Bright Lights Column: Shine On, St. Louis

Bright Lights Column: Shine On, St. Louis

By Lynn Venhaus
Managing EditorTHAT VOICE: Are you on Team Kennedy yet? If you haven’t heard Kennedy Holmes, 13, from St. Louis in her blind audition on “The Voice,” be prepared to be wowed and understand why it went viral.
Part of The Muny Kids for five years, Kennedy starred as Little Inez in the 2015 “Hairspray” production, has sung the national anthem for Cardinals’ games and appeared as one of the Cratchit children in “A Christmas Carol” at The Rep in 2016. She is an eighth grader at John Burroughs School.
Her confident delivery of Adele’s “Turning Tables,” which showcased her control and range, impressed all four judges and got a 4-chair turn – and standing ovation.
She auditioned in Indianapolis earlier this year and is the youngest person in the singing competition this season. Producers saved her for the last spot and teased her appearance in a sneak peek last week that set her schoolmates and local folks buzzing. The cliffhanger coach pick was easy to guess.
Kennedy, while remarkably poised singing, got emotional over Jennifer Hudson, and then sang with her idol in an impromptu “I Am Changing” from “Dreamgirls.”
The guys made convincing pitches.
Adam Levine: “Very, very rarely does someone come around that kind of reignites our passion for what we do. And to hear you sing today did that. Just to see that kind of confidence naturally exist in you at such a young age, it’s unheard of. After the 15 seasons, you really could become the absolute biggest thing to ever come from this show.”
Blake Shelton: “Let me be the first to thank you for coming to ‘The Voice,’ ’cause our ratings are going to shoot through the roof this evening. I think you are the best vocalist that has auditioned this year. I want you to pick me as your coach so you can teach me how to sing like that.”
After Kennedy’s pick, Hudson was ecstatic. “I think the game is over because I just won ‘The Voice’ with little Miss Kennedy. Yes, I did.”
Here’s the clip from the Blind Auditions, which started Sept. 24. To date, her audition video has been viewed 3.6 million times on YouTube.com.

