Wackiness ensues in Muny’s fresh, funny, frisky ‘Something Rotten!’

Wackiness ensues in Muny’s fresh, funny, frisky ‘Something Rotten!’

By Lynn Venhaus

Merry mischief makers mix the Muny’s musical mash-up “Something Rotten!” into a zesty end-of-season treat. Of course it’s special — it has an exclamation point!

Sending up the art form while celebrating it, a high-energy ensemble accepts the mission: deliver a delightful, daffy show at a dizzying fast-pace for the 108th season closer.

One of two premieres this summer, this comedic gem takes place in 1595, during the Renaissance, and brothers Nick and Nigel Bottom (Matt Doyle, Will Burton) are desperate to write a hit play but are overshadowed by the pompous megastar William Shakespeare (Jacob Dickey), who has fangirls and an adoring entourage.

Nick enlists a soothsayer, Nostradamus (not that one, but his niece Donna), to predict the next big thing. Dynamo Jen Cody tells him to write a musical. Singing! Dancing! Acting! All together now — say what?

Matt Doyle (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

And when Nick asks Nostradamus to predict what Shakespeare’s next hit will be, however, she just misses the mark – proclaiming it is “Omelette!” (Not you know that depressed Danish prince with family and girl trouble.)

And into the madcap romp we go near Mel Brooks-Monty Python land. What silliness! “Something Rotten!” contains more than 60 inside jokes and ‘Easter eggs’ referencing other musicals and shows throughout the entire production.

Theater-insider quips and well-written zingers abound — and an all-in audience reacts with glee. IYKYK, but it’s not required to be well-versed in Shakespeare and all things musical theatre to enjoy this amusing spectacle.

A crowd-pleasing cast of Broadway veterans and familiar faces is firing on all cylinders. They look like they are having a lot of fun throughout, but especially in the super-sized splashy signature numbers “A Musical,” “Welcome to the Renaissance,” and an absolutely bonkers “Something Rotten/Make an Omelette” (defies description).

The company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

The show-stopping “A Musical” is a bursting party pinata with nods to “Annie,” “Rent,” “A Chorus Line,” “Cats,” “Wicked,” “Chicago” and “Les Miserables” and more.

A big and shiny, mighty fine-y
Glitter, glitz, and chorus line-y
Bob your head and shake your heiney
Musical

As the Minstrel, DeMarius R. Copes splendidly kicks off the spoofy, goofy fun with the catchy opener “Welcome to the Renaissance” that sets the go-for-broke tone.

The ebullient tap-dancing ensemble excels throughout the show: Lawrence Alexander, Matt Allen, Darien Crago, Aaron Patrick Craven, Kristen Smith Davis, Johnny Duvelson, Michael Harp, Sean Harrison Jones, Ryan Kasprzak, David Paul Kidder, Carina-Kay Louchiey, Spencer Davis Milford, Lizz Picini, Daniel Plimpton, Renée Reid, Allysa Shorte and Caitlin Stebelman.

Elizabeth Teeter and Will Burton in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

The 2015 show, conceived by brothers Karey and Wayne Kirkpatrick as a paean to the creative process in a pastiche of Broadway’s greatest hits, received 10 Tony nominations. Christian Borle won his second Tony as Shakespeare, its only nod.

The brothers – one a songwriter, the other a screenwriter — teamed up on the music and lyrics, and British satirist John O’Farrell came aboard to collaborate with Karey on the clever book. Hailed by critics and fans alike, it ran for 742 performances.

Magnetic Matt Doyle commands the stage as the passionate but stubborn Nick, who is driven to out-write the Bard for his failing acting troupe. He shows his resentment in “God, I Hate Shakespeare.”

He’s so consumed by jealousy that he clashes with his insecure but very talented brother Nigel, who is the better wordsmith. He and Will Burton make a good pair, teaming in the rousing “Bottom’s Gonna Be on Top” Act 1 closer.

Jacob Dickey (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Doyle, Tony winner as Jamie in the 2022 “Company” revival, is a master of lightning-fast vocal stamina (Sondheim’s “I’m Not Getting Married Today”!), and with his soaring vocals, gets the audience on his side in the redemptive “To Thine Own Self.”

Burton is sweet as the sensitive, shy guy whose way with words wins over the heart of Portia, a Puritan. Elizabeth Teeter, in a welcome return to the Muny, is bright and bubbly as the poetry-obsessed young woman that rebels against her overbearing oppressive father Brother Jeremiah (her real-life dad, Lara Teeter).  The couple blend beautifully in the heartfelt ballad “I Love the Way.”

With moves like Jagger, Jacob Dickey plays slick Will as a whirling dervish of preening rock ‘n roll excess. This showman’s got game, and swagger to spare – and is an arrogant buffoon.

New to the Muny stage, Dickey sure knows how to make an entrance, working every angle. The mega-watt “Will Power” encapsulates rock god cliches, a la “Spinal Tap,” and his unbridled ego shines through on “Hard to Be the Bard.”

Matt Doyle and Jen Cody in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Jen Cody is always a secret weapon and makes her ninth Muny show memorable, stealing every scene as genre-bending Nostradamus. With her crisp and snappy delivery, her visions of the future were a hoot, quickly endearing herself.

Fun Fact: Cody won an Annie Award (animated films) for voicing the flamboyant Southern belle Charlotte “Lottie” La Bouff in “The Princess and the Frog” in 2009.

Bryonha Marie, a Muny standout as Dolores in “Sister Act” and Mother Abbess in “The Sound of Music,” is fierce and fun-loving as Bea, an early feminist married to Nick. She wants to help support her family, and takes odd jobs disguised as a guy, best expressed in “Right Hand Man.” She and Doyle are a pleasing pair.

With such quick-witted pros as Lara Teeter as Brother Jeremiah, the priggish fire-and-brimstone Puritan preacher; Adam Heller as producer wannabe Shylock; and Gary Glasgow as wealthy patron Lord Clapham, they’re a force field of fun. Their timing is impeccable and their presence cheerful.

From left: Bryonha Marie, Matt Doyle and Will Burton in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Director Rob Ruggiero, the winningest director in St. Louis Theater Circle Awards history (3), leans into the zany. His Muny collaborations on grand-scale musicals are always distinctive, bringing out the best in cast and crew alike.

The creative team is in absurd overdrive – costume designer DW adds visual gags to the vibrant costumes, based on originals by Gregg Barnes; new video designer Camilla Tassi has fun with Broadway marquees and those plentiful eggs, and lighting designer Rob Denton illuminates it all with verve. Sound designer Joshua Hummel and wig designer J. Jared Janas added to the playful ambience.

Scenic designer Edward E. Haynes Jr., back for his 10th show, created a colorful canvas transporting us to 16th century London and Stratford-upon-Avon with striking rotating and expansive Tudor and Elizabethan architecture.

Choreographer Parker Esse’s vivacious storytelling is a master class of fluid, upbeat motion, with associate choreographer Justin Prescott ensuring seamless moves from one high-spirited number to the next. Here for her third show, music director Anne Shuttlesworth is a marvelous maestro in motion, a beat poet with a baton.

The company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Another fun fact: The 2015 show, previously on national tour here at the Fox Theatre in 2017, starred Muny favorite Rob McClure as Nick Bottom, and his real-life wife Maggie Lakis, as Bea.

Surely even the grumpiest, most cynical theatergoer will find something to smile about, for laughs were in abundance from start to finish in this well-cast, well-staged show.

With zippy wordplay, sterling comic timing and vivacious musical numbers, the Muny has delivered another love letter to this cherished art form. “Something Rotten!” is a refreshing tonic, something silly and summer-y to savor when we’ll be in the throes of the winter blues! Until we meet again, thanks for the memories.

