Rob Denton – Pop Life STL

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

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 108^th Season

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

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

*From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica with the company of the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel*

*From left: John Leone, Shea Coffman, Drew Battles, Michael James Reed and Jerry Vogel in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer*

Lynn Venhaus

Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.

She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.

She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.

She is retired from teaching journalism/media as an adjunct college instructor.

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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 21^st), 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*

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

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

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

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

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

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

Watch video from opening night of Disney’s Frozen

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

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

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

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

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

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

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

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

The lighting/video team for the Muny production of Disney’s Frozen includes Jason Lyons (lighting designer), Kylee Loera (projection/video designer), Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).

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

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

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

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

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

About Disney’s ‘Frozen’

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

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

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

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

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

About The Muny

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

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

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Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

By Lynn Venhaus

With groundbreaking visual effects and enough eye-popping sparkle to elicit thunderous roars, the Muny premiere of Disney’s “Frozen” delivers a magical spectacle.

Master storyteller John Tartaglia reimagined the stage musical to capture more of the animated film’s childlike wonder, and the Muny manufactured snow, and incorporated lasers, video projections and resplendent radiance in unprecedented ways

Elsa’s exhilarating rendition of the signature bestselling award-winning song, “Let It Go,” is achieved in such a dazzling presentation that it should induce chills. The Muny’s team has topped themselves, blending in visual storytelling through digital technology as Elsa builds her ice castle and determines to set her own course.

Feeling an electric surge, the awestruck audience reacted enthusiastically to the spellbinding number with loud cheers and a buzzy wowed ovation. Talk about an extraordinary Muny moment – and what a powerhouse vocalist Hannah Corneau is!

*Maliah Strawbridge (left) and Isla Turner in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel*

As a beloved director and often go-to for the annual kid-friendly show (last year’s shimmering “The Little Mermaid,” 2023’s grand “Beauty and the Beast,” and 2022’s sweet “Mary Poppins,” among others), Tartaglia also captivates by drawing out the heart and humor as part of the razzle-dazzle.

To bring this fantasy-adventure to life, the Muny’s stars shine as bright as the icy kingdom of Arendelle, where princesses Elsa and Anna were forced to be separated because of the oldest sister’s unexplained chilling powers she can’t control.

The Oscar-winning film that became an instant Disney classic in 2013, loosely based on Hans Christian Andersen’s 19^th century Danish fairy tale “The Snow Queen,” was instead about the power of sisterly love, self-acceptance and facing your fears. Animator and screenwriter Jennifer Lee deservedly won an Oscar for her take, and was Tony nominated for the book.

The stage adaptation opened on Broadway in 2018, its run cut short by the pandemic in 2020. While the film featured seven and a half songs, the original award-winning songwriting team of Kristen Anderson-Lopez and Robert Lopez wrote 14 new ones for this version.

*Bobby Conte, Patti Murin, and Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel*

A standout last year as Hodel in “Fiddler on the Roof,” Corneau is luminous as conflicted Elsa while Patti Murin demonstrates her flair for comedy as vivacious Anna, recreating the role she originated on Broadway.

They offer a portrait of towering female strength and powerful connection, and blend beautifully in “For the First Time in Forever” and “I Can’t Lose You.” Both can belt, adding emotional intensity.

Equally enchanting are the spunky adolescents playing young Elsa and Anna – Maliah Strawbridge and Isla Turner, themselves rays of sunshine who perform “Let the Sunshine In,” “A Little Bit of You,” and “Do You Want to Build a Snowman” with aplomb.

Now grown and facing an eternal winter, newly crowned Queen Elsa is frightened and in hiding while loyal sister Anna searches for her. The youngest sister teams up with a rugged mountain man Kristoff, his faithful reindeer Sven, and the adorable snowman Olaf. It’s easy to warm up to these characters.

*From left: Patti Murin, Jared Gertner, Ryan Lambert and Nathaniel Mahone in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel*

The too-good-to-be-true charismatic Prince Hans is played by Bobby Conte, whose luxuriant tenor is always memorable. It’s a welcome return after some big shows on the Muny stage – as Enjolras in 2013 “Les Miserables,” and Bob Gaudio in 2018’s “Jersey Boys,” and Edgar Rutledge in “1776,” and “Paint Your Wagon,” both in 2019, before appearing on Broadway as PJ in the gender-flipped revival “Company” and Cousin Kevin in last year’s revival of “The Who’s Tommy.”

His introduction is the charmer “Hans of the Southern Isles” and then engaging with smitten Anna in “Love Is an Open Door,” plus the darker “Monster” and “Colder by the Minute.”

High-spirited Jelani Remy makes a noteworthy debut as Kristoff, both charming and funny. He buoyantly sings “Reindeer(s) Are Better Than People” with Sven and “What Do You Know About Love?” with Anna.

The wizardry of Eric Wright at Puppet Kitchen means that Andrew A. Cano as Sven and Kennedy Kanagawa as comical Olaf endear themselves to young and old alike, stealing a scene or two. Olaf’s anthem “In Summer” is as joyful as that lovable warm hugger is.

*Jelani Remy in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel*

Scenic designer Tijana Bjelajac has created a winter wonderland that glistens with blue and silver backdrops, and you also feel like you are in the fresh mountain air – in the July summer heat! (What magic trick or illusion did she use? Remarkable!). She also fashioned a palatial living space as well.

Those also sprinkling the pixie dust were video designer Kylee Loera, whose work here is her finest hour, topping her previous fine achievements; lighting designer Jason Lyons’ exquisite illuminations – and Northern Lights; and sound designers David Patridge and John Shivers, whose work never sounded better.

The lighting/video team included Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).

Costume designer Robin L. McGee, who has put her award-winning stamp on the past two “The Little Mermaid” productions as well as “Mary Poppins,” “Aida,” and “The Beauty and the Beast,” has an affinity for dressing Disney princesses, aided by fine work from wig designer Ashley Rae Callahan.

Elsa’s glittery ice blue satin gown is a stunner. Working with a primary palette of blues and greens, McGee and her team have crafted elegant ballgowns, warm winter wear, royal finery, military uniforms, townsfolk attire, and the naturalistic “Hidden Folk.” Plus hats, gloves, mittens, scarves and coats.

The Hidden Folk are based on Scandinavian folklore – “huldufolk,” and are mystical, animalistic creatures, led by parental figures Grand Pabbie (Chris Stevens) and Bulda (Cecilia Snow). In the stage version, they replaced the rock trolls from the film.

