Pop du Jour: The September Issue

Pop du Jour: The September Issue

By Lynn Venhaus

After a brief hiatus, we’re back with our round-up of people, places, and events in the St. Louis region, a tad behind in posting our September/summer swan song.

IN COMES COMPANY: Stephen Sondheim’s groundbreaking musical “Company” – the female-led revival that won the Tony in 2022, kicks off its 25-city national tour on Oct. 8 in Schenectady, N.Y., with the St. Louis stop Feb. 27-March 10 at the Fox Theatre.

Belleville native Ann Beyersdorfer, associate set designer for the Broadway revival, worked with production designer Bunny Christie, who won her fourth Olivier Award for the London production design. And she’s on the team that has been preparing the hilarious and sophisticated show for the road.

(Three-time Tony Award winner Jack Lane, co-founder and executive producer emeritus of Stages St. Louis, was one of the Broadway show’s co-producers.)

Ann was back in town this summer, as scenic designer for “Disney’s Beauty and the Beast” and “West Side Story” at The Muny, and I was fortunate to interview her then for the Belleville News-Democrat.

https://news.yahoo.com/belleville-native-designs-sets-broadway-120000176.html

For a deeper dive into the mechanics of getting a Broadway show transferred to the road, read about her journey here on PopLifeSTL.com:

A winner of best set design of a play for “Afterglow” at the Los Angeles Drama Critics Circle Awards, she’ll be part of the team taking the production to London Oct. 17–Nov. 24, with an official opening Oct. 22.

And as an art director on the visual shorts for “Saturday Night Live,” hopefully you will be able to see more of her work when the show resumes on Oct. 14. You may have seen the elaborate “HBO Mario Kart Trailer” she worked on when Emmy-nominated Pedro Pascal hosted.

Cheers to Ann and the tour launch! (We’ll drink to that!). For more information, visit: https://companymusical.com/

Nichelle Lewis, Wayne Brady

BRAND NEW DAY: “The Wiz,” the 1974 super-soul musical adaptation of L. Frank Baum’s beloved children’s novel “The Wizard of Oz,” which was given a reworking for The Muny’s 2018 season, is Broadway-bound in 2024, with St. Louis-connected producers, but this new revival is touring first. Opening night was Sept. 23 at the Hippodrome Theatre in Baltimore, and the reviews were raves.

“The audience and the whole evening was full of joy and energy, extended applause, and standing ovations,” stated the Maryland Theatre Guide on Sept. 29. “Powerhouse performances and stunning choreography,” enthused the Baltimore Sun.

The first-ever revival will be easing down the road to 12 other cities, including Chicago (Nov. 28 – Dec. 10). For more information, visit: https://wizmusical.com/

The producing team of Kristin Caskey and Mike Isaacson (Muny artistic director and executive producer) and a long list of others, including Terry Schnuck, is behind this show. Caskey, now of the Ambassador Theatre Group, spent 20 years with Fox Theatricals. She and Isaacson produced the Tony-winning “Fun Home” in 2015 and this year’s Best Revival winner “Parade.”

Isaacson said they have been working on a revival for eight years, and plans are to mount another national tour after the Broadway limited engagement. In preparation for The Muny, he received permission from the original creators to make some changes. Amber Ruffin, recent Tony nominee for “Some Like It Hot,” wrote additional material – and had worked on the Muny script – from William F. Brown’s original book. You may know her as a writer on “Late Night with Seth Meyers,” as she frequently appears.

Isaacson revealed that in a terrific Broadway World interview with James Lindhorst, who also talked with producers Jack Lane, Mike Bosner and Terry Schnuck – heavy-hitters at this year’s Tonys (“& Juliet,” “Shucked” and “Parade”).

https://www.broadwayworld.com/st-louis/article/Interview-St-Louis-Area-Producers-Mike-Bosner-Mike-Isaacson-Jack-Lane-and-Terry-Schnuck-Nominated-for-Tony-Awards-20230512

Schele Williams is helming this show, with Wayne Brady as The Wiz from Jan. 16 to Broadway engagement, and Alan Mingo Jr. in the title role Sept. 23 – Jan. 14, 2024, and newcomer Nichelle Lewis as Dorothy.

The original 1974 production, directed by Geoffrey Holder and choreographed by George Faison, won seven Tony Awards including Best Musical, and was adapted into a movie in 1978 starring Diana Ross, Richard Pryor, and Michael Jackson. NBC broadcast a live version in 2015, but a planned revival then did not materialize.

Colin, Jeanine

BRUSH WITH GREATNESS: Speaking of the musical “Fun Home,” composer Jeanine Tesori — the most honored and most prolific female theatrical composer in history, was in St. Louis this summer, and stopped in to visit with the local cast rehearing “Caroline, or Change,” produced by Fly North Theatricals.

To get the opportunity to talk with Tesori, who has written five Broadway musicals and received six Tony Award nominations, winning for “Fun Home” and the recent “Kimberly Akimbo,” was one of the best moments ever, according to music director Colin Healy.

Healy summed it up this way on Facebook: “She and Mike Isaacson (producer) offered such wonderful insight into the process of writing, building, and producing ‘Caroline, Or Change,’ validating what is already apparent when hearing the score: how much a labor of love and Herculean creative endeavor ‘Caroline’ was and continues to be… She spoke to us for over an hour and took questions from everyone.”

(Photo: Colin Healy and Jeanine Tesori)

NEW HORIZONS: All good wishes for theater and media folks moving on, changing directions and making the most of opportunities.