The Muny presents Something Rotten August 17 – 23 at 8:15 pm. Performances take place on the Muny’s outdoor stage in Forest Park. For more information: muny.org.

Lara Teeter (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer
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Stray Dog Theatre’s Potent Thriller ‘Extremities’ Still Unnerving Today

Stray Dog Theatre’s Potent Thriller ‘Extremities’ Still Unnerving Today

By Lynn Venhaus

 “Extremities” starts with a jump scare – a violent home invasion, and the situation is every bit as horrific as it would seem. In a pulse-pounding few minutes, Marjorie (Claire Coffey) becomes a victim of a sexual assault.

William Mastrosimone’s intense 1980 play grapples with difficult issues surrounding violence against women, the legal system, personal agency, revenge and morality. This is an uncomfortable, tough watch that will spark discussions afterwards.

Although police procedures have changed in the 46 years since the play premiered, and viewpoints too, especially after #MeToo in 2017, its potency is in how ordinary people act and react in extraordinary circumstances.

Stray Dog Theatre’s production, which is presented as a period piece, takes place in a remote farmhouse. Scenic designer Rob Lippert has created a fragmented, broken-wood set to be a visual representation of the characters’ emotional lives.

Claire Coffey and Andrew Woodard in “Extremities.” Photo by Stray Dog Theatre.

As director Gary F. Bell described in a program note: “lives that have been slowly fractured and damaged by fear, violence, guilt, anger, and the inability to escape the consequences of what has happened.”

In this show, Bell and assistant director Jude Hagene focus on fear, what ifs, and the revenge fantasies going through Marjorie’s traumatized mind.

In a raw, real and relatable performance, Coffey is convincing as a desperate, terrified woman who turns the tables on her attacker and becomes an avenger. During the past few years, Coffey has often portrayed accomplished, confident women, in everything from “Bell, Book & Candle” and “The Mousetrap” to “A Doll’s House, Part 2” – and here she also demonstrates a fierce physicality.

A strong, independent woman, Marjorie is alarmed when Raul walks into her home, looking for a “Joe.” His stories keep changing, he keeps advancing, his tone is sinister, her announcement that her husband’s asleep upstairs is flimsy, and he attacks her.

Claire Coffey as Marjorie in “Extremities.” Photo by Stray Dog Theatre.

In a graphic depiction, he pins her down, forces her to say ‘I Love You,’ demands she touch him, follow his orders or he’ll smother her with a pillow, which he has demonstrated several times.

She fights back, grabbing a can of insecticide and sprays his eyes. Forceful, she subdues him by tying him up in the fireplace. But she can’t call the cops because he’s pulled the phone out (in those days, landline only).

Oh, she rages. What would we do? Would we become the judge, jury and executioner?

 In his Stray Dog Theatre debut, Andrew Woodard is chilling as the sleazy attacker Raul. An unreliable narrator, he makes up his narrative, but he appears to be a psychopath who has been stalking her.

A slick criminal used to bending rules his way, Raul aggressively taunts her, saying because he didn’t rape her, lack of evidence means he will probably be let go. He flaunts the burden of proof argument. (Back then, a woman’s sexual history was still admissible in court.)

Claire Coffey and Lynett Vallejo in “Extremities.” Photo by Stray Dog Theatre.

She’s terrified of the consequences and that he will return someday. The power struggle continues, her methods blurring lines, and this difficult situation becomes a tug-of-war between justice and revenge.

One of the most important duties here is the intimacy/combat choreographer Lisa Fischel. The attempted rape is very graphic – and disturbing. In the aftermath, fighting and torture includes kicks, ropes, boiling water, and a knife. Strong stuff.

One can only imagine the psychological and physical toll of mounting this production – and the stamina the four actors must summon.

Marjorie’s roommates eventually return from work separately, and each has a different response. They are dragged into an impossible situation, and nerves become frayed. Shaken up are Lisa Hinrichs as Terry and Lynett Vallejo as Patricia.

The three women are challenged like never before in their adult lives – shocked, frightened, hysterical, confused. They worry about justice, safety, and civil liberties.

Lisa Hinrichs and Claire Coffey in “Extremities.” Photo by Stray Dog Theatre.

When Raul masterfully manipulates each roommate to gain sympathy, it’s obvious he is gaslighting them, but Terry and Patricia aren’t thinking clearly and take pity on him. He cunningly divides their loyalties.

Kill? Help? Feed? Treat wounds? These possibilities can be debated, as the women argue and insult, and one wonders how credible the playwright’s logic is. Sure, the point is to examine and discuss society’s attitudes and stigmas.

Terry has a secret to share about her own experience, and Patricia, being a social worker, is presented as a ‘liberal’ who respects the law.

Mastrosimone’s backstory includes hearing a rape victim’s story – she identified the rapist but lost in court because of “insufficient evidence.” She wondered if she should have seized her own justice?

Writing from that perspective, one hears and feels his rage. But we don’t have much character development to go on, and what we do know isn’t much. The dynamic is complicated because it’s dated.

Claire Coffey in “Extremities.” Photo by Stray Dog Theatre.

The play, first performed at Rutgers Theatre Company in July 1980, eventually premiered off Broadway in December 1982, starring Susan Sarandon. A 1986 film adaptation starred Farrah Fawcett. Actor James Russo portrayed Raul both off-Broadway and in the film.

It’s meant to be a jolt, a shock to the system. Yet, there are exasperating moments too — When the roommates criticize Marjorie for wearing clothes inviting attention, that’s when it went off the rails. We’re really going there?

Predatory behavior is unsettling, and if we could only view women’s behavior as courageous — but the playwright has added all these gray areas: the blame game, asking for it, objectification and exposing society’s prejudices to create a murky environment.

That lengthens the play, and it’s disconcerting to put the women through this shame cycle, too. The emotions escalate, but the actresses sensitively handle their roles.

The reality of Raul’s story is never presented, so we don’t know what to believe, but he is tortured, and behaves like a trapped animal, then works the situation to his advantage (or so he thinks). That’s believable, but his transformation toward the end is questionable. Sure, he has lost his dominance once he plays the victim card. But should we view him as pathetic?

Andrew Woodard, Claire Coffey, Lynett Vallejo and Lisa Hinrichs. Photo by Stray Dog Theatre

Technical work – lighting design by Tyler Duenow and sound design by Justin Been – adds to the harrowing atmosphere.

This powerful show is for adults only and is unflinching in its difficult storytelling. Triggers may occur with victims of trauma, so that is something to be mindful of – and something not to be taken lightly.

A note on the program states: “This production contains mature themes and intense subject matter, including an attempted sexual assault, physical violence, strong language, restraint, and psychological trauma. The production features emotionally charged scenes that may be distressing for some audience members, viewer discretion is advised.

Stray Dog Theatre’s production of “Extremities” is being presented Aug. 6 to Aug. 22, with performances Thursday, Friday and Saturday at 8 p.m., and special matinees on Sundays, Aug. 9 and 16 at 2 p.m. All performances take place at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. The show is in two acts with a 10-minute intermission and is for mature audiences. For tickets or more information, visit www.straydogtheatre.org.

Lisa Hinrichs as Terry. Photo by Stray Dog Theatre.
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Anthony Bourdain Coming-of-Age Story ‘Tony’ Makes Satisfying Meal of Familiar Ingredients

Anthony Bourdain Coming-of-Age Story ‘Tony’ Makes Satisfying Meal of Familiar Ingredients

By Alex McPherson

Director Matt Johnson’s “Tony” is an excellently acted mini-biopic that goes beyond  familiar plot beats to paint a textured portrait of a fascinating, troubled soul.

