The Black Rep and Stages St. Louis Tie with 7 Wins at St. Louis Theater Circle

The Black Rep and Stages St. Louis Tie with 7 Wins at St. Louis Theater Circle

By Lynn Venhaus
Stages St. Louis’ “In the Heights,” a jubilant celebration of culture, community, and connection, won six awards, including Outstanding Musical Production, Music Director, Choreography, Set Design, Costume Design (tie) and Ensemble in a Musical, at the St. Louis Theater Circle Awards Monday.

Their world premiere of “The Karate Kid – The Musical” won Outstanding Lighting Design for a total of seven, and Jack Lane, retired executive producer, announced the musical is Broadway-bound in 2024.

Seven is what The Black Repertory Theatre of St. Louis amassed for four productions: August Wilson’s “Jitney” (2 – Outstanding Production and Ensemble), “Behind the Sheet,” (2 – tie for Outstanding Production – Drama and Best Director), “The African Company Presents Richard III” (1 – Supporting Performer, Male or Non-Binary, Cameron Jamarr Davis) and “Dontrell, Who Was Kissed by the Sea” (2 – Lighting Design and Sound Design).

Brian McKnight accepted on behalf of The Black Rep and described founder Ron Himes as a man “who has vision.”

The Muny, SATE (Slightly Askew Theatre Ensemble), and West End Players Guild each won four at the 10th Annual Theater Circle Awards, which recognized achievements in comedies, dramas, musicals and operas.

SATE’s original play “Bronte Sister House Party” won 4 (Best New Play, Outstanding Comedy Production, Comedy Ensemble and Supporting Performer Male or Non-Binary Role). “The Color Purple” at The Muny won 3 – Leading Performer, Female or Non-Binary in a Musical, Supporting Performer, Female or Non-Binary, and Costume Designer while Martin McDonagh’s “The Lonesome West” won 3 – Leading Performer, Male or Non-Binary, Supporting Performer, Female or Non-Binary, and Director Robert Ashton for the West End Players Guild.

For more than 10 years, the St. Louis Theater Circle has been presenting annual awards for regional professional theater, and resumed a live ceremony after virtual productions streamed by HEC Media online in 2020 and 2022 because of the coronavirus pandemic, cancelling 2021 (but including a few of those productions last year).

It was the first live ceremony since 2019, and held at the Repertory Theatre of St. Louis’s Loretto-Hilton Center on Webster University’s campus.

Approximately 90 productions were considered for this year’s event. Three productions – “Chicago” at the Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre — were ineligible because the same production was presented within the last three years at the respective venues.

The Circle presented more than 30 categories for outstanding achievements from 2022, with 20 theater companies receiving nominations.

Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin was honored with a special award for lifetime achievement.

Records that evening included Joel Moses winning two acting awards in one night and Jennifer Theby-Quinn won her third acting award, joining Will Bonfiglio and Laurie McConnell as three-time winners.

Luis Salgado, who made “In the Heights” ‘pop’ with his spirited direction and vibrant choreography, accepted awards while praising the theater community in St. Louis. He and actor Ryan Alvarado, a nominee for playing Usnavi, flew in from New York City to attend .

Here are the awards given out April 3:

Cameron Jamarr Davis “The African Company Presents Richard III” at the Black Rep

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role: Hannah Geisz, “The Lonesome West,” West End Players Guild

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role: Joel Moses, “Brontë Sister House Party,” SATE

Outstanding Performer in a Comedy, Female or Non-Binary Role: Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre

Outstanding Performer in a Comedy, Male or Non-Binary Role: Jason Meyers, “The Lonesome West,” West End Players Guild

Outstanding Lighting Design in a Play: Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep

Outstanding Sound Design: Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep

Outstanding Costume Design in a Play: Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis

Outstanding Set Design in a Play (tie): Bess Moynihan, “Rodney’s Wife,” The Midnight Company and Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Winner Jason Meyers, at right “The Lonesome West”

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role: Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role: Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep

Outstanding Performer in a Drama, Female or Non-Binary Role: Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater

Outstanding Performer in a Drama, Male or Non-Binary Role: Joel Moses, “The Christians,” West End Players Guild

Joel Moses, “The Christians” at West End Players Guild

Outstanding New Play: “Brontë Sister House Party,” by Courtney Bailey, SATE

Outstanding Achievement in Opera: (tie) Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis and Robert Mellon, “Falstaff,” Union Avenue Opera

Outstanding Production of an Opera: “A Little Night Music,” Union Avenue Opera

Outstanding Musical Director: Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis

Outstanding Choreographer: Luis Salgado, “In the Heights,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role: Nicole Michelle Haskins, “The Color Purple,” The Muny

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role: Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre

Outstanding Lighting Design in a Musical: Bradley King, “The Karate Kid – The Musical,” Stages St. Louis

Outstanding Set Design in a Musical: Anna Louizos, “In the Heights,” Stages St. Louis

Outstanding Costume Design in a Musical: (tie) Samantha C. Jones, “The Color Purple,” The Muny and Brad Musgrove, “In the Heights,” Stages St. Louis

Anastacia McCleskey “The Color Purple” at The Muny

Outstanding Performer in a Musical, Female or Non-Binary Role: Anastacia McCleskey, “The Color Purple,” The Muny

Outstanding Performer in a Musical, Male or Non-Binary Role: Ben Davis, “Sweeney Todd,” The Muny

Outstanding Ensemble in a Comedy: “Brontë Sister House Party,” SATE

Outstanding Ensemble in a Drama: “Jitney,” The Black Rep

Outstanding Ensemble in a Musical: “In the Heights,” Stages St. Louis

Outstanding Director of a Comedy: Robert Ashton, “The Lonesome West,” West End Players Guild

Outstanding Director of a Drama: Ron Himes, “Behind the Sheet,” The Black Rep

Outstanding Director of a Musical: Bradley Rohlf, “Assassins,” Fly North Theatricals

“Bronte Sister House Party” won four Circle Awards

Outstanding Production of a Comedy: “Brontë Sister House Party,” SATE

Outstanding Production of a Drama: (tie) “Behind the Sheet,” The Black Rep and “Jitney,” The Black Rep

Outstanding Production of a Musical: “In the Heights,” Stages St. Louis

Special Award: Joan Lipkin, for lifetime achievement

The St. Louis Theater Circle was formed the summer of 2012 and began awarding excellence in regional professional theater in 2013. No touring, community theater or school productions are considered.

Current embers of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Rob Levy, Broadwayworld.com; Michelle Kenyon, snoopstheatrethoughts.com and KDHX; Gerry Kowarsky, Two on the Aisle (HEC-TV); Chuck Lavazzi, KDHX; Judith Newmark, judyacttwo.com; Lynn Venhaus, PopLifeSTL.com and KTRS Radio; Bob Wilcox, Two on the Aisle (HEC-TV); and Calvin Wilson, St. Louis Post-Dispatch. Eleanor Mullin, local actress and arts supporter, is group administrator.

The mood was extraordinary, and, in Joan Lipkin’s words, we could feel the “palpable joy” for each other. The speeches were heartfelt, and I wish we had them on record. It was truly “celebratory revelry.”

