Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

By Lynn Venhaus

With extra oomph in every song and dance number, Stages St. Louis delivers a festive confection in “Guys and Dolls.”

The snazzily attired ensemble looks like they’ve walked out of an idyllic vintage postcard of 1950s Times Square, bringing to life the exciting rhythms and zip of New York City. The colorful characters move in synchronized fashion, striking poses as this mix of pickpockets, cops, tourists, card sharks, and evangelists breeze by.

The look of “Runyonland” transports us to the bustling energy of midtown Manhattan and signals that we’re in store for one of the best musicals from the golden age. Ann Beyersdorfer’s resplendent scenic design, in tandem with lighting designer Sean Savoie’s bright neon lights, makes the skyline glow.

Costume designer Tim Kent’s stunning work is an integral element of this show, with outfits that dazzle in the Hot Box numbers – eye-popping elegance in “Take Back Your Mink” and glitzy in the fizzy “A Bushel and a Peck,” and boost the wise-guys pizzazz. Even every accessory, including outstanding hats and pocketbooks, are a marvel to see. Kent, a former designer of over 40 musicals at Stages from 1990-1997, has returned with an unmistakable flair.

Adelaide and the showgirls in “Take Back Your Mink.” Photo by Phillip Hamer.

Once we hear that unforgettable score, with muscular music and lyrics by Frank Loesser, we’re off to the races with the overlapping witty banter of “Fugue for Tinhorns,” and the robust ensemble piece “The Oldest Established” soon follows.

The entertaining book by Jo Swerling and Abe Burrows, based on journalist Damon Runyon’s short stories, features these gamblers, hustlers and gangsters in their Prohibition era habitat. This romanticized ‘underworld’ is taken from Runyon’s “The Idyll of Miss Sarah Brown,” “Blood Pressure,” and “Pick the Winner.”

They have names like Nathan Detroit (Matthew Schatz), Benny Southstreet (a sensational Wesley J. Barnes), Big Jule (Zoe Vonder Haar), Rusty Charlie (Reagan Pender), Harry the Horse (Aaron Fried) and Angie the Ox (Patrick Blindauer). The performers have mastered the distinctive slang called Runyonese, and director James Monroe Iglehart has defined this theatrical and funny production with an exaggerated chaotic kinetic energy.

Iglehart’s brisk guidance, and the collaborations to evoke this bygone era’s sentimental atmosphere, are key to this show’s appeal. Through a superb fusion of modern dance, jazz and ballet, choreographer Lindsay Joy Lancaster has created a style that gives this “Guys and Dolls” revival its signature. Pulsing with musicality, Lancaster’s dance moves in ‘Havana” and “Crapshooters Ballet” are the show’s MVP.

“Luck Be a Lady.’ Photo by Phillip Hamer.

The storytelling remains sweet and funny, especially the long-engaged dancer Miss Adelaide (Katerina Papacostas), who is tired of fiancé Nathan’s stalling, and yearns for a stable life. Papacostas is a rare find and steals the show with her feisty take on the iconic role. She takes charge in “Adelaide’s Lament” and comically bickers with her betrothed in “Sue Me.”

With those pre-feminism roles of the ‘50s, the female leads of that era have been mainly “need a man to take care of me” but Adelaide is no pushover, and it’s refreshing. Neither she nor Sarah are passive this time around. We’re just going to ignore the sexist tropes of that day here (you know, dolls and dames).

As Nathan, Schatz affably embodies the fast-talking, good-natured con man, and he and Papacostas, despite his commitment phobia, have a winning chemistry. He just values his illegal dice game more.

Unfortunately, the other principal pair, Sky Masterson (Sam Harvey) and Sarah Brown (Lindsay Roberts Greene), do not have any spark with their forced connection. High-roller Sky tries to woo the uptight, idealistic sergeant at the Save-a-Soul Mission because of a bet, but then they wind up falling for each other. That aspect proves that cool cat Sky can’t control love, and neither can Sarah.

Sam Harvey and Lindsay Roberts Greene in “If I Were a Bell.” Photo by Phillip Hamer.

Seen at Stages as the slick Danny Zuko in “Grease” in 2019, Harvey delivers smooth vocals as the suave Masterson, especially city love letter “My Time of Day” and the swinging splashy “Luck Be a Lady” in the high-stakes crap game that takes place in the city’s sewer.

Greene has a beautiful voice and sings her solos “I’ll Know” and “If I Were a Bell” with aplomb. But she and Harvey are mismatched in “I’ve Never Been in Love Before,” and do not click vocally.

The cast’s harmony comes together in the showstopping “Sit Down, You’re Rockin’ the Boat,” one of the all-time great ensemble pieces, and this high-spirited cast raises the roof. It’s Tamar Green’s time to shine as the cheerful Nicely-Nicely Johnson, Nathan’s loyal sidekick.

A welcome presence, Greene is a natural force whose expressive, rich tenor has made him a standout as George Washington in “Hamilton” on Broadway, and a tower of strength as Coalhouse Walker in Stages St. Louis’ “Ragtime,” for which he won the St. Louis Theater Circle Award in 2025.

“Sit Down You’re Rocking the Boat.” Photo by Phillip Hamer.

The ‘Sit Down’ foot-stomping, hand-clapping revival-style number always brings down the house so that “Marry the Man” duet between Sarah and Adelaide that follows always feels like an after-thought, but it leads to the inevitable happy ending.

Supporting characters of note include St. Louisan John Flack, an ideal fit as Arvide Abernathy, the kindly loving grandfather of Sarah Brown, and the bass drum player in the mission band. His warm, heart-tugging ballad “More I Cannot Wish You” is one of the show’s highlights.

Another high point is local treasure Zoe Vonder Haar as Chicago high roller Big Jule – what fun! Other veteran local performers who grace the stage include Steve Isom as gruff Lt. Brannigan, Pam Reckamp as no-nonsense General Cartwright, and Blindauer as a comical Angie the Ox.

The swaggering guys (previously not mentioned) include Paul Giarratano, Josiah Gundersen, Philly Kang, Connor Kelly-Wright, and Jack David Mullen, while the sprightly dolls were Teah Juliette Bell, Anna Chin, Marjorie Failoni, Cara Palombo and Maya Santiago. Swings include Aubrey Aldag, James Caposito and Mason Hensley. They find the sweet spot, not too seedy or campy, as the saints and sinners.

Katerina Papacostas and Matthew Schatz as Miss Adelaide and Nathan. Photo by Phillip Hamer.

Musical director Dolores Duran-Cefalu buoyantly leads an orchestra that includes Jonathan M. Taylor on drums and percussion, Adam Anello on bass, George Manning on trombone, Chris Miller and Dan Smith on trumpets, Lea Gerdes, Joseph Hendricks and JD Tolman on reeds, Fiona Brickey on violin, and Mark Maher and Duran-Cefalu on keyboards.

Other contributions include terrific wig and hair design by Paige Stewart, clear sound design by Breanna Fais, and sharp stage managing by E. Sara Barnes.

Let’s face it, this musical comedy fable is such a staple in school and community theater that you’d be hard-pressed to find someone who hasn’t seen it, been on a crew or acted in it. Nearly everyone who has a connection to the play looks back on it fondly, as you just can’t find fault with those peppy numbers, no matter how times have changed.

“Guys and Dolls.” Photo by Phillip Hamer.

The Tony-winning musical premiered on Broadway on Nov. 24, 1950, and ran for 1,200 performances. It has been revived numerous times – 1955, 1965, 1976, 2009, and most notably, the 1992 revival that won four Tony Awards and ran for 1,143 performances. And there was that 1955 movie starring Marlon Brando and Frank Sinatra.

Laced with nostalgia, Iglehart’s delightfully crisp and snappy production comes alive with intention and demonstrates why this quintessentially American musical has staying power and a devoted audience.

Stages St. Louis presents “Guys and Dolls” July 24 through Aug. 23, with performances daily except for Mondays, at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org

“The Oldest Established.” Photo by Phillip Hamer.
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Union Avenue Opera’s ‘L’elisir d’amore’ Finds the Real Magic

Union Avenue Opera’s ‘L’elisir d’amore’ Finds the Real Magic

By CB Adams

Gaetano Donizetti’s “L’elisir d’amore” (“The Elixir of Love”) has delighted audiences for nearly two centuries. Union Avenue Opera’s current production, directed by Jon Truitt, captures the qualities that have given the opera its enduring appeal, never letting the comedy outrun the romance while unfolding the story in a warmly inhabited world where laughter and love spring from the same shared ground.