This isn’t the last we’ve seen of Kennedy. It will be fun watching her progress on the national stage, next in the Knockout Rounds, then hopefully Battle Rounds and Live Performances. (And the local television and radio stations are all over it.)
***DEVIL MAY CARE: As the calendar turns autumnal, it’s time for sinister, spooky suspense. Five local theater groups have teamed up to present “Faustival: The Devils We Choose” – one in August and the rest through December.
The artistic collaboration is between Equally Represented Arts, The Midnight Company, Theatre Nuevo, SATE, and the Post-Romantics. They are presenting works on the Faust myth from the 16th century – about a scholar who sold his soul to the devil in exchange for perks.
ERA FaustIn August, ERA, along with Kid Scientist, presented “Faust (go down with all the re$t),” an experimental rock-opera-adaptation of Goethe’s most celebrated work.
Currently, The Midnight Company is presenting the one-act “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening,” along with another one-act by Mickle Maher, “The Hunchback Variations.”
For more information, www.midnightcompany.com
In October, Theatre Nuevo will present “whither should I fly” from Oct. 25 – Nov. 10 at the William A. Kerr Foundation, 21 O’Fallon St., St. Louis. For more information, visit www.theatrenuevo.com
Starting on Halloween, “Doctor Faustus, or the Modern Prometheus” by John Wolbers and Kit Marlowe will be performed by Slightly Askew Theatre Ensemble (SATE) Wednesdays through Saturdays through Nov. 17 at The Chapel, 6238 Alexander Drive, St. Louis. For more information, www.slightlyoff.org.
The Post-Romantics will present “Doomsday Faust” Dec. 5 – 8 at the Centene Center for the Arts, 3547 Olive Street, St. Louis.
For more information, please visit faustival.org.
***MOVING ON UP: The aforementioned John Wolbers, who has adapted Faust for SATE, shared some exciting news recently. He is a new Producing Associate at the Metro Theatre Company. He has served as the full-time resident teaching artist at MTC since the 2012-2013 season. He will assist Artistic Director Julia Flood with casting, directing and production administration.
Andrew Kuhlman is Broadway bound! He is currently working in New York as a co-producer on “The Prom,” the Broadway musical comedy that begins previews on Oct. 23. Andrew, an associate producer at Stages St. Louis, made the announcement Sept. 7.
“I am beyond excited to be taking this journey with a show that I could not believe in more. I cannot wait for audiences to fall in love with this hilarious, heartfelt and energetic musical,” he said.
“The Prom” has some prominent local connections – including Jack Lane, at Stages St. Louis, as one of its producers. Lane already has two Tony Awards as part of the group behind “Fun Home” and “The Humans.”
Joe Grandy, Andrew Kuhlman of “The Prom”The show lyricist and book writer is Chad Beguelin, who grew up in Centralia, Ill. He’s a multiple Tony nominee, for book and lyrics to “The Wedding Singer” and lyrics to “Aladdin.”
The cast includes Muny favorite Beth Leavel, Tony winner for “The Drowsy Chaperone,” and Muny veterans, including St. Louis natives Drew Redington and Jack Sippel, and Fairview Heights native Joe Grandy.
***WHO’S WHO: Upstream Theater is hosting renowned director Marianne de Pury who will stage the U.S. premiere of “Chef” by UK/Egyptian playwright and poet Sabrina Mahfouz. The one-woman show, starring Linda Kennedy, opens Sept. 28 and runs through Oct. 14.
Linda Kennedy, Photo by ProPhotoSTL“Chef” is the gripping story of how one woman went from being an haute-cuisine head chef to a convicted inmate running a prison kitchen. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope.
Originally from the French part of Switzerland, de Pury is known for her work with the famed Open Theatre, where she composed music for “America Hurrah” and “Viet Rock.” Since those days she has directed all over the world–mostly in Germany, where her most recent work, “The Importance of Being Earnest,” was nominated as one of the year’s best productions.
Playwright Rob Urbanati came to the ‘Lou for Tesseract Theatre Company’s opening of his play, “Mama’s Boy,” which explores the relationship between a controlling mom and her son, who gained infamy as the assassin of President John F. Kennedy.
Here he is with the cast after Friday night’s show. They got our attention opening night at the .Zack, conveying a roller-coaster of emotions played out in historical context.
Urbanati, of New York City, is a playwright, screenwriter, book author, director, and director of new play development at Queens Theatre in the Park. His well-constructed 2015 drama is a fascinating exploration of family dynamics. It’s directed by Brad Schwartz.
From left: Jeremy Goldmeier (Robert Oswald), Brandon Atkins (Lee Harvey Oswald), playwright Rob Urbanati, Donna Parrone (Marguerite Oswald) and Carly Uding (Marina Oswald).
Lynn Venhaus photo***AROUND TOWN: Alas, the Stephen Sondheim appearance in St. Louis Oct. 4 is sold out. He is accepting the 2018 St. Louis Literary Award from the Saint Louis University Library Associates for being one of the most eminent lyricists and composers of the modern era.