The Black Rep was a winner for four separate shows in the same year, an a back to back winner for August Wilson, as last year’s drama production was “Two Trains Running”)

We discovered we had two different Josh Smiths nominated — the one for Shakepeare’s Italian villa who won for “Much Ado About Nothing” was not the same for the carnival in “Ride the Cyclone.”

Happy the ‘tribe’ had so much fun — and the fellowship was really special. Hope the feedback continues to be positive.

GO SEE A PLAY!

“Jitney” Best Drama Production and Best Dramatic Ensemble

‘Everything Everywhere All At Once’ Earns Five Awards, Including Best Film, from St Louis Film Critics Assn.

‘Everything Everywhere All At Once’ Earns Five Awards, Including Best Film, from St Louis Film Critics Assn.

The wild action, sci-fi and comedic adventure “Everything Everywhere All at Once” has been named Best Film of 2022 by the St. Louis Film Critics Association.

Writer-directors The Daniels’ chaotic tale of an overworked Chinese immigrant’s multiverse journey won five awards overall, including Michelle Yeoh for best actress. She plays Evelyn Wang, whose business is struggling, her marriage is on the rocks, and she has complicated relationships with her daughter and father.

As Evelyn’s milquetoast husband, Ke Huy Quan won supporting actor while Paul Rogers won for editing and The Daniels (Daniel Kwan and Daniel Scheinert), who directed, were named in a tie for best original screenplay.

SLFCA announced its awards in 23 categories on Dec. 18, with honors spread out among 13 films.

“The Banshees of Inisherin,” “Elvis” and “Women Talking” each received three awards.

 Martin McDonagh tied with the Daniels for original screenplay, for his pitch-black comedy “The Banshees of Inisherin,” which is about friends at an impasse, who live on a remote Irish island in 1923, while Kerry Condon won best supporting actress as the smart and feisty Siobhan, sister to Colin Farrell’s Padraic, and Ben Davis won for his moody and rugged cinematography.

This is the third year the group has selected a woman for its director award — Chloe Zhao, “Nomadland,” in 2020; Jane Campion for “The Power of the Dog” in 2021; and now, Sarah Polley for “Women Talking.”

“Women Talking,” about the women in an isolated religious community deciding on what action to take after a series of sexual assaults in 2010, also won for best ensemble cast and for Hildur Guðnadóttir’s acoustic music score that taps into community and hope.

Catherine Martin won for designing costumes and with Karen Murphy for production design on her husband Baz Luhrmann’s electric “Elvis” biopic, which was also singled out for best soundtrack.

For best actor, Brendan Fraser was selected for his bravura performance in “The Whale,” playing a 600-lb. recluse grappling with loss and guilt while trying to reconnect with his daughter.

The regional critics group announced its annual nominations Dec. 11, with “The Banshees of Inisherin” leading with 11 nominations, followed by ‘Everything Everywhere All at Once’ with 10; ‘Women Talking’ and ‘The Fabelmans’ earned eight each. Those nominations are listed here: http://www.stlfilmcritics.org/awards.

For Special Merit recognition, the St. Louis Film Critics selected three people for the honor:  imprisoned Iranian director Jafar Panahi, whistleblower actress Ashley Judd and posthumously, influential musician-actor David Bowie.

SLFCA President Jim Tudor said the group wanted to recognize filmmaker Jafar Panahi, who was sentenced to six years in prison by the Iranian government for inquiring about the arrests of his fellow filmmakers Mohammad Rasoulof and Mostafa Al-Ahmad.

The international film community has denounced his imprisonment as unjust. His latest work, “No Bears,” was shown at the Venice Film Festival and New York Film Festival this fall.

Jafar Panahi

The SLFCA statements on the three Special Merits:

Jafar Panahi

“In recognition of the courage of imprisoned Iranian director Jafar Panahi and all those film professionals confronting political oppression in the pursuit of free speech, human rights, and artistic expression.”

Ashley Judd

“We recognize Ashley Judd for the bravery and courage she demonstrated in portraying herself in ‘She Said.’”

David Bowie

“After nominating the experimental documentary “Moonage Daydream,” we want to also honor the expansive and continuing cinematic presence of singer-songwriter and actor David Bowie, whose life and music continues to permeate and enrich the cinema landscape.”

Here’s the list of our 2022 SLFCA Awards winners and runners-up:

Stephanie Hsu, Michelle Yeoh, Ke huy Quan of “Everything Everywhere All at Once”

BEST FILM

Everything Everywhere All at Once

Runner-up Women Talking

Best Director – Sarah Polley, “Women Talking”

Runner-up: The Daniels (Daniel Kwan and Daniel Scheinert) , “Everything Everywhere All at Once”

Best Actor – Brendan Fraser, “The Whale”

Runner-up: Austin Butler, “Elvis”

Best Actress – Michelle Yeoh, “Everything Everywhere All at Once”

Runner-up: Danielle Deadwyler, “Till”

Best Supporting Actor – Ke Huy Quan, “Everything Everywhere All at Once”
Runner-up: Brendan Gleeson, “The Banshees of Inisherin”

Best Supporting Actress – Kerry Condon, “The Banshees of Inisherin”

Runners-up: (tie) Angela Bassett, “Black Panther: Wakanda Forever” and Janelle Monae, “Glass Onion: A Knives Out Mystery”

Women Talking

Best Ensemble – Women Talking

Runner-up: Glass Onion: A Knives Out Mystery

Best Adapted Screenplay – She Said Rebecca Lenkiewicz; based on the book She Said by Jodi Cantor and Megan Twohey, and on the New York Times investigation by Jodi Kantor, Megan Twohey, and Rebecca Corbett

Runner-up: Women Talking – Sarah Polley, adapted from book by Miriam Toews

Best Original Screenplay – tie “The Banshees of Inisherin,” Martin McDonagh, and The Daniels (Daniel Kwan and Daniel Scheinert) “Everything Everywhere All at Once”

Runner-up: “The Menu,” Will Tracy and Seth Reiss

Best Cinematography – Ben Davis, “The Banshees of Inisherin”

Runner-up: Greig Fraser, “The Batman”

Best Editing – Paul Rogers, “Everything Everywhere All at Once”

Runner-up: Matt Villa and Jonathan Redmond, “Elvis “

Best Production Design – Elvis, Catherine Martin and Karen Murphy 

Runner-up: “Glass Onion: A Knives Out Mystery,” Rick Heinrichs

Best Costume Design – “Elvis,” Catherine Martin 

Runner-up: “Black Panther: Wakanda Forever,” Ruth E. Carter

Best Visual Effects – Avatar: The Way of Water”

Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett

Runner-Up: Everything Everywhere All at Once

Best Music Score – “Women Talking,” Hilda Guðnadóttir

Runner up (tie): Carter Burwell, “The Banshees of Inisherin”;  Michael Giacchino, “The Batman” and John Williams, “The Fabelmans.”

