The Muny’s ‘Newsies’ Triumphs With High-Spirited Bravado and Charm

The Muny’s ‘Newsies’ Triumphs With High-Spirited Bravado and Charm

By Lynn Venhaus

Let’s hear it for the boys! Those scrappy underdogs who win over many hearts nightly in the high voltage “Newsies” have taken over the Muny stage with their own versions of the American Dream, spreading hopeful cheer.

This crowd-pleasing production triumphs as a fresh, fantastic, fun take on the David vs. Goliath true story of the two-week Newsboys Strike of 1899, with catchy pop hooks and powerful anthems by legendary composer Alan Menken.

From the introductory group number’s camaraderie in “Carrying the Banner” to the unifying, pivotal “The World Will Know,” the optimistic call for solidarity in “Seize the Day,” and the rousing “Once and For All,” the cast of triple-threat talents boast contagious enthusiasm and can-do spirit.

Menken, winner of eight Academy Awards, wrote seven new songs for the stage show, and won his first-ever Tony Award. Jack Feldman wrote the lyrics. Their exhilarating blend of power pop, vaudeville and swinging melodies resonates.

From left: Bryce Williams, Jack Roden, Jaron Bentley and Kayla Pecchioni in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

An ebullient ensemble of the finest caliber fortifies the right-over-might aspects by wearing their hearts on their sleeves — and not just showing tremendous athletic skills in synchronized dance numbers choreographed by Richard J. Hinds. (Perhaps you recall his unforgettable can-can number from last summer’s “La Cage Aux Folles”?).

Their physical stamina – especially in the July heat – is incredible, showing how adept at tap, ballet and acrobatic moves they are. Through his fluid direction, Denis Jones integrates the energetic dance numbers with heart-tugging emotional storytelling.

Two-time Tony nominee and recipient of three St. Louis Theater Circle Awards, Jones has put his signature stamp on 12 shows on the Muny stage, and this is another meticulous effort. He reiterates the newsboys’ tight-knit bonds and their “us against the world” mentality.

This 19th century hustle-bustle world of New York City is framed through a gritty lens, with sepia-toned video design by Caite Hevner and rough-and-tumble scenic design by Tijana Bjelajac, which is evocative of that period. Paige Seber’s lighting design and Josh Hummel’s sound design also establish atmosphere.

Nolan Almeida in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny

Exceptional Music Director Annbritt duChateau conducts a 22-piece orchestra, elevating the emotional underpinnings and keeping a peppy pace for the spry, up-tempo numbers.  

Also popping with personality is the “King of New York” when the Newsies discover how much fun fame and notoriety can be and let loose with a spectacular song and dance number, tapping, leaping and twirling with joy.

The musical continues to strike many chords with modern audiences, ever since the 1992 movie, a box-office dud, drew so much adoration in its VHS and DVD afterlife that Disney adapted the cult phenomenon into a smash 2011 Broadway musical. Christopher Gattelli’s electrifying, airborne choreography also won a Tony.

The nostalgia factor comes into play too. It’s not hard to see why people are drawn to this story – how a ragtag bunch of orphans took on the mighty Joseph Pulitzer, who represented everything villainous about corporate America and the patriarchy – especially unfair labor tactics and unethical business practices.

Kayla Pecchioni in the 2026 Muny production of Disney’s “Newsies.” Photo by MaryKatherine Patteson, The Muny

More than a century ago, New York City was home to several publications, including Pulitzer’s New York World, the Herald and The Sun. Newsboys, those resourceful street urchins whose livelihood depended on selling that day’s paper, went on strike when Pulitzer raised the price, reducing their meager wages. Pure greed.

First produced in 2017 at the Muny, it was the Midwest regional premiere after the national tour stopped here in 2016. This musical is a fine example of what our oldest and largest outdoor theater does best — it brings multiple generations together to be uplifted by an inspirational story of courage, friendship and the power of taking a stand. And those high-spirited kids can sure entertain!