Adapted from a few chapters of Bourdain’s 2000 memoir, Kitchen Confidential: Adventures in the Culinary Underbelly, “Tony” takes place over the summer of 1975, when 19-year-old Anthony Bourdain (Dominic Sessa), a cocky student at Vassar College, dreams of becoming the next Great American novelist.

He’s super confident he’ll receive a grant from the school’s Fellowship Committee — too confident, actually. He even works up the courage to chat up Nancy (Emilia Jones), a high school crush, and learns she’s headed to Provincetown for summer break. 

He’s rejected for the grant, but Bourdain will be damned if he admits to anyone he didn’t get it, especially his judgmental mother (Dagmara Dominczyk). He tells his family he got the fellowship and travels to Provincetown to track Nancy down. He finds her, but discovers she has a boyfriend. 

A drunken Bourdain is beaten up shortly afterwards at a local bar, The Flagship, and is thrown out on the street. He later finds himself (without his wallet) in a beachside hammock on a residence owned by The Flagship’s head “Chef” (Antonio Banderas). Chef takes pity on down-on-his-luck Bourdain and offers him a job as a dishwasher.

Through reluctantly accepting this new gig, Bourdain becomes immersed in the culinary world in all its messiness and joys, and we catch glimpses of the influential chef he’ll ultimately become. 

With a premise like this, “Tony” seems like it’ll follow a conventional trajectory, and, generally, it does. But one mustn’t underestimate the directorial verve of Johnson (director of “Nirvanna the Band the Show the Movie” and “BlackBerry”), who finds humor, pathos, and surprising authenticity between the lines.

Nuance abounds in “Tony,” which examines its central subject without sanding down his idiosyncratic brilliance or the darkness and self-destructiveness lurking beneath his confident façade. It doesn’t depend on previous knowledge of Bourdain to succeed as a coming-of-age story in its own right.

The film’s lived-in charms are supported by filmmaking that builds a deep, sun-tinged sense of place. Johnson captures the trauma-bonded camaraderie and undeniable thrill of working in restaurant kitchens, and recreates 1975 Provincetown with striking attention to detail.

Numerous outdoor shots are draped in a wistful, golden hour glow beautifully filmed by cinematographer Michael Bauman and soundtracked to a collection of pitch-perfect needle drops. He also conveys Bourdain’s loneliness and alienation, by initially having him drift through bustling places like an invisible outcast.

Sessa is downright magnetic as Bourdain, capturing his charisma and bravado along with his self-pity and deep-seated feelings of inadequacy, lending even the film’s more outright comedic moments a sense of melancholy. This is especially effective if you know the struggles of Bourdain’s later years.

Bourdain, as written by Johnson, Todd Bartels, Lou Howe, and Matthew Miller, struggles to reconcile the person he wants to become (a writer who we never actually see write anything) with who he actually is.

He’s unable to admit to himself and to others (particularly Nancy) that his life is following a different trajectory than what he had initially planned. He’s adrift, searching for a sense of direction, and his experiences at The Flagship present different paths he could head down.

Bourdain strikes up a friendship with Sal (an outstandingly live-wire Leo Woodall), a hard-partying, womanizing, rebellious coworker who helps bring him out of his slump while tempting him with numerous vices.

But it’s really “Chef” who truly connects; Banderas brings a deep sense of wisdom and tough love that helps unlock Bourdain’s eventual passion for food, even if he takes too much joy in splashing a bucket of ocean water on Bourdain’s face every morning before work. 

Both Sal and Chef (created as amalgamations of various people Bourdain met throughout his career) are vividly realized with a naturalism and dry wit that feels real and decidedly un-Hollywood.

Each provides Bourdain with different paths he could follow, if he’s willing to finally grow up. The supporting cast, including Stavros Halkias, Michael Jibrin, and Monica Raymond, is fantastic; frankly, they’re just a fun group to hang out with.

Emilia Jones as Nancy is given far less to work with here, and it’s clear that “Tony” doesn’t quite know what to do with her besides make her an object of Bourdain’s obsession and eventual growth. At several points, the camera seems to linger creepily over Jones — whether or not we’re supposed to be viewing Nancy through Bourdain’s eyes, it’s off-putting and distracting.

When “Tony” nears its conclusion, though, the more generic aspects of the narrative fall away to leave us with surprising poignancy. The film reminds us to live in the moment and not confine ourselves to expectations. It becomes a more truthful tribute to the real Bourdain (and a fuller  meal) than any hagiographic biopic could ever be.

“Tony” is a 2026 biopic directed by Matt Johnson and starring Dominic Sessa, Antonio Banderas, Emilia Jones, Leo Woodall, Stavros Halkias, Dagmara Dominczyk, Michael Jibrin, Monica Raymund and Rich Sommer. It is Rated R for pervasive language, drug use, and sexual content/nudity and is 1 hour, 46 minutes. It opened in theatres Aug. 21. Alex’s Grade: A-

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The Folksy Charm of ‘The Rivals of Amziah King’ Surprises and Uplifts

The Folksy Charm of ‘The Rivals of Amziah King’ Surprises and Uplifts

By Lynn Venhaus
In “The Rivals of Amziah King,” bluegrass, beekeeping and backwoods buddies keep this folksy fable brimming with surprises – with its twisty story, distinctive characters and strong sense of community.

In his first film in six years, Matthew McConaughey charms effortlessly as the title character. Convincing with his warm smile, deep drawl, and caring demeanor, Amziah is obviously beloved in this weathered patch of Oklahoma. A proponent of hospitality, potlucks and jam sessions, he dispenses poetic wisdom, surrounded by a fiercely loyal crew of eccentrics, misfits and lost souls.

Through superb cinematic storytelling, writer-director Andrew Patterson, whose impressive debut 2020 film “The Vast of Night” was an engrossing sci-fi thriller, has crafted a lived-in world that ebbs and flows with an entrancing Southern rhythm.

With its layered natural look, the cinematography by M.I. Littin-Menz and editing by Patrick J. Smith distinguish this film.

Owen Teague and Matthew McConaughey playing bluegrass.

Yes, it meanders, sprawling in a messy way, but it’s never not true to its roots. The message of integrity, tenacity and shared values strikes a chord in a fascinating found-family tale. Patterson’s on-the-nose metaphors are meaningful – the beehives are as captivating as communities as King’s devoted ragtag inner circle.

The homespun story unfolds in an unhurried fashion and is rich in noteworthy details. An unorthodox river heist is a marvel of ingenuity and determination while King’s tasty tour of dishes at a potluck, revealing the cook behind each recipe, is authentic in its ‘truth or a lie” sage advice.

Of the film’s many highlights, the breakout performance by Angelina LookingGlass as Kateri, who once stayed with Amziah and his wife Glenda when they were foster parents, is a heart-tugger. After Glenda died, Amziah was no longer able to foster youths and Kateri went back to her biological mother. They meet again, and it is kismet. He takes her under his wing as an apprentice, and she’s an unswerving protégé, with an interesting mystical side, too.

Other supporting characters are memorable. Jake Horowitz is street-smart and resourceful fixer Remmick, Scott Shepherd is mush-mouthed eccentric Chimmy, Cole Sprouse is fast-food worker Oat with super-sleuth skills, and Bruce Davis is savvy state investigator Sunderland. 

Kurt Russell as Dob McCoy.

In a brief but pivotal role, Kurt Russell is Dob McCoy, a slick powerful agricultural bigwig who oozes good ol’ boy charm.