Best Soundtrack – Elvis

Runner-up: Moonage Daydream

Best Action Film – Top Gun: Maverick
Runner-up: RRR

Best Comedy Film – Weird: The Al Yankovic Story

Runner-up: Glass Onion: A Knives Out Mystery

Best Horror Film – Nope
Runner-up: X

Best Animated Film – Marcel the Shell with Shoes On

Runner-up: Guillermo del Toro’s Pinocchio

Marcel the Shell with Shoes On


Best International Feature – Decision to Leave

Runner-up: RRR


Best Documentary Feature – All the Beauty and the Bloodshed

Runner-up (tie): Good Night Oppy and Moonage Daydream


Best Scene – Sam Fabelman meets one of his idols on the studio lot in “The Fabelmans”

Runner-up: Iceman meets with Maverick in “Top Gun: Maverick”

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region. (Note: PopLifeSTL.com critics Alex McPherson and Lynn Venhaus are members).

For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2022 calendar year – including those film that were given awards-qualifying runs in 2021 but were not available to all SLFCA members until 2022. Films slated for release in early 2023 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.

For more information, visit http://www.stlfilmcritics.org

In addition, follow us on Twitter (@stlfilmcritics) and “Like” our Facebook page.

The Banshees of Inisherin

‘The Banshees of Inisherin’ Is Powerful Story of Fractured Bonds

‘The Banshees of Inisherin’ Is Powerful Story of Fractured Bonds

By Alex McPherson

A tragicomedy that packs a massive emotional wallop, writer-director Martin McDonagh’s “The Banshees of Inisherin” is a near-perfect film, balancing its blisteringly entertaining dialogue with sobering pathos. As someone who considers “Three Billboards Outside Ebbing, Missouri” to be one of my favorite films of all time, McDonagh’s latest effort certainly doesn’t disappoint.

Set on an idyllic island off the west coast of Ireland in 1923 — shielded from the nearby civil war, yet remaining its own microcosm of turmoil and pettiness —  “The Banshees of Inisherin” follows Pádraic (Colin Farrell), an contented, amiable dairy farmer who makes up for his lack of sophistication with kindness. Living in a cottage with his loving sister Siobhan (Kerry Condon) and his beloved donkey Jenny, Pádraic is comfortable with his banal existence. Until, one day, there is a disturbance in the force.

Pádraic usually jaunts off to the local pub mid afternoon with his aging pal, Colm (Brendan Gleeson), but on this day in April when Pádraic stops by to meet Colm at his house, he’s completely ignored. In fact, Colm wants absolutely nothing to do with Pádraic anymore, declaring him, bluntly, to be too boring and dull to be worth hanging out with. Colm, suffering from “despair,” wants to leave a mark on the world through composing music, and is prepared to cut out anything that could possibly hold him back. Pádraic is utterly distraught, unwilling to accept Colm’s decision — which sets the stage for a typically McDonagh-esque comedy of errors, steeped with brutality, both physical and verbal, and leaving a tangibly potent impact.

Indeed, “The Banshees of Inisherin” blends hilarity with calamity, exaggeration with resonant, relevant themes. McDonagh explores the perils of ego, mental illness, isolation, mortality, and civil conflict with panache, imbuing the film with unpredictability from start to finish. 

Colin Farrell

The cast is stellar, especially the two leads, finally reuniting after “In Bruges.” Farrell brings yet another fascinatingly flawed character to life as Pádraic experiences a loss of innocence and of self amid the increasingly chaotic proceedings. While the initial setup is played for laughs, McDonagh understands the pain that Colm’s actions wreak upon Pádraic’s well-being — every sardonic quip and blunt takedown is tinged with melancholy. Farrell, as usual, gives a masterful performance, conveying deep wells of feeling through facial expressions alone.

Pádraic’s a sympathetic protagonist, despite his refusal to leave Colm alone. He wants to live a “simple” life and finds joy in the little things, like relaxing at the pub (essentially the town hall), and caring for Jenny. Colm’s actions, however, send him spiraling further and further from the person he thought he was, inching ever-closer to the despair that grips Colm’s soul, as tensions continue to escalate.

Colm’s motivations, despite his stubbornness, remain understandable. Gleeson, with a weathered visage and stern demeanor, lends sorrow to the character. Colm is experiencing an existential crisis, making a last-minute scramble to leave behind a legacy and become one of the greats, like Mozart (even though Pádraic’s never heard of him). His seemingly small actions have profound effects throughout the community, and his harsh decisions are rooted in self-loathing and misplaced pride.

This being a McDonagh joint, supporting players are given plenty of depth. Condon is superb as Pádraic’s sister, Siobhan, the wisest in the village who recognizes Colm’s absurd behavior, and struggles to rescue her brother from sinking to his lows. Wry, intelligent, and underestimated, Siobhan has a fantastic arc over the course of the film, and features in some of its most stirring sequences. Barry Keoghan is incredible as a foul-mouthed young man named Dominic — offbeat, enduring an abusive household with his sadistic policeman father, Peadar (Gary Lydon), yet searching for meaning, purpose, and belonging. Sheila Flitton is fittingly creepy as Mrs. McCormick, embodying a wiry old “banshee” who might, or might not, have some supernatural pull over the island — foretelling doom with a smirk. Who knows, maybe she just likes toying with people?

Colin Farrell, Kelly Condon

Oh, did I forget to mention that this film is funny? McDonagh’s screenplay keeps viewers on their toes, mixing earnest and sardonic, even cartoonish dialogue to thrilling effect. Particularly amusing is how wildly out-of-hand the whole situation gets. “The Banshees of Inisherin” walks a thin narrative tightrope — with over-the-top plot developments that segue into violence, tragedy, and reflection — but through it all, McDonagh ensures we’re in good hands.

The story and performances are the film’s main appeal, but “The Banshees of Inisherin” also shines stylistically. Ben Davis’ vibrant, lush cinematography captures the beauty of this fictional town, but paints a wryly misleading picture, as does Carter Burwell’s wistful score. The camera often frames Pádraic separated from Colm through doors and windows, highlighting the metaphorical chasm between them. Outside, the rolling green hills and bright sun belie an isolation that permeates the island’s residents.

For while a war rages across the mainland — neighbor against neighbor, friend against friend — a different, albeit not so different conflict ensues on Inisherin, between two friends questioning what’s truly important in life. “The Banshees of Inisherin” is, quite simply, unmissable, although viewers should be aware that it isn’t a traditional comedy in any sense of the word. It’s quite a wrenching ride at times, but one of 2022’s best.

“The Banshees of Inisherin” is a 2022 comedy-drama written and directed by Martin McDonagh starring Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan. It’s rated R for language throughout, some violent content and brief graphic nudity, and the run time is 1 hour, 49 minutes. It is in local theaters Nov. 4. Alex’s Grade: A+  

Brendan Gleeson, Colin Farrell

Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

By CB Adams

Every so often, The Muny and the St. Louis Symphony come together like Peaches & Herb: “Reunited, and it feels so good…”

These two cultural cousins know how to celebrate. That was definitely the vibe at Power Hall on October 2 when these two local cultural titans combined talents for “A Little Sondheim Music,” a concert to celebrate composer-lyricist Stephen Sondheim, a titan of different sort. The last time the Symphony and Muny combined forces was to celebrate the The Muny’s 100th birthday.