The story follows the shy Nemorino as he turns to a fake love potion in hopes of winning the independent Adina. Truitt never loses sight of the relationship at the story’s center, allowing it to deepen patiently until its conclusion feels earned.

Laura Skroska’s scenic design gives the Basque village the patina of a place where life has been unfolding long before the audience arrived. Patrick Huber’s lighting, Teresa Doggett’s costumes and Truitt’s fluid staging become the visual equivalent of bel canto itself. Nothing calls attention to itself because everything belongs.

Union Avenue Opera cast. Dan Donovan Photography.

Charles Calotta gives Nemorino an unaffected sincerity that makes his innocence touching rather than naïve. Kyaunnee Richardson preserves Adina’s independence, allowing confidence to yield gradually to recognition. Their relationship emerges through accumulated moments rather than grand declarations.

That sense of place extends beyond the scenery. The chorus never fades into the background. It remains part of the village’s daily life, so the world Truitt creates continues even when the audience’s attention belongs elsewhere.

Then there are the voices.

One of the evening’s pleasures comes from hearing Charles Calotta, John Robert Green and Junhan Choi let their unamplified voices bloom. From Union Avenue Opera’s relatively small stage, those voices seem to take on a life of their own as they move through the theater, creating the exhilarating illusion that they are still expanding long after they leave the singers.

 John Robert Green as Dulcamara and Charles Calotta as Nemorino in UAO’s L’elsir d’amore. Dan Donovan Photography.

Just as impressive, Kyaunnee Richardson belongs in that company. As Adina, she matches their warmth, assurance and presence while remaining unmistakably herself.

Calotta’s unaffected sincerity culminates in a beautifully judged “Una furtiva lagrima,” sung with warmth, restraint and quiet wonder as Nemorino realizes Adina has loved him all along. Green’s Doctor Dulcamara arrives knowing every crowd wants to believe the impossible.

Truitt occasionally nudges the comedy toward “The Pirates of Penzance,” though Green’s confidence is so complete that believing him almost seems reasonable. Choi gives Sergeant Belcore enough swagger and vocal authority to become a genuine rival rather than merely a comic obstacle, while Leann Schuering’s bright, observant Giannetta quietly binds the principals to the life of the village around them.

Charles Calotta as Nemorino and Junhan Choi as Belcore in UAO’s L’elsir d’amore. Dan Donovan Photography.

Music director and conductor Cara Chowning shapes Donizetti’s score with an unforced sense of flow, allowing it to sparkle without rushing its quieter moments. Throughout the evening, orchestra and stage breathe together, sustaining the warmth and humanity that make Union Avenue Opera’s “L’elisir d’amore” so satisfying.

Union Avenue Opera’s production of “L’elisir d’amore” was performed July 24-26, and July 31, Aug. 1, 2026, at Union Avenue Christian Church in St. Louis.

 Leann Schuering as Giannetta in UAO’s L’elsir d’amore. Dan Donovan Photography.
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Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

By Lynn Venhaus

Get ready to groove! A harmonious blend of electrifying sound, smooth moves and soulful expression, “Ain’t Too Proud: The Life and Times of the Temptations” deftly delivered passionate personal portraits in The Muny’s premiere production.

The iconic songs that made this rhythm and blues group the most successful ever sound pure and powerful as the soaring falsettos, high tenor leads and deep bass notes recall a timeless soundtrack to the ‘60s and ‘70s    – and freshly highlight their extraordinary career for those not as familiar.

This is an endearing classic jukebox musical with dramatic storytelling about perseverance, ambition, collaboration and resilience — how these five Detroit guys rose from humble beginnings to international stardom.

The show opened on Broadway Feb. 28, 2019, stopped for the pandemic shutdown on March 12, 2020, then resumed Oct. 16, 2021, and closed Jan. 16, 2022. It was nominated for 12 Tony Awards and won for choreography. National tours have stopped at the Fox Theatre in St. Louis twice, first in 2022, and then for a weekend in 2025.

From left: Jawan M. Jackson, James T. Lane, Nick Rashad Burroughs, Elijah Ahmad Lewis and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The Temptations were the first Motown group to win a Grammy (“Cloud Nine” in 1969), had 53 hits in the Billboard Top 100, were inducted into the Rock and Roll Hall of Fame in 1989, and Billboard named them the #1 Greatest R&B/Hip-Hop Artist of All-Time in 2017.

Formed as The Elgins in 1961, founder Otis Williams (James T. Lane) assembled the first quintet to include tenor Elbridge “Al” Bryant (Robert Crenshaw), bass Melvin Franklin (Jawan M. Jackson), tenor Eddie Kendricks (Elijah Ahmad Lewis) and baritone Paul Williams (Daniel Yearwood).

Under Berry Gordy’s (Galen J. Williams) tutelage, they ascended the charts as The Temptations, with Smokey Robinson (Tyler Hardwick) first writing their hits. Bryant left in 1964 and was replaced by David Ruffin (Nick Rashad Burroughs), who sang lead on “My Girl,” “Ain’t Too Proud to Beg” and “I Wish It Would Rain.”

As they go through decades of fame, personal loss, and historical change, Norman Whitfield (Robert Crenshaw) took over as composer, writing bold songs about real-world issues, affected by the civil rights movement, Dr. Martin Luther King’s death in 1968, and subsequent Detroit riots.

James T. Lane and Nasia Thomas in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The second member shift was when Dennis Edwards (Joseph Anthony Byrd) replaced Ruffin in 1968, then Kendricks and Paul Williams both left the group in 1971. Later members included Richard Street (Aramie Payton), Damon Harris (Tyler Hardwick), Glenn Leonard, Ron Tyson, and Ali-Ollie Woodson. By Williams’ account, there are 27 men who have been officially part of The Temptations, and today, there is an evolving roster.

This recognizable music instantly made a connection with the audience, and a comfortable rapport was established. A high-energy ensemble performed 31 Motown hits with synchronized, athletic dance steps.

Paul Williams, widely considered the group’s best dancer, helped develop those slick moves in the early days, including “The Temptation Walk,” which were recreated by Tony winner Sergio Trujillo, and then stylized by choreographer Rickey Tripp, making his dazzling Muny debut, aided by associate choreographer Nasha Harris Santiago

Also here for the first time, Music Director Darryl G. Ivey buoyantly conducted 23 top-tier musicians to masterfully blend those global smash hits. Under Marcia Milgrom Dodge’s fast-paced direction, pizzazzy sequences were enlivened by scenic designer Edward E. Haynes Jr.’s towering Ambassador Bridge set piece and Kevan Loney’s imersive video designs incorporating concert and television appearances. Rob Denton’s lighting design and Joshua Hummel’s sound design complimented the showbizzy atmosphere.

From left: E.J. Hamilton, Candice Marie Woods and NaTonia Monet in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Costume designer Gail Baldoni based impeccable retro garments on the original designs by Paul Tazewell and included those stylish matching suits the guys were known for and sparkly gowns for The Supremes. Kelley Jordan fashioned the wigs, and the hairstyles grow in size as the 1960s progress..

Behind the flash, the actors conveyed a band of brothers – in the emotional highs and lows, and in the personal, professional and political struggles of their time. Dominique Morisseau’s book, while gritty, follows a conventional formula – but does not gloss over painful occurrences. The darker side includes alcoholism, drug addiction, domestic violence and suicide.

Morisseau adapted founder Otis Williams’ autobiography, written with Patricia Romanowski, for the basis of the musical, and he not only attended Monday’s performance, but spoke to the crowd after the curtain call. Williams, 84, still tours with the group.

From left: NaTonia Monet, Galen Williams and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

As the sturdy narrator Williams, engaging James T. Lane broke the fourth wall. He also framed the heavy emotional cost of success, outliving his friends, and focused on keeping the band together. As the moral anchor, Williams dealt with the big egos and arguments, and is the last surviving member, so the story is his to tell.