Playing music are Rob Morgan as right-hand legal counsel Rippy; Owen Teague as rugged former Marine and fiddle player Pirate; and Tony Revolori as newcomer Colmar, among others.

The toe-tapping music soundtrack is sublime, with songs written by Erick Alexander and produced by T Bone Burnett. The joyous “Quill,” sung during a kitchen jam session with Ben Hardesty, is a standout.

While one can quibble with its thick aw-shucks characters that could lean towards cartoonish if they weren’t so genuine, what Patterson has created has a deeper emotional connection. His use of roots music to tell a tale about roots among people and towns is deftly delivered.

Amziah King demonstrates to Kateri how the hive reacts to the queen bee.

King says “Ain’t no one all bad or all good” and that’s the approach Patterson took writing these colorful characters. It gets a tad unsavory in the final third, as a revenge crime drama takes over.

McConaughey, the charismatic Oscar winner in his first big-screen role since “The Gentlemen” in 2019, is as magnetic as ever. (OK, he did “The Lost Bus” in 2025, but that was a streaming release, and his voice work in the “Sing” movies doesn’t count). The movie is reminiscent of his 2012 “Mud” – about a tight-knit community in rural Arkansas, and has a crowd-pleasing quality, like “The Peanut Butter Falcon” did in 2019.

McConaughey has a sweet, earthy chemistry with LookingGlass, and she lights up the screen when called upon to help save the business.

“The Rivals of Amziah King,” which premiered at the 2025 SXSW Film Festival, has all the makings of a summer sleeper hit, in the same way that “Hell or High Water” became a big August surprise in 2016. At a recent Saturday matinee, the theater was packed with senior moviegoers, which was sweet music to my ears, much like this film.

“The Rivals of Amziah King” is a neo-western crime drama written and directed by Andrew Patterson and starring Matthew McConaughey, Angelina LookingGlass, Owen Teague, Jake Horowitz, Tony Revelori, Scott Shepherd and Kurt Russell. It is rated R for language and some grisly images and the run time is 2 hours 10 minutes. It opened in limited release Aug. 14 and will be released wide on Aug. 21. Lynn’s Grade: A-.

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Take Ten with Bryce A Miller

Take Ten with Bryce A Miller

By Lynn Venhaus

Some actors pull you in by their genuine presence and emotional depth, that they understand the assignment to create a believable character and disappear into the role. That would describe Bryce A Miller, a local actor who is the very definition of versatility.

Whether it’s a musical, comedy or drama, you know he is totally present and giving his all. A frequent supporting player who works well with others, Miller has been working steadily for a few years with various professional regional theatres.

Currently, he is charming as Speed, the quick-witted servant of Valentine, in “The Two Gentlemen of Verona,” which is touring the bi-state region for a month of outdoor shows at local parks and plazas.

Thrilled to be making his debut with St. Louis Shakespeare Festival, he also portrays goofy Thurio, a wealthy suitor pursuing Silvia, the Duke’s daughter. With boundless enthusiasm, he often leads the introductions for the opening study guide that precedes the show.

Lilah Kreis and Bryce A. Miller in New Jewish Theatre’s “Prayer for the French Republic.” Photo by Jon Gitchoff.

He is working again with director Rebekah Scallet, who is the artistic director of New Jewish Theatre, but has an extensive background in Shakespeare festival work.

He started those rehearsals following another thoughtful performance in the “Prayer for the French Republic” by Joshua Harmon at NJT earlier this spring. He portrayed Daniel Benhamou, Marcelle and Charles’s son, whose routine wearing of a kippah leads to a violent antisemitic incident.

“’Prayer’ was special for many reasons. First, it was my first time working directly with Rebekah Scallet on a project. She is a fantastic director, and she brings such great, collaborative energy to the room. Also, Joshua Harmon’s plays were very influential to me while in theatre school. Delivering his dialogue feels so natural and easy,” he said.

Miller is having a banner year, having played the peculiar William Barfee in “The 25th Annual Putnam County Spelling Bee” that opened Stages St. Louis’ 40th anniversary season this summer.

Bryce A Miller as eccentric Barfee in Stages St. Louis’ “Spelling Bee.” Photo by Phillip Hamer.

He cracked up audiences as Barfee – that’s Bar-Fay to you because of the accent aigu. Calling it a “dream come true,” he was grateful to be in a crowd-pleasing show.

“It was one of the first shows I ‘discovered’ while developing my love of theatre, and it really spoke to me as an awkward, dorky pre-teen. Also, I’ve seen countless shows at Stages and it’s always been on my list of places I’d love to work at. I’m incredibly grateful for the opportunity they gave me,” he said.

Next, he will portray George in the romantic musical “She Loves Me,” which will run Dec. 3 – 20 at New Jewish Theatre. The 1963 musical about two shop clerks who fall in love as pen pals is the basis for the films “The Shop Around the Corner” and “You’ve Got Mail.”

Earlier this year, he won the St. Louis Circle Award for Outstanding Performer in a Comedy, Male or Non-Binary Role, for his bonkers portrayal of Watson in New Jewish Theatre’s laugh-a-minute farce, “Baskerville: A Sherlock Holmes Mystery.”

Nick Freed as Sherlock Holmes and Bryce A Miller as Watson in NJT’s “Baskerville.” Photo by Jon Gitchoff.

Written by Ken Ludwig as a comedic adaptation of Sir Arthur Conan Doyle’s novel “The Hound of the Baskervilles,” it transformed the classic mystery into a hilarious, fast-paced thriller.

Nearly on stage the entire time, he was a marvel in motion – slapstick goofiness, very physical comedy and sharp comic timing with a crackerjack five-person ensemble (who played over 40 roles and had fast costume changes).

“Watson also served as the narrator, which meant I got to directly address and connect with the audience. That is one of my favorite aspects of live performance,” he said.

He has been honored with two other nominations for New Jewish Theatre’s productions, including his portrayal of a strict Orthodox Jew unwilling to bend in an unhappy marriage when his wife wanted to work outside the home for fulfillment in “The Wanderers,” again working with a tremendously talented 5-person ensemble (all nominated).

Jacob Schmidt and Bryce A Miller in NJT’s “Trayf.” Photo by Jon Gitchoff.

The other one was the sweet buddy comedy in a mitzvah van called “Trayf.” He played the earnest and uptight Schmuel, whose best friend Zalmy tested their faith and friendship through his curiosity about the secular world. His first recognition was as a drama critic in “The Nerd” at Moonstone Theatre Company.

He has worked with Stray Dog Theatre, The Black Rep, The Repertory Theatre of St. Louis’ Imaginary Theatre Company, and Upstream Theater, too.

See all of the above to illustrate his versatility.

His talent and preparedness speak for themselves in all his electric and nuanced performances and characters, said Christina Rios, who has worked with Bryce multiple times with her Riverside Theatre Project in Hermann, Mo. He was in Ken Ludwig’s “Leading Ladies” the summer of 2025 there.

Jade Cash and Bryce A Miller in “The Wanderers” at New Jewish Theatre. Photo by Jon Gitchoff.

“I just also wish folks got to see also what a delightful artist he is during the rehearsal process too: He shows up to rehearsals ready to invest, having already made meaningful choices but also excited to learn and grow more. He is kind and shows deep thoughtfulness towards everyone involved with every aspect of the production – Bryce is the kind of dedicated artist who offers to put away chairs and props at the end of a 3-hour rehearsal, just because it’s a kind and helpful thing to offer. He asks great questions that push the growth and understanding of the piece and I just love collaborating with him,” Rios said.