With Mike Isaacson, the Muny’s Artistic Director and Executive Producer, at the helm as host and master of ceremony, the lively event perked along through a well-curated roster of songs from Sondheim’s career. This was no jukebox jaunt through Sondheim’s songbook. It was a journey into Sondheim’s impressive range of songs and characters, some of which aren’t among his greatest hits.

So, along with the familiar titles from “Follies,” “A Little Night Music,” “Company” and “Sweeney Todd,” the audience was also to treated to selections from the lesser-known “Saturday Night,” “Evening Primrose” and “Anyone Can Whistle.” Another entire concert or two could be created from Sondheim’s deep cuts from other shows. To borrow a line from “Send In the Clowns, “…well, maybe next year.” (hint, hint).

In his opening, Isaacson quoted the three guiding principles that Sondheim hewed to during his career: content dictates form, less is more and God is in the details. To which Sondheim also added, “All in service of Clarity, without which nothing else matters.”

Bryonha Marie in rehearsal. Julie Merkel photo.

Clarity ruled the afternoon performance and elevated the achievements of Sondheim rather than mourn his passing last November at age 91. Lending their vocal talents to the celebration were some of Broadway’s brightest babies:  Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner and Elizabeth Stanley. Their talents were on full display, whether performing individually, in duets or as an ensemble. And it would be unfair if not impossible to cite any one performance as a standout because they were all standouts.

Ask 10 audience members what their favorite was, and you’d probably get 10 different answers. My own personal favorite was Skinner’s interpretation of “Send In the Clowns.” Her use of pauses and emphasis provided new insight into the lyrics’ meanings and to the rueful ruminations of the character Desirée in “A Little Night Music.”  I’m just a sucker for that song.

Clarity was certainly one of the concert’s throughlines. Songs such as ”If You Can Find Me, I’m Here,” sung by Scott, and “Broadway Baby,” sung by Marie, exemplify Sondheim’s ability to pack an entire show’s worth of characterization into a single lyric. And Scott interpreted his song by channeling an inner Dustin Hoffman, ala “The Graduate,” and Marie delivered sass, sashay and plenty of boop-oop-a-doop to hers.  

Each Sondheim song is its own mini-musical. All of the performers tapped into this with brio and moxie, moving across the narrow strip of stag and conjuring the spirit of the actual musicals. Even if you didn’t know the show, you understood it from the song itself. That’s part Sondheim genius, part musical magic and part high-caliber performance from the artists.

Rehearsal photo of the two Bens – Davis and Whiteley. Photo by Julie Merkel.

Cases in point: Davis, fresh off this last summer’s successful Muny production of “Sweeney Todd,” reprised his take on the chilling “My Friends” by pivoting from fetishistic heavy petting of cutlery to the abrupt declaration, “At last, my arm is complete again!” Dexter should be so lucky.

And Stanley provided a disarmingly plaintive interpretation of “In Buddy’s Eyes” from “Follies” that reworked the breathless suffering usually associated with this song – written for an older character – into an ironic conscience examination of someone younger.

Also providing clarity to the concert was the St. Louis Symphony Orchestra, under the direction of Maestro Ben Whiteley, who has long been a member of the Muny artistic family. Host Isaacson thanked Whiteley “…who really created this program, bringing his incredible knowledge and passion to the creation of this program.”

The orchestra launched the performance with the opening overture to “Merrily We Roll Along” and was featured post-intermission with the overture to “A Funny Thing Happened on the Way to the Forum,” as well as a smooth and graceful “Night Waltz” from “A Little Night Music” in the second half. These were a potent reminder of the beauty of Sondheim’s compositions and how much a fine performance of them deepens their impact.

Also in the second half was a special appearance by St. Louis native Ken Page who sang “Anyone Can Whistle” with a sage-like preciousness that did the Old Deuteronomy cat proud.

As the concert drew to a close, Isaacson quoted Sondheim who answered an interviewer’s question about what he hoped his legacy would be. “Oh, I just would like the shows to keep getting done. Whether on Broadway, or in regional theaters, or schools or communities, I would just like the stuff to be done. Just done and done and done and done and done.”

With a concert like “A Little Sondheim Music,” The Muny and the Symphony have ensured that at least one of those done’s was accomplished – and done to perfection. It doesn’t get much clearer than that.

Featured Photo: Ben Whiteley, Michael Baxter, Nicolas Valdez, Bryonha Marie, Ben Davis, Matthew Scott, Emily Skinner.. Photo by Julie Merkel.

Matthew Scott in rehearsal. Photo by Julie Merkel.

St. Louis Symphony Orchestra And The Muny Pay Tribute to Sondheim

St. Louis Symphony Orchestra And The Muny Pay Tribute to Sondheim

Collaborative Concert “A Little Sondheim Music” Oct 2. at Powell Hall

The St. Louis Symphony Orchestra and The Muny announced details about their latest collaboration: the upcoming concert honoring the late Stephen Sondheim, A Little Sondheim Music on Sunday, October 2, at 3:00pm. Sondheim, who passed away in November 2021 at age 91, is credited with reinventing the American musical, both as a lyricist and composer, throughout his prolific career.

Hosted by Mike Isaacson, Artistic Director and Executive Producer of The Muny, with musical staging by Michael Baxter, and conducted by Muny veteran Ben Whiteley, the concert includes selections from many of Sondheim’s most beloved musicals, including Merrily We Roll Along, Sondheim On Sondheim, Into the Woods, Follies, A Little Night Music, Company, and Sweeney Todd. All lyrics and music by Stephen Sondheim, with various arrangers and orchestrators.

Performing with the SLSO are several veteran theater performers, whose credits include Broadway musicals, West End productions, Muny productions, television, and more: Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner, and Elizabeth Stanley. Broadway veteran and St. Louis native Ken Page also makes a special appearance.

Collaborations between the two organizations date back to at least 1919, when the SLSO provided entertainment for patrons of The Muny during summer performances including Robin Hood and The Mikado. The tradition of collaboration returned in 1994 when the SLSO performed on The Muny stage in a celebration concert titled “Gateway to the Gold,” a salute to the U.S. Olympic Festival. The SLSO and The Muny last performed together in 2018 as part of The Muny’s centennial celebration.

Tickets are on sale now for this unique concert partnership between two of St. Louis’ most storied and celebrated arts institutions. Tickets can be purchased by visiting slso.org or by calling the SLSO Box Office at 314-534-1700.

