Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

By Lynn Venhaus

A personality-powered gem, “The 25th Annual Putnam County Spelling Bee” is a rambunctious musical comedy that celebrates American meritocracy, eccentric nerds and freak flag waving.

Produced with extra oomph by Stages St. Louis, a sagaciously cast sextet has nimbly mastered wordplay and improvisations in this offbeat musical that’s as accessible to logophiles as it is to class clowns.

Inside a typical middle school gymnasium, dweeby sixth graders compete for a $200 savings bond, a shot at the national bee, and a towering trophy.

All triple threats, this enthusiastic cast has got game – showing heart, humor and humanity. The boys are Michael Schimmele as returning champ Charlito “Chip” Tolentino, who is struggling with puberty; Matthew Cox as Leaf Coneybear, the wide-eyed home-schooled son of hippies; and Bryce A. Miller as showboating misfit William Morris Barfee.

The Spellers are ready to rock. Photo by Phillip Hamer.

A running gag is the constant mispronunciation of Bar-Fay, because of an accent aigu, and not Bar-Fee.

The girls are Abigail Isom as high-strung Logainne SchwartzandGrubenierre, a positive political activist pushed by her two dads to be best; Alexis Kinney as exuberant wordsmith Olive Ostrosky, whose mom is in India and dad is always working; and Sarah Wilkinson as pedantic Marcy Park, an over-achieving transfer student.

The annual event is a big deal in the town, with three adults in charge – ‘comfort counselor’ Mitch Mahoney (Omega Jones), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Jennifer Theby-Quinn), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Christopher Hickey), who has returned as a judge after personal time off to work out some ‘things.’

Their innuendos and double entendres elicit laughs – and the show’s mature content is aimed for a PG-13 audience.

Christopher Hickey as vice-principal. Photo by Phillip Hamer.

The catchy music and lyrics by William Finn, of “Falsettos” and “A New Brain,” give each character their moment to shine and explain their character’s drive or idiosyncrasies.

Their signature songs are Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me” and Chip: “Chip’s Lament.”

The coming-of-age stories about their home lives are poignantly delivered, and they perform the funny parts with gusto. The spellers have crafted realistic kids – not to mock but to enjoy their characteristics and identify with their emotions, and you root for them to stay golden.

Barfee, unfortunately hampered by one working nostril, has a peculiar way of spelling out the words – with his “Magic Foot.” (Fun fact: Dan Fogler, of “Fantastic Beasts,” won a Tony Award for originating the role).

Sarah Wilkinson as Marcy Park. Photo by Phillip Hamer.

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two (book by Rachel Sheinkin, featured actor). It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The fluid script allows producing companies to insert topical and local references. It also includes audience participation, and patrons can fill out a slip in the lobby before the show.

Four names are drawn backstage, so no one is tipped off in advance, and they join the spellers to take their turn at the microphone. All good sports, this is a key element to the fun, producing good-natured laughter from the audience. No special treatment – they might get to spell “Cow” or a consonant heavy four-syllable word.

The crowd’s perspicacity was evident on opening night June 3 and embraced the experience. The ingenious construction keeps it fresh, and that spontaneity is appealing.

Abigail Isom, Bryce A. Miller and Alexis Kinney. Photo by Phillip Hamer.

Detail-oriented co-directors Ron Gibbs and Gayle Seay also co-choreographed the show, achieving a terrific level of energy. The upbeat title song introduces the characters, and “The Spelling Rules” brings out their quirks and “Pandemonium” is just that.

In stand-out moments, dynamic Wilkinson showcases her gymnastic skills in her peppy number “I Speak Six Languages” and her prayer for change, “Jesus,” while gifted comic actors Miller and Kinney display charming chemistry leading up to and including their duet “Second.”

Another highlight is the tender ballad “The I Love You Song” that heart-tugging Kinney sings with her parents – as the absentee mom, Jennifer Theby-Quinn’s strong mezzo-soprano is in lovely harmony with workaholic dad Omega Jones’s warm vocals.

As Rona, Theby-Quinn confidently commands the stage in “My Favorite Moment of the Bee,” and in two reprises. As Mitch, Jones demonstrates expressive vocals in “The Prayer of the Comfort Counselor” and in “Woe Is Me” reprise with the vivacious Isom.