“We are blessed, in this city, to have so many incredibly gifted performers, and it is such a double blessing when they are also beautiful human beings who care about kindness as much as they care about their craft – and Bryce A. Miller is an excellent example of that kind of artist,” she noted.

Eileen Engel as Anne and Bryce A. Miller as Henrik in Stray Dog Theatre’s “A Little Night Music.” Photo by John Lamb.

Take Ten with Bryce A. Miller

1. Why did you choose your profession/pursue the arts?

You can watch your favorite movie over and over again, and what you’re watching will remain unchanged. But you can see the same play multiple times, and you will always see a different performance from what you saw the time before. Theatre is fluid, collaborative, and exciting. There’s nothing else I’d rather be doing.

Bryce A Miller

2. How would your friends describe you?

Reserved, passionate, quick-witted

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

Going to the movies, seeing theatre around town, and exploring new restaurants and bars!

4. What is your current obsession?

“The Pitt”! I’m very late to the party but when I started watching it, I’m a little embarrassed to admit that I finished the whole series in only a week or so. 

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

I’m a pretty big introvert. I hide it well, but I love my alone time.

I’m also a MASSIVE theatre nerd. This is a bit more obvious if you’ve spent any amount of time with me. I try to see as much as I can around town, and I make my way to Chicago and New York every once in a while, too. (This spring, he saw Nathan Lane and Laurie Metcalf in “Death of a Salesman.”)

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

My mom took me to see a community theatre production of ‘The Wizard of Oz’ when I was 4 or 5. When the lights came up for intermission, I cried because I thought it was over and I didn’t want it to end. She says this was when she realized theatre would end up being a big part of my life in some way or another.

Bryce A Miller and Jayson Heil in “The Two Gentlemen of Verona.” Photo by Phillip Hamer.

7. Who do you admire most?

My mom. She is incredibly busy and work-motivated, but she still makes incredible amounts of time for those she loves. She could’ve had a 12-hour workday but will still give you the shirt off of her back. I wish I could lead my life with even an ounce of the empathy she has.

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

Traveling outside the country. In the near future, I’d love to travel around Europe, I’d especially like to go to London and check out their theatre scene.

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

Going out for food/a drink! We are such a great food city, I’ve lived here all my life and my list of places I need to try is still growing.

10. What’s next?

I am very excited and fortunate to be booked through the rest of the year with “She Loves Me.” It’s been a pretty non-stop year.

Bryce A Miller as Barfee in “The 25th Annual Putnam County Spelling Bee” at Stages St. Louis. Photo by Phillip Hamer.

More About Bryce Alexander Miller

Age: 25
Birthplace: Maryland Heights, Mo.
Current location: Valley Park, Mo.

Family: Mom (Gina), Dad (Brian), and 18-year-old brother (Jackson)
Education: BFA in Acting, Sargent Conservatory at Webster University
Day job: Substitute teacher
First job: Washing dishes at Russell’s Cafe and Bakery.
First play you were involved in: “The Three Piggy Opera” in kindergarten. I played The Big Bad Wolf!
Favorite jobs/roles/plays or work in your medium? “The Nerd” and “Trayf” were both career milestones that I will never forget.
Dream job/opportunity: A one-man show!

Awards/Honors/Achievements: One St. Louis Theatre Circle Win: Lead Actor in a Comedy (Ken Ludwig’s Baskerville, New Jewish Theatre), 3 St. Louis Theatre Circle Nominations: Supporting Actor in a Drama (The Wanderers, New Jewish Theatre), Lead Actor in a Comedy (Trayf, New Jewish Theatre), and Supporting Actor in a Comedy (The Nerd, Moonstone Theatre)

Favorite quote/words to live by: “Know your lines and don’t bump into the furniture.”

A song that makes you happy: “Les Fleurs” by Minnie Riperton

Bryce A Miller in “Trayf.” Photo by Jon Gitchoff.
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UAO’s Beautifully Sung ‘Samson et Dalila’ Struggles to Cohere

UAO’s Beautifully Sung ‘Samson et Dalila’ Struggles to Cohere

By CB Adams

There is a particular sadness when the pieces of an opera production, many of them individually accomplished, never quite cohere. Union Avenue Opera’s decision to close its 32nd Festival Season with Camille Saint-Saëns’ “Samson et Dalila” is ambitious.

Taking it on means wrestling with a work whose substantial oratorio DNA—formal choral writing, sumptuous vocal set pieces and orchestral architecture—can make it glorious to hear and stubbornly resistant to theater.

Under Scott Schoonover’s direction, Saint-Saëns’ gorgeous score makes the strongest case for the evening. The orchestra provides much of the production’s emotional life, supporting impressive voices whose differences sometimes make its mismatched power dynamics audible.

Jonny Kaufman’s clear, penetrating tenor finds Samson most persuasively in extremis, whether appealing to God or surrendering to Dalila. As the strongman weakens, Kaufman grows more compelling, turning desire into the vulnerability that undoes him. Bass-baritone Eliam Ramos brings resonant warmth and commanding authority to the High Priest of Dagon.

Melody Wilson as Dalila and Jonny Kaufman as Samson. Photo by Dan Donovan.

Melody Wilson’s warm, richly timbred mezzo creates an intriguing mismatch with her cool, regal Dalila, though that reserve eventually becomes a remoteness that keeps the character’s emotional depths beyond reach.

That distance matters because Samson and Dalila’s relationship is the hinge upon which everything turns. The opera asks us to believe in a complicated history that happened before we arrived.

Director Kathryn Frady’s intricate, tango-like Act II encounter is well sung and carefully staged, yet cannot make that unseen past feel lived. Even Samson’s blinding becomes a prolonged tableau of soldiers poised above his eyes, a theatrical device that exposes itself.

The sumptuous fabric-draped set impresses initially but evolves mostly through colored light, its palatial luxury tonally disconnected from the oppressed Israelites of Act I.

Eliam Ramos as High Priest, Fitzgerald St Louis as Abimelech. Photo by Dan Donovan.

Teresa Doggett’s costumes fare better, especially Dalila’s gleaming gold Bacchanale gown—she definitely said yes to the dress—and the High Priest’s finery.

When Saint-Saëns finally demands theatrical abandon, the Bacchanale remains curiously contained. Its awkward dance reenactment of Samson and Dalila muddles rather than intensifies the cruelty. After Kaufman makes Samson’s brokenness convincing, his sudden restored strength feels unearned, while the palace’s destruction registers as cheesy stagecraft rather than inevitable catastrophe.

At curtain call, the cast’s response to the applause felt different: relief at completing this difficult undertaking, perhaps, coupled with an almost urgent hope that the audience embraced what they had created. After so much beautiful singing and committed work that never fully cohered, the moment carried its own sadness.

Samson et Dalila ensemble. Photo by Dan Donovan.

Union Avenue Opera’s “Samson et Dalila” continues Aug. 21 and 22 at 8 p.m. at Union Avenue Christian Church, 733 N. Union Blvd., St. Louis.

Photo by Dan Donovan.
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Bravura Performances Illuminate NJT’s Alarming, Volatile ‘JOB’

Bravura Performances Illuminate NJT’s Alarming, Volatile ‘JOB’

By Lynn Venhaus

Taut and tense, “JOB” is an unsettling psychological thriller that will spark a broad spectrum of conversations. While the play’s hot-button issues can be debated infinitely, with few clearcut agreements emerging – one thing is constant: outstanding, riveting acting.

The brilliant performances by John Contini and Kristen Lindvedt are among the best of this or any year.

