
transforms lives, and their yearly musical is a thing of beauty. ‘Oz’ was a ton
of fun and working with those kids and Lara (Teeter) was a real treat. I can’t
say anything about ‘Mary Poppins’ quite yet, I’m afraid,” he said.

Returning to the Muny the past few seasons has been a pleasure, he said.

His first role at the Muny was in “42nd Street” in 2016 – well, actually three, as Mac, Thug and Doctor. He performed several parts in last season’s “Annie” and “Singin’ in the Rain.”

He was cast as Samuel Chase, a representative of Maryland
in the Continental Congress, in “1776,” which was a special experience for him.

“I was actually born on the 4th of July, and I’m named
after Patrick Henry, so anything patriotic definitely catches my attention.
I’ve been a big fan of the movie for many years, and this is my second
production, having previously played Lee,” he said.

Patrick as Samuel Chase is second from left. Photo by Phillip HamerThe Muny’s closing performance of “1776” was on July 3, but because of a rain delay, the actors actually signed the Declaration of Independence on stage on July 4 – very cool because it was not only our real Independence Day, but Patrick’s birthday too.

He was looking forward to working with two-time Tony winner Christian Borle as director of “Footloose,” making his Muny debut. (This interview was done before the show rehearsals had begun).

“Oh my God, I can hardly believe it. I will have to refrain
from pinching myself constantly,” he said.

He has ventured out of St. Louis, too, portraying Horton in “Seussical” this spring at the Lyceum Theatre in Arrow Rock, Mo., part of their theater for young audience program.

“The World Begun” Shake in the Streets with Marlene Coveyou

Being a working actor in St. Louis means side gigs, too.
His day job is quite impressive, however, and has gained him national
recognition.

He is a professional crossword puzzle constructor, publishing more than 60 in the New York Times, including a week-long contest similar to his Puzzlefests.

He has had work published in USA Today, Washington Post, Wall Street Journal, Crosswords with Friends and the GAMES magazine.

He is one of the 10 constructors featured in Will Shortz’s
Favorite Puzzlemakers. He cohosts the crossword tournament Lollapuzzoola, which
takes place in NYC every year on a Saturday in August. He also writes for the
American Crossword Puzzle Tournament.

A proud word nerd growing up, he began his lifelong love of puzzles from the time his mom bought him Mr. Light and his dad shared his Games magazines, he said. The theater bug bit hard in junior high school.

But he didn’t take up solving crosswords until the summer
of 2004.

“I quit smoking cigarettes and wanted something else to do
with my free hand, so I took up solving. After about a year, I tried to make
and sell one, which was much harder than I’d imagined,” he said. “My first
puzzle was published by the New York Times on July 21, 2005 (a Thursday).”

He is considered a clever puzzle writer by the industry and fans.

“I just try to make fun puzzles, puzzles that push the
envelope and revolve around a theme or gimmick that I would find exciting to
discover as a solver. I like to break the crossword rules and surprise solvers
or give them a real aha moment,” he said.

You can find more about his work at his website,
www.patrickspuzzles.com

The Rime of the Ancient MarinerQUESTIONS WITH PATRICK BLINDAUER 1. Why did you choose your profession/pursue the arts?

 “My first production
was ‘Oliver!’ when I was 12, and it was truly a family affair: I played the
Artful Dodger, my dad played Fagin, my sister was an orphan, and my mom helped
with costumes. I loved the sense of community and the feeling of working
together toward a common goal — I still do.’

2. How would your friends describe you?

“Probably as someone who likes to make people smile,
whether that means telling a joke or a story, being silly, or giving them my
latest crossword to try.”

3. How do you like to spend your spare time?

“As the father of a three-nager, my spare time lately is
taken up by playing make believe, going to the park or library, and reading
books. I also enjoy letterboxing, which involves following clues and going on
hikes to find hand-carved rubber stamps.”

4. What is your current obsession?

 “When I’m not in
rehearsal or performing, I’m constructing crossword puzzles for newspapers,
various clients, or my website: patrickspuzzles.com.”

5. What would people be surprised to find out about you?

“I was a professional magician when I was a teenager, and I
still love to do tricks with coins or a deck of cards.

6. Can you share one of your most defining moments in life?

 “Being present at
the birth of my daughter was the most incredible thing. She has made my life
richer and fuller than I ever thought possible.”

7. Who do you admire most?

“My wife, Rebecca–she is so funny and caring and
thoughtful. I’m very lucky to have found her, and she makes me a better person
every day.”

8. What is at the top of on your bucket list?

“Going into outer space is a dream of mine–astronauts need
theatre, too, right?”