Bravo to Taylor Gruenloh, whose new musical “Cascade’s Fire,” a modern Antigone story co-written by Kyle Wernkel, will premiere Oct. 12 and run 13-15 and 19-21 in the Black Box Theatre at Missouri Science and Technology in Rolla, where he is on the Arts, Languages and Philosophy faculty. Taylor wrote the book and lyrics while Wernkel wrote the music.

Taylor recently stepped down as Creative Director at The Tesseract Theatre Company at the end of August, after their successful run of “Kinky Boots.” One of the most prolific and creative folks in town, I can’t wait to see what else he will accomplish.

Congratulations to Joe Gfaller, who has been managing director of Metro Theater Company since 2019, on becoming managing director of Clear Space Theatre Company, a 20-year-old regional theater in Rehoboth Beach, Delaware. He’ll be leaving in mid-October. Jessie Youngblood, the current development director, will serve as interim managing director beginning Oct. 9. Always enjoyed working with Joe, starting with the Opera Theater of St. Louis in 2014. Joe has served Metro, St. Louis’s premiere professional theater for youth and families, well.

Best wishes to Julia Flood, Metro artistic director for the past 10 years, who has announced her retirement after the 51st season. Of Joe’s departure, she said: “Joe has had boundless energy and enthusiasm for the mission and work of Metro Theater Company. I feel lucky to have had the benefit of his partnership through the complexities of the pandemic times and wish him much success and happiness in his new venture.”  (They both can be very proud of their endeavors).
 A free Fall Family Festival to celebrate MTC’s 50 years of service to the community will be held on Oct. 21 and 22. A toast in Gfaller’s honor will be held at that event on Sunday, Oct. 22 at 1 p.m. 

Carol Daniel

Carol Daniel may have retired from one prominent longtime gig, but she is embarking on a fantastic journey. The award-winning St. Louis journalist, reporter, host, columnist, and author has joined Nine PBS as a Senior Producer and Host. 

Daniel said she looks forward to telling the stories of her community in a new way — with a podcast about people making an impact here, and also produce interviews and stories that celebrate and showcase underrepresented voices for Nine PBS’s content flagship, Living St. Louis. Yes to this! I look forward to seeing her next chapter.

Daniel has more than 40 years of experience as a host on KMOX Radio, as well as work on Great Day St. Louis on KMOV/Channel 4, and a columnist for the St. Louis American. She’s been honored as a Living Legend by the National Association of Black Journalists–St. Louis, was recently inducted into the Lincoln University Alumni Hall of Fame, and was a 2022 inductee into the St. Louis Media Hall of Fame.  

Longtime public relations and marketing maestros Eric Pugh and Dylan Stanley have departed our fair river city for beachier pastures. Last at the Muny, Eric is now promoting The Asolo Repertory Theatre in Sarasota, Fla., the largest Equity theatre in Florida, and the largest Repertory theatre in Southeastern U.S. Just wonderful to work with both, and I’m glad we had time together.

Dylan, who has moved to Los Angeles with his fiancé, Nicolas Valdez, who is embarking on a fellowship at USC, will keep us posted on his next challenge after giving us his all at Stifel Theatre and Enterprise Center (and performing in Tesseract Theatre Company’s triumphant “Kinky Boots.”

Best wishes to Lee Anne Mathews in her new role as Education and Artistic Director for the Fox Performing Arts Charitable Foundation!  Before May, she was making things happen at Westport Playhouse.

Congratulations to Brian McKinley on his new role as Director of Education and Community Program at the Black Repertory Theatre of St. Louis.

HOMETOWNERS: Comedian-actor Cedric the Entertainer’s new book, crime caper “Flipping Boxcars,” fictionalizes his grandfather, Floyd “Babe” Boyce.

Jon Hamm is in two, not one, television series this fall. He joined the cast of “The Morning Show” for season 3, now streaming on Apple TV+, and will be in “Fargo,” season 5, which starts Nov. 21 on FX and Hulu.

Nicholas “Sifu” Alsup.
Photo: Robert Voets/CBS

Best wishes to Nicholas “Sifu” Alsup of O’Fallon, Ill., who was chosen as one of 18 contestants on the 45th season of CBS’ “Survivor” that started Sept. 27.He is a larger-than-life personality, and I was able to interview him through permission with CBS. https://news.yahoo.com/o-fallon-gym-owner-one-120000863.html

CHEERS: Congratulations to New Jewish Theatre on their 25th anniversary as a regional professional theatre in St. Louis; and Gateway Center for Performing Arts school, and youth theater company, on their 10th anniversary in Webster Groves. A feature article by me will be in the Webster-Kirkwood Times soon.

OUT AND ABOUT: Two Colins in the ‘Lou news!
Co-owners Colin Healy and Bradley Rohlf of Fly North Theatricals, have opened their new home and social hangout, The Greenfinch Theater and Dive, at 2525 South Jefferson Avenue (the old Way Out Club).. The bar is open every night from 5 p.m. to 1 a.m. You won’t want to miss Stool Pigeon Open Mic Comedy Night on Mondays and Drunk Voice Lessons karaoke with live piano accompaniment (and critiques) by Colin Healy on Wednesdays, plus Burlesque Bingo’s in the rotation too. They are also accepting reservations for their black box theater.