With his customary gravitas, Contini plays Loyd, a crisis therapist, who is assigned to treat Jane, a tech worker who has had a public breakdown, which was shared by a coworker in a video that went viral. She wants her job back, but the company will only reinstate her if she is approved to do so by a licensed therapist.

Lindvedt, who asserted herself as a memorable Cinderella in New Jewish Theatre’s “Into the Woods” in 2023 and as the ingenue in “All My Sons” in 2024, both at New Jewish Theatre, is a revelation as self-obsessed Jane. She is defiant, defensive, scared, terrifying, arrogant, aggressive and annoying, showing a wide range of emotions.

Kristen Lindvedt as Jane. Jon Gitchoff photo.

First-time playwright Max Wolf Friedlich asks: What is the human cost of living online?

Meant to be ambiguous, this 90-minute two-hander takes place in January 2020, during an on-edge therapy session. It ran on Broadway in 2024 following successful off-Broadway engagements.

Clearly agitated, Jane has shown up in a San Francisco office, and this evaluation is going to be anything but routine. Uncomfortable twists and turns are ahead, and this complex character study is very much a generational face-off, between a Baby Boomer and a Millennial.

Their identities and worldview clash – she’s part of the digital-savvy tech culture and he grew up idealistic with a hippie aesthetic. But there is so much more to explore about the psychological toll of the internet, mental health, and job burnout – perhaps too much to cover in a mere 90 minutes.

Lindvedt, John Contini as Loyd. Photo by Jon Gitchoff.

Scenic designer C. Otis Sweezey’s well-pointed set is where the claustrophobic confrontation takes place as the power play shifts, momentum and moods swing, and anxieties rise.

The conversation is absorbing as the pair settle into an uneasy rhythm – intelligently discussing life and technology, but with an apparent nervousness — a threat of violence is present.

Jane attempts to explain her meltdown as reaction to her intense job moderating extreme online and often criminal content. Yet, her job gives her life meaning, and she takes it very seriously, almost obsessively. (What happens when your job may not be healthy for you?)

How we connect online, through computers, smartphones and social media, raises questions on guilt and innocence, truth and lies, responsibility and apathy.

How does our media consumption affect our world view, and do we feel a responsibility to fight the injustices that we see and hear about daily? Should we help people who need it the most? How do we know what’s real?

Contini and Lindvedt. Photo by Jon Gitchoff.

We expect this somber drama to be divisive, but what is most surprising is how emotionally devastating it can be. With a sense of urgency, director Annamaria Pileggi has discovered relatable nuggets in a dark landscape.

Friedlich was inspired by real-life experiences, after meeting a professional content moderator whose job required reviewing disturbing online content. What happens when people assume the internet is anonymous? What happens to people adversely affected by cyberspace?

Bleak and disturbing, the play dredges up the underbelly of content – the filth that seeps onto screens, and there aren’t any easy answers, especially here. Are we seeing visions that are only in Jane or Loyd’s minds? What are these bizarre images that are conjured between flashes of light?

The artistic ambition is carried out through exceptional lighting design by Michael Sullivan and sound design by Kareem Deanes, which amplifies the city’s street sounds – and then other audio, but questions arise. Is it a sonic landscape of online engagement?

Lindvedt as Jane and Contini as Loyd in “JOB.” Photo by Jon Gitchoff.

Early on, horrifically, we hear the viral video, not seen. Jane’s screams aren’t something you’ll forget anytime soon. Imagine grappling with shocking, violent, depraved images and how shattering it could be to your psyche.

We may not get easy answers we’re looking for, because after all, the lines between perception and reality are blurred. Ultimately, Friedlich’s theatrics aren’t satisfying because actions are neither clear nor conclusive.

He has magnified society’s issues without addressing where do we go from here. Whether someone is talked down from the ledge will always be a sticking point. And both are unreliable narrators.

The big reveal seems implausible, especially if you’ve been paying close attention to the details. What price are we willing to pay to live online?

Kristen Lindvedt, John Contini in ‘JOB.’ Photo by Jon Gitchoff.

Some modern playwrights who’ve pulled the rug out from under us include David Harrower in “Blackbird,” which Pileggi shrewdly directed for St. Louis Actors’ Studio. The audience sat in stunned silence then — and now.

I thought of that unsettling play during this one, feeling jittery and expecting the other shoe to drop, and my similar queasy reaction to “Small Engine Repair” by John Pollano, which has shocking twists as well. (However, no one has attempted to stage that one regionally).

Nevertheless, bravery abounds with this pair, who elevate each other, and make this a tour-de-force not to be missed.

New Jewish Theatre presents “Job” Thursdays at 7 p.m., Saturdays at 2 p.m. and 7 p.m. and Sundays at 2 p.m. from Aug. 6 through Aug. 23. Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: https://jccstl.com/arts-ideas/new-jewish-theatre/current-productions/

JOB. Photo by Jon Gitchoff.
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Natural Bodybuilding Competition Takes Center Stage in Belleville

Natural Bodybuilding Competition Takes Center Stage in Belleville

By Lynn Venhaus

It’s all about what muscular development looks like, and not testing physical strength, when bodybuilding takes center stage at the historic Lincoln Theatre in downtown Belleville Saturday, Aug. 15.

Iron Man magazine is presenting the INBA PNBA Mid America Championship for both men and women bodybuilders, a Natural Olympia qualifier.

This is a natural bodybuilding competition where athletes must compete without the use of banned performance-enhancing drugs like anabolic steroids.

Strict guidelines are enforced. Promoter Joe Metzka said both the International Natural Bodybuilding Association and Professional Natural Bodybuilding Association competition complies to the Olympic committee, and contestants are fully drug tested.

He’s a passionate supporter of bodybuilding, which he describes as a mix of sport and art. and was the Natural Olympia Champion in 2024 and 2025. Natural Olympia is the world championship.

“It’s the pinnacle of natural bodybuilding,” he said.

Metzka said Denny Kakos, founder and global president of the INBA and PNBA, will be present. Considered the “Godfather of Natural Bodybuilding,” he created the Natural Olympia and established major drug-free platforms, promoting strict anti-doping standards and fair play. He united elite natural athletes in more than 70 countries for this movement.

Kakos, the owner of Iron Man magazine, designates honors and recognition.

“He will offer specific winners of amateur divisions a pro card with INBA PNBA and an invitation to Natural Olympia in November. He will also feature standout winners in the illustrious Iron Man Magazine,” Metzka said.

Athletes are judged on stage through mandatory poses, displaying their physique, symmetry, balance and conditioning. Competitions are separated into divisions based on gender, size and muscularity. There will be individual choreographed posing routines to music, followed by awards presentations.

The event kicks off at 10 a.m. at the Lincoln Theatre, 103 E. Main St. in Belleville. General admission is $50 and full access is $75, cash only. Tickets are available at the door.

Tickets will be available at the door ($50 or $75 for full access, cash only).

For more information, visit https://www.naturalbodybuilding.com/

Joe Metzka, former champion.
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Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

By Lynn Venhaus

Wow, just wow!

The latest heart-warming production of “Meet Me in St. Louis,” which is self-referential – us sitting in Forest Park watching a musical about the 1904 World’s Fair set in Forest Park, is so remarkable that with the Muny’s utmost care and dedication, all our collective memories came alive.

We felt it, the nearly 8,000 of us gathered on Friday. That connection, that thread linking each one of us, elicited never-ending smiles on a summer night. Just as our ancestors did, we reveled in the Muny magic under the stars

This cherished musical’s ninth time on that renowned stage is thrilling, sentimental and even tear-jerking. After all, it’s unmistakably “right here in St. Louis,” which is a vibrant valentine to the community.