*Jelani Remy (center) and the company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer*

Also standing out are hilarious Jared Gertner as Duke of Weselton, a cross between Austin Powers and Dr. Evil, and Ann Sanders and Jonah D. Winston regal as Queen Iduna and King Agnarr of Arendelle, Anna and Elsa’s parents.

The vibrant ensemble is joined by a 13-member teen ensemble and a 29-member youth ensemble. Tartaglia knows how to stage a large group and make it fluid. After all, he managed to place 85 people in a robust “Be Our Guest” two summers ago, which had, in addition to oversized cutlery, fireworks.

*Bobby Conte and Patti Murin in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel*

He also directed exceptional versions of “Tarzan,” “Seussical” and “Annie,” and starred as the Cat in the Hat, the Genie in “Aladdin,” and won the St. Louis Theater Circle Award for Supporting as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” The actor-writer-director-puppeteer could survive on his wit alone but thank goodness he knows how to extract the very best from everyone involved.

(Casting update: As of July 8, Tartaglia has taken over the role of Oaken, who leads the ensemble in ‘Hygge!,” a musical number opening the second act as a replacement for the original actor who is recovering from an injury.).

Darryl Archibald, who flawlessly conducted a 32-piece orchestra for last season’s triumphant “Fiddler on the Roof,” returns to bring out this score’s velvety textures. He even wrote a special overture that is heard first at the Muny.

Some of the musical numbers felt like superfluous padding when I saw the (underwhelming) national tour at the Fox in November 2022. However, choreographer Patrick O’Neill has injected more whimsy and playfulness, and the dance numbers are entertaining overall.

Special mention to the team guiding the magic-making — Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production).

I felt like a child again, catching a snowflake in my hand, and taking in the frosty opulence, the wonderment of the virtuoso creative contributions and the cast’s splendid vocal strengths.

The Muny’s marvel of next-level tech meets old-fashioned storytelling, “Frozen” will melt hearts and can bring out the kid in all of us.

The Muny presents “Disney’s Frozen” July 6-14 at 8:15 p.m. nightly on the outdoor stage in Forest Park. The show is 2 hours, 20 minutes with intermission. Concessions are cashless payments. Preshow entertainment starts at 6:45 p.m. The theatre opens at 7:30 p.m. For more information, visit www.muny.org

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

Muny’s Indelible ‘Come From Away’ Magnifies Kindness, Compassion

By Lynn Venhaus

“Come From Away” wraps you in a warm hug and doesn’t let go.

Brimming with heart, humor and humanity, the 2017 musical arrived for its highly anticipated Muny debut with all the feels intact, making clever use of the expansive stage and its dynamic ensemble demonstrating the extraordinary power of kindness during adversity.

This deeply personal, emotionally complex story has resonated strongly with theatregoers, and the Muny’s customary attention to casting and execution put that at the forefront. The first-rate cast projects enthusiasm and affection for this material from start to finish, buoyed by the creative team’s excellence and the audience’s embrace.

The 100-minute show focuses on the town of Gander, Newfoundland, and its hospitable response to 38 planes landing at their airport with 6,122 passengers and 473 crew on Sept. 11, 2001.

After the terrorist attacks on the World Trade Center and the Pentagon, the FAA closed the US airspace and Operation Yellow Ribbon began – a coordinated effort to accommodate diverted flights. Gander was among the towns helping, including nearby Lewisporte and Appleton.

*The company of the Muny production of “Come From Away.” Photo by Phillip Hamer*

Gander, a Canadian community of about 9,600 and home to the Gander International Airport, opened their homes and converted schools and community buildings into shelters, becoming a beacon of light in the darkest of times.

In the U.S. and for those affected elsewhere, it was an anxious and uncertain period. The fearful passengers had to stay on planes for many hours, without any information other than it was an emergency, until they were officially released and herded into buses with only their carry-ons.

Based on these real people’s stories, the husband-and-wife team of Irene Sankoff and David Hein vividly wove acts of compassion, listening, laughing, hospitality and fellowship into a heart-tugging narrative to accompany their music and lyrics.

They also addressed challenges like culture clashes and language barriers, and how people worked through tense situations.

They focused on a rerouted American Airlines flight from Paris headed to Dallas. Because of Gander’s generosity to strangers who couldn’t leave for five days, lasting friendships formed, resulting in a 10-year reunion in 2011, where the writers interviewed those in attendance.

*Heidi Blickenstaff in the Muny production of “Come From Away.” Photo by Phillip Hamer*

“Come from Away” truly is a remarkable story, with distinct characters that touch our soul. Thus, a theatrical gem was born with tender loving care – now the longest running musical ever from Canada. The Broadway run, interrupted by COVID, played to sold-out houses for 1,670 regular performances and 25 previews from February 2017 to October 2022.

Nominated for seven Tony Awards, including Best Musical, Christopher Ashley won for directing. (“Dear Evan Hansen” was the big winner that night and will debut at the Muny in July).

A trio from last year’s revered classic “Les Miserables” has returned to craft another powerful tale of enduring connection – director Seth Sklar-Heyn, choreographer Jesse Robb (whose mother was born and raised in Newfoundland), and costume designer Gail Baldoni.

Their meticulous work, along with exemplary essentials from scenic designer Edward E. Haynes Jr., video designer Mike Tutaj, lighting designer Rob Denton, and wig designer Kelley Jordan, created a vibrant tableau that immediately drew the large Muny crowd into the Far North.

Haynes’ ingenious stairs-jet configuration rotated, using the turntable to swiftly create the necessary spaces. Tutaj’s video work uses news footage from Rogers TV and suggests locations like Tim Horton’s and Trailway Pub, to add awareness of time and place. And Denton’s superb lighting gave the show its usual intimate feel.

*Alan H. Green in the Muny production of “Come From Away.” Photo by Phillip Hamer*

As they seamlessly portray multiple roles – both townsfolks and ‘plane people,’ the players talk directly to us. The proud islanders start their routine on a Tuesday morning, introducing themselves in a chill-inducing “Welcome to the Rock.”

“You are here at the start of a moment…”

Our reaction is immediate, taking us right back to that frightening morning – when we heard, what we saw, how we felt – if you experienced it. If not, its tone is evocative of that tragic day and the aftermath.

Muny stalwart Adam Heller is well-suited to play the take-charge mayor, Claude Elliott, among other characters, leading the opening number and the raucous “Screech In” (involving kissing a codfish and downing rum shots).