Tensions escalate in a book by Harvey Feirstein, adapted from the screenplay by Bob Tzudiker and Noni White. It’s an important history lesson because the labor union movement gained ground as workers were needed for the Industrial Revolution.

Once upon a time, the only way to find out what was going on in the world was to read a newspaper. With the 24/7 relentless news cycle today, it’s a different digital landscape – but the ethical dilemmas remain the same.

Members of the company of the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

Rising star Jack Roden possesses a major wow factor as tough survivor Jack Kelly, the charismatic leader of the strike. He embodies this unlikely heroic figure with ease – and his powerhouse vocals are convincing and clear.

His robust opener “Santa Fe” immediately endeared him, and his duet with fellow newcomer Kayla Pecchioni as spunky reporter Katherine, “Something to Believe In,” is lovely. She makes a good impression in “Watch What Happens.” As their ally, Katherine crusades to show the inequities in factories, slaughterhouses and sweatshops too as the ragamuffins bring the city to a standstill.

Seen last year as encouraging Randall in “Bring It On,” Bryce Williams is formidable sidekick Davey, who pours his heart into the rallying cry. With his keen intelligence and Jack’s street-smarts, they are a good combo.

Kayla Pecchioni and Jack Roden in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

Stealing every scene he’s in is Jaron Bentley as Davey’s little brother, adorable pint-sized Les, immediately winning over the audience through his heart and humor. Seen in The Black Rep’s “Raisin,” Union Avenue Opera’s “Ragtime” and The Rep’s “A Christmas Carol” in recent years, he’s a memorable stage presence.

Another audience favorite is Nolan Almeida as never-say-die Crutchie, a mistreated disabled orphan with a heart of gold. His “Letter from The Refuge” will likely produce a few tears as he details the deplorable conditions at the juvenile reformatory.

It’s always a welcome sight to see Anastacia McCleskey on the Muny stage, after her virtuoso performance in 2022 as Ceely in “The Color Purple” and as Joanne Jefferson in “Rent” the following year. She sashays as sassy vaudeville performer Medda Larkin, who is a champion of Jack’s artwork, and sings “That’s Rich.”

Broadway and TV veteran Michael Park is imposing as arrogant news titan Pulitzer. The other unsympathetic adults include Drew Battles as Seitz and Jonah D. Winston as Bunsen. Of course they sing “The Bottom Line.” However, Kylie Edwards is a charmer as Pulitzer’s secretary Hannah. She is part of the Bowery Beauties in “I Never Planned on You/Don’t Come A-Knocking.”

From left: Jack Roden, Matt Dean and Bryce Williams in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny

Muny regular Rich Pisarkiewicz is Wiesel, who dispenses ‘papes’ to the newsies, and Jim Butz is the weaselly enforcer Snyder while Michael Halling has a humorous turn as Governor Theodore Roosevelt.

With names like Specs, Romeo, Race, Mush and Buttons, gotta love those Newsboys: Matt Dean, Michael Di Leo, Omarion Burke, Johnny Fenton, Zach Doran, Miles Marmolejo, Arick Brooks, Kevin Antonio Rodriguez, Jacob Kim, Evan Owen, Joshua Messmore, Christian J. Collins. Brianna Kim is the fleet-footed Brooklyn leader Spot Conlon, noteworthy in “Brooklyn’s Here,” and Becca Perron doubles as a nun and Bowery Beauty.

Costume designer Emily Rebholz has selected period-appropriate attire in subdued earth tones for the scruffy youngsters, with the rich folk in Gilded Age finery. Tommy Kurzman designed wigs.

With its immersive period look and seamless staging, “Newsies” is a poignant ode to the common man and to dreamers everywhere. It taps into those universal feelings of belonging, of being of service to others, and the power to change the world. Believe!