Dynamic Nick Rashad Burroughs, such a live wire as James “Thunder” Early in 2024’s “Dreamgirls,” embodied the tempestuous and talented frontman Ruffin, who couldn’t overcome his demons.

From left: Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

A real aural delight is Jawan M. Jackson as the distinctive bass Franklin, nicknamed “Blue.” His “Papa Was a Rolling Stone” is unforgettable. No wonder that he originated the role on Broadway and is now part of The Temptations, for his rich, mature tone resonates so perfectly.

Elijah Ahmad Lewis, who was a principal standby on Broadway, plays the cool cat Eddie “Corn” Kendricks with verve, displaying the signature falsetto on “Just My Imagination,” “Get Ready” and “The Way You Do the Things You Do.”

Daniel Yearwood is a heart-tugging Paul Williams, providing warm, sincere vocals like “For Once in My Life,” and then emotionally going through a sad trajectory.

The polished and professional female squad played several notable roles, with Candice Marie Woods as a stunning Diana Ross, E.J. Hamilton as Mary Wilson and NaTonia Monét as Florence Ballard, all shimmering as The Supremes, with Monet also Tammi Terrell, and Nasia Thomas as Otis’ wife Josephine.

From left: Elijah Ahmad Lewis, Jawan M. Jackson, James T. Lane, Robert Crenshaw, Daniel Yearwood and the company of the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Noteworthy in support are Robert Crenshaw as Al Bryant and Norman Whitfield, two roles he played on the national tour and TJ Staten Jr. as Otis’ grown son Lamont. While his role as manager Shelly Berger isn’t as flamboyant as Uncle Fester, Cogsworth and Igor in previous Muny productions, it’s nice to see Steve Rosen return – and his curtain call schtick is very funny.

Besides the aforementioned, the hard-working ensemble included Joshua Keith, Essence Anisa Tyler, Riley Adams, AJ Bentley, Laila Fantroy, Kameron Henry, Myles Lacey, Kayla Montgomery and Landon Page.

We brought our fond memories to the Muny, and Dodge supplied the upbeat concert vibe to make it a lively and entertaining evening. She made the past feel very present.

A Detroit native, she played Motown 45s in her basement like my sister Julie and I did in our youth. So, of course we were seat dancing! And up on our feet for the curtain call. This is Dodge’s 11th musical at the Muny, and one that was deeply personal to her, which she conveyed to all of us there Tuesday night.

From left: Nick Rashad Burroughs, Jawan M. Jackson, Elijah Ahmad Lewis, James T. Lane and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The music of The Temptations lives on forever, and the Muny audiences won’t soon forget the fun party atmosphere nor the quintet’s heartfelt journey.

The Muny presents “Ain’t Too Proud: The Life and Times of The Temptations” from July 27 to Aug. 2 on the outdoor stage in Forest Park nightly at 8:15 p.m. and is presented by Moneta. The runtime is 2 hours, 30 minutes with 15-minute intermission included.

From left: Daniel Yearwood, Elijah Ahmad Lewis, Nick Rashad Burroughs, Joseph Byrd, Jawan M. Jackson and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer
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Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

By Lynn Venhaus

“Is it now? I thought I had more time.”

A guy, clad in pajama pants and sitting in a wheelchair, utters those words. That’s the start of “Wakey Wakey,” a clever, insightful rumination on the humanity that connects us all.

Written by American playwright Will Eno, this thoughtful 2017 dramatic comedy is the latest uncommon offering from The Midnight Company and is a St. Louis premiere. In the title role of Guy is the company’s founder and artistic director, Joe Hanrahan. He’s charming, disarming and funny as an everyman facing mortality.

Eno’s rhythms ideally fit Hanrahan because it’s like everyday conversation in a natural stand-up routine way. He has performed Eno’s plays “Thom Pain (based on nothing)” twice (a finalist for the 2005 Pulitzer Prize), and “Title and Deed” before, so he is familiar with the anxious musings and reflections about the cosmic wonders that intrigue us every time we look up at the sky.

Eno’s written seven plays and known for a quirky writing style – fragmented dialogue and philosophical commentary. As Guy, Hanrahan, looking rumpled with disheveled hair, has come to terms with his final days. He speaks to the audience directly, reading from index cards like he’s addressing the local chamber of commerce.

He starts pondering life, grief and survival, then takes sharp turns into precise off-beat subjects. Hanrahan, with self-deprecating wit, is in a jolly mood sharing space with the audience.

He has slides to show, too. And he’s trying to figure out the remote control for the ‘clicks.’ His befuddlement struck a chord with the audience. It may feel random, but it has a point – and the more esoteric, the more it seemed to connect.

The audio, impeccably designed by director Ellie Schwetye, features snippets of songs and sound bites to fit the visual elements. The projection design is by the skilled Zac Grimm, who won the first-ever St. Louis Theater Circle Award for visual effects design in 2025, for Liz Lewy’s remarkable “Longing.”

At times, “Wakey Wakey” might feel like you’re back in a dorm room, talking about life, existential philosophies and aging. What do we think is worth celebrating and worth treasuring, and will we feel that way when we’re older?

Laced with laughs, the audience gets a kick out of Hanrahan engaging with them, breaking the fourth wall. Guy looks like he’s surrounded by boxes, living in a place that’s not his home, but is his final address. Written material indicates it is a hospice situation.

We all know that no one gets out alive, right, so instead of it being sad — Eno enlivens the conversation. Joe’s not alone, either. Rachel Hanks arrives midway through the one-act, as Lisa, saying she is to check on him. She’s a grounded presence, always.

The creative team ensured this was not just a simple ‘monologue,’ but rather a theatrical endeavor that said something, meant something, and we felt connected, starting with Schwetye’s crisp direction. This is her 11th collaboration with Hanrahan, and they’ve united on memorable productions, including “Tinseltown,” which won the St. Louis Theater Circle Award for Best New Play. Lighting designer Tony Anselmo superbly enhanced the visual aspect.

The key takeaway – which gets patrons talking – is that we don’t value the small things in life until, perhaps, it’s too late. So, celebrate them all: moments of laughter, wonder, joy and each other. The set-up at the Chapel lent itself to the cozy atmosphere, which felt very communal.

When Joe delivered the line: “We need to get better at saying hello,” that spoke to me. But there are many things that spoke to the ‘right here, right now’ of living in 2026.

The Midnight Company presents “Wakey Wakey” from July 16 to Aug. 1 without intermission at The Chapel, Performances are at 7:30 p.m. Thursday through Saturday and at 2 p.m. Sunday. For more information, visit www.midnightcompany.com

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COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

COCA’s ‘The Little Mermaid’ Presented with Comedic and Theatrical Flair

By Lynn Venhaus

For COCA’s magical production of Disney’s “The Little Mermaid,” I had the pleasure of being surrounded by beloved family for a special afternoon of live musical theater.

This was not an assignment for regional professional theater reviewing, but rather supporting the arts and being with people I love. It was a charming and delightful show Sunday, the last of six performances this July – and the audience was clearly appreciative of this momentous labor of love. It was just fun to be a part of, and watch families enjoy the experience.

As a fan of the show, seen multiple times, it was heart-warming to see how transfixed my guests Josie, 9, and Meadow, 3, were by the fairy tale’s whimsy and wonder, and so were us moms and company. I spied many little girls in mermaid outfits in the beautiful Catherine B. Berges Theatre in University City.

So many fine elements were impressive – the vibrant characters in the underwater kingdom, the dazzling seascape, the glistening costumes, and the lush orchestrations. Shout-outs to scenic designer Seth Howard, technical director Cameron Tesson, costume manager Cody Floyd, Jayson Lawshee-Gress’ lighting designs and Luke Bowers’ sound designs.

Kaelyn McCurtis as Ariel

With that many costumes, special mention to assistant costume designer and draper Meredith LaBounty and costume shop manager Ari Stern. And to the volunteer make-up artist Michael Coleman.

It’s the first COCA musical directed by Will Bonfiglio as the Artistic Director of Theatre, and he surrounded himself with a strong creative team. Peerless Larry D. Pry as the music director and vivacious choreography by alum Alisa Cooper.