Looking back, he tells the audience: “Tonight we honor what was lost, but we also commemorate what we found.”

*Abigail Isom and Adam Heller in the Muny production of “Come From Away.” Photo by Phillip Hamer*

With her powerhouse mezzo-soprano, Heidi Blickenstaff soars as the trailblazing pilot Beverley Bass in the signature song “Me and the Sky.” Impressive as mom Mary Jane in the national tour of “Jagged Little Pill” (including the Fox in January 2024), she is captivating as Beverley, whose passion for aviation drove her career but she now worries that her workspace has become a weapon.

The dozen performers, appearing like regular folk, clearly delineate multiple characters, whether through accents, wardrobe pieces or personality shifts.

Memorable “come from aways” include two-time Grammy winner Tamika Lawrence as Hannah O’Rourke, who is frantically trying to reach her son, a New York firefighter. Her solo, “I Am Here” is heart-breaking.

Stellar veteran performers John Bolton and Ashley Brown are a delightful duo as the British bachelor Nick Marson and divorced mom Diane Gray, whose budding friendship might be more.

A gay couple, “the two Kevins” – Jason Tam as Kevin Tuerff and Trey DeLuna as Kevin Jung, who seemed to be at odds, disagree often. One’s all in for being a good sport, and the other is not comfortable in the public situation.

*Trey DeLuna and the company of the Muny production of “Come From Away.” Photo by The Muny | Emily Santel*

DeLuna, who was in the national tour, delivers a gut-wrenching turn as Egyptian chef Ali, who is under suspicion as a Muslim, and prejudice grows.

One of the most moving numbers is “Prayer,” showing travelers practicing their faith – Jews, Christians, Catholics and Muslims.

Alan H. Green is comical as Bob, who is confused by all the nice emanating from the locals. He also plays a pilot and an African traveler who can’t speak English. If he looks familiar, in St. Louis, he starred in “Sister Act” at the Muny and in “The Karate Kid” at Stages.

On the home front, total pro Zoe Vonder Haar is ideal as good-natured Beulah Davis, one of the major caregivers. And she doubles as a nervous flyer who gets tipsy and loudly sings “My Heart Will Go On” from “Titanic,” which they watched as an in-flight movie.

Likable Jacob Keith Watson smoothly transforms into the police constable Oz Fudge, a bar owner, Jewish rabbi, a surly traveler and others.

*From left: Zoe Vonder Haar, Jacob Keith Watson and Jason Tam in the Muny production of “Come From Away.” Photo by* *Phillip Hamer*

Seasoned Muny vet Abigail Isom is the amiable TV news reporter Janice, whose first day on the job is 9-11, and easily transitions to a freaking out flight attendant. She also plays a store clerk, getting laughs with: “Thank you for coming to Walmart. Would you like to come back to my house for a shower?”

Andrea Burns is the pragmatic SPCA representative, taking care of 19 animals in cargo cages, including endangered Bonobo chimpanzees that are headed to the Columbus Zoo in Ohio.

Dialect coach Joanna Battles helped the cast become Canadians with a specific accent, and their work was impeccable.

The teen ensemble acting as townsfolk and travelers include Chloe Jennings, Grant LaMartina, Annakait Peters-Bahkou, Drew Mathers, Jarod Rhodes, Jameson Roam and Will Schulte.

Standby for the women is Leah Berry and for the men, Spencer Davis Milford.

*From left: Ashley Brown, Zoe Vonder Haar, John Bolton and Adam Heller in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel*

The vocally strong cast harmoniously blends together in the songs that are an integral part of the storytelling – “38 Planes,” “Blankets and Bedding,” “28 Hours/Wherever We Are,” “Darkness and Trees,” “On the Edge,” “Stop the World,” “Somewhere in the Middle of Nowhere,” and “Something’s Missing” – expressing the necessary emotions.

The unifying score reflects the cultural heritage of Newfoundland – using Celtic rhythms and traditional folk, and fuses neatly with emotive modern musical theatre elements.

The robust orchestrations are by Aaron Eriksmoen, with arrangements by Ian Eisendrath, incorporating a fiddle and even an “ugly stick” (household items) on stage.

The Muny orchestra, energetically led by music director Evan Roider, captures the score’s unique sound, adding a harp and whistles to its instruments.

The first national tour came to the Fox Theatre in May 2019, and a return weekend engagement followed in 2023, striking a chord (blubbered throughout, and I wasn’t alone).

With multiple cameras, Apple TV+ filmed the Broadway cast in front of a live audience, including some 9-11 survivors and frontline workers, on Sept. 11, 2021, commemorating the 20^th anniversary. It has been available for streaming since Sept. 10, 2022.

*Tamika Lawrence in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel*

While 9-11 was 24 years ago, that time is etched into our collective memories. After a touching brief display of unity and flag-waving, today’s America is very different.

We now have a divisive political climate that’s mean-spirited and worrisome. Then we were isolated during a global pandemic that impacted our lives, an ever-mutating virus that killed more than 7 million people. More short fuses, more fear of others, anger and outrage are prevailing attitudes.

Recently, in St Louis, the deadliest tornado since 1959 tore apart neighborhoods. Watching a community come together on the Muny stage recalled empathetic responses of the past six weeks here, for people stepped up when called upon to do so.

We’ve been through a lot – as a country and as a region. Yet, glimmers of hope emerge, along with everyday heroes, and it’s gratifying to feel the uplift that “Come from Away” provides.

Mission accomplished. Triumphing with its affecting production that appreciative audiences won’t soon forget, the Muny reminds us why our shared experience is what live theater does best.

The Muny presents “Come from Away” nightly at 8:15 p.m. from June 26 to July 2 at the outdoor theatre in Forest Park. The production is 1 hour, 40 minutes without intermission. For more information, or for tickets, visit www.muny.org

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

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

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

Feel the Joy in The Muny’s Sizzling ‘In The Heights’ That Celebrates Home

By Lynn Venhaus

A big-hearted love letter to roots and the people who shape us, “In the Heights” sizzles with a refreshing spark that lights up the expansive Muny stage. You feel the joy.

In an exciting and much-anticipated Muny premiere, this 2009 Tony-winning musical bursts with high-spirited performances and exuberant, inventive choreography that combines salsa, hip-hop, jazz, ballet and Afro-Cuban moves.