He is the first musical lyricist to win the award since its inception in 1967. In a remarkable career spanning 70 years, Sondheim has written the lyrics, music —or both, for some of the most iconic and long running plays in the history of American theater.
The response was overwhelming, and all seats in the Sheldon Concert Hall and the simulcast viewing room have been reserved. During the event, which begins at 7 p.m., Mike Isaacson, executive producer and artistic director – and major Sondheim fan – will interview him on stage.
Three-time Tony Award winner “Avenue Q” has been extended three more weeks for its winter presentation at the Playhouse @ Westport.
Because of overwhelming ticket response, the “furry, funny and feel-good musical” will now run Jan. 25 – March 3. The cast is a combo of local and touring performers.
Another famous St. Louisan, poet, novelist and playwright A.E. Hotchner, an alumnus of Washington University, has endowed an annual Playwriting Festival. Three new works will be presented this weekend (Sept. 28 and 29) – “Tom and Grace” by Scott Greenberg, “Arriving At” by Ike Butler on Saturday at 2 p.m. and “Florida” by Lucas Marschke at 7 p.m. The guest dramaturg is Michele Volansky, chair of the drama department at Washington College in Maryland. The event is sponsored by Newman’s Own Foundation. For more information, visit: pad.artsci.wustl.edu.
The Stage Left Grille is now under Fox Management, so you can stop there for a bite to eat before a show at the Fox Theatre, the Kranzberg Arts Center or The Grandel, or any place in the Grand Arts Center.
“Confessions of a Nightingale,” a production from the Tennessee Williams Festival set for Nov. 1-4, has to be postponed until 2019.
***CHAMPAGNE & MOONSHINE: If you saw “Always, Patsy Cline” at Stages St. Louis in 2014 or at The Playhouse at Westport the following year, you must remember Jacqueline Petroccia as the star. A national sensation in that role, I recall that her velvety voice was “like butter.” She has released a debut solo album, the double EP “Champagne and Moonshine,” Collaborators on the album include musician royalty from Music City, including members of the Nashville Symphony, the award-winning Rascal Flatts, and Broadway Musician Brent Frederick.
Recorded live, with special permission, at the legendary and historic Quonset Hut on Music Row in Nashville, Tenn.,the album is available online through CD Baby (physical copy), Amazon, and iTunes.
The first EP, “Champagne,” features a big band sound appropriate for any ballroom or supper club, including an original arrangement mix “Crazy/Crazy He Calls Me,” and “Mambo Italiano.” The second EP, “Moonshine,” features new country music hits, and her original debut single “Your Name in Lights,” written by Brandon Hood, Hillary Lee Lindsey, and Troy Verges
Her other stage credits include the national tours of :The Producers,” “The Sound of Music” and “Fiddler on the Roof.” She was a featured soloist on the album “Where the Sky Ends” by Michael Mott (Broadway Records) and has appeared on “Prairie Home Companion,” featured with the Williamsburg Swing Orchestra and in her solo cabaret show Sometimes Patsy Cline (productions at 54 Below and Regional Theatres). More information can be found at JacquelinePetroccia.com
***YOU GO GLEN COCO: “Is butter a carb? Whatever, I’m having cheese fries.”
Wednesday, Oct. 3, is unofficially known as National Mean Girls Day, so imaginative Chef Liz of Tenacious Eats has created a fun event for the evening. Tickets are $35 and include a Mean Girls-inspired cocktail, entree and Kalteen Protein Bar for dessert.
Expect some “fetch” prizes if you can answer some Mean Girls trivia and photo ops will be available with a Lindsay Lohan lookalike. Costumes are encouraged, and it is on a Wednesday, so you might want to wear pink!
The Tina Fey movie will be shown at 7 p.m. on the big screen at the West End Grill & Pub, 354 N. Boyle. Doors open at 6 p.m. for pre-show fun, Mean Girls trivia, prizes and photo ops. Tickets are available at: www.BrownPaperTickets.com.
***WORD: Decoding Theatre Reviews – a must-read: http://exeuntmagazine.com/features/theatre-reviews-decoded/
***GO SEE A PLAY POLL: Who are your favorite moms in musicals? Answer our poll and you will be entered in our drawing for two tickets to “One Funny Mother” at the Playhouse @ Westport Plaza on Wednesday, Oct. 3, at 8 p.m.
Dena Blizzard, former Miss New JerseyHilarious Dena Blizzard, best known as “The Target Mom,” is a viral sensation and former Miss New Jersey. Her one-woman show puts the fun in domestic dysfunction.
FAVORITE MOM IN MUSICALS:Mae Peterson in “Bye, Bye Birdie”Margaret Smith in “Carrie”“Big Edie” Edith Ewing Bouvier Beale in “Grey Gardens”Edna Turnblad in “Hairspray”The Witch in “Into the Woods”Lady Thiang in “The King and I”Margaret Johnson in “The Light in the Piazza”
Send your pick to: lynnvenhaus@gmail.com by Monday, Oct. 1, at noon. Winner will be notified soon after, and arrangements will be made for your tickets to be waiting for you at the box office.
Our last winner was Christopher Strawhun for “Oklahoma!” at Stages St. Louis.
***TRIVIA TIME-OUT: Let’s hear it for St. Louis native Chris Redd and longest-ever SNL cast member Kenan Thompson on their Emmy win for Outstanding Original Music and Lyrics for “Come Back, Barack,” a Boyz II Men-style parody from last November’s episode hosted by Chance the Rapper.