The production benefitted from student assistant director Aspen Meyer and JiaLi Deck as alumni assistant choreographer. And no production can do without a stellar production manager (Carolyn Carter), with assistants Lexi Sims and Gray Campbell, and youth manager Cassie Gant, who also served as an effective prop designer.

Always a fan of Bonfiglo’s innovative eye, he has an imaginative, clear image of an overall picture and how to achieve maximum heart-tugging. To date, Bonfiglio is the only three-time St. Louis Theater Circle Award winner as lead actor in a comedy.

Dr. Philip A. Woodmore as King Triton.

Bonfiglio incorporated so many enchanting aspects – including aerial wizardry! (Kudos to flying effects by On the Fly Productions and fly operators Mason Hunt, Connor Kielty, Isaac Bunting and Elliot Wright).

He set the shimmering tone in the opening “The World Above,” and the cast quickly endeared themselves. Kaelyn McCurtis was a spunky, engaging Ariel with a gorgeous voice, and Xander Ungerboeck was a likable Prince Eric.

Nayomi Shackelford was quite the villainess as Ursula – and special shout-out to Ursula’s shell designer Bess Moynihan. Flotsam and Jetsam looked great – Rian Page and Karajana Caplinger were quite nimble, too.

Grimsby is always an unsung hero, so bravo to Grayson Ritson for an impeccable job keeping the show moving fluidly. Ariel’s six sisters had fun with their roles – Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick.

Ariel’s sisters Nora Griswold, Clara Garcia, Cora Donaldson, Haylin Travis, Peyton Webster, and Molly Fitzpatrick with Flounder Nora Turner.

With adorable cheerfulness, the 16-person featured ensemble and the 13-person guppy and gull ensemble added to the show’s big, bright numbers. The cast included student performers, alumni, and adult professionals – including COCA’s Dr. Philip A. Woodmore, Artistic Director of Voice, as King Triton.

They sung their hearts out of composer Alan Menken and lyricist Howard Ashman and Glenn Slater’s game-changing score from the 1989 animated film: especially “Part of Your World” and “Kiss the Girl.” Always a showstopper, “Under the Sea” was a fun spectacle – complete with jellyfish, swimming turtles and other marine life.

The three comical characters — Nora Turner as confidante fish Flounder, Brynn Meyer silly seagull Scuttle and Safiya Austin-El as skittish sidekick Sebastian the crab – were standouts, as was Byron Jenkins as the fussy French Chef Louis in his signature number “Les Poissons.”

Nayomi Shackelford as Ursula with Kaelyn McCurtis.

Pry led an accomplished pit orchestra of 12 – Jonah Larsen, Joe Winters, Anne Stevenson, John Gerdes, Timothy R. Clark, Kris Pineda, Jeffrey Brayden Bollwinkel, Becca Bessette, Stephanie Brueggeman, Brandon Thompson, Alex Macke and Mo Carr.

(Fun fact: The movie is regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance in the 1990s.)

The stage musical arrived in 2007, and there was a live-action remake in 2023.

With strong performances and portraying a vivid underwater fantasy world, COCA offered family-friendly escapism and provided an emotional connection with comedic and theatrical flair.

Safiya Austin-El as Sebastian led the showstopper “Under the Sea.”

COCA presented their summer musical, “The Little Mermaid,” on July 17-19 and July 24-26.

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First-Time Women Filmmakers Find Their Voice with ‘Forget Me Not’

First-Time Women Filmmakers Find Their Voice with ‘Forget Me Not’

By Lynn Venhaus

First-time filmmakers Danielle Herrera Boivin and Michelle Bucci poured their hearts and souls into their inaugural narrative short, “Forget Me Not,” a psychological sci-fi thriller, with the hopes of it starting necessary dialogues afterwards.

“The film explores trauma, survival, identity and the courage it takes to reclaim your voice,” Boivin said. “We hope it sparks conversations around healing, connection, and representation.”

Boivin, a Belleville native who now lives in New York City, said she and Bucci premiered the film at the Big Apple Film Festival this past spring and at the Art of Brooklyn Film Festival in early June, where it received an award for best visual effects.

Accepted into the St. Louis Filmmakers Showcase, the short 11-minute film will screen at 4 p.m. Saturday, July 25, at the Hi-Pointe Theatre in St. Louis. Both filmmakers will be on hand to talk about the movie.

Shooting at Untermyer Park and Gardens in Yonkers, N.Y.

Presented by Cinema St. Louis, the 2026 Showcase features 69 films across 14 curated programs—each written, directed, edited, or produced by local St. Louis filmmakers or artists with strong ties to the community. They are among the 15 films by first-time directors.

According to their synopsis, the genre-bending short film of surrealist sci-fi meets intimate psychological drama follows Delphine and Sofia, multiverse variants of the same soul navigating dystopian parallel realities shaped by misogyny, abuse, exploitation, trauma, and the pressures of performative femininity.

They play a guarded go-go dancer and a spirited cocktail waitress between realities. As they find themselves being glitched into a liminal garden, they must reclaim their identities while discovering the transformative power of friendship, liberation, and the courage to face one’s authentic self.

The pair said the film’s emotional core comes from lived experiences.

Danielle Boivin in ‘Forget Me Not.’

“As best friends working in nightlife, surviving predatory environments, mental health and healing from trauma, we set out to tell a story from our own voices. At its heart, ‘Forget Me Not’ explores the expansion that becomes possible when we reclaim ownership of our lives, support one another, and transform survival into resistance and purpose,” Boivin said.

“We had a desire to create a story where survivors are seen not through the lens of what they have endured, but through their resilience, complexity, and humanity,” Bucci said.

They expressed gratitude for the reactions to date. “The feedback from the audience and other filmmakers has been so humbling, and to connect with other artists has been a great experience,” Boivin said.

Michelle Bucci in ‘Forget Me Not.’

“We’re hearing from different people from all walks of life. They’ve said they feel seen, so that’s been really gratifying. We made this as women, for women, and they are meant to be heard. The feedback has been beautiful,” Bucci said.

Admittingly an ambitious undertaking, but the women were up for the challenge. They created, wrote, directed, produced, and starred in the film.

“It was quite the journey. There’s a lot we had to learn. We give a darn about the message we want to see projected,” Boivin said. “We had to say yes to ourselves.”

She said that in the film, a fictional app called Unalive2Thrive has monopolized access to mental health resources, forcing people to rely solely on it for support during their most vulnerable moments.

Filming in the Untermyer Park and Gardens that overlooks the Hudson River.

“While that dystopian world is fictional, it stands in stark contrast to the real-life organizations that provide care, safety, advocacy, and hope to those who need it most,” she said.

“We wanted to give a shout-out to some of the remarkable St. Louis organizations doing this work, including Safe Connections, Women’s Safe House, and ALIVE. Their commitment to supporting survivors and strengthening the community reflects many of the themes that inspired the film in the first place,” Boivin said.

She noted that they would like to connect with other organizations that serve individuals affected by mental health challenges, trauma, domestic abuse and gender-based violence.

While they were passionate about their material, they had to assemble a team, scout locations and raise funds. Remarkably, things fell into place, they connected with skilled professionals, and their Elle Belle Productions was formed. They filmed it in May 2024, with post-production the following year.

Filming in New York City.

They were able to use four distinct locations for the shoot — in the city, in Queens, and the Untermyer Gardens Conservatory in Yonkers. was a rare find. “It was this magical serene space, it had this ethereal spirit. For the characters, they could feel free and peaceful,” Bucci said..

In Bucci’s Queens neighborhood, the “Rabbit Hole” allowed them to shoot there, lending their club scenes an authenticity. “It had the exact aesthetic we were looking for,” Bucci said, noting a two-story nightclub, with a speakeasy vibe upstairs and a bookshelf, and then neon and a big disco ball for another look.

Their team — and an angel investor — helped them go from dream to reality. “They believed in our dream,” Bucci noted.

“We were able to get these resources, and the crew executed, and were innovative. We had 30 extras show up outside the club. We got these diverse locations and people cared so much. This has been such a rewarding experience. It’s been our baby in so many ways,” Boivin said.

Tommy Simpson recorded original music for the score. He has worked with Trent Reznor, Bucci said. Both said the score resonated with them and builds the movie’s theme beautifully.

The women hope to develop a series based on the short film. “We are actively looking to get it out in the world,” Bucci said.