Using all the exceptional production tools available at America’s largest outdoor theater, this “In the Heights” will wow the unfamiliar and satisfy its devotees. You can feel a connection form as the show unfolds for the first time in this environment.

While honoring his Latin heritage and traditions, creative force of nature Lin-Manuel Miranda’s inspirational scenario, lyrics and music about people chasing their dreams related in such a universal way that it ushered in a directional change in music theater storytelling.

Miranda, who went on to worldwide acclaim with the cultural phenomenon “Hamilton” and the smash hit Disney film “Encanto,” conceived the musical while still in college, wrote the songs, and originated the lead role, but the book was written by Quiara Alegria Hudes.

*From left: Alysia Velez, Marlene Fernandez and Darilyn Castillo in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

Hudes has included strong women characters, which is rare and impactful. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009 (the show was nominated for 13 awards), and his influence continues to grow. He breaks barriers, and the Muny is mindful of marking historic milestones too.

Set in the Washington Heights neighborhood in New York City, where he grew up, the story takes place over three days during a blistering summer heat wave in the barrio. This is a neighborhood on the brink of change – businesses face economic uncertainty, tensions rise.

This ultimately jubilant celebration of Latin heritage and identity includes family ties to the Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, and a highlight is when the cast displays flags from their characters’ countries of origin.

In the vigorous opening title number, we are introduced to the personalities and places that are woven together in this corner of the world. The Muny has been transformed by the colorful sights and sounds as the characters deal with everyday realities hoping for a better day.

In a warm, welcoming debut, Benji Santiago endears as lovable hard-working Usnavi de la Vega, who operates the corner bodega. A community hub, he sells coffee, sodas, snacks and lottery tickets while he dreams of moving to somewhere tropical where he thinks he can find happiness. When his store is notified a winning lottery ticket has been sold, things may change.

Usnavi describes himself as “a streetlight, chillin’ in the heat/ I illuminate the stories of the people on the street!”

*Benji Santiago and Nancy Ticotin in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

The appealing young performer is nimble in guiding the action as we move from store to Rosario’s car service to Daniela’s beauty salon, homes, balconies and the bustling streets – on a nifty gritty grid design by Arnel Sancianco that captured the distinct ambiance and sleekly used the asset that is the monstrous turntable for deft transitions. He was the set designer for last year’s “Rent” and the year before’s “The Color Purple.”

Usnavi’s devotion to his family and friends is evident throughout, even when he’s grumbling. Santiago masterfully anchored this show that seems to be perpetually in motion, and he is joined by an equally dynamic ensemble, all but two new to the Muny..

Nancy Ticotin is a sensational Abuela Claudia, Usnavi’s beloved confidante, who is heart-tugging in “Paciencia y Fe (Patience and Faith)” and “Hundreds of Stories.” She’s everybody’s ‘grandma,’ dispensing love and advice.

Ariana Burks as sweet Nina, a standout student who feels she has let everyone down by dropping out of a prestigious college, gains sympathy by explaining her sad situation in “Respira (Breathe).” She is soulful in her tender ballad “Everything I Know” (tissue time) that’s a tribute to Abuela Claudia.

In a romantic arc, she pairs well with earnest Benny, and Alex Joseph Grayson is likeable from his introduction number “Benny’s Dispatch.” They are affecting in “When You’re Home,” which maps out their long-distance relationship, and the Act Two opener “Sunrise.” And Burks robustly leads the group in “When the Sun Goes Down.”

*Ariana Burks and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

Alysia Velez is a memorable Vanessa, Usnavi’s crush who is striving for a better life and planning to move to Manhattan. She’s an ebullient presence with Usnavi and Sonny in the charming “It Won’t Be Long Now” that addresses aspirations while they go through daily tasks, and has fun in the “Champagne” duet with Usnavi.

Martin Sola and Karmine Alers are strong in portraying Kevin and Camila Rosario, who are Nina’s parents and own the limo service. They both have knockout numbers – he “Inutil(Useless)” and “Atencion,” and she pours out her soul in “Enough” and “Siempre (Always).” The ballads help define the characters’ uncertainty and hopes. The pair were in the Muny’s dazzling “On Your Feet!” in 2021, and Sola, who played Gloria Estefan’s father Jose, originated the role on Broadway.

While poignant moments, such as the sad, sentimental “Alabanza (Praise),” and the calamitous “Blackout” that ends first act, bring everyone together, so do the animated dance numbers “The Club” and “Carnaval del Barrio,” and the catchy earworm “96,000.”

Several amusing characters each have moments to shine – including the vivacious hairstylists Daniela (Darilyn Castillo) and Carla (Marlene Fernandez), who join Vanessa in “No Mi Diga (You Don’t Say!)” and lead the raucous “Carnaval” number.

Miguel Gil is delightful as Usnavi’s goofy cousin Sonny, so are Eddie Martin Morales as the Piragua Guy and U.J. Mangune as Graffiti Pete.

*From left: Karmine Alers, Martín Solá and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

William Carlos Angulo, serving as director and choreographer, has achieved a laudable synergy, creating a swirling kaleidoscope of movement and rhythm, performed with contagious joie de vivre.

Angulo, who has previously choreographed three Muny shows – the electrifying “On Your Feet!”, “Legally Blonde” and “Little Shop of Horrors,” shows his mettle in managing such a big-deal premiere. He has authentically represented three generations with spry staging and engaging characterizations.

The high-energy numbers alternate with the more intimate scenes of relationship conflicts and resolutions for people at crossroads, and he finds a suitable balance.

His collaboration with associate choreographer Shani Talmor, a world-renowned performer and choreographer, is ingenious. Special shout-outs to dance captain Emily Madigan, production stage manager Jhanae K-C Bonnick, and assistant stage managers Hope Michelson, Kentrell Jamison and Alycia Martin for their brisk navigation skills.

*The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

The ensemble kept the tempo lively, bringing the heat and the heart: Marissa Barragán, Angelica Maria Beliard, Ixchel Cuellar, Ralphie Rivera De Jesús, Adriel Flete, Reyna Guerra, Emily Madigan, Sebastian Martinez, Eddie Martin Morales, José J. Muñoz, Matthew Rivera, Kiana Coryn Rodriguez, Francisco Javier Thurston and Alora Tonielle. They were joined by the Muny youth and teen ensembles.

Music Director Roberto Sinha’s dexterous conducting of the 25-piece orchestra added a brightness to the pulsating score, which is a hybrid of Latin, urban, hip-hop and salsa beats. They elevated the music’s rich texture.