From left: Kayla Pecchioni, Drew Battles, Jonah D. Winston, Michael Halling and Michael Park in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

The Muny presents “Newsies” nightly on the outdoor stage in Forest Park at 8:15 p.m. July 16 – 23. The show’s runtime is 2 hours, 23 minutes with intermission. For more information, visit www.muny.org.

Jack Roden (left) and Michael Park in the 2026 Muny production of Disney’s “Newsies.” Photo by Emily Santel, The Muny
Anastacia McCleskey in the 2026 Muny production of Disney’s “Newsies.” Photo by Phillip Hamer

The Black Rep’s ‘Raisin’ Is A Soulful, Expressive Musical That Defines a Moment in American Life

The Black Rep’s ‘Raisin’ Is A Soulful, Expressive Musical That Defines a Moment in American Life

By Lynn Venhaus
What happens to a dream deferred?
Does it dry up
 like a raisin in the sun?
Or fester like a sore—
And then run?
 Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
– “Harlem,” Langston Hughes, 1951

Where are we now, 74 years later? Timely and timeless, the musical “Raisin” is a vibrant exploration of the class, gender and racial divides that have become a dominant part of American life.

The Black Rep’s sensitive, thoughtful production pulses with its character-driven work that hopefully resonates and renews pleas for social justice in today’s divided times.

The iconic poem, “Harlem,” shared above, was an inspiration for playwright Lorraine Hansberry to explore deferred dreams and class divides in 1951 segregated Chicago in her groundbreaking drama, “A Raisin in the Sun.”

Anita Michelle Jackson and Andrea Mouton. Photo by Keshon Campbell.

The matriarch is expecting a $10,000 life insurance check in the mail after her hard-working husband’s passing. She wants to move the family from the South Side to Clybourne Park, a nicer neighborhood, where she has put a down payment on a 3-bedroom, 2-bathroom house. She sees this home as a foundation to build everyone’s dreams on, a door to new opportunities.

Hansberry was the first black female playwright on Broadway – the show debuted in 1959, and it was a new look at black life in America in a way that had not been represented. Think of the dialogues it may have started!

While the musical has hiccups based on its construction, not the singing, dancing or acting, the Black Rep’s stylistic choices and casting decisions are highlights.

The Younger family leaves an indelible impression in the hands of Anita Michelle Jackson (Mama Lena), Duane Martin Foster, (her son Walter Lee), Adrianna Jones (his wife Ruth), their young son Travis (Jaron Bentley), and Walter’s sister Beneatha (Andrea Mouton).

Duane Martin Foster and Jaron Bentley. Photo by Keshon Campbell.

The 1973 musical adaptation, “Raisin,” won the Tony Award for Best Musical in 1974, as well as Virginia Capers winning Best Actress in a Musical for playing Mama Lena, out of nine nominations. It also won the Grammy Award for best musical theater album.

But it has largely been forgotten over time. Landmark musicals of that era – “Purlie” in 1970, “The Wiz” in 1975 and “Dreamgirls” in 1981, signaling a new wave of creative artists, have been produced many times.

The book was co-written by the late Hansberry’s husband, Robert Nemiroff, and Charlotte Zaltzberg. The themes are the same — a family dares to dream of a better life that has been denied them and threatens to fall apart.

The music score by composer Judd Woldin, with lyrics by Robert Brittan, is an intimate story of a family, their daily and big-picture struggles, and real ongoing conversations. That was rare then and remains an unusual approach now.

This musical is an ambitious undertaking, and while the story is absorbing, faithful to Hansberry’s intentions, this isn’t a splashy, bombastic score with extravagant numbers. Still, there is much heart and soul to be discovered.

“He Came Down This Morning” – ensemble church number. Photo by Keshon Campbell.

Emphasizing authenticity and empathy, director Ron Himes depicts the Youngers’ struggles with the help of the creative stage work from sound designer Kareem Deanes and lighting designer Tony Anselmo.

