By Lynn Venhaus
Brimming with vim and vigor, Stages St. Louis’ “Disney’s Newsies” pops with personality. Stressing unity in troubled times, it’s a modern message about how harnessing hope can change lives.

Believe! Like the very best underdog sports tales, this David vs. Goliath story based on the Newsboys Strike of 1899 taps into belonging, being of service to others, and making a difference in the world.

Despite the musical being set in the late 19th century, the struggles of a ragtag group of misfits, rebels and street urchins who bring out the best in each other as they fight oppression can resonate in any age, even digital, as fights for rights continue around the world.

Based on the beloved 1992 Disney movie musical that became a cult classic, it wasn’t until 20 years later that it made its Broadway debut, adapted by Harvey Fierstein.

In 2012, it earned four Tony nominations, including Best Musical, winning two for Best Score – Alan Menken’s first-ever Tony for writing the music (after eight Oscars), with lyrics by Jack Feldman, and Best Choreography by Christopher Gattelli.

Phillip Hamer photo.

Trying to survive their harsh conditions one turn-of-the-century summer in Manhattan’s lower east side, newsboys discover rising prices and reduced meager wages threaten their livelihood. The newspaper was the only way to get the news once upon a time.

Organized by orphan Jack Kelly, they protest the practices of the publishing tycoons of the day, namely their greedy employer, Joseph Pulitzer, whose “papes” are the New York World, The Herald and The Sun.

The Muny’s 2017 production was the show’s Midwest regional premiere, after the national tour stopped at the Fox Theatre in 2016.

For its ambitious Stages premiere, it has arrived super-sized at the Kirkwood Performing Arts Center with a big-picture outlook by director Steve Bebout, a grand-scale set design by Ann Beyersdorfer, and turbo-charged acrobatic choreography by Lindsay Joy Lancaster.

Their meticulous work with a fresh-faced cast of triple-threats is dazzling. This unified ensemble of young adults, teens and youngsters shine with a contagious youthful energy – oh if we could only bottle it! — which elevates the elaborately staged pieces.

The exciting signature numbers “The World Will Know,” “Seize the Day,” “King of New York,” and ‘Once and For All” are Menken’s odes to the common man, first heard in the movie.

Menken and Feldman wrote 12 original songs for the movie, which was directed and choreographed by Kenny Ortega of “Dirty Dancing” fame and starred an 18-year-old Christian Bale. While it bombed at the box office, fervent fans grew through watching VHS tapes, DVDs and TV showings. He added seven new tunes for Broadway.

Phillip Hamer photo.

With this expansive bright and buoyant cast, the company’s strength and endurance is noteworthy. They immediately captivate with their winsome characters and cheeky attitudes, singing about “their fine life” in “Carrying the Banner” and have a blast with their new notoriety in “King of New York.”

The dancers’ joy is visible from their first full-throttle appearance to a high-spirited curtain call, where they jump, twirl, kick and twist with abundant glee. In moves that could qualify them for the medal rounds in Olympic gymnastics, they are an earthy full-court press.

PJ Palmer is Race, Noah James Lentini is Albert, Paul Giarratano is Specs, Joah Ditto is Henry, Kyleigh Hegarty is Finch, Philly Kang is Elmer, Giuseppe Little is Romeo, TJ Staten is Mush, Kyle Holmes is Buttons, Carson Hampton Palmer is Tommy Boy and Darcy, Avery Martin is JoJo, Eddie Olmo II is Mike, Ronan Ryan is Ike, Danny Grumich is Wiesel, and James Caposito is Spot Conlon.

Playing Citizens of New York, among other roles, include Lena Matthews, Alyssa Sayuk and Hazel Vogel. Annaliza Canning-Skinner is Pulitzer’s secretary Hannah. (Swings are Brittany Ambler, Jonathan Kwock and Caposito.)

They foster goodwill through relatable heart-tugging personal situations (although the meanie enforcers are brothers Morris (Ryan) and Oscar Delancey (Olmo).

As for the archetype adults, some familiar faces return to Stages – Steve Isom as Bunsen and John Flack as goon Snyder. They are joined by versatile Patrick Blindauer, who is Jacobi’s Deli owner and Governor Theodore Roosevelt, among other small parts.

Taylor Quick and Daniel Marconi. Phillip Hamer photo.

Embodying the charismatic hustler Jack Kelly is Daniel Marconi, making a memorable debut in this demanding role and nailing his wise-guy accent.

However, he has an interesting connection to Stages’ world premiere of “The Karate Kid – The Musical,” for he took part in the NYC staged reading last year of the revamped musical as Daniel LaRusso. He was also in the pre-Broadway tryout of Tony winner “The Outsiders” at the La Jolla Playhouse.