Next up is a short absurdist rom-com adventure film: “The Sun, the Moon, and the Beguiling Puppet Goon.” The description: “Luna, a nerdy artist, navigates an unsettling encounter until Soleil, a vibrant puppeteer, turns puppetry into an act of resistance in this absurdist comedy.”

The pair became good friends while both living in New York City, going for their dreams as performers. Bucci said she did some off-Broadway productions, but since the pandemic, working in other jobs was necessary. They knew the hurdles of living in the city and co-wrote the script as a catharsis.

Boivin, who graduated from Belleville West High School in 2010, received a Bachelor of Fine Arts degree in musical performance at University of Michigan before moving to NYC.

 She has been part of the New York Fringe Festival, been in work at the Nylon Fusion Theatre Company, SheNYC Arts Festival, and Lyracle Opera Music Org. She has also been in commercials, television episodes and a music video by Minor Soul.

Both she and Bucci have performed cabaret variety acts regularly at the iconic Stonewall Inn.

BFFs Filming on set.

Bucci hails from North Carolina and earned a degree in theatre and psychology from Appalachian State University. Some of her favorite professional work thus far is performing in a nine-month run Off-Broadway at New World Stages in the immersive musical “The Imbible,” playing Squeaky Fromme in Sondheim’s “Assassins,” and starring as Roxie in “Chicago.” She’s appeared in “Homicide City” on TV. She is also a teaching artist.

Boivin is looking forward to introducing Bucci to Belleville and St. Louis. “Belleville helped shape my formative years as an artist, performer and actress. It’s a community that nurtures creativity, celebrates the arts, full of my family and old friends, and will always hold a special place in my heart,” Boivin said.

“It’s surreal screening our film here now as a ‘grown-up’ filmmaker, who moved to NYC for the dream. I can’t wait to come back for this special event and introduce Michelle to the Midwest and this lovely community!”

Hell’s Kitchen in Manhattan location through a friend’s dad.

Now in its 26th year, the St. Louis Filmmakers Showcase shines a spotlight on the talent, imagination, and resilience of the region’s filmmaking community. This year’s theme, “A SHARED LIGHT,” reflects the collective spirit that continues to fuel St. Louis filmmakers and their remarkable work.

The festival wraps with the Closing Night Awards Ceremony on Sunday, July 27, 6:30 pm at the Hi-Pointe, followed by the film, “Gangland,” starring Lou Diamond Phillips, and produced by St. Louis filmmaker Cole Payne.

Cinema St. Louis will present jury prizes, including the $1,000 Essy Award for Best Showcase Film, and announce which selections will screen at the 35th Annual Whitaker St. Louis International Film Festival this November.

For more information and for tickets, visit: https://festivals.cinemastlouis.org/showcase2026/

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Attention must be paid to Fly North’s close contact ‘Sweeney Todd’

Attention must be paid to Fly North’s close contact ‘Sweeney Todd’

By Lynn Venhaus

With its pitch-black tale of love, murder, revenge and obsession, Stephen Sondheim’s singular “Sweeney Todd: The Demon Barber of Fleet Street” remains an ambitious, wildly popular musical that is a challenge to produce and even harder to satisfy high expectations, no matter whether the interpretation is traditional or innovative.

Such is Sondheim’s reputation as the most important figure in 20th century musical theater and the macabre masterpiece’s passionate fan base around the globe. For Sondheim enthusiasts, any opportunity to hear that majestic score is welcome – that is why it’s often adapted into a concert presentation or an opera.

For their second official foray into Sondheim’s daunting catalogue – after their award-winning and critically acclaimed “Assassins” in 2022 at the .Zack, Fly North Theatricals presents a thoughtfully staged and deeply committed 12-member cast for this demanding show.

Attention must be paid as the ensemble raises firm, emphatic voices to grab hold in the opening “The Ballad of Sweeney Todd: ‘Attend the Tale of Sweeney Todd” and stresses the dramatic stakes in the reprises, acting like a Greek chorus.

“God That’s Good!” Photo by Julie Merkle

Parker Miller, principal bass; Margaret Beekman, principal soprano; Mia Millican, principal alto; and Nathan Hakenewerth, Matt Ingram, Dereis Lambert, Crispin Shininger, Rachel Bailey, and Isobel Ramsey robustly raise their voices in unison.

They roar with energy in “God, That’s Good!” and are the mighty backbone of this grand, grim musical that is about 80% music.

Director Colin Healy has been strongly influenced by Sondheim throughout his career – and has a mural painting of Steve on the wall of the Greenfinch Theater & Dive Bar that he co-owns with technical wizard Bradley Rohlf, so his understanding of the material is never in doubt.

(Fun Fact: The bar is even named after one of Sondheim’s songs (“Green Finch and Linnet Bird”).

Healy dives into this monumental work with the intense drive of Hal Prince and the minimalistic eye of John Doyle, two legendary interpreters of Sondheim’s shows. (Prince directed the original mammoth 1979 Tony-winning Broadway show while Doyle reimagined an austere asylum-set 2005 revival).

Isobel Ramsey and Dereis Lambert. Photo by Julie Merkle.

To create an intimate production in the cozy confines of the Greenfinch theater space, Healy focused on the character-driven narrative, stripping it down to a few immersive set pieces and counting on the audience’s imagination. The 19th century Victorian London setting is more of a suggestion, which is fine.

Clever lighting co-designed by Healy and Lauren Perry and nimble stagehands/cast led by stage manager Dizzy Funke help create a foreboding atmosphere. Rohlf lends his considerable skills as technical director.

Fly North’s resourcefulness with a tiny budget is laudable. And the efficient staging of the murders and body disposal benefits from everyone’s dedicated timing. Now, fresh ‘blood’ is splattered on some audience members, but those sitting at other angles don’t get that special effect, nor do they see it.

The heart-rending book by Hugh Wheeler, Tony winner for this, “A Little Night Music” and “Candide,” shocks and awes – blending terrifying psychological horror with deliciously wicked flickers of humor, some of it campy, while the music chills and thrills.

The disturbing gothic narrative was adapted from Christopher Bond’s 1970 play “Sweeney Todd,” which featured motivation for the barber’s lurid crimes. He imagined Todd as the victim of a corrupt, lecherous judge, who exiled him to a penal colony in Australia and ravaged his wife.

Bond had used a 1847 ‘penny dreadful’ (popular Victorian pulp fiction) – “The String of Pearls,” which sensationalized the demon barber of Fleet Street as a killer who baked his victims into meat pies.

Sondheim’s music made it feel larger in scope, and Prince decided the downside of the Industrial Revolution was that it turned out soulless, defeated, and hopeless people. That outlook, combined with Sondheim’s flair for emotional depth — nobody could tinge lyrics with melancholy, regret, and revulsion quite like he could.

“The Contest.” Photo by Julie Merkle.

Because Healy is such a Sondheim zealot, the ensemble’s enunciation was commendable on the razor-sharp lyrics and rhythmically complex songs. He isn’t the music director for this show, his usual role, but he and music director Stephen Schermitzler created the sound. Greenfinch’s orchestra pit is in the basement.

Chandler Spradling appears as an imposing anti-hero as Todd, a man pushed into nefarious deeds because of his life’s circumstances, thwarted by depraved men. He has a strong bass-baritone on such numbers as the battle cry “Epiphany” and chilling “My Friends.”

He and Lambert establish their relationship with the hopeful “No Place Like London,” and he shares his piteous tale “The Barber and His Wife.” Todd sets his diabolical plan in motion.

He meets a chatty Mrs. Lovett at her failing pie shop and opens a barber practice located above. Their meeting of the minds results in a thrifty use of a ghastly ingredient that makes her meat pies so tasty.

“The Worst Pies in London.” Photo by Julie Merkle.

Multi-faceted Jennelle Gilreath Owens is everything one can expect in an earthy Mrs. Lovett – she engages immediately in her “The Worst Pies in London,” showing off her finely attuned comedic skills and superb timing, not to mention an impeccable Cockney accent. She’s more ditzy than blowzy, more Lucille Ball than Ethel Merman.