9. What is your favorite thing to do in St. Louis?

“Visiting the Magic House or the City Museum with my wife
and kiddo.”

10. What’s next?

“My wife and I will both be in “Footloose,” where
we will be playing husband and wife.

And “Mary Poppins” at Variety.

MORE ABOUT PATRICK:

“Wonderland: Alice’s Adventures in Rock and Roll”Name: Patrick Blindauer Age: 42 Birthplace: Louisiana Current location: Ballwin, Mo. Family: daughter Magnolia Education: BFA from Webster University Day job: Crossword constructor and Dad First job: Fry Guy at Red Lobster First role: Artful Dodger in “Oliver!” Favorite roles/plays: Horton in “Seussical,” Cowardly Lion in “The Wizard of Oz” Dream role/play: King George in “Hamilton,” Nostradamus in “Something Rotten!” Awards/Honors/Achievements: One of Will Shortz’s 10 favorite puzzlemakers Favorite quote/words to live by: “All the world’s a stage…” A song that makes you happy: “Happy,” by Pharrell Williams

A Play in Two Parks – ‘Love’s Labors Lost’ a Comic Jewel at Shakespeare Festival St. Louis

A Play in Two Parks – ‘Love’s Labors Lost’ a Comic Jewel at Shakespeare Festival St. Louis

By Andrea BraunContributing WriterLove’s Labor’s Lost is a “play” in the strictest sense of the word, and it’s fun to watch the characters pontificate, read their letters aloud (even if a couple of them go awry), flirt, and stretch language to illogical limits and syllogistic absurdity.

It’s well known in theatre circles that this early work in the Shakespeare canon isn’t often performed and conventional wisdom has it that it’s simply dated. Its puns and jokes are too much of their own time for contemporary audiences to “get” them. It also could be static considering how much standing and speaking there is if the stage business isn’t choreographed to avoid it.

I’m certainly pleased that director Tom Ridgely didn’t think in those limited terms. Our new artistic director of the Shakespeare Festival St. Louis has given us a comic jewel. I’m not familiar enough with the text to cite specific edits and emendations that may have been made, but I think some are there. It’s particularly hard to tell because Ridgely has paced this piece at 11 out of 10, and yet it’s wonderfully easy to follow.

The basic story is simple enough. Four young noblemen decide to take an oath to forgo romance for three years to allow time for study and contemplation, and the edict is issued that Navarre shall be singular in its observation of these rules. In a trice, four young women show up. Oops! What now?

The situation is that straightforward, but complicated by politics in that the men are the friends and companions of the  King of Navarre (Sky Smith) and the Princess of France (Kea Trevett) representing her ailing father, the King, and her attendants and have come to discuss the disposition of the Aquitaine.

Flirting ensues, complete with the young men playing
dancing Muscovites (you won’t believe it until you see it) and the Princess and
her entourage exchanging jewelry to confuse the men about their identities.
There are actually two plays-within-the-play, plus funny moments from the
scholar Holofernes (Carine Montberband) and the curate Nathaniel (Katy Keating)
whose routine reminds me of a Socratic version of “Who’s On First.”

Early in the action, we meet consummate clown Costard
(Patrick Blindauer)  as he’s being
berated by the King for illicit relations with the wench Jacquinetta (Molly
Meyer). Costard shows his own facility with language when he tries to get out
of being punished for breaking the new law about congress with a woman, for
which the Spaniard, the haughty and verbose Don Armado (Philip Hernandez), also
in love with Jacquinetta, reports him. And the course is set for merriment
throughout.

The set by Jason Simms is perfect, and contains more
you than you might expect. Melissa Trn’s costumes span the ages from the
vaguely Roman slave look sported by Costard, to  Armado’s bedazzled uniform; the Curate and
Holofernes in Elizabethan dress, the noblewomen in Bennett sisters garb sans
the bonnets, and the men’s mostly timeless attire. With John Wylie’s lights, it
all combines to create a beautiful show. Rusty Wandall incorporates wandering
minstrels in his sound design, so we’re welcomed to the show with “Meet Me in
St. Louis” as we enter, and “Gloria” complete with a Blues flag at curtain call,
and much else throughout. While the actors are mostly excellent, it’s Tom
Ridgely’s show and he’s got a winner.

The Shakespeare Festival runs in Forest Park through June 23 nightly at 8 p.m. except Mondays. Admission is free and festivities begin at 6:30 p.m. with a Green Show and a 25-minute version of the play performed Thursday-Sunday nights at 7:15 by the Shakespeare Squadron.