In a star-making turn, Marconi smoothly anchors this band of brothers, taking command with strong vocals and plenty of swagger as the de facto leader, establishing himself as a fast-talking wheeler-dealer who commits to their right-over-might cause. He’s quick with the quips and sincerely tries to be there for the people he cares about.

Although he dreams of going out west for a better life, he’s loyal to his best friend, “Crutchie” (Matthew Cox), a disabled orphan, and falls for the crusading reporter, Katherine Plummer (Taylor Quick).

She exposes the ruthlessness of newspaper magnate Pulitzer and his minions, who don’t care about the newsies’ plight. Together, they have a sweet moment in “Something to Believe In.”

Marconi excels at standing up to the nefarious Pulitzer, played with unrelenting heartlessness by Christopher Gurr, while firing up everyone who wants to “stick it to the man.”

He meets a kindred spirit in go-getter Davey (Richard Spitaletta) and his nine-year-old brother Les (Davin Wade), whom he takes under his wing. Davey’s intelligence and Jack’s street-smarts are an inspiring combo. Both Spitaletta and Wade are engaging performers, comfortable in their roles.

Matthew Cox as Crutchie. Phillip Hamer photo.

Capturing everyone’s hearts is Matthew Cox, who endears as lovable Crutchie. You’ll want to have tissues ready for his “Letter from the Refuge” song, as he details the horrors of being back at the deplorable juvenile reformatory.

Quick, as resourceful Katherine, is another standout. She made her debut earlier this summer as Shelby in “Steel Magnolias,” but here showcases her considerable singing and dancing skills in “Watch What Happens” and “Once and For All.”

Anita Michelle Jackson is an incandescent light on stage, sashaying as sassy and classy theater owner Medda Larkin, who encourages Jack’s artistic ambitions, and looks fabulous in costume designer Brad Musgrove’s divine finery.

A texture specialist, Musgrove worked with period-appropriate garb for the poor-kid cast in mostly subdued earth tones, mixed up with prints, with the rich folk in Gilded Age attire, so the only chance to break out with sumptuous fabrics was with the showgirls.

David Nehls’ savvy music direction is on point, superbly conducting Alerica Anderson on base, Travis Maddison on guitar, Lea Gerdes and JD Tolman on reeds, Ranya Iqbal on cello, Abbie Steiling on violin, Evan Palmer on trombone, Chris Miller on trumpet, and Peter Gunn on drums and percussion, while he played keyboards.

Struck by the work’s timeless can-do American spirit, Bebout said he wanted to focus on young people’s quests to figure out their place in the world. “’Newsies’ reminds us to never doubt the power of a galvanized group of kids who want to change the world,” the director wrote in his program notes.

Christopher Gurr as Pulitzer. Phillip Hamer photo.

The ragamuffin newsies’ efforts bring the city to a standstill – not just a strike for decent wages, but through an ally reporter’s expose about unfair child labor practices in factories, slaughterhouses, and sweatshops are stand-up-and-cheer moments.

An important history lesson, this marked a significant turning point, when the labor union movement gained ground in a new Progressive Era as the country swelled with American Dream-seeking hopefuls who were the workforce for the Industrial Revolution.

Bebout has returned for another knockout, after he directed the comic juggernaut “Clue” last summer, which garnered five St. Louis Theater Circle Awards for Stages’ first play.

His ability to keep the fleet-footed cast swiftly moving through various locations is admirable. (Kudos to stage manager Monica Dickhens too).

The cast fluidly moves pieces of Beyersdorfer’s aesthetically impressive and practical grid set that is, by turns, a newspaper printing plant, bustling streets, makeshift living conditions, and The Refuge, with Pulitzer’s office and Medda’s theater in the mix.

The technical work is exemplary, including Bart Williams’ crisp fight choreography, Sean M. Savoie’s precise lighting design, Saki Kawamura’s adept video projection design, Mike Tracey’s sound design, and Daniel Paller’s shrewd wig and hair design.

Stages’ first foray into presenting a Disney musical in its 38 seasons is a triumph, an uplifting and heart-tugging tale of unlikely heroes that any generation can identify with.

Phillip Hamer photo.

Stages St. Louis presents Disney’s “Newsies” from July 26 to Aug. 25 in the Ross Family Theatre at The Kirkwood Performing Arts Center. For tickets or more information, visit https://stagesstlouis.org

Anita Michelle Jackson as Medda Larkin. Phillip Hamer Photo.

By Lynn Venhaus

With its Dream Team of actresses eliciting all the feels, a sterling “Steel Magnolias” is a warm and wry reminder about the connective tissue that binds us – whether it’s family, friends or community ties.

In only the second play produced by Stages St. Louis, following the runaway success of last year’s “Clue” (winner of five St Louis Theater Circle Awards out of 11 nominations), the company has kicked off its 38th season with an enduring classic.