Owens has always been a gem on local stages and shines in this iconic role. (At Stray Dog Theatre, she was a fierce Witch in Sondheim’s “Into the Woods”). She excelled at the patter song “A Little Priest” and was wistful in the duet “By the Sea.”

Perhaps the taxing nature of the intricate rhymes and complex musicality of the score was so arduous that some character development was lacking – because there should be more to some of these roles than broad strokes.

Spradling displayed the anguish, reinforced by a hollow gaze, but was less convincing as he descended into madness. Todd’s all-consuming grief and simmering rage must be palpable. His twisted partnership worked with Mrs. Lovett – until it tragically doesn’t. That downfall in the devastating second act felt a tad rushed – we should feel the sorrow.

Judge Turpin. Photo by Julie Merkle.

Haller wasn’t a cruel Judge Turpin but rather a self-righteous, controlling authority figure where his possessive nature turns creepy when he lashes himself over his desires about his young ward. He could have been nastier and more intentional because he’s duplicitous.

Most disappointing was “Pretty Women.” Had the vocal prowess and the psychological depth met the moment, the beautiful song would have been haunting and unnerving.

The star-crossed lovers, Anthony Hope and Johanna Barker, seem doomed, and for the audience, they can cheer on the couple, despite Johanna being imprisoned and forced to marry the Judge (so cringy). Dereis Lambert and Isobel Ramsey are youthful in their ardor and have a lot at stake here in their songs. Lambert’s immediately smitten in “Ah, Miss” and blends romantic yearning in “Johanna.”

For the most part, Healy avoided cartoonish evil when things all start going sideways, and that meat grinder gets a workout. But pile on the menace! With the help of white curtains, shadows and light, they make the ominous asylum scene work, and the chaos grows in a wobbly “City on Fire!”

Matt Ingram as Beadle Bamford and Crispin Shininger as Tobias Ragg were compelling as these integral characters. Ingram, with a bold, strong voice and credible dialect, had to straddle the fine lines of pomposity with politeness, cruelty with complicities and his own sense of self-importance and broad humor. Ingram did so admirably, particularly in “Parlor Songs.” Nobody mourned his fate.

Matt Ingram. Photo by Julie Merkel.

However, the naïve Tobias must transition from comic relief to tragic figure, starting out as loyal assistant to the charlatan Pirelli then becoming protective of Mrs. Lovett as a maternal figure.

Shininger is heart-breaking in one of the show’s best songs, “Not While I’m Around,” and his inevitable mental breakdown. His trauma was believable, after he figures out Todd and Mrs. Lovett are murderers, but the blocking could have been more decisive.

Rachel Bailey. Photo by Julie Merkle.
Crispin Shininger. Photo by Julie Merkle.

Ever reliable Rachel Bailey is persuasive as a mysterious Beggar Woman, and her “Beggar Woman’s Lullaby” regrettably seals her fate.

Hakenewerth is effective as the fraudulent Pirelli who tries to blackmail Todd, which sets off the murder spree.

And sadly, the Demon Barber of Fleet Street must come to its inevitably tumultuous gut-wrenching finale. Whether you’ve watched Tim Burton’s 2007 Oscar-nominated film or can’t get enough of the 2023 Broadway revival album, “Sweeney Todd” has many intricate layers to discover and Fly North has taken us in their own unusual distinctive way to its dark side.

Fly North Theatricals presents “Sweeney Todd: The Demon Barber of Fleet Street” from July 17 to Aug. 9 at the Greenfinch Theater and Dive Bar, 2525 S. Jefferson Avenue. The show’s runtime is 2 hours, 30 minutes, with a 15-minute intermission. Content warning: this show contains mature themes, including murder and self-harm. For more information, visit www.flynorth.org

Full disclosure: My maternal grandmother and Matt Ingram’s maternal great-grandmother were sisters, therefore we are cousins.

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‘Trains’ Documentary Is A Dark Yet Captivating Ride Through History

‘Trains’ Documentary Is A Dark Yet Captivating Ride Through History

By Alex McPherson

Brilliantly charting the relationship between locomotive innovation and humanity’s darkest instincts, Polish director Maciej J. Drygas’s “Trains” weaves together hypnotically-edited archival footage that speaks, urgently and incisively, to our current moment.

Drygas’s film, a project 10 years in the making that compresses footage from 46 archives from around the world (without narration or voiceover), examines the multifaceted role of the titular machines in Europe during the first half of the 20th Century. 

We begin with a rosy quote from forever-optimist Franz Kafka, and are launched into a sequence showing locomotives being assembled in a factory: huge, hulking constructions ominously framed like they’re about to come to life on their own and enact some “Terminator”-esque vengeance. 

Drygas then takes us outside to train yards and stations packed with travelers, putting us in the passenger seat as we ride along with them. After showing some soldiers and generals lounging at a rail cafe, the film transitions into the start of World War I, where the machines begin to take on a different life altogether. 

Railcars previously filled with ordinary people become vessels for weapons and soldiers traveling to and from battlefields. Initially joyful camaraderie morphs into pain and anguish on trips back home, as soldiers return maimed, disfigured, and mentally shattered from war. 

We’re then shown a variety of services available onboard for passengers post World War I — elaborate meals, fashion shows, film screenings featuring Charlie Chaplin — before shifting gears into the rise of Adolf Hitler and the horrific machinery of World War II.

History continues to repeat itself even as technology “advances,” with Drygas zeroing in on the repetitive, seemingly inevitable ways we corrupt it for inhumane yet, also, very human, means.

Drygas’s film is full of imagery both beautiful and horrific, woven together with an astonishing soundscape and a sense of moving forward while being trapped in place, at the mercy of impulses seemingly beyond societal control. Despite Drygas’s bleak views on humanity, though, “Trains” is a completely fascinating watch.

The film lulls one into a rapt daze through its rhythmic, cyclical structure before shocking and sobering with editing that turns its subjects into symbols of humanity in general, with trains as the engine powering them.

It’s less a history lesson than a eulogy for “progress,” speaking volumes through the power of its footage alone. That’s not to say that “Trains” is quiet in the “silent film” sense. Drygas, editor Rafal Listopad, sound designer Saulius Urbanavićius, and composer Pawel Szymanski give voice to the trains themselves — clanking and grinding and droning groans (added via impressive foley work) mixing with a score that maintains a pervasive ambient dread, at times conjuring a feeling of wading through molasses as we zoom along winding tracks through bustling cities and ravaged battlegrounds. 

In one outstanding sequence early on, we observe soldiers doing drills with each of their movements synced with hisses of steam and turns of pistons, like they’re almost one and the same. “Trains” is chock-full of these juxtapositions, equally as incisive when mixing together moments of comfort and luxury with horror.

The footage itself — sourced from educational programs, private collections, and historical films — is remarkable, especially in how Drygas and Listopad select certain faces to highlight: nameless souls who, by the final minutes, carry the weight and trauma of what the wars have wrought, as “Trains” becomes further abstracted.

The film also doesn’t shy away from the grim reality of the Holocaust — train cars full of victims are filmed unflinchingly; at one point the screen visibly shakes with sadness and rage.

So, no, “Trains” doesn’t inspire much faith in the human race to harness technology for “good.” But neither does it fully condemn us. The branching, crisscrossing paths shown in its final shots show potential futures we can head down — particularly trenchant in this age of AI. Will we regress once again, or forge new paths forward?

As both a narrative and audiovisual experience, “Trains” is an essential watch, especially on the big screen.

“Trains” is a 2024 documentary by Polish director Maciej Drygas. It has a runtime. It will be shown nightly at 7:30 p.m. on July 24, 25 and 26 at the Webster University Film Series in Winifred Moore Auditorium (Webster Hall, 470 E. Lockwood Ave, Webster Groves, MO 63119. It is being co-presented by the Big Bend Railroad Club. Winner of Best Film and Best Editing at the 2024 International Documentary Film Festival Amsterdam. For more information visit: https://www.webster.edu/film-series/index.php) Alex’s Grade: A+.

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The Muny’s ‘Newsies’ Triumphs With High-Spirited Bravado and Charm

The Muny’s ‘Newsies’ Triumphs With High-Spirited Bravado and Charm

By Lynn Venhaus

Let’s hear it for the boys! Those scrappy underdogs who win over many hearts nightly in the high voltage “Newsies” have taken over the Muny stage with their own versions of the American Dream, spreading hopeful cheer.