Colin Jost

SNL Head Writer Colin Jost was the Celebrity Guest Host at the Foundation for Barnes-Jewish Hospital’s Illumination Gala on June 3 at The Ritz-Carlton, a major fundraising event for the Siteman Cancer Center. Not sure what he said about “The Square Beyond Compare” but Imo’s posted his photo.
Since 2007, the event has raised more than $42 million to support research funds

MEMORY LANE: Last month in pop culture history.

Sept. 26, 1975: “The Rocky Horror Picture Show” opened in Westwood, Calif., and tanked at the box office, but later would become the definition of a cult classic, inspiring interactive screenings with toast, toilet paper and more.

If you attended midnight screenings in the late ‘70s at the Varsity Theatre in St. Louis (where Vintage Vinyl is now), you might have run in to a teenage Michael Stipe, future alt-rock band REM frontman, who is dressed as Frank-n-Furter here in this vintage newsclip on KSDK’s “Newsbeat.” He told the reporter: “We’re all normal, really.”

Why on earth was Stipe, now 63, in St. Louis then? His dad was in the Army, and they moved to several states during his childhood. In the late ‘70s, he lived in Collinsville, Ill., and attended high school there and went on to Southern Illinois University in Edwardsville.. Later, he would move to Athens, Ga., for college, and met record store clerk Peter Buck, which led to forming a band with Mike Mills and Bill Berry…and the rest is history..

Rocky Horror played midnights at the Varsity Theatre from April 1976 until Jan. 3, 1988 when it closed for good. It was one of the first 30 theatres in the U.S. to do so.

I was fortunate to interview Barry Bostwick (Brad in the movie) when he had been scheduled to appear at Wizard World in St. Louis, but had to cancel, and he graciously talked about making the movie by phone. True delight to talk with and write about — here’s my BND feature from 2017.

https://www.bnd.com/entertainment/article142667129.html

Anne Meara, Alan Arkin

IN MEMORIAM: Frequent visitor to Gaslight Square with the infamous Compass players, RIP Alan Arkin (March 26, 1934 – June 29, 2023). Archival photo is at Crystal Palace with Anne Meara.

From William Roth, the founder and artistic director of St. Louis Actors’ Studio, who renovated The Gaslight Theatre in the Central West End, on Arkin:

“He made his off-Broadway debut in the late 1950s and joined the St Louis improvisational group the Compass Players in 1959. This led to a stint with the Chicago improv troupe Second City and his Broadway debut, in 1961, in the company’s show ‘From the Second City, which he co-wrote.’

Tony-winning actor Michael McGrath, whose last show was at the Muny this summer – he did a fine job as Mr. Mushnik in “Little Shop of Horrors,” passed away in his sleep Sept. 14 at his home in Bloomfield, N.J. He was 65. That wasn’t his first show in St. Louis – in 1990, he played John Adams in Theater Factory’s “1776.” He was first nominated for a Tony in “Spamalot,” and won for “Nice Work If You Can Get It,” playing a bootlegger, in 2012. https://www.nytimes.com/2023/09/15/theater/michael-mcgrath-dead.html

Maggie Ryan, founder of Insight Theatre and inspiration to many, who spent 36 years as an English teacher and director of theater at Nerinx Hall, died Sept. 10, at age 80, after a short battle with leukemia. She was a lovely woman to interact with and cared passionately about theater. Insight operated for 12 years, won several St. Louis Theater Circle Awards including a legendary “Death of a Salesman” directed by Wayne Loui and starring father-son duo John and Jason Contini. Unfortunately, Insight closed in 2020.
https://www.legacy.com/us/obituaries/stltoday/name/margaret-ryan-obituary?id=53065958

Calvin Wilson, St. Louis Post-Dispatch movie and theater critic, died Aug. 29, from an undisclosed illness. He was 70. I worked with Calvin, both in the St. Louis Film Critics Association, and with the St. Louis Theater Circle, and much admired his writing skill. His insight and passion for the arts will be missed.

https://www.stltoday.com/life-entertainment/local/art-theater/post-dispatch-writer-calvin-wilson-a-passionate-advocate-for-the-arts-dies-at-70/article_8fc9b7bc-46b5-11ee-a3a5-0bdd24dc5828.html

CALENDAR NOTES: John Cusack’s screening of “Say Anything,” originally scheduled for October 28 at Stifel Theatre, has been rescheduled for Saturday, March 30. All tickets for the Oct. 28 performance will be honored at the rescheduled date. The popular actor will follow the screening with a conversation regarding his career and the making of the film. Fans will get the opportunity to experience a moderated discussion, with John answering audience questions as well.

Me and Greta, Oct 1, 2022

SHAMELESS NAME-DROPPING: Before she had the biggest movie of the summer (“Barbie”!) and her second son in February, Greta Gerwig was pleasantly accommodating us press troops at the New York Film Festival 2022 (for “White Noise”). The accomplished actress-writer-director is exactly as she seems, a lovely person in person. I had to compliment her on the 2019 “Little Women,” and she said she had a great time working with the cast of that movie. Hopefully, we will be seeing her during the upcoming awards season. On Aug. 6, the film crossed the $1 billion mark worldwide, making her the first woman with sole director credit to have a movie make more than $1 billion.