Q: Despite multiple nominations, SNL has won only once before, for what song?
Justin Timberlake and Andy Samburg’s collaboration, “D**k in a Box.”
Fun fact: Theme songs also count for the award. “Moonlighting,” “Cheers,” “Chico and the Man,” “Growing Pains” and “Police Woman” have won.
Chris Redd didn’t live in St. Louis long and moved to Chicago as a youth. He is back at “Saturday Night Live” for his second season, which starts this Saturday, with host Adam Driver and musical guest Kanye West.
***
Tips? Contact: lynnvenhaus@gmail.com

‘Gypsy’ Hits New Heights at The Muny

‘Gypsy’ Hits New Heights at The Muny

By Lynn Venhaus
Managing Editor
Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone and Imelda Staunton. Their different portraits of the iconic Momma Rose character in “Gypsy” are among the most legendary in theater history. Now add Beth Leavel to that august list.
The Muny’s sixth production of the gutsy Jule Styne-Stephen Sondheim classic hits the heights in so many ways, but first and foremost is Leavel’s knockout performance.
Most of the time, the ambitious Momma Rose is viewed as a heartless monster and played in that blustery, brassy Merman-style. Others have realized that Rose is a tough survivor. Either way, she is hard to warm up to, but at least Leavel makes you understand her.

Leavel is a Tony winner for “The Drowsy Chaperone,” veteran of 12 Broadway shows and Muny diva whose “Hello, Dolly!” in 2014 remains one of the outdoor stage’s finest shows. Tackling this titanic role was a challenge I was certain she could meet but was not prepared for the delicate balance she achieved.
Sure, hear her roar. A born belter who projects well, Leavel pretty much started at 11, and then dialed back to modulate this complex character.
Given that Rose was introduced in 1959, when theater was not a champion of woman empowerment, it’s interesting that book writer Arthur Laurents wrote such a complicated part. And now it’s on nearly every actress’s bucket list.
The show is loosely based on the 1957 memoir of Gypsy Rose Lee, a burlesque entertainer known internationally for her striptease artistry. She’s the Louise inspiration, and her sister, actress June Havoc, is Baby June.
Their mother pushed them into the vaudeville circuit in the 1920s, dreaming of showbiz success. June was the extroverted performer while Louise was shy and in the background. That changes during the show’s many conflicts.
This ultimate stage mother, fiercely driven and controlling, is twice-divorced and perpetually broke. Rose must be resourceful and rely on her wits in a world not used to strong independent women.
She is a bulldozer, but peerless director Rob Ruggiero’s emphasis is that she’s motivated out of desperation. Always thinking of where their next gig will be, and if they can grab the spotlight, Rose is all about what’s next – for her and those she loves.
Because their mother is living through her children’s lives, Baby June and Louise will suffer the consequences from her abrasive efforts. However, her bossiness hides the fear of failing, of losing, of not making it through to the next day.
Ruggiero’s ability to deconstruct a 1950s era “book musical” and bring out what makes it enduring is why his shows resonate, especially on the expansive Muny stage. Despite my familiarity with a show I’ve seen multiple times, he makes it seem that I’m seeing it for the first time – namely “Hello, Dolly!” “South Pacific” and “Oklahoma” at the Muny, and award-winning “Follies” and “Sunday in the Park with George” at The Repertory Theatre of St. Louis.
Besides a vulnerability that seeps through in this “Gypsy,” there is an undercurrent of hunger. People are hungry physically, emotionally and mentally. They crave some things that have been out of reach or are not yet attainable, whether it be a nourishing meal, a living wage, a sense of worth or a dream realized.
Because of this deeper context, the musical is not just a showcase for Momma Rose, and this cast has an abundance of talent. Adam Heller captures nice-guy agent Herbie, the good cop to Rose’s bad cop, in a nuanced portrait of the man Rose loves – and pushes around. He and Leavel, a real-life couple, are noticeably in sync in their numbers “You’ll Never Get Away from Me” and “Together Wherever We Go.”
While they headline, Julia Knitel is a stealth bomber. Lanky and awkward as a reluctant Louise, the proverbial people-pleaser who only wants what Momma says is best, she blooms as Gypsy Rose Lee. It’s a striking performance, and her physical transformation is astonishing – although Knitel was already endearing from the get-go, especially in the heartbreaking “Little Lamb.”