Mike Isaacson

A Little Sondheim Music: The Muny and SLSO Celebrate Stephen Sondheim

Sunday, October 2, 2022, 3:00pm

Ben Whiteley, conductor

Ben Davis, vocals
Bryonha Marie, vocals
Matthew Scott, vocals
Emily Skinner, vocals
Elizabeth Stanley, vocals
With special appearance by Ken Page

Mike Isaacson, host

Artist Bios:

Ben Davis recently received critical acclaim as Sweeney Todd in the Muny’s production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Davis received a Tony Honor for his work as Marcello in Baz Luhrmann’s Broadway production of La Boheme. His extensive credits, spanning from Broadway to London, include Encores! Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables, The Sound of Music, Kiss Me Kate for the BBC at London’s Royal Albert Hall and NBC’s, Annie Live. Concert credits include Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor, and many others.

Bryonha Marie

Bryonha Marie has rapidly established herself as one of the brightest young stars currently on Broadway and in the classical crossover arena. Best known for her tour de force Broadway performance in Prince of Broadway, a career retrospective of the work of Harold Prince, Marie has also thrilled Broadway audiences as Serena in Porgy & Bess. Other Broadway credits include After Midnight (featured and principal cover for Patti LaBelle, Toni Braxton, k.d. lang, and Fantasia), the revival of Ragtime (Sarah’s Friend), and The Book of Mormon.

Matthew Scott has performed as Adam Hochberg in An American In Paris on Broadway and the National Tour; Sondheim On Sondheim with Barbara Cook and Vanessa Williams; and A Catered Affair, Jersey Boys, and Grand Horizons. On the West End he has performed as Lee in I Loved Lucy at the Arts Theatre. Regional credits include The Light In The Piazza (Barrymore Award); Saturday Night, Beaches, Company, Side by Side by Sondheim, Chaplin (San Diego Critics Nomination), A Wonderful Life, Ragtime, My Fair Lady, Carousel, West Side Story (Kevin Kline Award Nomination), Legally Blonde, Swing!, Les Miserables, Sunset Boulevard, and Mamma Mia.

Emily Skinner has established herself as one of Broadway’s most engaging and versatile performers. She was most recently seen in Barrington Stage’s production of A Little Night Music where she received rave reviews for her fresh take on Desiree Armfeldt. Previously she appeared in the Broadway-bound musical Once Upon a One More Time at the Shakespeare Theatre Company in Washington, DC, and on Broadway as Georgia Holt, Cher’s Mother, in The Cher Show.

Heralded as one of the “Breakout Stars of 2020” by The New York Times, Elizabeth Stanley received Tony, Drama Desk, Outer Critics Circle Award nominations, and a Grammy Award for her recent performance as Mary Jane Healy in the musical Jagged Little Pill, inspired by the music of Alanis Morissette, book by Diablo Cody, and directed by Diane Paulus. Stanley has dazzled Broadway audiences as Claire De Loone in the revival of On the Town (Drama Desk Nomination), Dyanne in Million Dollar Quartet, Allison in Cry Baby, and April in the Tony Award-winning revival of Company.

Ken Page is a St. Louis native with a career spanning over 45 years. He is most widely known as the voice of “Oogie Boogie” in the Tim Burton/Disney film The Nightmare Before Christmas and has recreated his role in sold out concerts live to film at The Hollywood Bowl on four occasions as well as at Brooklyn’s Barclay Center, Tokyo, Glasgow, London (with the London Philharmonic Orchestra), and Dublin. Broadway/UK credits include Guys & Dolls, Ain’t Misbehavin’ (Emmy-winning NBC special, Drama Desk Award-Best Actor, Grammy Award), Cats as Old Deuteronomy (Original Broadway Cast, London Video Cast, Grammy Award), The Wiz, Ain’t Nothin’ But the Blues, Wizard of Oz, Children of Eden (London West End Original Cast), My One and Only (London Palladium), Mr. Wonderful (Theatre Royal Drury Lane), and The Little Mermaid (Hollywood Bowl).

SLSO

About the St. Louis Symphony Orchestra

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

The SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.

About The Muny

The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. The country’s largest outdoor musical theatre produces seven world-class musicals each year and welcomes over 400,000 theatregoers over our seven-show season. Now celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. 

The Muny

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

By CB Adams

 Whether you’re a die-hard Muny season ticket holder, a Stephen Sondheim devotee, someone attracted to a dark Dickensian tale about a murderous Victorian barber, someone seeking a great night of musical theater, or anything in between, “Sweeney Todd: The Demon Barber of Fleet Street” is a must-see.

Fresh off the heels (or should we say umbrella) of “Mary Poppins” comes a show with a wholly different cut. It’s populated with hordes of the great unwashed, a steampunk-inspired set, love songs sung to razors and more dead bodies on stage than a Greek tragedy. And if that’s not enough, add in the music and lyrics by Sondheim (one of his greatest showpieces). Who else could have created a toe-tapping sing-along about meat pies made with human flesh?

“Sweeney Todd” originally opened in 1979 and, after sweeping the Tony Awards, has since grown into one of Broadway’s top-ten musicals – emphasis on musical because 80 percent of this show is sung. It is just now making its Muny premiere after a two-year pandemic-induced delay. It is definitely worth the wait.

Photo by Julia Merkle

This a muscular “go big or go home” production. Rob Ruggiero, director, and Mike Isaacson, artistic director and executive producer, leveraged their many talents and definitely chose the go-big option. They take full advantage of the Muny’s automated stage with its performer lifts, turntable and scenery wagons. A tip of the hat also goes to Jessica Hartman, associate director and musical staging, and James Moore, musical director, for their talents.

One of the challenges of “Sweeney Todd” is presenting the violence and carnage, which includes numerous throat slashings. The bloodletting is cleverly and effectively portrayed through lighting (thanks to design by John Lasiter) rather than with fountains of fake blood.  

As befits the big production values, this “Sweeney Todd” requires – and delivers – a powerful principal cast. Tony nominee Carmen Cusack, an audience favorite, plays the crafty, ambitious Mrs. Lovett. Cusack’s voice is equal to Ben Davis’s booming Sweeney Todd. Davis achieves a Todd who is complex, wounded and angry, and can still fill the stage with a larger-than-life presence. Julie Hanson’s bawdy Beggar Woman weaves throughout the scenes like an annoying fly with a Cockney accent, while Stephen Wallen’s corpulent The Beadle waddles about like an officious toady in service to Robert Cuccioli’s imperious, love-struck lech, Judge Turpin.

Photo by Phillip Hamer

Even a slasher show like “Sweeney Todd” has a love story at its heart. Riley Noland plays Johanna with a thin high voice that befits her role as captive and victim. Her duet with Jake Boyd as sailor boy/love interest Anthony Hope is an extended highlight of this production. Though the two interact mostly from afar, their love and attraction is palpable.

Lincoln Clauss’s Tobias Ragg is a standout. The Ragg character evolves from wig-wearing hawker of snake-oil hair tonic to sprite-like table server and finally to traumatized avenger. Clauss has the acting and vocal range to match.

This production also makes full use of a large ensemble chorus with a panoply of tatty, bedraggled characters who introduce and frame Sweeney Todd’s descent from a cruelly treated barber into a lusty lasher and ultimately tragic victim of his own revengeful scheming. And, there haven’t been this many raised fists on the Muny stage since “Les Misérables” was in town.