Michael Schimmele as Chip. Photo by Phillip Hamer.

And Schimmele is a trouper with his sudden onset of a puberty issue, and feigning discomfort in his public humiliation. If you know, you know. (Refer to mature rating).

The junior high vibes are boosted by scenic designer Rachel Seabaugh’s school gymnasium set that is a nifty flashback to every community event ever, with sly nods to the civic organizations and school sports teams that are delightful to notice.

Lighting Designer Sean M. Savoie’s expertise is apparent in the harsh gym glare, which shifts to the warm intimate interaction moments. Sound designer Hankyu Lee’s work is remarkably crisp, without any dead spots in the KPAC’s Ross Family Theatre.

Costume Designer Cat Lovejoy has jauntily defined every character through their distinct outfits, and the addition of a makeshift cape and roller-sneakers for Leaf Coneybear is inspired. Cox gives his movements extra flair with those accessories.

Matthew Cox as the free-spirited Leaf Coneybear. Photo by Phillip Hamer.

Music Director Michael Kaish smoothly kept the tempo on track, and is on one keyboard, joined by Randon Lane on a second keyboard, Lea Gerdes on reeds, Marcia Erwin on cello and Jonathan M. Taylor on percussion.

The Bee is a buzzy, playful communal experience, one that celebrates smart kids without any stigma – a proud revenge of the nerds, and the relatable rituals of youth. To be a part of the glee expressed by cast and crowd alike will lift spirits of any age.

Note: Understudies include Julie Hanson, Lillie Self-Miller, Bradford Rolen and Connor Kelly-Wright.

Stages St. Louis presents the musical “The 25th Annual Putnam County Spelling Bee” through June 28. Performances take place at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org.

Jennifer Theby-Quinn as Rona, with Omega Jones as Mitch in background. Photo by Phillip Hamer.

Chalamet Electric in Exhilarating Dylan Snapshot ‘A Complete Unknown’

Chalamet Electric in Exhilarating Dylan Snapshot ‘A Complete Unknown’

By Lynn Venhaus

Anchored by Timothee Chalamet’s brilliant immersive portrayal of a young Bob Dylan, this exhilarating, extraordinary film recreates a period when art, music, politics, and culture came together to significantly define the 1960s.

The characters are unforgettable because of the nuanced performances from Monica Barbaro as Joan Baez, Edward Norton as Pete Seeger, Boyd Holbrook as Johnny Cash and Elle Fanning as Sylvie Russo (a fictionalized version of Dylan’s first New York girlfriend, Suze Rotolo, who died in 2011).

Whether you like Dylan’s music or not is immaterial – director James Mangold makes us feel his impact as one of the most iconic singer-songwriters in history, and it’s glorious. He captured a vibrant music scene in New York 1961 and a pivotal four-year span where a generational voice was emerging.

 Mangold, who made “Walk the Line” about Johnny Cash and the crowd-pleasing “Ford v. Ferrari,” has created an authentic world – the burgeoning folk scene in Greenwich Village, the political upheaval of the times, and the events that shaped America. Dylan forged relationships with singer-songwriters finding their voices.

Mangold collaborated with Jay Cocks on the screenplay, which they adapted from Elijah Wald’s 2015 book “Newport, Seeger, Dylan, and the Night That Split the Sixties.”

The film follows a young Bob Dylan from the time he arrives in New York as a 19-year-old Minnesota native named Robert Allen Zimmerman to his groundbreaking and controversial appearance at the Newport Folk Festival in 1965, when he played the electric guitar and revolutionized the genre.

Dylan’s masterpiece, “Highway 61 Revisited,” is now considered one of the most influential albums of all-time, and the film explores how this period, going from acoustic to rock, cemented his legacy as someone who changed the course of American music.

He got his start with traditional folk song recordings in 1962, including his tribute “Song to Woody” on that debut, followed by “The Freewheelin’ Bob Dylan” in 1963, which featured “Blowin’ in the Wind” and “A Hard Rain’s a-Gonna Fall.” His lyrics became more sophisticated and introspective.

As Dylan’s fame grew, he became increasingly frustrated and the writers did not soften his prickly edges, while showing what drives the creative process. Besides his hero Woody Guthrie (Scoot McNairy), Seeger and Baez would shape his artistry as well.