Veteran Performers Among Cast for ‘Love’s Labors Lost’ at Shakespeare Festival St. Louis

Veteran Performers Among Cast for ‘Love’s Labors Lost’ at Shakespeare Festival St. Louis

Veteran performer Philip Hernández, the only actor in Broadway history to play both Valjean and Javert in “Les Misérables,” will headline the 2019 Shakespeare Festival St. Louis production of “Love’s Labors Lost,” May 31 through June 23, at Shakespeare Glen in Forest Park. Preview performances are scheduled May 29-30. Performances are held nightly, excluding Mondays, and begin at 8 p.m. 

Philip Hernandez

Hernández will portray Don Adriano de Armado, the lovelorn soldier considered to be one of Shakespeare’s finest comic creations. The actor made his Broadway debut in the Original Cast of the Tony Award-winning “Kiss of the Spider Woman,” directed by Harold Prince, and created the role of Reverend Gonzalez opposite Marc Anthony and Ruben Blades in the Original Broadway Cast of Paul Simon’s “The Capeman.” TV credits include roles on “Nurse Jackie,” “Mysteries of Laura,” “Law and Order” and “Ugly Betty,” among others. 

Joining Hernández in the Festival production are Bradley James Tejeda (Duc de Biron), a native of San Antonio, Texas, and a recent graduate of the Yale School of Drama, as well as New Yorkers Kea Trevett (Princess of France) and Sky Smith (King of Navarre), both emerging stars within the Shakespeare theater circle. Trevett has appeared on stages nationally with the Classic Stage Company and the Roundabout, as well as internationally in “Antigone” (Africa Tour). Her TV and film credits include “Fosse/Verdon” (FX), “Milkwater” and “The Kindergarten Teacher.” Smith’s most recent credits include “Twelfth Night” (Hudson Valley Shakespeare Festival) and “Love’s Labours Lost”* (The Acting Co.). 

Kea Trevett

Festival veterans include Patrick Blindauer (Costard), who appeared in 2018’s “Romeo & Juliet”; Katy Keating (Nathaniel), most recently seen with the Festival in “Into the Breeches!” and “Blow, Winds”; and Michael James Reed (Forester/Marcadé), marking his seventh park appearance. 

Other area performers making their Festival debut include Jeffery Cummings (Boyet); Carl Howell (Dull), returning to St. Louis after appearing regionally at the Repertory Theater; Carine Montbertrand (Holofernes), most recently of Titan Theatre at Queens Theatre; Naima Randolph (Moth), an alumni of the Festival’s Shakespeare Squadron and Camp Shakespeare programs; Laura Sohn (Rosaline), a graduate of Rutgers University; Molly Meyer (Jaquenetta); and Sam Jones (Longueville). Also joining the cast are Webster University Conservatory graduates Vivienne Claire Luthin (Maria) and Kiah McKirnan (Catherine), and current student Riz Moe (DuMaine). 

Tom Ridgely, executive producer of the Festival, will direct the production, his first since taking the helm of the organization last spring. This marks the company’s 19th season of free, outdoor, professional theater in the park. 

Creative team members include Jason Simms (Set Design) of New York; Melissa Trn (Costumes), a former St. Louisan currently living in Los Angeles; and John Wylie (Lighting) and Rusty Wandall (Sound). This marks Wylie’s sixth season with the Festival, and Wandall’s eighth.

*A note on the title, “Love’s Labors Lost”:

Spelling and punctuation in early modern English weren’t nearly as regularized as they are today. Shakespeare famously never even spelled his own name the same way twice. Similarly, the first quarto of this play is titled “Loues labors lost”; the first folio has it as “Loues Labour’s Lost”; and, the second folio, “Loues Labours Lost.” Given the lack of certainty about what exactly Shakespeare intended, there are various schools of thought on how best to render those three words in modern English. Since the British “u” in “labour” was optional even in Shakespeare’s day, the Festival has opted for the more familiar American spelling. In addition, since the title contains an allusion to the Labors of Hercules, which are referred to often, along with the work of Cupid (aka Love), the Festival opted for the plural over the contraction — hence, “Love’s Labors Lost.”

About Shakespeare Festival St. Louis

Shakespeare Festival St. Louis presents Shakespeare and works inspired by his legacy of storytelling. Since 2001, the festival has grown from producing a single production of Shakespeare in the Park to a year-round season of impactful theater in exciting and accessible venues throughout the St. Louis community. The festival’s artistic and education programs reached over 50,000 patrons and students during the 2018 season and have reached over one million since 2001. Leadership support for Shakespeare Festival St. Louis’ 2019 season is provided by the Whitaker Foundation. The festival is also funded in part by the National Endowment for the Arts, the Missouri Arts Council, the Regional Arts Commission, and the Arts & Education Council of Greater St. Louis. For more information, please visit www.sfstl.com, or call 314-531-9800.

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