Director Maggie Burrows and her creative team established a homey feel, leaning into the happy golden days of yore.

Beth Leavel (left) and the company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

That sense of wonder, of awe, and a swelling of civic pride came together organically to celebrate our treasured traditions and what makes our region so special through the devoted designers/ technical team. They feel the same way, and it shows.

In fact, the visual storytelling splendors they’ve designed are unprecedented – we’ve never seen these melded in such a spectacular way. Set designer Ann Beyersdorfer’s re-imagining of the Smith’s Victorian home at 5135 Kensington Place is a revolving work of art, a picturesque red-brick exterior and richly period-detailed interior on the Muny’s massive turntable (master technicians, we salute you).

Add the changing seasons – once again, falling snow, like “Frozen” did last year for winter, and the natural beauty of trees framing the stage. The whole feel of the panoramic landscapes of our fair city, 1903-1904, as we keep rolling along on the shores of the Mississippi River.

New York-based Beyersdorfer, a Belleville native who has designed seven sets for the Muny, three for Stages St. Louis (current “Guys and Dolls”), and the upcoming “Little Women” for The Repertory Theatre of St. Louis, has created lasting memories here.

From left: Kyla Stone, Beth Leavel and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The scenic design, paired with the ravishing video designs by Greg Emetaz and Kylee Loera, was a next-level display of what the Muny artisans are capable of, and the breathtaking sights prompted the audience to cheer and applaud loudly multiple times. The recreation of vintage lithograph postcards was exquisite.

The stage musical, first commissioned by and for the Muny in 1960, has always offered comforting nostalgia about the simple joys of childhood and affectionate family dynamics.

Let’s face it, the storyline is a deluxe Hallmark movie. Warm and winsome that it is, the Smith family drama occurs when a planned move to New York City throws plans awry, including romance for the two eldest daughters and being here when St. Louis hosts the World’s Fair.

Officially the Louisiana Purchase Exposition, which honored Lewis and Clark’s westward expansion and celebrated technology, culture and industry, the fair took place from April 30 to Dec. 1, 1904, on 1,200 acres in Forest Park.

Stan Brown, Lilah Levinson. Photo by Phillip Hamer

It was the first time the Olympic games were held in the U.S., and introduced such foods as hot dogs, ice cream cones, cotton candy and iced tea. More than 60 countries and 43 states took part, and it attracted 20 million visitors.

Because the show matters so much here, the cast’s bond to the story was strong, honoring it with sincerity and joy. St. Louisan Colin Donnell, a Broadway veteran, is the genial patriarch, Alonzo Smith, who wants the best for his family.

He and his real-life wife, Patti Murin, are captivating anchors, projecting an emotional closeness. She’s appeared at the Muny seven times, last seen as Anna in “Frozen” last summer, and this time as sensible Anna Smith.

Triple-threat dynamo Katerina McCrimmon, fearlessly tackling such iconic roles as Fanny Brice on the national tour of “Funny Girl” in 2023 (brought down the house at the Fox!), and Eva Peron in last summer’s “Evita” here, assuredly slips into Judy Garland’s shoes as strong-willed, kind-hearted Esther Smith.

From left: Joylin Bass, Lilah Levinson and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

With her powerhouse vocal range, she balanced belting with vulnerability. She emulated Garland’s rich velvet timbre, combined with her emotional honesty and passionate singing, and they both shared the gift of tender, wistful delivery.

In the eye-popping and jaw-dropping “The Trolley Song,” we followed a moving trolley’s path through turn-of-the-century St. Louis as video projections of neighborhood vistas went by.

Gordon Greenberg’s snappy re-do of the book by Hugh Wheeler, which improved characters, pacing and boosted local references, debuted for the Muny’s 100th anniversary in 2018, and now, just in time for Forest Park’s 150th anniversary, it enveloped us with heart and humor.

Author Sally Benson grew up at that Academy neighborhood address, in the home her father purchased in 1891. Fun fact: her maiden name was Smith and her nickname Tootie. (Spoiler alert: They did move to New York. Sadly, the home was demolished in 1994.)

Patti Murin and Colin Donnell in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

Her fond recollections were published in short story installments, “The Kensington Stories,” in The New Yorker in 1941, and proved so popular, she turned it into a book in 1942, the basis for the beloved MGM film starring Judy Garland and directed by Vincente Minnelli.

The movie was released in 1944 wartime America, resonating about home and togetherness, and included Garland favorites “The Boy Next Door” and the holiday classic “Have Yourself a Merry Little Christmas,” which McCrimmon makes her own. The movie is no. 10 on the American Film Institute’s 100 best movie musicals.

The show’s music and lyrics are by Ralph Blane and Hugh Martin, and additional material by George W. Meyer, Edgar Leslie and E. Ray Goetz, Kerry Mills and Andrew B. Sterling.

This refreshed production, with additional orchestrations by John McDaniel, includes the cut song by Rodgers and Hammerstein “Boys and Girls Like You and Me,” originally intended for the film, and the stage debut of “You and I,” a duet sung by Donnelly and Murin.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

This year, a new number premiered, “That’s Enough of That,” sung by Tony Award winner Beth Leavel. The Muny fan favorite, whose 13 memorable performances include Mama Rose in “Gypsy” (St. Louis Theater Circle Award), Dolly Levi in “Hello, Dolly!” and Aunt Eller in “Oklahoma,” portrays the lovable housekeeper, Katie Connelly. During the song, she dispenses wry, wise advice to the two oldest Smith daughters, Rose and Esther.

The song is written by Mark Sonnenblick, with orchestrations by Greg Anthony Rassen. Sonnenblick is having a banner year, after winning an Oscar, Grammy and Golden Globe for collaborating on the smash hit “Golden” from “K Pop Demon Hunters” (a joyful mental loop).

A musical theater composer and lyricist, he’s written additional lyrics for the musical “The Devil Wears Prada” and the films “Spirited,” “Theater Camp” and “Lyle, Lyle Crocodile.” He also wrote the opening song Pink performed at this year’s Tony Awards.

It’s nice to know that Mike Isaacson, executive producer and artistic director, is open to fresh ideas and making updates to outdated shows.

Katerina McCrimmon (left) and Lilah Levinson in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The enthusiastic principals demonstrated a tight-knit communal feel, with noteworthy turns by Stan Brown as retired doctor Grandpa Prophater, Kyla Stone as oldest sister Rose, Andrew Poston as boy next door John Truitt, Ilan Eskenazi as brother Lon Smith, Joylin Bass as younger sister Agnes, Gregory Lee Rodriguez as Rose’s beau Warren Sheffield, and Emma Crow as Lon’s sophisticated outsider girlfriend Lucille Ballard.

Spunky Lilah Levinson as mischievous youngest sister Tootie stole all her scenes, comically landing every line.

A spirited ensemble, under the fine music direction of Paul Byssainthe Jr. and choreographer Sarah Meahl, helped the realistic feel — Leah Berry, Chloe Chamberlin, Jason Goldston, Beau Harmon (a funny Pee-wee Drummond!), Ava Noble, Ben Nordstrom, Sandra Valeska Orozco, Jasmine Overbaugh, Ronan Ryan, Gordon Semeatu, Drew Tanabe, Bronwyn Tarboton, Allie Villhard and Justus Wheatley (who is spotlighted singing a popular beer garden song “Under the Anheuser Bush” as the Christmas Ball band singer.

Kailey Bender and Michael Santomassimo are the swings, with Michael associate choreographer and dance captain, too. The Muny Youth Ensemble also took part.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The cast was fabulously costumed by Leon Dobkowski, with gorgeous all-white finery for the fair, elegant jewel-toned gowns for the Christmas ball and everyday vintage apparel, with Kelley Jordan’s natural-looking wig designs of cascading curls and braids.