(My film review: https://poplifestl.com/unexpected-unpredictable-barbie-is-an-irresistible-pop-o-culture/)

Our coda has been added for this issue:

RANDOM THOUGHTS: As you can probably tell, I enjoy waltzing down memory lane, and yes, I was one of the early attendees of “The Rocky Horror Picture Show” midnight showings at the Varsity Theatre in 1977, which was so much fun. If you are a lover of cosplay, I have spied folks in Barbie and Ken outfits at “Barbie” — my prediction for hottest Halloween costumes — and I hear from Abe Goldfarb, hilarious as Otho in the touring company of “Beetlejuice,” who was on the weekly PopLifeSTL.com podcast co-hosted by Carl “The Intern” Middleman and myself on Oct. 4, that there’s many folks dressing up at the shows. He’s excited that they’re here Oct. 13.

The St. Louis Blues open at home Oct. 12. Just once I’d like to buy a team T-shirt where the player I selected isn’t traded. (I bought an Alexander Pietrangelo one — with a C — before the playoffs in ’19 and a Ryan O’Reilly in 2022.)

Are we having the Daylight Savings Time ‘fall back’ happen this year or is it over? Anyone? I’m so confused.

Where in the world is Lynn this weekend? Judging the costume contest at the sensational annual Witches and Wizards Festival in O’Fallon, Ill., a really fun event

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

By Lynn Venhaus

Bursting with vitality, The Muny’s latest heart-tugging interpretation of “West Side Story” emphasizes its potency as a cultural snapshot and the exceptional elegance of its buttery vocals.

Arthur Laurents’ 1957 contemporary slant on Shakespeare’s “Romeo and Juliet” brims with pulse-pounding tension as rival ethnic gangs, The Jets and Sharks, fight on the mean streets of Manhattan’s pre-gentrified Upper West Side while you root for forbidden yet fairy-tale hopeful love.

As the star-crossed lovers Tony and Maria, Christian Douglas and Kanisha Feliciano will break your heart and their lush vocals will melt it. Their duets “Tonight” and “One Hand, One Heart” are exquisite, as is standout Douglas exuberant in “Maria” and projecting the longing in “Something’s Coming.”

The timeless music score again demonstrates its power as one of the greatest American musicals of all-time. Some 66 years earlier, Leonard Bernstein’s supple orchestrations and 27-year-old Stephen Sondheim’s brilliant lyrics forged unforgettable songs – including poignant “Somewhere,” vibrant “America,” propulsive “The Jet Song,” comical “Gee, Officer Krupke” and the fervid “Cool.”

The Jets. Phillip Hamer photo.

Rob Ruggiero seamlessly directs the musical with compelling urgency, stressing the emotional weight of an ‘us vs. them’ culture clash, an ingrained blind hatred that fuels the tumultuous turf wars of entrenched ‘white’ lower-class locals vs. Puerto Rican immigrants.

As is his custom, Ruggiero is a master at stripping down a show to its essentials, deconstructing a piece and making us see it through new eyes. He’s been the go-to guy for definitive productions of “Sweeney Todd” (2022), “Gypsy” (2018), “Hello, Dolly!” (2014) and “South Pacific” (2013) at the Muny, and transplendent productions of Sondheim’s “Sunday in the Park with George” and “Follies” at The Repertory Theatre of St. Louis.

When the musical first debuted on Broadway, while spellbinding and integrating those visionary dance scenes, audiences didn’t know how to take such a dark story that resulted in two major characters killed off before intermission. Tragedy wasn’t a forceful plot point in those golden era musicals – hence, “The Music Man” defeating it for Best Musical at the Tony Awards.

Photo by Phillip Hamer.

However, through the years, its appeal has grown, and several Broadway revivals have enhanced its stature, including a heralded 2009 reworking, with contributions by Lin-Manuel Miranda for more Latino authenticity.

The landmark 1961 film, the top-grosser that year, was nominated for 11 Academy Awards, and won 10, including Best Picture, making it the record-holder for movie musicals. The film is second only to “Singin’ in the Rain” on American Film Institute’s list of Greatest Movie Musicals.

Sixty years after its release, director Steven Spielberg reimagined this gritty street symphony in 2021, earning critical acclaim and seven Oscar nominations, with Ariana DeBose winning Best Supporting Actress as Anita.

The film first captured my heart on the big screen, as a reissue in fall 1968 before being sold to television, and I was immediately entranced at age 13. After multiple repeat viewings, a special anniversary DVD, and devouring all sorts of behind-the-scenes materials, it still holds my heart.

Jerusha Cavazos as Anita, center. Phillip Hamer photo.

While the original hasn’t aged well in the millennium with a predominantly white cast, bad makeup and some dubbed voices, it does capture a moment in time, and the 2021 adaptation corrected the egregious.

Eager to experience the magic again, this electric production did not disappoint Sunday night. The last Muny one, in 2013 with Kyle Dean Massey and Ali Ewoldt, was epic and became my gold standard, so a high bar. Let’s just say the Muny has come a long way since the first time I saw it there in 1982, as a season ticket holder, with Barry Williams, aka “Greg Brady,” as Tony. Ah, those old days of stunt casting.

This is the ninth time “West Side Story” is at the Muny, and retains its grip with such vigor, alive with possibility. It draws out the sadness because optimism is thwarted by ill-fated violence.

This run coincides with the 60th anniversary of the Muny’s first staging in 1963. It returned for a two-week run in 1967, and was seen again in 1982, 1990, 1995, 2000, 2005 and then 10 years ago.

While some of the dialogue is insipid in that ‘50s daddy-o way, the stage musical continues to take me to my happy place as my all-time favorite. It does still pack an emotional punch in its truth and remains relevant today.

