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

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

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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