Robert Harling’s beloved comedy-drama honored his late sister, Susan-Harling Robinson, who died of complications from Type 1 diabetes in 1985. Taking place over three years, the play celebrates the special bond of a group of women in a small Southern town.

First presented off-Broadway in March 1987, the play opened on Broadway that June, and ran for 1,126 performances until it closed in 1990. The original 1989 smash hit film starred an all-aces ensemble including Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton, Darryl Hannah and Julia Roberts in her first Oscar-nominated role.

Those are some heavy shoes to fill, but with this irresistible group, it’s a pleasure to watch them interact like they’re an Olympic sports team at play. Their fervor for this work is obvious, and they each bring something fresh to their roles.

Photo by Phillip Hamer

In her Stages St. Louis debut, intuitive Amy Loui anchors the cast as doting but worry-wart mother M’Lynn as they get ready for daughter Shelby’s wedding. Taylor Quick is also making her Stages debut as the vivacious Shelby, sparkling with personality.

The women gather at Truvy’s Beauty Spot, an in-home salon. Spunky Jilanne Marie Klaus scampers around as the busy business owner, dispensing homespun wisdom with a side of sass zhuzhing their hair.

Playing off each other like one would expect the grand dames of St. Louis theater to achieve with their snappy banter and impeccable timing, Kari Ely is the elegant and affluent widow Clairee who loves to gossip and Zoe Vonder Haar is the crotchety and very wealthy Ouiser who loves to annoy.

Sparks fly as the two trade barbs and speak their minds. Ely is marking 30 seasons with this company and Vonder Haar has been in 75 shows there.

Ouiser is such a crowd favorite that the audience erupted into applause when Zoe made her blustery entrance. She brought the house down uttering the famous line: “I’m not crazy, I’ve just been in a bad mood for 40 years.”

The character with the most growth is Annelle, hired as Truvy’s assistant. As played by Abigail Isom, she’s timid, but a people-pleaser, with enough problems to fill the lyrics of a country song. After dipping back into the dating pool, she becomes a Bible-thumper, which perplexes some of the ladies.

Photo by Phillip Hamer

Harling grew up in Natchitoches but set the play in the fictional northwest Louisiana parish of Chinquapin. He’s filled the conversations with colloquial references, mentioning the local football games, festivals, beauty pageants, and special occasions that give a place its color.

Those distinctive cadences make the show appealing, smoothly delivered and tugging at our emotions.

While the women cope with life’s rhythms, Shelby’s health deteriorates after a risky pregnancy doctors warned her about, and that stubborn streak puts her at odds with her concerned mother.

In real life, Harling’s sister gave birth to his namesake nephew and when a kidney transplant failed, it led to her body wearing out.

Director Paige Price’s care in honoring these delightful women is notable. She smartly moves the show along in a well-appointed space, with an outstanding scenic design from Kate Rance. They’ve both captured an authentic glimpse of Southern living in the ‘80s.

Taylor Quick as Shelby. Photo by Phillip Hamer.

Shelby’s signature color pink is highlighted in not only her fetching wardrobe but inside the inviting beauty shop too.

Costume designer Brad Musgrove has created an attractive array of looks befitting the characters’ ages and economic status. He selected a pleasing color palette to make the characters come alive.

A big component to the characters’ looks is the wig and hair designs by Daniel Paller, and he managed to create remarkably realistic hairstyles for each character.

Dialect coach Pam Reckamp’s work is especially noteworthy, considering all six’s Southern drawls are maintained without dropping throughout the two acts.

Lighting designer Sean M. Savoie’s customary excellence is on display, after 10 years of memorable work at Stages. The crisp sound design by two-time Tony winner Nevin Steinberg includes a mix of Shelby’s favorite songs playing on the radio. The local DJ is voiced with authority by unseen Kurt Deutsch.

Jilanne Marie Klaus as Truvy and Amy Loui as M’Lynn. Photo by Phillip Hamer.

There isn’t a false note conveying his family’s personal tragedy as Harling adroitly combined heartache with humor. The one-liners zing and the tears are earned.

Because of its believability, “Steel Magnolias” holds a special place in people’s hearts. Anyone undergoing grief and loss can relate. And the women’s strength is to be admired, even when they’re tossing off quips.

Sentimental without being sappy and sincere without being maudlin, “Steel Magnolias” demonstrates the enriching aspect of female friendships. And we’re the lucky ones to be reminded how very special the people in our orbit can be.

This production is a chef’s kiss. And don’t forget your tissues.

Stages St. Louis presents “Steel Magnolias” May 31 through June 30 at the Kirkwood Performing Arts Center in Kirkwood. For more information, visit www.stagesstlouis.org.

Photo by Phillip Hamer