Why did this version make me fall in love with it all over again, after seeing it countless times on tour, in regional, community and youth theaters? Let me count the ways.

the Jets vs Sharks. Phillip Hamer photo.

Jerome Robbins’ original stylized dance numbers are precisely reproduced by choreographer Parker Esse – the enthralling “Prologue,” “Dance at the Gym,” “America,” and “Cool” and the muscular, balletic ensemble leapt on the ginormous stage in breathtaking fashion. The staging of the “Somewhere” dream ballet pulls the heartstrings, enhanced by Grace Marie Rusnica’s affecting vocal.

It’s a thing of lyrical and kinetic beauty to see those polished, passionate performers burn bright with red-hot intensity. Their version of the “Tonight” Quintet and Chorus is magnetic.

Arguably, there is not a better musical score, and the numbers are admirably delivered. Music Director James Moore is such a graceful conductor that a few bars into the overture, and his artistry has you hooked with his expertly orchestrated pieces. You may recall his luxurious skills in conducting Sondheim before – “Sweeney Todd,” “Gypsy,” and the last “West Side Story.” He makes you feel the music.

Performers familiar with their role’s challenges boost the show’s dynamics. Yurel Echezarreta is the seething, smoldering Bernardo, and it’s his seventh “West Side Story,” including Spielberg’s movie.

In his fifth Muny show, Kyle Coffman brings the heat as a limber Riff, the cocky, driven leader of the Jets and Tony’s best friend “womb to tomb.” He was Ice in Spielberg’s movie and part of the 2013 ensemble.

Making her Muny debut, Jerusha Cavazos is a fiery Anita, and along with her lissome dancing, she conveys a solid chemistry with Feliciano’s Maria, including the sublime duet, “A Boy Like That/I Have a Love.”

Caylie Rose Newcom is a feisty Anybodys, the tomboy Jet, and Ethan David Steph as hothead Action, Ethan Van Slyke as greenhorn Baby John and Daniel Assetta as explosive A-rab are also notable.

Ken Page as Doc. Phillip Hamer photo.

Local actors elevate the standard “adult” roles, with revered Muny all-star Ken Page touching as the kind, frustrated Doc, Tony’s boss and drugstore owner. Versatile veteran Michael James Reed portrays Lt. Shrank with a disquieting hostile edge and what a pleasure to see outstanding dramatic actor James A. Butz making his Muny debut as the sweaty, ineffectual Officer Krupke.

Ann Beyersdorfer’s scenic design is a striking urban jungle grid, depicting the decaying tenements that would be later torn down for Lincoln Center and such. Her set pieces – the dress shop, Doc’s drugstore – are smartly detailed, and both fluid and functional. Beyersdorfer is from Belleville, Ill., and this is her third show at the Muny, after this season’s opulent “Beauty and the Beast” and last year’s earthier “Camelot.”

Other noteworthy designs include the vintage costumes from Gail Baldoni, who has selected specific muted color palettes for the Jets and the Sharks and crafted a stunning white dress as Maria’s iconic outfit for the dance. Her bright fuchsia-violet shades for the Sharks’ girls in the “Mambo” and “America” scenes are eye-catching and enliven the dances.

And John Lasiter’s lighting design takes us from sweltering summer playgrounds to moonlit fire escapes to desolate concrete battle grounds while Shawn Duan’s video design punctuates exteriors and interiors.

“West Side Story” endures as a idealistic love story dashed by the gut-punch of tragic circumstances of gang war because of the reality we live. At a time when we hear of tribal sparring daily across the nation, this story is a reminder that decades after this social commentary pointed out what misguided hostilities can lead to, this musical provides a glimmer of hope that fists won’t stay clenched, and headlines won’t point out another young gun-related death.

Whether you have never seen it or have sat under the stars mesmerized multiple times, this season’s “West Side Story” entices – it has a significant snap and pop to it, and the care involved in its presentation is perceptible. We may be dreamers, but love is a powerful tool. And these soaring vocals will give you goosebumps.

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Somewhere. Grace Marie Rusnica sings. Phillip Hamer photo.

The Muny presents “West Side Story” nightly at 8:15 p.m. from July 15 to 21 on the outdoor stage in Forest Park. For more information, visit muny.org.

Dance at the Gym. Amy Maier photo.

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

By Lynn Venhaus

The fourth time is indeed the charm. Infused with extra Muny Magic, this “Disney’s Beauty and the Beast” makes you believe in happily ever after.

Under the brilliant direction of John Tartaglia, this imaginatively staged, and elegantly crafted musical will make you laugh out loud and shed a tear, for it grabs your heart in the opening number “Belle” and never loosens its grip on your emotions until the final bow.

This beloved romantic fantasy has endured since the 18th century, first as a French fairy tale, then as a 1946 film by Jeanne Cocteau where an arrogant prince is cursed to spend his days as a hideous monster but has a chance to regain his humanity by earning a young woman’s love.

In 1991, modern audiences fell in love with Disney’s 30th animated feature that went on to make history as the first animated feature to be Oscar-nominated for Best Picture. With its Academy Award-winning original score and touching title song, the script was tailor-made to be adapted into a stage musical, which happened in 1994, and played on Broadway for 13 more years. Screenplay writer Linda Woolverton is credited with the book and Tim Rice wrote additional lyrics, and the stage version has become a global sensation.