Chalamet’s scenes with Barbaro are electric, particularly the live performance of “It Ain’t Me, Babe” at Newport.

He also has terrific chemistry with Elle Fanning – they were a couple in Woody Allen’s “A Rainy Day in New York” (2019) — and she is grounded as the committed activist that helped mold Dylan’s political awareness. (Dylan requested her name be changed in the film).

The principals did their own singing and playing, and that adds to the film’s realistic environment. Chalamet’s career-best performance is seamless, with some of the numbers hypnotic – especially the seminal “The Times They Are a-Changin’,” which became an anthem for civil rights and anti-war movements.s

He doesn’t imitate Dylan’s rough vocal quality, but rather gives the essence in phrasing and delivery. Chalamet learned to play 30 songs and took lessons from a vocal coach, a guitar teacher, a dialect coach, a movement coach and even a harmonica tutor.

The fact that he personified the legend’s elusive nature is a marvel to witness as well. While the movie doesn’t provide a complete portrait of the complex artist’s 60-year career, it is a good start to learning about this mysterious figure who at times became confrontational, although it is not a deep dive by any means.

In addition to the folk singers, fine supporting actors include P.J. Byrne as folk music promoter Harold Leventhal, Dan Fogler as Dylan’s manager Albert Grossman, and Will Harrison as Bob Neuwirth, Dylan’s road manager.

I hope it fosters more appreciation for the album “Highway 61 Revisited,” Dylan’s sixth that was released on Aug. 30, 1965. He used rock musicians as his backing band on every track except “Desolation Row,” the last song.

The album is named for the major American highway that connected his birthplace of Duluth, Minn., to the southern cities connected by the Mississippi River and their rich musical heritage – St. Louis, Memphis, and New Orleans, plus the Delta blues areas.  

Boyd Holbrook as Johnny Cash.

Dylan wrote about his kinship with that route in his memoir “Chronicles: Volume One,” “Highway 61, the main thoroughfare of the country blues, begins about where I began. I always felt like I’d started on it, always had been on it and could go anywhere, even down into the deep Delta country. It was the same road, full of the same contradictions, the same one-horse towns, the same spiritual ancestors … It was my place in the universe, always felt like it was in my blood.”

Dylan has sold more than 125 million records, and among his awards are the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame.

In 2008, the Pulitzer Prize Board awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.” In 2016, Dylan was awarded the Nobel Prize in Literature, and he famously did not attend.

He was included in the Time 100: The Most Important People of the Century, where he was called “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation” for his musical and cultural contributions.  

“A Complete Unknown” mirrors the times that Dylan helped shape, but don’t expect a documentary, for everyone with intimate knowledge can pick apart the accuracy. But the creative team’s thoughtful attention to detail is remarkable , visualizing an important period for one of the most enigmatic individuals in music history.

Costume designer Arianne Phillips, known for “Once Upon a Time…in Hollywood,” has vividly stamped that ‘60s period with counterculture flair, while production designer Jacques Audouy, Mangold’s go-to designer, has provided expert depictions of that time and place.

What a long, strange trip it has been – and I enjoyed waltzing down memory lane in the spectacular fashion presented here. This is more a look back with appreciation rather than analysis; and a celebration of our finest music poets.

“A Complete Unknown” is a 2024 drama directed by James Mangold and starring Timothee Chalamet, Monica Barbaro, Elle Fanning, Edward Norton, Boyd Holbrook, Dan Fogler, Norbert Leo Butz and Scoot McNairy. It is rated R for language and has a 2-hour, 21 minutes runtime. It opened in theaters Dec. 25. Lynn’s Grade: A.

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

By Lynn Venhaus
How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.

A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.

At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.

And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.

However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.

In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.

The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.

Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.

Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.

Photo by John Lamb

While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”

Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.

The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand.  Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.

The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’

Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.

She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).

Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.

Photo by John Lamb

Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.

Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.

The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”

Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”

The troupe’s strong voices harmonize well in the group numbers, too.

Photo by John Lamb

Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.

Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.

Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.

The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.

For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.

My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.

It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.

Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org

Note: Tickets are only offered in physically distanced groups of two or four.

Photo by John Lamb.