The razzle-dazzle in a grand finale seemed to have multiple moving parts that will be talked about for years, starting with a magnificent reveal of lighting designer Paige Seber’s festive World’s Fair, followed by fireworks. Kudos to Director of Production Tracy Utzmyers and Technical Director Theo Prifti, and their teams.

During a lively curtain call, we joined the cast singing the title song, but the production people weren’t done yet with the wow factor. It’s as if they pushed farther to see what new heights they could achieve to celebrate our twin crown jewels, the Muny and Forest Park.

Putting a cherry on top, we watched our St. Louis skyline/history unfold, including the Arch being built and other nods to our heritage. This happy ending on an extraordinary night was akin to everyone wearing their hearts on their sleeves, feeling the ties that bind us, and roars and repeated ovations erupted.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The Muny presents “Meet Me in St. Louis” Aug. 6 – 13 at 8:15 p.m. Performances take place on the Muny’s outdoor stage in Forest Park. For more information, visit muny.org.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer
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St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

By Lynn Venhaus

With boundless enthusiasm, a six-person ensemble enlivens “The Two Gentlemen of Verona,” an early Shakespeare comedy about boundaries in friendship and romance that remains a timeless cautionary coming-of-age story.

The intent is light-hearted, the folly of best buds falling in love with the same woman, and the betrayal and forgiveness that ensues. And saucy minions, too. (Google it).

If we’re outdoors, it must mean it’s a lovely summer evening courtesy of St. Louis Shakespeare Festival’s annual TourCo, where they travel across the bi-state area to bring live theater to local parks and plazas, this year 33 locations in all.

Six years’ strong, this far-reaching accessible and free initiative has evolved into a must-see experience. It is both the longest running play in St. Louis every season and the second largest Shakespeare tour in the country.

Sarah wilkinson and Tristan Wallach as young lovers Julia and Proteus. Photo by Phillip Hamer.

The picturesque open-air Cohen amphitheatre setting at the Missouri Botanical Garden was the stage Wednesday night, and it showcased all the key aspects of Shakespeare in the park that entertain: appealing performers, musicality and surprises – this time, a scene-stealing dog in the cast.

Director Rebekah Scallet, a Shakespeare veteran, has brought out the universality of the story, generally regarded less than other works, but she points out that it is a precursor to other themes and situations he explores in later plays. Capricious young men! As is typical in early Shakespeare comedies, there’s misunderstanding, disguises, and growing up to do.

What separates this version is its zip. The cast delivers a zesty introduction to set the stage for the 90-minute show in their Living Study Guide, which is a summary explaining characters and their motivations at the beginning. Because it’s a compact and concise adaptation, where the actors play multiple roles, they let us know who’s who and what’s what.

The energetic performers dash around, frequently changing an outfit or grabbing a musical instrument. All but one are making their Shakespeare debut. Newcomer Tristan Wallach is Proteus, who shifts from lovesick romantic into a traitor who betrays both his girlfriend Julia (Sarah Wilkinson) and best friend Valentine (Otto Klemp, who was in “The Tempest” earlier this summer).

Bryce Miller, Tristan Wallach and Jayson Heil. Photo by Phillip Hamer.

In Milan, to broaden his horizons, Valentine falls in love with the strong-willed Silvia (Jade Simone Francis), daughter of the Duke (Jayson Heil). Proteus, who stayed home, fell in love with Julia. However, Proteus’ father Antonio has sent him to Milan, where he falls in love with Valentine’s girlfriend. Rut-ro. But Silvia rejects him, repeatedly (cue women in audience applauding).

But things get messy as loyalty and good judgment go out the window, and we travel between court to forest (sound familiar?). Say what you will, but in those Renaissance times, they valued the bonds of male friendship over romantic love. Hmmm…That was around 1590, and times have changed.

Charmer Bryce Miller adds oomph to his role of Speed, the quick-witted servant of Valentine. He often comments on the two besties’ foolish antics and works hard to make sure the ‘older language’ sounds fresh. He also portrays goofy Thurio, a wealthy suitor pursuing Silvia, who is favored by the Duke.

As the smart but impulsive Julia, graceful and winsome Sarah Wilkinson disguises herself as a page boy, ‘Sebastian,’ to spy on Proteus, the first evidence of Shakespeare’s cross-dressing heroines. She is assisted by her sassy waiting-woman, Lucetta, played vibrantly by Francis. She has a more practical attitude about courtships than the fickle youths do, especially her faithful boss.

Otto Klemp and Jade Simone Francis. Photo by Phillip Hamer.

Adding even more charm is the seventh cast member, Crab, the ill-behaved pet of clownish Launce (Jayson Heil), Proteus’ servant. Five dogs are being rotated to play this scene-stealing role.

Many times, in Shakespeare comedies, the supporting characters are more interesting than the male leads, and that holds true here. Wallach and Klemp are fine in lead roles, but where they shine is in their acoustic musical accompaniment. They are both accomplished musicians.

Another distinguishing factor is original music, under the superb direction of Larry D. Pry, whose arrangements of melodic tunes fitting the period and setting stand out. The original music was written by Jordan Coughtry, who worked with Scallet when she was artistic director at the Arkansas Shakespeare Theatre.

It’s not all that unusual that “The Two Gentlemen of Verona” features music, for a groundbreaking rock musical adaptation at Joseph Papp’s NYC Shakespeare in Central Park in 1971 went on to Broadway and won the 1972 Tony Award for Best Musical (and best book), featuring Clifton Davis and Raul Julia as the leads.

Pre-pandemic, St. Louis Shakespeare Festival presented a 1980s hip-hop high school musical version of it, “Dress the Part,” in February 2020 from The Q Brothers, who played football players among over 20 parts, which won an ensemble award from the St. Louis Theater Circle in 2022.

Jayson Heil with Rocky, a Golden Retriever, as Crab. Photo by Phillip Hamer.

This company features a similar fast-paced, playful spirit that Scallet strived for, imbuing a fresh attitude.

The touring company requires a portable set, and scenic designer Katherine Stepanek shows her keen eye for setting a stage to be practical and attractive, with floral-festooned arch-shaped trellises draped with a vivid red material. These move easily to suit the locales. Like she always does, costume designer Michele Friedman Siler fits the occasion with perfectly suited outfits – and ones adaptable for St. Louis summers and quick changes.

The talented technical team also includes John Wilson as both the fight and intimacy coordinator, and Colin O’Brien as the expert production manager, with Britteny Henry doing her customary efficient job as stage manager, ensuring fluid entrances and exits.

Shakespeare may have been taught in your English class, but the best way to appreciate the bard is to see his plays performed, not read. And with the touring company coming to communities and neighborhoods, the time is perfect to bring a blanket or lawn chairs, pack a picnic, and see a family-friendly 90-minute Shakespeare show. Check social media for weather updates.

Simone, Klemp and Wilkinson. Photo by Phillip Hamer.

St. Louis Shakespeare Festival’s TourCo is presenting “The Two Gentlemen of Verona” free and open to all, no tickets required, to more than 30 parks and plazas in Missouri and Illinois from Aug. 4 to Sept. 6. Performances start at 6:30 p.m. and are 90 minutes in length. Visit https://stlshakes.org/tourco/ for a complete schedule.

The cast of “The Two Gentlemen of Verona” – Sarah Wilkinson, Tristan Wallach, Bryce Miller, Otto Klemp, Jade Simone Francis and Jayson Heil. Photo by Phillip Hamer.
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