A bona fide classic with its iconic characters, lush score and engaging blend of romance, comedy, and drama, Muny audiences have enjoyed presentations in 2005 (the attendance record holder for nearly five years), 2010, and an outstanding one in 2015.

Because it’s a perennial family favorite, honestly this production didn’t have to be as good as it is – because we’d be enchanted anyway, and all those little girls who showed up in yellow gowns wouldn’t be disappointed.

Photo by Phillip Hamer

Yet, this is an extraordinary effort. The best one to date under the stars is inspired because Tartaglia knows how to spark joy. An expert at finessing humorous moments with a flair for the dramatic, Tartaglia showcases his versatile talents as a director and his experience as a musical comedy performer. After all, he joined the Broadway company as Lumiere in 2006.

A true visionary, Tartaglia has brought out the whimsy, charm, sense of family, and genuine feelings in this Disney classic. On this stage before, he’s directed “Shrek,” “Matilda,” “Annie,” Disney’s “Tarzan,” “Wizard of Oz” and last year’s “Mary Poppins.”

A puppeteer and “Sesame Street” alumni, he’s best known as a creative and Tony-nominated star of the original Broadway cast of “Avenue Q.” He’s played memorable roles at The Muny, including the Genie in the pre-Broadway tryout of “Aladdin” in 2012, The Cat in the Hat in “Seussical” in 2014 and won the St. Louis Theater Circle Award as Outstanding Supporting Actor in a Musical as Hysterium in “A Funny Thing Happened on the Way to the Forum” in 2017.

He loves the Muny and the Muny loves him, and we are the richer for this mutual admiration society. His ability to create one-of-a-kind storytelling outdoors shines through, from the pep in the step of the ensemble to his dazzling use of pyrotechnics.

Incorporating a cast of 85 in super-sized renditions of the showstopper “Be Our Guest” and an amusing, rousing “Gaston,” the creative team is in sync and up to the challenge. Choreographer Patrick O’Neill and associate choreographer Bryan Thomas Hunt go for big and bold, and music director Ben Whiteley, who has held the Muny baton for all four “Beauty and the Beast” shows, brings out all the textures in the timeless songs by Alan Menken and Howard Ashman.

The performers have put their heart and soul into this show, from an acrobatic Tommy Bracco cavorting as buffoonish LeFou to Debby Lennon’s virtuoso vocals as excitable diva Madame de la Grande Bouche.

Ashley Blanchet as Belle. Photo by Phillip Hamer.

Ashley Blanchet is the epitome of a Disney Princess. As the lovable independent Belle, she is a savvy combination of sweet and spunky, heart-tugging in a glorious “Home” and the hopeful “A Change in Me.” The way she stands up for herself is refreshing.

As the imposing, bitter Beast, Ben Crawford’s rich, robust voice is one of the evening’s most pleasant surprises, and he brings a depth of yearning and regret to the role that’s palpable. Even under his involved make-up, you feel his change from a sullen prince cursed for being cavalier and haughty to someone trying to change for the better. His powerful “If I Can’t Love Her” brought down the house to close the first act.

Crawford has portrayed the legendary Phantom on Broadway, but his last role at the Muny hardly tipped us off to his capabilities, for he played the cruel and cocky Chuck in “Footloose” four years ago. He and Blanchet have a believable chemistry, carrying off the opposites attract tension and tenderness with touching sincerity.

The castle’s support staff provided crowd-pleasing antics, with the delightful duo of Kelvin Moon Lo as kind-hearted candelabra Lumiere and Eric Jordan Young as fussy butler-turned-mantel clock Cogsworth leading the pack.

While good-natured Ann Harada has the comedic chops and warmth to play motherly cook Mrs. Potts, her rendition of the Oscar-winning title song is shriller than satisfying as a major moment.

Michael Hobin is an adorable Chip, and Holly Ann Butler has fun as the saucy Babette. The group’s rendition of “Human Again” is a wistful beauty.

Blanchet, Claybourne Elder. Phillip Hamer photo.

Broadway veteran Claybourne Elder is a standout as swaggering narcissist Gaston, emphasizing the blowhard’s ridiculous vanity while eventually turning into a spiteful, vicious bully, first targeting Belle’s eccentric dad Maurice (Harrison White). When Belle slapped him, the crowd erupted in applause.

A highly skilled visual design team has crafted a stunning castle and quaint Old-World village, with Belleville, Ill., native Ann Beyersdorfer’s opulent scenic design, Greg Emetaz’s expressive video design and Jason Lyons’ effective lighting design. The only thing that felt out of place was a jarring depiction of Gaston losing his footing in the climactic fight scene on screen.

Accenting the characters are Robin McGee’s luxurious and intricately embellished costume designs and Ashley Rae Callahan’s period wig designs. McGee, who grew up in Highland, Ill., designed the 2015 show, but didn’t rely on any previous outfits this time, and elevated the looks here with an accomplished team of seamstresses working overtime in the costume shop. Belle’s pillowy, shimmering ballgown is jaw-dropping.

Noteworthy are the puppet designs by Dorothy James and Andy Manjuck, especially in making the scary wolves’ eyes glow bright red as they roamed the woods.

This lavish production has all the elements to succeed as an unforgettable evening of entertainment, especially for a wide audience. Typically, the ‘children’s show’ introduces a new generation to the unique experience the Muny offers..

On Friday night, it appeared to win over many youngsters who remained rapt through the entire two acts – particularly one young man a few rows in front of me. His view was blocked by a rather large adult at curtain call, so he moved to the aisle to stand and cheer.