The ensemble sings the last chorus at the conclusion of “Sweeney Todd,” but it’s the audience, walking toward the exits and excitedly talking about this production’s wow factor, that gets the last word and best positive review.

Photo by Phillip Hamer

The Muny presents “Sweeney Todd” July 16 – 22 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets or more information, visit: www.muny.org.

Photo by Phillip Hamer
The cast of Sweeney Todd. Photo by Phillip Hamer

Ben Davis, Carmen Cusack and Robert Cuccioli Headline the Muny’s ‘Sweeney Todd’

Ben Davis, Carmen Cusack and Robert Cuccioli Headline the Muny’s ‘Sweeney Todd’

The Muny announced today that Ben Davis, Carmen Cusack and Robert Cuccioli, will star in the musical thriller, Sweeney Todd: The Demon Barber of Fleet Street, July 16-22, 2022.

The Muny Premiere is directed by Rob Ruggiero, with musical staging by associate director Jessica Hartman, music direction by James Moore and Michael Horsley serving as associate music director. Sweeney Todd: The Demon Barber of Fleet Street is proudly sponsored by Missouri Lottery.

“These extraordinary artists in these iconic roles will be thrilling,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I cannot wait to see them our Muny premiere of this musical masterpiece.”

Ben Davis

BEN DAVIS (Sweeney Todd) Muny: 1776, Guys and Dolls, Jesus Christ Superstar, Oklahoma!; Spamalot and South Pacific.

Tony Honor (Ensemble) for his work in Baz Luhrmann’s Broadway production of La Bohème (Marcello).

NYC: Lady in the Dark (NY City Center Encores!), Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables and Thoroughly Modern Millie.

National tour: The Sound of Music and Spamalot. Other favorites include Kiss Me, Kate for the BBC at London’s Royal Albert Hall and Kurt Weill’s Knickerbocker Holiday opposite Kelli O’Hara and Victor Garber at Lincoln Center (recorded live) and in concert opposite Ms. O’Hara with Ted Sperling.

TV/Film: NBC’s Annie Live!; Chicago Fire, Law & Order: SVU; Woman in the Window, Boogie, The Magic Flute (directed by Kenneth Branagh), A Hand of Bridge, Blue Bloods, 30 Rock and Numb3rs.

Concerts: Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor and many others.

Davis has been nominated for three St. Louis Theater Circle Awards — for “South Pacific,” “Oklahoma” and “Jesus Christ, Superstar.” at the Muny.

Carmen Cusack

CARMEN CUSACK (Mrs. Lovett) Broadway: Steve Martin and Edie Brickell’s Bright Star (Tony Award nomination), Flying Over Sunset (Clare Boothe Luce).

Streaming/Film: Facebook series, Sorry For Your Loss (recurring opposite Janet McTeer and Elizabeth Olsen), TriStar’s A Beautiful Day in the Neighborhood (opposite Tom Hanks).

Cusack studied opera at the University of North Texas, which gave her its first honorary baccalaureate degree in 2018

ROBERT CUCCIOLI (Judge Turpin) Muny: 42nd Street. Broadway: Jekyll & Hyde (Tony Award nomination, Drama Desk, Outer Critics Circle, FANY and Chicago’s Joseph Jefferson Awards), Les Misérables and Spider-Man: Turn Off the Dark.

Some favorite off-Broadway credits include A Touch of the Poet, The White Devil, Caesar and Cleopatra (Caesar), And the World Goes ‘Round (Outer Critics Circle Award), Rothschild & Sons (London’s Offie nomination), Jacques Brel is Alive and Well and Living in Paris and White Guy on The Bus.

Robert Cuccioli

Robert has performed at such notable regional theatres as The Guthrie, Paper Mill Playhouse, The Shakespeare Theatre of NJ, Shakespeare Theatre Company (Lorenzaccio, Helen Hayes nomination), McCarter Theatre Center, George Street Playhouse, Ford’s Theatre (1776, Helen Hayes nomination).

Television: The Sinner, Elementary, White Collar, Sliders, Baywatch, Guiding Light. Film: Celebrity, The Stranger, The Rest of Us, Impossible Monsters, Columbus on Trial.

About the show:
The Broadway legend and American musical masterpiece makes its Muny debut. Set in 19th century London, Sweeney Todd: The Demon Barber of Fleet Street has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.

Considered to be one of composer Stephen Sondheim’s greatest showpieces, this eight-time Tony Award-winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny.
 
The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.

The Muny’s 2022 Season includes Chicago (June 13-19), Lerner and Loewe’s Camelot (June 22-28), Disney and Cameron Macintosh’s Mary Poppins (July 5-13), Sweeney Todd: The Demon Barber of Fleet Street (July 16-22), Legally Blonde, The Musical (July 25-31), The Color Purple (August 3-9) and Joseph and the Amazing Technicolor Dreamcoat (August 12-18).

Season tickets are currently on sale. Single tickets will be available beginning May 23. Muny gift cards for the 104th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900

Episode 2 of Muny’s ‘Summer Variety Hour Live’ Showcases the Stars Under the Stars

Episode 2 of Muny’s ‘Summer Variety Hour Live’ Showcases the Stars Under the Stars

By Lynn Venhaus
The sights and sounds of nights gone by are such a welcome sentimental journey on the exciting new online Muny Mondays.

But the variety show is not all a “Remember When” montage, and that is what sets it apart. With a fresh batch of pixie dust, the Muny’s second episode of its smash hit Summer Variety Hour Live more than met expectations after such a sensational series launch July 20.

Rob McClure and Maggie Lakis

If you were curious as to how they could top the inaugural show, now that we know the formula, one look at the lineup beforehand answered that quickly. Tony nominee Taylor Louderman singing live under the Culver Pavilion! Tony nominee and fan favorite Rob McClure, versatile veteran of six Muny shows, singing “Suddenly Seymour” with his wife Maggie Lakis, who has been in two Muny musicals, from their home in Philadelphia. McClure’s Muny debut was “Little Shop of Horrors” in 2011, so that was fitting. The cast of 2017’s spectacular “The Little Mermaid,” lead by Commodore Primous III as Sebastian, reuniting to sing a buoyant “Under the Sea.” I mean, the deck was stacked.

The best way to describe the ebb and flow of the carefully curated selection of acts is to compare it to a multi-course gourmet dinner especially crafted to include favorite dishes, comfort food, bold choices and unique taste treats, every bite bursting with flavor.

When the “Wow” factors were unveiled — those unforgettable Muny moments that you will always recall with awe, so grateful to have experienced it in person – they blew me away. It isn’t hard to pick five, ten or 20 out of your head if you are a regular. (We probably share some of the same ones – we’ll have to compare notes).

And this supersonic flash came from two performers I saw in ensembles but did not know their names: Nkeki Obi-Melekwe and Chloe O. Davis. I will never forget them now.

Nkeki Obi-Melekwe

Nkeki soared singing “If You Knew My Story” from “Bright Star” during her time, a selection to reinforce color-blind casting. Nkeki, a Michigan graduate, appeared in the Muny’s 2017 “All Shook Up” and went on to play Tina Turner in “Tina the Musical” in London’s West End in April 2019, then move to Broadway in October.