The Muny’s outdoor setting was ideal for this modern story, with brilliant bursts of fireworks for the July 4^th celebration enthralling. The creative team leaned into this new landscape, and Rob Denton’s lighting design, affecting shades of day and night, and Leon Dobkowski’s bright and bold costume design expertly reflected the location’s contemporary outfits. Kelley Jordan’s wig design was unobtrusive. John Shivers and David Patridge’s layered sound design included the cacophony of the urban tableau.

Much has been said about the themes of community in each of the Muny’s shows this season, and you feel the audience embrace that connection in “In the Heights.” After the isolation of the pandemic, and struggles in a dark time, the urge to find comfort and examples of our humanity is tangible.

When I first saw this on its national tour at the Fox Theatre in November 2009, I was struck by its universality, the unique new voice in the creative genius that is Lin-Manuel Miranda, and its ability to create deeper meanings through its emotional connection. I still feel this way, after seeing other regional professional theaters undertake it, and Miranda’s subsequent extraordinary works. It’s been on my list for each Muny season survey for years, and was ecstatic to learn of its inclusion this year.

The timing is right, the message is clear, and the wave of hope and dreams it inspires makes it a special experience.

To get that many people in an audience unified is remarkable, and you could feel the uplift in real time during the performance. For 15 years, “In the Heights” has reinforced the enduring theme “There’s no place like home.” And whatever that means individually and collectively vibrantly echoed through Forest Park on Saturday.

The Muny presents “In the Heights” at 8:15 p.m. nightly, Aug. 9-15, on the outdoor stage in Forest Park. The musical is 2 hours and 23 minutes, with one 15-minute intermission. Tickets are on sale at muny.org, by calling MetroTix at (314) 534-1111 or at the Muny Box Office in Forest Park.

*From left: Benji Santiago, Alysia Velez and Miguel Gil in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer*

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

Bursting with Vitality, the Muny’s Exultant ‘Dreamgirls’ Electrifies

By Lynn Venhaus

Let’s cut to the chase. Tiffany Mann’s electrifying rendition of the signature song, “And I Am Telling You I’m Not Going,” is everything you want it to be and more, exceeding the highest expectations.

If The Muny had a roof, she would have smashed it to smithereens. She met her Muny moment by unleashing a torrent of fury, hurt, pain and devotion with such ferocity – and control – that the only one not breathless after listening was Ms. Mann. She was stunning in her range and vocal reservoirs.

It was truly one of the most spectacular powerhouse performances in my 60 years of attending Muny shows. She received thunderous ovations throughout, with some of us leaping to our feet as we applauded at the finish.

It’s no wonder she took us to church, for she’s been doing that for a long time. Her parents are nationally renowned gospel singers and actors David and Tamela Mann. You may recall Tiffany bringing the house down in “Smokey Joe’s Café” in the Muny’s first post-pandemic show in 2021.

*Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

That “Dreamgirls” showstopping first act closer has been thrilling audiences since its debut in 1981 and was ranked the no. 1 rhythm-and-blues song of 1982 on the Billboard chart. It’s an intimidating one to master, even for the most gifted vocalists.

Tony winner Jennifer Holliday’s career took off after originating the role of Effie White on Broadway, winning a separate Grammy for best vocal performance, and Jennifer Hudson won an Oscar as Best Supporting Actress for the 2006 movie adaptation.

This rags-to-riches showbiz musical stands out because it delves into the complexities of gender and race at a time when pop music was going through a seismic cultural shift, with changing times and tastes.

Black singers were breaking down racial barriers with ‘crossover’ music, yet often compromised in a live music and recording business hierarchy.

These are subjects explored in such crowd-pleasing jukebox musicals as “Motown: The Musical,” “Memphis,” and “Tina – The Tina Turner Musical,” but “Dreamgirls” was among the first, marked by its style and sophistication.

The book and lyrics by Tom Eyen and music by Henry Krieger focuses on an all-girl singing group – think Diana Ross and the Supremes, the Shirelles, Martha and the Vandellas, and the Chiffons — as they rocket to superstardom in the 1960s and 1970s.

*From left: Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

They must learn the ins and outs of a cutthroat system while not having much control over their contracts or lives. The soul sounds recall the Motown music trajectory of 1962-1976 in a peppy upbeat score, with meaningful emotional ballads to reflect character transitions.

It’s the kind of big splashy production that lends itself well to the glitz and glamour that the Muny can dazzle us with – and the creative team worked its customary magic to generate.

The look is super-sleek, with chic fashions from indomitable costume designer Leon Dobkowski, trendy wig designs from master stylist Kelley Jordan, ritzy set designs from ever-sharp Edward E. Haynes Jr., and perceptive bygone era video design from clever Elaine J. McCarthy.

Now in his 12^th season, lighting designer extraordinaire Rob Denton enhances the in-vogue parade of fashions, glittery nightclub settings and mod TV appearances.

In 2012, the Muny staged a robust production featuring Holliday as Effie – and future “Hamilton” star Christopher Jackson as unscrupulous manager Curtis Taylor Jr.

*Tiffany Mann and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

In this dynamic reprise, Mann makes Effie her own – and the high-spirited ensemble comes together seamlessly as a family along to an effervescent pulsating rhythm.

The principal characters are an impressive gathering of seasoned pros who’ve made a name for themselves on Broadway.

Immensely likable performers Aisha Jackson is classy Deena Jones and Courtnee Carter is flashy Lorrell Robinson, with the later addition of Effie’s replacement, Natalie Kaye Clater as charming Michelle Morris. They bring a lot of sparkle and pizzazz to the ambitious and naïve rising trio The Dreamettes.

They beautifully blend harmonies, and you root for them and their big dreams. Making their Muny debuts, Jackson was the first black woman to play the role of Anna in the Broadway production of “Frozen” and Carter was recently in the Tony-winning revival of “Parade.”

And the male leads are equally strong – silky-smooth Charl Brown is again impressive as the ethically challenged Curtis Taylor Jr., the Svengali manager-producer, after his memorable turn in the aforementioned “Smokey Joe’s Café” the summer of 2021. He was Tony nominated as pioneering Smokey Robinson in “Motown: The Musical.”

*From left: Aisha Jackson, Nick Rashad Burroughs, Tiffany Mann, Courtnee Carter and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

With the theatricality and bluster of James Brown and Little Richard, Nick Rashad Burroughs is on fire as live-wire star Jimmy “Thunder” Early. He quickly won over the audience with his brash charm and high energy.