He made me smile wider, recalling watching other youths mesmerized over the years (reviewing since 2009). I’m one of those kids who first came with my grandmother, about 10 years old, awestruck by the grandeur. How many of us became forever fans that way?

The Muny triumphs once more with a deluxe and endearing “Disney’s Beauty and the Beast,” a heart-warming reminder that we get to connect again because of this 105-year St. Louis tradition. Don’t miss your chance to get sprinkled with pixie dust on a splendid summer evening.

Be Our Guest. Phillip Hamer Photography.

“Disney’s Beauty and the Beast” runs from June 22 to 30 in Forest Park, nightly at 8:15 p.m. For more information, visit www.muny.org

Notes: Show sponsor Ameren and The Muny are promoting Ready Readers, a nonprofit supporting literacy, by collecting new and gently used children’s books, suitable for readers aged 12 and under. A table has been set up near the box office so that patrons can drop off books before the show.

For a deeper dive into the Disney Animation Renaissance, the documentary “Waking Sleeping Beauty” is currently streaming on Disney +, as is the poignant documentary “Howard,” which honors the late lyricist Howard Ashman for his tremendous contributions to music. He died at age 40 from AIDS complications, in 1991.

Phillip Hamer Photography.

The company of Beauty and the Beast. Phillip Hamer Photography

Re-imagined ‘Camelot’ is Bold, Innovative, Adventurous at The Muny

Re-imagined ‘Camelot’ is Bold, Innovative, Adventurous at The Muny

By Lynn Venhaus

OK Boomer, this is not your generation’s “Camelot.” And this modern fresh spin on the fabled Arthurian legend is exhilarating.

For fans of the 1960 original – which has been revised multiple times through the years – rest assured that the lush romantic score, with lyrics by Alan Jay Lerner and music by Frederick Loewe, is elegantly executed and unforgettable.

Music Director Abdul Hamid Royal, who did outstanding work last year on “Smokey Joe’s Café,” makes sure the new orchestrations by Steve Orich are luxurious.

You’ll recognize the principal characters and knights’ tale of chivalry from the previous eight productions staged at the Muny, the last one in 2009. While respecting the legacy, this revamp is inspired, finding shining moments in unexpected ways.

Lilting voices, innovative movements, enchanting performances, adventurous looks, and British folklore told with conviction are lasting impressions. Therefore, embracing the changes is a risk worth taking.

The bold, muscular re-imagining by director Matt Kunkel, and leaner book adaptation by David Lee frame King Arthur’s visionary quest as a performance tale.

The rise and fall of Arthur’s kingdom are told by a troupe of revelers, not unlike the traveling minstrels in a 16th century William Shakespeare comedy.

It is their stylized retelling, not presented as a Merlin flashback.  Lee has cut Arthur’s magician mentor Merlin, only referenced in his dialogue, the song “Follow Me,” and King Pellinore is gone too.

The unnecessary sorceress Morgan Le Fey and her clunky number “The Persuasion” has been removed before, notably from the 1967 film adaptation and the 1980 Broadway revival, so that’s no surprise.

Lee, an Emmy-winning writer of ‘Cheers,” “Frasier” and “Wings,” has strengthened the relationships between King Arthur, Guenevere, and Lancelot. And injected wit where it needed it.

The prose’s power is conveyed in expertly crafted scenes of torment, loyalty, devotion, longing, and love between the principals. Kunkel keeps the pace lively, and the staging dynamic, especially between the trio, creating intimacy and distance by varying different configurations on the tiered set.

Of course, it must be daunting to fill shoes once worn by Richard Burton, who won a Tony as King Arthur, superstar Julie Andrews, who owned the ‘60s as the queen of musicals, and dashing Robert Goulet, whose career skyrocketed after his stunning debut. But lyrically, the Broadway veterans who are now this principal trio are well-suited for the challenge.

As engaging as he was as John Adams in “1776” in 2019 and Dr. Frederick Frankenstein in “Young Frankenstein” in 2016, Robert Petkoff strikes the right tone – from uncertain to courageous – for Arthur’s growth. He’s impressively powerful in ending Act I. His voice is strong and clear, and you feel his passion for his Knights of the Round Table mission.

In the first years of their marriage, Petkoff depicts a playful, mutual respectful relationship with his queen, Guenevere, and Sheeren Pimentel, showcasing an exquisite soprano, plays the grand lady as an outspoken equal. They’re lively together in “What Do the Simple Folk Do?” and their initial meeting is charming.

How can you not be swept away by Arthur’s description of his paradisal home, “Camelot”?

His vision is to uphold honor and justice, but not pillage for power. And he convinces others to join his noble cause, with “Might for Right” a rallying cry.

After Guenevere and Lancelot are helpless to ignore their growing feelings for each other, Pimentel soars in “Before I Gaze at You Again” and “I Loved You Once in Silence.”

You might not feel the lightning bolt attraction between Pimentel and Brandon S. Chu, but their vocal virtuosity helps propel the story. Chu doesn’t have the typical stature of a swaggering, very self-confident Lancelot, but the delivery of the signature song, “If Ever I Would Leave You” – is a definite “Wow.” His crystal tenor is piercing.

Chu, rocking the blue leather, is fierce in battle, and his physicality is a plus in the frenzied action sequences. Pimentel demonstrates her mettle, too, as Guenevere fights off the first wave of captors.