If you are unfamiliar with “Bright Star,” the musical by Steve Martin and Edie Brickell, it came out the same year “Hamilton” did and lost the Tony Award for Best Musical to the landmark show in 2016.

Chloe O. Davis, a dancer who grew up in St. Louis and was in “All Shook Up” and “The Wiz” in recent years, was featured in “My Tribute to Black Broadway and Black Choreography: I Thrive Now Because You Dared Then,” a dance she conceived and choreographed.

As she used Forest Park as her stage, she gave us a history lesson that stirred “all the feels.” She created the styles of famous black choreographers, using audio and visual clips in addition to her dance moves – East St. Louis’ international icon Katherine Dunham, George Faison, Debbie Allen, Hope Clarke, Gregory Hines, Donald Byrd, Bill T. Jones and Camille A. Brown among them.

Chloe O Davis

Moving. Powerful. Elegant. Truly a shining moment.

A delightful song-and-dance interlude was courtesy of three dynamos Maya Bowles, Trevor Michael Schmidt and Gabi Stapula, whose high-spirited “There’s Gotta Be Something Better Than This” from “Sweet Charity” captured our anxiety and their eagerness to get back to the business of entertaining. These chorus gypsies reminded us how ensemble cohesiveness is so important to any big splashy musical.

Gabi also works with the Muny Teens, and their fun-loving mashup of “Bring On the Monsters” from “The Lightning Thief: The Percy Jackson Musical” and “Drive It Like You Stole It” from “Sing Street” again showcased how talented some local students are – and their sunny dispositions. I’m a big fan of the 2016 movie “Sing Street,” which is writer-director John Carney’s third film about the transforming power of music (“Once” and “Begin Again”), and its stage adaptation was set to open on Broadway in April after rave reviews off-Broadway.

The power ‘hour’ also featured behind-the-scenes stories about what’s happening at The Muny, including being able to pull off the stunning fireworks at the Centennial Gala, and the amusing game show throwback Munywood Squares. With interesting fun facts, hosted by Gordon Greenberg and featuring nine Muny performers in the Zoom grid,  including E. Faye Butler, J. Harrison Ghee, Ann Harada, Raymond J. Lee, Vicki Lewis, Steve Rosen, Jeffrey Schecter, John Scherer and Christopher Sieber. This week’s good sport contestants were photographer Phillip Hamer and Muny company manager Sue Greenberg. Fun remembering the raccoon who waddled on to the stage in “The Addams Family” in 2014!

Taylor Louderman

On an intermittent rainy night, star Taylor Louderman was accompanied by four socially distanced musicians, to sing live the power ballad “Astonishing” from “Little Women.” Always nice to include a female empowerment song, this one from Louisa May Alcott’s timeless and timely heroine, Jo March. From Bourbon, Mo., 60 miles southwest of St. Louis, Taylor went from Muny Teen to Tony nominee as Regina George in “Mean Girls.” She made her Broadway debut in 2012’s “Bring It On!,” has been in seven Muny shows and won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for last summer’s “Kinky Boots.” (And this year, finished her bachelor’s degree that she had started at Michigan in 2009 and was married five weeks ago to Brooks Toth).

The archival footage of past summer shows is a fond trip down memory lane, starting with Muny titans Beth Leavel and Ben Davis in 2015’s “Oklahoma!” Leavel, Tony winner for “The Drowsy Chaperone” and nominee for ‘The Prom,” is a frequent St. Louis Theater Circle Award nominee, winning for her Mamma Rose in 2018 “Gypsy.” Davis, seen last year as Sky Masterson in “Guys and Dolls,” has been nominated multiple times, and once joked during an interview that he is the ‘Susan Lucci’ of the Circle Awards.

Davis was in the now legendary production of “Spamalot” in 2013 as Sir Galahad. Host Mike Isaacson introduced “Always Look on the Bright Side of Life,” which holds the distinction of being the most popular song at funerals, pointing out how weather affected the show. I remember that on opening night June 17, a steady rain was falling after torrential downpours for days preceding it. So, there was little opportunity to rehearse outdoors. The audience for the show opener of the 95th season was so eager to see this Muny premiere that we came in droves with our umbrellas — and were mightily rewarded.

It’s a night I’ll never forget. During the curtain call, actor John O’Hurley, playing King Arthur, stopped the show to introduce Monty Python founder and show creator Eric Idle! Whoops, cheers and thunderous applause! Everyone on their feet. I turned to my companion and said: “We are in the presence of a Python!” Oh, be still my heart. It was pure bliss – he led us in “Always Look on the Bright Side of Life” after mentioning this was the largest audience to ever see the musical and he wanted to see if we could get in the Guinness Book of World Records for our sing-a-long.

Oh, what a night! I had the good fortune to interview John O’Hurley later that fall when he was touring as Billy Flynn in “Chicago,” and we had a pleasant conversation about that enchanted evening.

Another splendid memory was shared with the incredible “We’re in the Money” from the extraordinary 2016 production of “42nd Street,” choreographed by Denis Jones, St. Louis Theater Circle Award winner. That curtain call – go see it on YouTube – as the cast cascaded down a staircase will go down as my favorite (next to “A Chorus Line”) in Muny history.

All these elements are what make summer nights special at the Muny, and spotlighting the world-class talent – from the musical theater majors from the best schools in the country to the stars with Broadway credentials — who come together in Forest Park – is one I like to emphasize. Years ago, seasons were headlined by ‘names’ – mostly from TV – and while recognizable, I much prefer having the best talent possible give us their all on that stage. Drama geek that I am, I read all the bios and notice who returns to the Muny, who creates magic on the stage, or is given the part of a lifetime.

And in that spirit, the Summer Variety Hour Live emphasizes how many parts make each show happen.

And it is a warm, familiar embrace at a time we all need a hug.

On July 20, The Muny 2020 Summer Variety Hour Live! drew more than 30,000 viewers from across the U.S. and around the world. This total sets a new, record-breaking first in The Muny’s live-streaming history.

On July 27, we were connected by the calypso beat of newly crowned EGOT winner Alan Menken, the banjo picking of brilliant Steve Martin, the Britpop synthesizer of ‘80s New Wave, the zaniness of silly comic geniuses, homages to Busby Berkeley and Broadway chestnuts, the triumph of a ‘local’ small-town girl with a dream, sweetness, sincerity, showmances and people who think sitting under those stars in St. Louis is like coming home.

These shows (5 total, 3 left) are exclusive, one-time-only streams and will not be available after the Thursday night airing. The July 30 re-airing will include audio description and captions. The link is: youtube.com/themunytv

The Muny’s online 2020 season is sponsored by World Wide Technology. Episode 1 was made possible by US Bank and Episode 2 by Edward Jones. They announce the next lineup every Wednesday.

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

By Lynn Venhaus
Managing Editor
Broadway’s glorious past merges with The Muny’s dazzling state-of-the-art
present in “Guys and Dolls” for a sensational start to the second century that
bodes well for the future.
What an ideal show to show off the new stage and other upgrades made possible
through the Muny’s Second Century Campaign!