This crowd-pleasing production triumphs as a fresh, fantastic, fun take on the David vs. Goliath true story of the two-week Newsboys Strike of 1899, with catchy pop hooks and powerful anthems by legendary composer Alan Menken.

From the introductory group number’s camaraderie in “Carrying the Banner” to the unifying, pivotal “The World Will Know,” the optimistic call for solidarity in “Seize the Day,” and the rousing “Once and For All,” the cast of triple-threat talents boast contagious enthusiasm and can-do spirit.

Menken, winner of eight Academy Awards, wrote seven new songs for the stage show, and won his first-ever Tony Award. Jack Feldman wrote the lyrics. Their exhilarating blend of power pop, vaudeville and swinging melodies resonates.

From left: Bryce Williams, Jack Roden, Jaron Bentley and Kayla Pecchioni in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

An ebullient ensemble of the finest caliber fortifies the right-over-might aspects by wearing their hearts on their sleeves — and not just showing tremendous athletic skills in synchronized dance numbers choreographed by Richard J. Hinds. (Perhaps you recall his unforgettable can-can number from last summer’s “La Cage Aux Folles”?).

Their physical stamina – especially in the July heat – is incredible, showing how adept at tap, ballet and acrobatic moves they are. Through his fluid direction, Denis Jones integrates the energetic dance numbers with heart-tugging emotional storytelling.

Two-time Tony nominee and recipient of three St. Louis Theater Circle Awards, Jones has put his signature stamp on 12 shows on the Muny stage, and this is another meticulous effort. He reiterates the newsboys’ tight-knit bonds and their “us against the world” mentality.

This 19th century hustle-bustle world of New York City is framed through a gritty lens, with sepia-toned video design by Caite Hevner and rough-and-tumble scenic design by Tijana Bjelajac, which is evocative of that period. Paige Seber’s lighting design and Josh Hummel’s sound design also establish atmosphere.

Nolan Almeida in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny

Exceptional Music Director Annbritt duChateau conducts a 22-piece orchestra, elevating the emotional underpinnings and keeping a peppy pace for the spry, up-tempo numbers.  

Also popping with personality is the “King of New York” when the Newsies discover how much fun fame and notoriety can be and let loose with a spectacular song and dance number, tapping, leaping and twirling with joy.

The musical continues to strike many chords with modern audiences, ever since the 1992 movie, a box-office dud, drew so much adoration in its VHS and DVD afterlife that Disney adapted the cult phenomenon into a smash 2011 Broadway musical. Christopher Gattelli’s electrifying, airborne choreography also won a Tony.

The nostalgia factor comes into play too. It’s not hard to see why people are drawn to this story – how a ragtag bunch of orphans took on the mighty Joseph Pulitzer, who represented everything villainous about corporate America and the patriarchy – especially unfair labor tactics and unethical business practices.

Kayla Pecchioni in the 2026 Muny production of Disney’s “Newsies.” Photo by MaryKatherine Patteson, The Muny

More than a century ago, New York City was home to several publications, including Pulitzer’s New York World, the Herald and The Sun. Newsboys, those resourceful street urchins whose livelihood depended on selling that day’s paper, went on strike when Pulitzer raised the price, reducing their meager wages. Pure greed.

First produced in 2017 at the Muny, it was the Midwest regional premiere after the national tour stopped here in 2016. This musical is a fine example of what our oldest and largest outdoor theater does best — it brings multiple generations together to be uplifted by an inspirational story of courage, friendship and the power of taking a stand. And those high-spirited kids can sure entertain!

Tensions escalate in a book by Harvey Feirstein, adapted from the screenplay by Bob Tzudiker and Noni White. It’s an important history lesson because the labor union movement gained ground as workers were needed for the Industrial Revolution.

Once upon a time, the only way to find out what was going on in the world was to read a newspaper. With the 24/7 relentless news cycle today, it’s a different digital landscape – but the ethical dilemmas remain the same.

Members of the company of the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

Rising star Jack Roden possesses a major wow factor as tough survivor Jack Kelly, the charismatic leader of the strike. He embodies this unlikely heroic figure with ease – and his powerhouse vocals are convincing and clear.

His robust opener “Santa Fe” immediately endeared him, and his duet with fellow newcomer Kayla Pecchioni as spunky reporter Katherine, “Something to Believe In,” is lovely. She makes a good impression in “Watch What Happens.” As their ally, Katherine crusades to show the inequities in factories, slaughterhouses and sweatshops too as the ragamuffins bring the city to a standstill.

Seen last year as encouraging Randall in “Bring It On,” Bryce Williams is formidable sidekick Davey, who pours his heart into the rallying cry. With his keen intelligence and Jack’s street-smarts, they are a good combo.

Kayla Pecchioni and Jack Roden in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

Stealing every scene he’s in is Jaron Bentley as Davey’s little brother, adorable pint-sized Les, immediately winning over the audience through his heart and humor. Seen in The Black Rep’s “Raisin,” Union Avenue Opera’s “Ragtime” and The Rep’s “A Christmas Carol” in recent years, he’s a memorable stage presence.

Another audience favorite is Nolan Almeida as never-say-die Crutchie, a mistreated disabled orphan with a heart of gold. His “Letter from The Refuge” will likely produce a few tears as he details the deplorable conditions at the juvenile reformatory.

It’s always a welcome sight to see Anastacia McCleskey on the Muny stage, after her virtuoso performance in 2022 as Ceely in “The Color Purple” and as Joanne Jefferson in “Rent” the following year. She sashays as sassy vaudeville performer Medda Larkin, who is a champion of Jack’s artwork, and sings “That’s Rich.”

Broadway and TV veteran Michael Park is imposing as arrogant news titan Pulitzer. The other unsympathetic adults include Drew Battles as Seitz and Jonah D. Winston as Bunsen. Of course they sing “The Bottom Line.” However, Kylie Edwards is a charmer as Pulitzer’s secretary Hannah. She is part of the Bowery Beauties in “I Never Planned on You/Don’t Come A-Knocking.”

From left: Jack Roden, Matt Dean and Bryce Williams in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny

Muny regular Rich Pisarkiewicz is Wiesel, who dispenses ‘papes’ to the newsies, and Jim Butz is the weaselly enforcer Snyder while Michael Halling has a humorous turn as Governor Theodore Roosevelt.

With names like Specs, Romeo, Race, Mush and Buttons, gotta love those Newsboys: Matt Dean, Michael Di Leo, Omarion Burke, Johnny Fenton, Zach Doran, Miles Marmolejo, Arick Brooks, Kevin Antonio Rodriguez, Jacob Kim, Evan Owen, Joshua Messmore, Christian J. Collins. Brianna Kim is the fleet-footed Brooklyn leader Spot Conlon, noteworthy in “Brooklyn’s Here,” and Becca Perron doubles as a nun and Bowery Beauty.

Costume designer Emily Rebholz has selected period-appropriate attire in subdued earth tones for the scruffy youngsters, with the rich folk in Gilded Age finery. Tommy Kurzman designed wigs.

With its immersive period look and seamless staging, “Newsies” is a poignant ode to the common man and to dreamers everywhere. It taps into those universal feelings of belonging, of being of service to others, and the power to change the world. Believe!

From left: Kayla Pecchioni, Drew Battles, Jonah D. Winston, Michael Halling and Michael Park in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

The Muny presents “Newsies” nightly on the outdoor stage in Forest Park at 8:15 p.m. July 16 – 23. The show’s runtime is 2 hours, 23 minutes with intermission. For more information, visit www.muny.org.

Jack Roden (left) and Michael Park in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny
Anastacia McCleskey in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer
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Tesseract’s ‘Jagged Little Pill’ Is a Meaningful, Memorable Musical

Tesseract’s ‘Jagged Little Pill’ Is a Meaningful, Memorable Musical

By Lynn Venhaus

The underbelly of American nuclear families in affluent suburbia is exposed in the emotionally charged Alanis Morissette-inspired musical “Jagged Little Pill,” which can’t be wholly described in jukebox terms.

The show’s timeless message of showing up for people is emphasized, and Tesseract Theatre’s production focuses on pain, healing and empowerment. Director Brittanie Gunn features a smartly attuned cast in principal roles.