Fight choreographer Erik Gratton has effectively staged smooth action scenes without any fussiness. He was assisted by fight captain Jacob Guzman, and the precise movements are robust.

The cinematic leather-and-lace look is another important aspect, and Tristan Raines’ costume design has elements of Game of Thrones, Mad Max, boy band outfits, and dancewear combined for a vivid tableau. He has dispensed with tights and armor — and given serious thought to more summer-friendly garb.

That aids character movement considerably, for the revelers and courtiers can re-enact battles and seamlessly ramp up the palace and political intrigue.

The vitality bursts through, for the energy of this diverse and inclusive cast is noteworthy. And let’s not forget that fun is a part of the show, too.

One of the merriest high points is “The Lusty Month of May” ensemble number, bursting with bright colors and a magical transformation, showcasing the creative minds of Raines, costuming his sixth show at The Muny, and choreographer Beth Crandall, who has teamed with director Kunkel on last year’s “The Sound of Music” and “Matilda” in 2019. Their collaboration is a fruitful one.

But alas, the empire is not built for endurance. Something wicked this way comes in the second act, when Arthur’s conniving illegitimate son, Mordred, arrives, played with diabolical glee by Barrett Riggins. He’s a recognizable toad with mischievous intent to incite, leading the cast in a spirited “The Seven Deadly Virtues.” He divides the court through innuendo and misinformation, a cancer on Arthur’s reign.

The splintered knights grow angrier in the emphatic “Fie on Goodness,” a rebuke of Arthur’s principled ideals. With the Round Table broken and relationships in tatters, a forlorn Arthur ultimately forgives. He is given hope through the eyes of a child, believed to be Sir Tom of Warwick, captivatingly played by a charming Riley Carter Adams, and her wide-eyed enthusiasm is contagious.

Do not expect any kind of accent to be discernable here, in case you are waiting for it.

The ancient mythology setting is visually reworked with a striking scenic design by Ann Beyersdorfer – an earthier palette instead of regal trappings.

The neo-medieval realism is further enhanced through atmospheric video work by Kaylee Loera, best used to show the joust action between Lancelot and Sirs Dinadin (Evan Ruggiero) and Lionel (Daryl Tofa), and Ser Sagramore (Sarah Quinn Taylor).

The lighting design by Shelby Loera, who returns after making history last summer as the first female to be in charge of lighting a show at the Muny, is stunning. The sound is perfect as well, with John Shivers and David Patridge excelling in this show.

The opting for grit over opulence is jarring to traditionalists, who want their “Camelot” to be the sentimental journey they remember. Change is challenging, to be fair. I’ve often thought the old book was too lumbering and dense. All those soliloquys! So I was fine with the slicker adaptation.

Boomers are intrinsically linked to the JFK mythology, as he was assassinated on Nov. 22, 1963, and in an interview in December in “Life” Magazine, his widow, Jackie, said the original cast recording of “Camelot” was a favorite of her husband’s, and he liked to listen to it before bedtime.

The show was then on a national tour, and a grief-stricken nation clung to the imagery of an especially hopeful time tragically cut short. His presidency has been referred to as “The Camelot Era,” and the lyric “One brief shining moment” used to define that fleeting period.

Expectations always run high, as musicals are very personal to people. What is someone’s favorite, such as “Cats,” can be annoying to another, and so on — we could go down a very long list.

I have fond memories of seeing Richard Harris play King Arthur on the Muny stage and with Robert Goulet, who filled that role on a national tour at the Fox. But those are long ago in the rearview mirror.

The planned revival, set for Broadway later this year, is to feature a book by Aaron Sorkin and direction by Bartlett Sher, so it will be interesting what the wunderkinds reimagine. Previews are expected in November, with opening Dec. 8. (Sorkin and Sher teamed up for the “To Kill a Mockingbird” reboot in 2019, which was one of the best productions I’ve ever seen, so I’m ready to see how they view this classic).

Fantasy gives more leeway to storytellers, after all. “Camelot” itself is based on the 1958 book, “The Once and Future King” by T.H. White, but this production also references Thomas Mallory’s “Le Morte d’Arthur” from the 15th century and Alfred Lord Tennyson’s “Idylls of the King” in the 19th century.

In Tennyson’s 12 narrative poems, published between 1859 and 1885, he retells the legend, the Knights of the Round Table, Guenevere and her betrayal.

The based-on folklore setting is typically around the 12th century, during the Middle Ages. Arthur’s realm is said to have taken place in the fifth century, after he defeated the Saxons.

The facts surrounding the Arthurian Legend – long revered for its golden age of peace and prosperity — have been disputed for years. But the inaccurate historical context hasn’t halted the mythology furthered by literary conventions. (Who remembers Disney’s 1963 animated film “The Sword in the Stone” during childhood?).

In this post “Hamilton” world, artists will keep pushing the envelope, and what audiences push back on will be varied. I thought on a gorgeous summer evening (Thursday, June 23), Forest Park could not be a more congenial spot to continue the Muny’s happily-ever-aftering here.

As the Muny moves forward in this second century, it is ever mindful of an obligation to art, entertainment, artists, and audience. That’s a tough balancing act sometimes, but I’m confident in the way they are leading into the future with dedicated purpose. And that music was sure persuasive under the stars.

The Muny presents “Camelot’ each evening from June 22 to June 28 at 8:15 p.m. on its stage in Forest Park. For more information, visit www.muny.org. For tickets, contact the Muny box office or visit Metrotix.

Photos by Phillip Hamer