The setting is their cramped, roach-infested apartment, effectively visually realized by scenic designer Tim Jones. But it opens beyond those walls – to a church, bar and streetscape. Mikhail Lynn contributed as a props designer, too.

The exceptional orchestra, led by music director Jermaine Manor, robustly brings out the jazz, gospel, blues and soul.  William Von Hombract is on bass, James Belk on percussion, Des Jones on drums, Mary Weber and Brady Lewis on trumpet, Stan Coleman on reed, Monet Royal and Adrian Walker on viola, David Glenn on guitar, and Manor on keyboard.

Choreographer Kirven Douthit-Boyd’s inspired dance work adds so much to the street life, with expressive moves to the musical beats of the city. Dancers Jorrell Lawyer-Jefferson, Demetrius Malik Lee and Aaliyah Weston are extraordinary in their pieces and group numbers.

Adrianna Jones and Duane Martin Foster. Photo by Keshon Campbell.

The gritty, bustling “Streets of Chicago” and “Runnin’ to Meet the Man” are livelier company numbers because of the choreography, and so is “Booze,” traditional “African Dance” and the ebullient spiritual gospel song “He Come Down This Morning.”

Walter Lee is a chauffeur but wants to open a liquor store and go into business with two other friends. Walter’s restlessness and growing resentments cause more fights between him and his wife and mother, mostly about the money. Mama Lena also wants to put money aside for Beneatha’s studies because she’s attending medical school.

Accomplished, acclaimed singers Jackson and Foster are the epitome of powerhouse vocalists, but to see them slip into the roles of Lena and Walter Lee with all their well-honed skills is to marvel at how natural their acting abilities are as well.

Jackson, who has a song full of hope as the prayerful Lena – “A Whole Lotta Sunlight,” and then a power ballad about resilience “Measure the Valleys” that’s a showstopper.

Jaron Bentley and Adrianna Jones. Photo by Keshon Campbell.

Foster’s sarcastic, bitter “Man Say” with his wife Ruth sets his tone, tired of playing by the rules while his aspirations are dismissed. while he seethes with rage in “You Done Right.”

In a tender moment, Foster and Jones pair on a lovely duet “Sweet Time,” while Jones shines in “Whose Angry Little Man,” a tribute to their son Travis.

In the second act, Foster shows a wider range of emotions, from an ebullient “It’s a Deal” to his anger that can’t be contained in the satirical “Not Anymore,” after a lifetime of disappointment and the bigotry they’ve endured, with his wife and sister participating, too.

The hopeful solo “Sidewalk Tree” is a special moment for the poised and talented Jaron Bentley, who delivers a dynamic performance as young Travis. He stood out at the Muny this summer in “Frozen” and “Evita” as part of the youth ensembles, and he has a bright future ahead with his remarkable stage presence.

A superb Robert McNichols is potent as Nigerian student Asagai, who is a friend seeing Beneatha. His charm shines through in the number “Alaiyo.” Beneatha’s exploration of her cultural awakening is another highlight, as illustrated in her fashion choices – fine work from costume designer Gregory Horton.

Singing in church. Photo by Keshon Campbell.

Supporting roles also include Will Bonfiglio as weaselly Karl Lindner, not exactly a Welcome Wagon for Clybourne Park., and De-Rance Blaylock as neighbor Mrs. Johnson, who literally takes us to church in the spirited number “He Come Down This Morning.”

The ensemble also includes Dwayne Moss III as Willie Harris, Adrian Rice as Bobo, Damari Padilla and Tia Renee Williams.

The ensemble moves well, their passion obvious.

The hope is that spotlighting this work will introduce a new generation to the play or at least remind others of work that still needs to be done.

The Black Rep presents “Raisin” as their 49th season opener from Sept. 3 through Sunday, Sept. 21 at the Edison Theater on the campus of Washington University in St. Louis. For more information: www.theblackrep.org.