Burroughs originated the role of Ike Turner in “Tina – The Tina Turner Musical” on Broadway and was recently seen as Henri de Toulouse-Lautrec in the touring production of “Moulin Rouge” that came to the Fox this spring.

Aramie Payton is warm and personable as the talented songwriter C.C. White, Effie’s brother. He was the original Michael Jackson standby in “MJ – The Musical.”

Local treasure Ron Himes is a formidable Marty, an early mover and shaker who helps the group navigate the biz and tries to keep Curtis in check.

They are a tight-knit unit gliding through the ups and downs of fame.

Director Robert Clater makes sure we feel the heart along with the soul as a whirlwind rise marks Act One. His vivacious staging of the Apollo Amateur Night line-up opening and a supercool “Steppin’ to the Bad Side” gets us off to a rousing start.

*The company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

The momentum keeps going with “Dreamgirls” and “Party Party,” followed by the serious “Heavy” and that soul-stirring rafter-shaking hit song.

Highlights also include the ironic white milquetoast rendition of “Cadillac Car” by Dave and the Sweethearts – really hammering a serious point with humor – and one of the most poignant numbers, “Family.” That is the enduring theme that ultimately saves some of them from themselves.

Choreographer Lesia Kaye keeps the dancers moving while music director/conductor Anne Shuttlesworth ensures everybody’s grooving, although I did feel at times the orchestra overpowered the vocals..

The late great legend Michael Bennett, fresh from the phenomenon that was “A Chorus Line,” directed and choreographed the original “Dreamgirls” 43 years ago, and Kaye honors that legacy with vigor.

Because of the heady mix of achieving their dreams in Act One, there is a believable joy throughout – until Effie’s heartbreaking personal and professional betrayal, although her erratic unprofessionalism and off-putting diva behavior precipitates her inevitable downfall.

*Aisha Jackson and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

The cool and refined Deena becomes the more ‘presentable’ leader of the group, now known as Deena Jones and the Dreams, and is everything hot-headed Effie lacks, so Act Two interjects more of the pitfalls of fame and personal strife as fortunes run high and low.

While the cliched backstage drama also features Effie’s redemption, karma for Curtis, and Jimmy’s career tumbles, the girls’ can’t stop the detrimental cracks in their upward direction.

The consequences of single-minded success are obvious, and the book isn’t as strong in this snapshot, and the pacing sags midway.. You can see the strain of having everything tied up neatly on the page, yet the resolution feels earned for the principals, if rushed..

“And I Am Telling You…” isn’t Mann’s only slam dunk, for her contrite “I Am Changing” and her pensive “One Night Only” soar.

And darn if that long-time-coming reunion doesn’t produce a lump in the throat!

Among noteworthy elements to emphasize, Dobkowski’s elegant interpretations of retro fashions deserve their own standing ovation. His work always suits the characters perfectly, and he’s won two St. Louis Theater Circle Awards, for “Seussical” and “The Wiz.” He is in his 11^th season, and brings out a shiny, happy vibe to everything he produces. Remember his jubilant “Sister Act” from last season?

*From left: Courtnee Carter, Aisha Jackson, Natalie Kaye Clater and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

And Haynes’ scenic design is so fluid, one must salute his depth – briskly moving scenes in Chicago, Detroit, St. Louis, Miami, Las Vegas, and other cities with remarkable dexterity. Theater Circle winner for “Smokey Joe’s Café,” he created the landmark set for last season’s “Chess.”

One doesn’t achieve this slick sense of time and place with its distinctive sound and fury without prioritizing collaboration. That is what sets this show apart from a typical “Behind the Music” documentary, with a cast and crew determined to razzle dazzle us in a most exuberant triumph.

Come for THE SONG, stay for the teamwork.

*From left: Courtnee Carter, Aisha Jackson and Natalie Kaye Clater in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer*

The Muny presents “Dreamgirls” at 8:15 p.m. nightly June 27 – July 3 on the outdoor stage in Forest Park. The run time is nearly 2 hours and 30 minutes, including intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

Muny’s Gambit Showcases Virtuoso Talents in Stylish, Daring ‘Chess’

By Lynn Venhaus

What was that?

A stunning showcase featuring some of the most passionate voices ever on a St. Louis stage, “Chess” is a love triangle, dramatic duel, a singular experience – and an extraordinary achievement for The Muny and its loyal audience.

For those not familiar with the show, either in concert or as musical theater, you are not alone. Those in-the-know cool kids had often waxed rhapsodic about the rock-symphonic score – and now we know why.

The 1986 rarely seen/performed pop opera, with music by Benny Andersson and Björn Ulvaeus of ABBA, and lyrics by Tim Rice (“Jesus Christ, Superstar” and “Evita”), concerns a clash of world powers at an international chess tournament.

Set during the highly charged ‘80s political atmosphere of the Cold War, the mind games between rivals Soviet Union and the United States escalate. Tensions are high, and so are the stakes. And then a fight develops over a woman that further complicates matters.

Most people know “Chess” only for its catchy pop hit, “One Night in Bangkok,” which was an MTV staple and now heard on classic radio stations (and fun fact, sung by Murray Head, the original Judas in “Jesus Christ Superstar.”) Its checkered history has become grist to the backstage mill, especially concerning the troubled book.

Principal characters of “Chess” Photo by Philip Hamer

Initially a concept album in 1984, it opened as a theatrical piece in London two years later to much acclaim, and ran for three years. With an altered book, moved to Broadway in 1988, where it flopped (ran only for two months). A revival was staged in London’s West End in 2018, and now the Muny is doing what has been described as “mostly the London version” after other revisions over the years.

It is risky to bring something so different and uncommon to St. Louis audiences and mount it on the 102-foot-wide outdoor stage, where generations have delighted in the civic traditions and traditional productions for 105 years.

That, in itself, is a challenge, and the amount of care to create a compelling piece was evident in the collaboration between director and choreographer Josh Rhodes, music director Jason DeBord and the design dream team of Edward E. Haynes Jr. (scenic), Emily Rebholz (costumes), Rob Denton (lighting) and Alex Basco Koch (video).

Because this introduction was handled in such a spellbinding way, we all won. I still don’t know any more about chess than when I took my seat, but that’s OK. That’s not the point. And you don’t need to know anything either to marvel at the stylized look, the silky vocals, and the creative team’s bold choices.