As impressive as the changes set out to be, all the spiffy
new elements made this endearing show sparkle – the redesigned stage allowed
the action flow smoothly, the sound was crystal clear (designers John Shivers
and David Patridge) and the lighting systems’ enhanced illumination by designer
Rob Denton and the expanded LED screens, with video designs by Nathan W.
Scheuer, were eye-catching. Director Gordon Greenberg was able to incorporate
the new downstage lifts into scenes. Overall, an A+ effort.

Besides the successful revelation, the weather was
tailor-made for the 101st season opener June 10. A crowd of 7,677 enjoyed
one of Broadway’s most delightful golden-age classics, filled with Frank
Loesser’s peppy and hummable musical numbers, sweet romance, and colorful
characters based on Damon Runyon’s short stories and given zip by the late
comedy writer Abe Burrows.

“Take Back Your Mink”Jaunty and joyous, “Guys and Dolls” combines hustling high rollers and honorable holy rollers in the bustle of the fabled Times Square, their intentions clashing when the gamblers want to be lucky and the evangelists want to save souls. Paul Tate dePoo III’s vibrant scenic design of neon signage and advertisements reflects a flashy bright lights, big city vibe that pops in every scene.

Once dubbed “the perfect musical comedy” by a critic and I
wholeheartedly agree, the Muny proved how evergreen the show can be, now in its
eighth time here and 15 years since the last one. The talent made sure this
first bicentennial production was a crowning achievement by integrating all the
new-fangled improvements seamlessly.

Zoe Vonder Haar, Orville Mendoza, Kennedy Holmes. Photo by Philip Hamer.Greenberg bathed this frothy concoction in the warm glow of
nostalgia while emphasizing the humor and elevating the romance. The high-spirited
cast injected it with zing through crisp and snappy movements, whether it was a
sharply choreographed number – those elastic dancers in “Crapshooters Dance”
and “Havana” made it fun — or the wise-guys singing Nathan Detroit’s praises
in “The Oldest Established.”
First-time Muny co-choreographers Lorin Latarro and Patrick O’Neill intertwined
different styles with energy and precision, and Music Director Brad Haak freshened
the songs, with arrangements by Larry Blank. Musicians were under a covered pit
for the first time, carrying the upbeat tempos well.
The creative team focused on the original 1950 roots and the rock-solid cast cheerfully
immersed themselves in this idiosyncratic world. One must accept its now dated
story as a period piece to fully appreciate the relationships. Calling women
“tomatoes” and “broads” is no longer acceptable, and no one in contemporary
times would, but this is from a bygone era – and displays how different men and
women roles were back then.

“Guys and Dolls” took Damon Runyon stories about New York
City from the 1920s and 30s, namely “The Idyll of Sarah Brown” and “Blood
Pressure,” with a nod to “Pick the Winner,” and radio comedy writer Abe Burrows
boosted Jo Swerling’s original script by giving the distinctive characters
Runyon’s unique vernacular, a mix of formal speech with slang. Damon, a
newspaperman and sportswriter, favored writing dialogue for gamblers, hustlers,
actors and gangsters.

However, this Runyonland appears more innocent. Detroit, the hapless but lovable mug behind the biggest crap game in NYC, keeps his adorable girlfriend Adelaide waiting for him to marry her after 14 years. The prim and proper Sarah Brown falls in love with the suave Sky Masterson in an opposites-attract storyline.

The script makes all of this seem logical and then throws in merry men named Benny Southstreet and Rusty Charlie, and it’s a surefire winner, especially with Kevin Cahoon hilarious as Harry the Horse and so is Brendan Averett as Big Jule.

From the first bars of the opening number “Fugue for
Tinhorns” to “The Happy Ending” finale, this cast connects with each other, and
ultimately, the audience.

As the sophisticated ladies man Sky Masterson, Ben Davis is
a welcome presence on the Muny stage, continuing his successful run of classic
male leads after Curly in “Oklahoma!” and Emile in “South Pacific.” He has
palpable chemistry with Brittany Bradford, who is one of the best Sarah Browns
I’ve ever seen (sometimes, the actors playing these different types don’t gel,
but this pair does). Their clashing couple delivers velvety-smooth ballads.

Bradford is quite a special talent, genuine in acting and a
splendid soprano. Her breakout number, “If I Were a Bell,” shows her
versatility. Their “I’ve Never Been in Love Before” superbly blends their
voices, another standout moment, and his sleek “My Time of Day” rendition was
terrific.

Davis propelled “Luck Be a Lady” to be one of the evening
highlights, aided by the crackerjack ensemble.

St. Louisan Kendra Kassebaum lights up the stage as Miss
Adelaide, and wow, what a home-grown triple threat. Bubbly and bouncy, she displays
impeccable comic timing in her fully dimensional lived-in performance.

She’s a fitting and funny foil for wacky Nathan, well-played by Jordan Gelber. Their “Sue Me” was on point, and “Adelaide’s Lament” is confident and comical. She leads the Hot Box Girls in a vivacious “A Bushel and a Peck” and “Take Back Your Mink.” (Tristan Raines’ costumes fit each role appropriately, but those purple-sequin gowns draped with the gray furs are stunning.)

Kassebaum and Bradford are a dynamic duo in “Marry the Man
Today” (just don’t wince at those lyrics).

The best scene, the second act showstopper that puts its indelible stamp on “Guys and Dolls,” is “Sit Down, You’re Rockin’ the Boat.” A marvel of movement and pure jubilation, this version is made even more special by the surprise appearance of Kennedy Holmes, the Muny Kid who placed fourth on “The Voice” in 2018, belting out the usual General Cartwright solo. (Zoe Vonder Haar has replaced Doreen Montalvo as General Cartwright),

Orville Mendoza fits, well, nicely, as Nicely-Nicely
Johnson, who leads the number, and is dandy in his duet with Jared Gertner as
Benny in the title number “Guys and Dolls.”

As Arvide Abernathy, Ken Page has a twinkle in his eye and adds
poignancy to the “More I Cannot Wish You” number sung to his granddaughter,
Sarah. This is his 41st appearance at the Muny – and little-known
fact, he played Nicely-Nicely in the 1976 Broadway revival.

The musical has been revived two more times, in 1992 and
2009, with the 1992 version starring Nathan Lane and Faith Prince the most
acclaimed, winning four Tony Awards including Best Revival and running until 1995,
tallying 1,143 performances. The original “Guys and Dolls” won five Tony Awards
in 1951, including Best Musical, and has been a favorite among regional, school
and community groups for decades.

That renowned 1992 version’s spunk is evident in this Muny
production, but the cast makes it their own. They put a fresh sheen on the
characters, imbuing them with heart and humor, and it never sags.

This production is worth rejoicing about, starting out the
summer in swell fashion.

The Muny presents “Guys and Dolls” June 10 – 16 nightly at 8:15 p.m. in Forest Park. For tickets or more information, visit www.muny.org

Photos by Phillip Hamer.