The landmark alt-rock album’s ‘90’s fueled angst is palpable as the fired-up energetic ensemble propels this professional regional theater premiere, featuring dynamic dancing, supple orchestrations and powerhouse vocals.

The recognizable musical score is well integrated into the issue-laden story, and includes other Morissette songs from later albums (“Supposed Former Infatuation Junkie,” “Under Rug Swept,” “Havoc and Bright Lights,” “Feast on Scraps,” and “City of Angels” soundtrack), and two new songs (“Smiling” and “Predator.”).

After the lead characters establish their troubled dilemmas in “All I Really Want,” pumped-up performers burst out with “Right Through You” and never let up until after the hard-fought “You Learn.” The company’s “Wake Up,” “Forgiven,” “Hands Clean,” and “Thank U” are commanding as well, especially the haunting “Uninvited.”

As the outwardly ideal mother unraveling inside, an affecting Loren Goudreau organically portrays Mary Jane “MJ” Healy – an authentic combination of fire and ice. Like most of the insulated moms nearby, MJ is a helicopter parent, aka control freak, and instead of protecting her two children, she’s smothering them.

MJ is also addicted to pain pills that she started abusing after a car accident and is pulling away from everyone who knows and loves her. Yet, she seems to realize what a fraud these shiny happy façades are, and the shallow suburbanites she’s in contact with around their snobby, judgy town.

Goudreau’s always in control in beautifully delivered vocals – “All I Really Want,” “Smiling,” and she crushes “Uninvited.” Her marital woes are aptly conveyed in “So Unsexy” and “Not the Doctor.” She shows her strength in a triumphant “You Learn.”

With a book by Diablo Cody, who won the 2021 Tony (and won an Oscar for the original screenplay “Juno”), Act I opens with MJ composing her annual Christmas letter telling everyone how perfect their family is.

Of course, it’s all big little lies. Her workaholic husband Steve (Kevin O’Brien), feeling neglected, spends time after-hours on porn sites. Their tenuous relationship appears on a downward spiral.

O’Brien, a remarkable actor, is unfortunately saddled with a standard perplexed dad role. For as superbly as the female characters are drawn, the men parts feel perfunctory. He does what he can with a poorly drawn character.

The heavy parental issues are complicated by the kids being teenagers, and moral dilemmas arise because of choices and circumstances. Hard life lessons are ahead as we go through a very stressful calendar year in Connecticut.

Son Nick was accepted into Harvard, and his future’s so bright that they all need to wear shades. Golden boy Nick, however, is feeling the pressure of being the ‘good’ son, the overachiever. So many expectations on his shoulders. He gets into a situation at a party where things go sideways, involving his classmates, and he is put to the test.

Stephen Henley, who is a young-looking 30 something, plays the high school senior, so one must suspend belief. Henley, a strong triple threat, can handle the emotional heft of the conflicted son. But like the movie cast of “Grease,” being a student is a stretch.

Daughter Frankie (Kinya Kairigi) is a budding social activist. She considers herself bisexual, and her best friend JoAnn “Jo” (Milo Garlich) is more than a buddy. Frankie, who is arguing more with mom, is trying to find her way – and becomes attracted to a sensitive student Phoenix (Jabari Boykin), who seems to ‘get her.’

It’s another fine showcase for Boykin, after commanding performances in Stray Dog Theatre’s “The Second Hurricane” and “Superhero.” His “That I Would Be Good” and the romantic first-love dip “Head Over Feet” show his vulnerability.

Frankie is adopted, black, and raised in a white Catholic family who didn’t think about exploring her culture but instead ignored it. ‘Better life,’ and all that. So, Frankie has some things to say about her upbringing, plus is a typical teenager ready to explode and rebel.

Kairigi, making her St. Louis debut, shows much promise, and can belt with the best of them. Her clever rendition of “Ironic,” which starts out as an essay/poem in English class and becomes a subject of debate by her sarcastic classmates, is a standout scene.

Garlich, a notable Motel in Fly North’s “Fiddler on the Roof,” has an impressive vocal range and is a passionate singer, especially on “You Oughta Know,” Morissette’s strongest anthem.

Lauren Tenenbaum’s heart-tugging portrayal of Bella Fox, the unconscious girl who is sexually assaulted at a wild holiday party, with photos circulating on social media, is another riveting aspect of the emotionally wrought show. Tenenbaum’s sincere vocals on “Predator” and “No” are noteworthy for its message.

Her tender storyline is also captured in lithe Lillian Cooper’s interpretive dance that adds a fascinating element to the presentation.

The compelling dance numbers overall, choreographed by Ella Drake and Ruben Medina, are among the show’s most memorable moments.

The ensemble – featuring Kiera Anderson-Pittman, Scott Degitz-Fries, David Hall Kaycee, David Joseph, Eesha Ved and Devynn Phoenix Yakel — is committed to getting us to feel their hurt, humiliation and outrage. Clayton Hamburg was not in the July 12 show reviewed here.

The music, by Morissette and Glen Ballard, with lyrics by Morissette, reminds us of her strengths as a groundbreaking female artist. She was only 22 when the album was released in 1995. Additional music is by Michael Farrell and Guy Sigsworth.

The album sold over 33 million copies worldwide, earned five Grammy Awards, including Album of the Year. The musical reinforces her legacy in American pop music, and the reminder is a welcome one.

Outstanding Music Director Leah Schultz is precise in conducting a very skilled band, determined to make these songs matter — not just “swallow it down.” After all, “Hand in My Pocket” promises “everything is going to be quite alright” (unless you are a cynic).

The seven-piece band sharpened the songs’ deliveries. The strings are a terrific addition, with Jill Hamill on violin and Mallory Golden second weekend, Chuck Evans on viola, and Micah Bounds on cello. Michaela Kuba is on bass, Jake Luebbert on drums, Adam Rugo on guitar, and Schultz on keyboards.

One can see how this musical garnered 15 Tony nominations, the most of any show that COVID-affected 2019-2020 season, and won two (Best Book and Best Supporting Actress). The show began previews on Broadway in November 2019 but closed due to the pandemic. It reopened on Oct. 21, 2021, and closed on Dec.17, 2021. It also won the Grammy Award for Best Musical Theater Album.

It’s easy to put this show into a time capsule, but the cast strives to make it relevant to today. The dysfunctional problems are confronted, and the solution is to start over and learn a new normal.

Lighting designer Kevin Bowman and sound designer Phillip Evans enhanced the moods while scenic designer Todd Schaefer created a fluid moving panels to anchor home, school, party, coffee shop, park and other locations. The cast helps in placing the movable pieces.

Costume designer Sarah Gene Dowling ensured the cast could move in casual looks, and rock band T-shirts helped establish the era, especially a couple classic Nirvana designs.

Other creatives included technical director Kevin Sallwasser, stage manager Abby Turner, fight choreographer Rhiannon Creighton, intimacy consultant Will Bonfiglio, and production manager Sarah Baucom.

Tesseract Theatre, as it often does, met this moment by aligning the dark topical issues to the exaggerated energetic staging. Now while the social issues are admirable, the show’s construction seems very busy.

The two-act musical is at its best when it galvanizes the intensely personal female-driven messaging and corrals the emotional landscape of adolescence in a relatable way, when it slows down to share raw, honest dialogue.

Those who respond to heartbreaking musicals like “Dear Evan Hansen” and “Next to Normal,” where personal growth and resilience occur, this is for you.

Life’s rough edges are captured in Morissette’s songs, which Cody weaves into an anxiety-ridden panoply of problems, mainly on gender and racial identities, not to mention addictions, sexuality, and suburban stereotypes. Cody’s humor is a much-needed component, too – and given the complexities of the contemporary issues, and emotional baggage, maybe not enough.

“Jagged Little Pill” can be an exhausting rollercoaster of importance, but it can also hit one in the feels. One open to this experience will discover the human condition in its moving, messy realities, set to catchy pop hooks, connecting on the Marcelle stage.

Tesseract Theatre Company presents “Jagged Little Pill” July 10 – July 26 Thursday through Sunday at The Marcelle Theatre in the Grand Center Arts District. For more information, visit www.TesseractTheatreco.org

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