This is not your mom’s “South Pacific” or even Andersson-Ulvaeus’ “Mamma Mia!” And from the reaction of the crowd, people were fine with that. The audience seemed genuinely excited to see something new to them, and they leaned in, responding with ovations that swelled more with each musical number.

All around me, people were rapt – captivated by the political intrigue, the global playing field, the thorny romance – in other words, epic gamesmanship. When the boom opened to reveal an expansive, inventive set design, people applauded, and it grew from there.

The complex storyline isn’t the easiest to follow, and sometimes, the context is lost because of the ‘80s being the state of play. If you don’t understand the root of the hostilities, then it can appear to have a whiff of pretention.. (If you think about it, does mirror the decade!). It’s very helpful to read a synopsis ahead of time.

But what made this production something special were the leads – gifted with world-class talent, their powerful vocals soared into the night sky, and they hit the emotional beats to make the action matter.

John Riddle, a Muny veteran recently seen as Raoul in “The Phantom of the Opera” on Broadway, is sensational as the Russian grandmaster Anatoly Sergievsky. Among his many moments, he induced chills in the one-act finale solo, “Anthem,” giving his head vs. heart country dilemma depth.

When he falls in love with the Hungarian-born Florence, the remarkable Jessica Vosk reaches new heights. She wowed as Elphaba in “Wicked” on Broadway and as the Narrator in The Muny’s “Joseph and the Amazing Technicolor Dreamcoat” last year and has an exceptional voice.

John Riddle as Anatoly Sergievsky. Photo by Phillip Hamer

Their duet, “You and I” is simply gorgeous, and along with Jarrod Spector, as the flashy American grandmaster Frederick Trumper, their “Mountain Duet” is when the games really begin.

Vosk also wows in an intense “Nobody’s Side” with the ensemble, and in the conflicted “Heaven Help My Heart.”

In his second show this summer, Spector is quickly becoming a fan favorite. He was last seen in the season opener “Beautiful: The Carole King Musical” as Barry Mann, for which he was nominated for a Tony. He is well-cast as the brash, arrogant American whose cockiness and hot temper provoke controversy, and delivers a strong “One Night in Bangkok” ensemble number as well as his solo, “Pity the Child.”

Speaking of fan favorites, Tony nominee Taylor Louderman, who grew up in Bourbon, Mo., and has graced the Muny stage multiple times throughout her young life, isn’t seen until the second act. She plays the pivotal role of Anatoly’s wife, Svetlana, and history has its eyes on her. Looking fabulous in a beautiful white dress, she owns the stage in “Someone Else’s Story,” and is heartbreaking, along with Vosk, in “I Know Him So Well.”

Experienced Muny performer Phillip Johnson Richardson as The Arbiter (president of the International Chess Federation) is a formidable presence while Rodney Hicks, as Freddie’s financial administrator/secret CIA agent Walter De Courcey, and Tally Sessions, as part of Anatoly’s team and a KGB agent Alexander Molokov, stir up trouble and orchestrate double-crosses.

At Thursday night’s performance, unruffled associate music director Michael Horsley smoothly conducted the orchestra with a firm hand.

The design team’s concepts are striking, giving the show a certain look and attitude. Edward E. Haynes Jr., who won a St. Louis Theater Circle Award for his Gaslight Square inspired set of “Smokey Joe’s Café,” has created eye-catching geometric grids and continues a checkerboard theme throughout the pomp and circumstance of the European and Asian settings (Merano, Italy, and Bangkok, Thailand specifically).Video designer Alex Basco Koch’s work is integral here, with multimedia incorporated into the presentation.

With its dramatically operatic arc, moments of levity are few, but plunging back into ‘80s fashions is fun, especially spotting power suits and shoulder pads. Costume designer Emily Rebholz has made members of the ensemble look like they stepped out of Robert Palmer’s “Addicted to Love” music video, with their belted black mini dresses adorned with white collars.

Taylor Louderman, center. Photo by Phillip Hamer.

It was a smart move for The Muny to partner with the Saint Louis Chess Club and World Chess Hall of Fame for this presentation – after all, St. Louis was the site of the first official world championship in 1886 and home to many devotees. (Stop by their Central West End location for free exhibits and tours).

Although the characters are fictional, supposedly the American is loosely based on champ Bobby Fischer while the Russian is a composite of Viktor Korchnoi and Anatoly Karnov. Book writer and lyricist Tim Rice had a Cold War musical for awhile on his radar, fascinated by the 1972 “Match of the Century” between Fischer and Boris Spassky, and that adds context too.

For those who remember the Cold War, “Chess” taps into the two world powers trying to manipulate to gain the upper hand, and in the Reagan years, when the U.S.’s strong anti-communist agenda swelled after the Iran Hostage Crisis and other international trouble spots.

Sixty years after I learned to ‘duck and cover’ during the Cuban Missile Crisis, Russia is a constant thorn in the U.S. side and is at war with Ukraine. The more things change, the more they remain the same.

As a commentary on strategizing geopolitics and propaganda, “Chess” is interesting, but as a bittersweet love story, has more emotional heft. Already in the record books as the largest production of a “Chess” revival, the chief pleasure in The Muny’s grand, inspired staging is the powerhouse vocals.

In sports terms that we can all identify with, The Muny knocked it out of the park, giving us a dandy night to remember.

The ensemble of “Chess.” Photo by Phillip Hamer.

The Muny presents the musical “Chess” July 5-11 at 8:15 p.m. on the outdoor stage in Forest Park. For more information: muny.org.

Photos by Phillip Hamer

“One Night in Bangkok.” Photo by Phillip Hamer.

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

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The Muny’s Whimsical ‘Mary Poppins’ a Charming Flight of Fancy

By Lynn Venhaus

When the titular character floats in using her umbrella, carried by the East wind to 17 Cherry Tree Lane in London, it’s a welcome jolt of joy — signaling that a merry time is ahead in this stage musical version of “Mary Poppins.”

And this vibrant, candy colored Muny production of the beloved magical nanny tale is as whimsical as you remember.

Director John Tartaglia makes it sparkly and this cast of 75 brings the magic that he is striving for in his sixth show, hoping to see smiles on a summer night.

The nostalgia factor is high, recalling the sublime Oscar-winning performance of Julie Andrews in the iconic 1964 Disney movie, which is based on P.L. Travers’ series of children’s books, eight of them starting in 1934.