She and Hayley Podschun as June share nice moments, including “If Momma Was Married.”
Their younger counterparts, Amelie Lock as Baby June and Elise Edwards as Baby Louise, are winsome performers. It’s a slick move when Ruggiero transitions them from young to older midway in a number.
Another standout is St. Louisan and Muny regular Drew Redington as Tulsa, a superb dancer who outgrows the kiddie act. His solo to “All I Need Is the Girl” is sensational.

The scene-stealing strippers in “You Gotta Get a Gimmick” are not only a hilarious sight gag but terrific performers who were a bright spot of comic relief. Jennifer Cody as Tessie Tura, Ann Harada as an older Electra and Ellen Harvey as a statuesque Mazeppa were laugh-out-loud funny.
Lighting designer John Lasiter’s precise work deserves mention, as does costume designer Amy Clark, going the showbiz gamut from kitsch to glitz — and those distinctive patterned cloth coats for Rose.

Scenic designer Luke Cantarella draped the show in reality – muted colors for drab sets to indicate the hardships during financially strapped times, and the dingy two-bit nature of the fading vaudeville circuit.
Ruggiero’s dream team of choreographer Ralph Perkins and music director James Moore assured that the song-and-dance numbers would be first-rate. They’ve worked together on multiple productions.
Nevertheless, maestro Moore raised the bar. He displayed his expertise conducting the orchestra in an overture that was so magnificent the audience applauded midway. And this was only the start of something special. The orchestra’s big wall of sound, with all that splendid brass, was one of the show’s best elements..
After all, what great material to work with — Jule Styne wrote this unforgettable music. He’s behind such famous tunes as “Don’t Rain on My Parade,” “Let It Snow” and ‘The Party’s Over.” Paired with lyrics by the incomparable Stephen Sondheim, fresh off “West Side Story,” these songs have stood the test of time.
“Everything’s Coming Up Roses” brings the house down at the end of Act I. And Leavel still had plenty left in her tank for Act 2.
After Rose has cajoled and bullied her way through nearly two acts, we are ready for Momma to confront her demons in the showstopper “Rose’s Turn.”
In this emotional wallop, Leavel gave it everything she had, defiantly going through a litany of anger, frustration and regrets for Rose to finally realize she did it for herself. And to herself.
It’s one of the greatest scenes ever, and Leavel hits it over the free-seats fence. Afterwards, we had to let it sink in, like she did in catharsis, and then wave after wave of applause stopped the show until the very long ovation waned.
That shared experience is what we all hope for when watching live theater, and she earned it, seizing her moment, fearless and alone on that stage.
While the show is bleak – and I’ve seen productions that were darker – there is still a glimmer of hope: that mothers and daughters can reconcile, that brighter days are ahead, and that all the work that goes into a goal was worth it.
This “Gypsy” doesn’t sugar-coat show business or struggles, and instead tells us about real-and-flawed people trying to get by and get noticed. It’s a remarkable achievement in storytelling and features a cast that makes you feel everything they experience.
“Gypsy” was clearly ahead of its time, back in 1959. And this week it was time for the Muny to hit repeat in a brand new way for this Centennial Season.
“Gypsy” is presented July 27 through Aug. 2 at 8:15 p.m. nightly at The Muny’s outdoor stage in Forest Park. For more information or tickets, visit www.muny.org or call MetroTix at 314- 534-1111.

Photos by Phillip  Hamer