Disney’s crowning live-action achievement was the highest-grossing film of 1964 and garnered 13 Oscar nominations, winning five: (actress, editing, original music score, visual effects, and song for “Chim Chim Cher-ee”). During Walt’s lifetime, it was the only one of his films to earn a Best Picture nomination.

With Travers’ permission, master producer Cameron Mackintosh turned the tale into an acclaimed stage musical in London in 2004, which opened on Broadway in 2006, and continued for more than six years. It closed on March 3, 2013, after 2,619 – the 24th longest-running show in Broadway history.

The show is a mix of the movie and the books. The sentimentality is part of its appeal, and this ensemble blends both freshness and fondness for the traditional qualities to please a new generation.

Jeanna de Waal is an ideal Mary, moving with ease, popping in and out with her grace and regal bearing. She is a good sport for her spectacular flying segments, with seamless effects work by ZFX.

For a little extra insight into the mystical nanny, she projects an air of mystery, indicating there’s more than meets the eye. She also sings like a dream, smoothly cavorting in the newer song “Practically Perfect” and a reworked setting for “A Spoonful of Sugar.”

In fact, this is a cast of glorious voices.

The charismatic and charming Corbin Bleu uses his considerable song and dance skills as the lovable happy-go-lucky Bert. It’s a triumphant return to the Muny following his sensational turn as Don Lockwood in “Singin’ in the Rain” in 2018. He had dazzled critics and audiences alike, winning the St. Louis Theater Circle Award for Best Actor in a Musical.

Bleu, who first came to prominence as Chad in the “High School Musical” movies, works well with De Waal and the ensemble — and has a few cool moves I won’t spoil.

That score by Robert B. and Richard M. Sherman is unforgettable – and in fact, some Muny patrons sang along. But the musical is not a replica of the film, for “I Love to Laugh” has been omitted, as has “Sister Suffragette,” “Stay Awake” and “Fidelity Fiduciary Bank.”

With a few exceptions, the new songs by George Stiles and Anthony Drewe do not seem to be as catchy as the Sherman brothers’ collaborations. Even at a 2 hour and 35 minute-run time, “Anything Can Happen,” delivered in two parts, seems to drag on and on. A little editing of some numbers would have made for a tighter experience.

“The Life I Lead” has been replaced by “Precision and Order,” sung by the stern banker, George Banks. In Julian Fellowes’ book, George is revealed to have had a strict childhood, and the parents are more dysfunctional, with Winifred Banks a former actress who can’t seem to fit in to the elite society, and the two children, Jane and Michael, are naughtier.

The real-life husband-and-wife duo of Nehal Joshi and Erin Davie are splendid in vocals and their character development. Their new songs include “A Man Has Dreams” and “Being Mrs. Banks.” I do wish Mrs. Banks was still a suffragette, as Glynis Johns was so robustly in the film.

The kids are brattier – as played by Laila Fantroy and Gabe Cytron, so they are not likable, especially when acting entitled and wreaking havoc in the kitchen, but their growth results in more compassionate youngsters. Whew!

A new character, Robertson Ay, is a screwball addition, and Barrett Riggins, so deliciously wicked in “Camelot,” shines as the bumbling oh-so-not-helpful houseboy.

Chipper Jade Jones has the versatile three-peat of Katie Nanna, Mrs. Corry and Miss Smythe.

Debby Lennon, two-time St. Louis Theater Circle Award winner, is a hoot as the “Holy Terror!” – aka George’s cruel childhood nanny Miss Andrew – who arrives to get everyone back in ship-shape after the breezy frolics with Mary. She is overbearing in “Brimstone and Treacle Parts 1 and 2.”

A masterful Darlesia Cearcy brings the house down as the Birdwoman at the park, with a superbly executed rendition and reprise of “Feed the Birds.”

Other high points include the jaunty stroll through the park “Jolly Holiday,” the robust showstopper “Step in Time,” a bubbly “Supercalifragilisticexpialidocious” at Mrs. Corry’s sweet shop and a wondrous “Let’s Go Fly a Kite” with the ensemble placed through the audience with red kites.

First seen in 2013 when the show was led by Muny fan favorites Jenny Powers and Rob McClure, this version is as enchanting, with Tartaglia’s penchant for puppetry giving an added ‘oomph.’

He has created another Muny moment with puppeteers swarming the stage with flocks of birds, produced by puppet designer Eric Wright of Puppet Kitchen International Inc. It’s a marvelous sight.

Tartaglia, such a bouncy personality as evident through his Muny performances (The Genie in “Aladdin,” The Cat in the Hat in “Seussical,” Hysterium in “A Funny Thing Happened on the Way to the Forum — St. Louis Theater Circle Award for Best Supporting Actor in a Musical in 2017), has brought a sunny outlook to his productions here.

The director of “Matilda” 2019, Annie” 2018, “The Wizard of Oz” 2016, “Disney’s Tarzan” in 2014 and “Shrek” 2013 is again inspired by the tasks at hand, no doubt influencing his creative choices.

A crackerjack production team has delivered an attractive look and encouraged high spirits throughout, even with performers dealing with oppressive summer heat. Music Director Brad Haak and Choreographer Patrick O’Neill focused on peppy musical and dance numbers for fluid movement (with a high percentage of youngsters in the audience).

The sights — Paige Hathaway’s production design, Robin L. McGee’s costume design, Kelley Jordan’s wig design and Alex Basco Koch’s video designs are true to the 1910 time of Edwardian London, but with pizzazz.

It’s also nice to see such local treasures as Zoe Vonder Haar (as Mrs. Brill), Whit Reichert (as Admiral Boom/Bank Chairman), Jerry Vogel (as Park Keeper, Von Hussle, ensemble), Rich Pisarkiewicz (Policeman/ensemble), and Lynn Humphrey (Miss Lark/ensemble) back together on the Muny stage.

Does “Mary Poppins” have the same appeal to today’s youths like the movie did for my generation? Not sure if it is a home run as much for them as it is for adults. Nevertheless, the audience left humming a happy tune.

The Muny presents the musical “Mary Poppins” July 5-13 at 8:15 pm. on the outdoor stage in Forest Park. For more information, visit www.muny.org.

Lynn Venhaus

She is retired from teaching journalism/media as an adjunct college instructor.

poplifestl.com

Tag: Rob Denton

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The Muny’s Whimsical ‘Mary Poppins’ a Charming Flight of Fancy

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