The Muny’s Resplendent ‘Fiddler’ Laden with Happiness and Tears

The Muny’s Resplendent ‘Fiddler’ Laden with Happiness and Tears


By Lynn Venhaus

The Muny’s warm, wondrous and deeply affecting production of “Fiddler on the Roof” grabs your heart from the moment you hear a solo violin when an invigorated Adam Heller makes his entrance as Tevye and never lets us go.

An emotional powerhouse, this cherished musical premiered on Broadway 60 years ago, and remains beguiling with its universal story of faith and family that is both timeless and timely.

Since 1970, the Muny has staged this favorite 11 times, and while I haven’t been to all of them, I count at least six, and the current run will stand the test of time as one of its most uplifting and heartfelt.

This “Fiddler” is distinguished by an extraordinary ensemble, electrifying dance, life-affirming music, tender story and illustrious creative team.

With its everlasting theme of how our shared humanity unites us all, at this perilous time of oppression, tyranny and increased anti-Semitic hate crimes around the world, this version hits close to home.

Max Chernin and Samantha Massell in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

We are reminded why this resplendent musical not only has endured, but how it endears to new generations. The cultural heritage is emphasized in the book by Joseph Stein, and the sumptuous music by Jerry Bock and ardent lyrics by Sheldon Harnick indicate resilience, compassion, love and community.

Set in imperial Russia around 1905, the Jewish village of Anatevka is where Tevye the dairyman, his wife Golde and his five daughters live, and the show is based on tales in Yiddish by Sholem Aleichem.

Tevye values “the old ways” but is tested when his children want to pursue their own definition of happiness, and they confound him with their modern views on love and marriage.

Forced to deal with change while unsettling times are at hand, he and his family must seek new homes after being evicted by the czar’s edict, as the country is on the brink of revolution.

What parent doesn’t tear-up relating to “Sunrise, Sunset” or feel the palpable joy of Motel the Tailor (a sublime Max Chernin) in “Miracle of Miracles”? Who doesn’t have a big grin watching The Dream Sequence or the Wedding celebration?

Jill Abramovitz and Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The second act songs always tug at my heartstrings – starting with Perchik’s elation “Now I Have Everything,” the touching Tevye-Golde duet “Do You Love Me?” and Hodel’s agonizing “Far from the Home I Love.” I started blubbering during the heartbreaking Chava sequence and tears continued to flow through the mournful “Anatevka” and that gut-wrenching exodus. That finale is eerily common in parts of the world today.

The plight of people making do, and that needing to belong, is part of this show’s appeal, and with hostile world conflicts heavy on our minds, the feelings well up automatically.

The casting is faultless, and to date this season, has been impeccable, so bravo, Michael Baxter, associate artistic director, for his guidance and instinctual eye.

Adam Heller is revelatory as Tevye. Oh, sure, Muny audiences love him – he was a dandy Herbie to his wife Beth Leavel’s Mama Rose in “Gypsy” in 2018 and St. Louis Theater Circle Award winner for his supporting performance as cuckolded husband Amos in “Chicago” in 2021. But here, he commands the stage as the larger-than-life lead, and is high-powered in song, dance and spirited line delivery. His comic timing is ideal.

From left: Hannah Corneau, Samantha Massell and Emerson Glick in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Jill Abramovitz is a feisty foil as his hard-working wife Golde and holds her own as Heller’s scene partner. Her howl of pain at Chava’s rebellion and Tevye’s reaction pierces your heart.

Samantha Massell excels as dutiful eldest daughter Tzeitel who must challenge the rules for love, taking a big risk. She played Hodel in the most recent Broadway revival and is genuine in portraying these sisters changing their times. She has appeared in nine shows at the Muny, and these are her finest moments to date. She superbly layers Tzeitel’s hopes so that you feel her connections to her family and the love of her life.

Massell leads a delightful “Matchmaker,” and Hannah Corneau, as a fiery and devoted Hodel, and Emerson Glick, as a smart and caring Chava, demonstrate their bright vocal strengths as well. The trio add oomph to these women as they are adamant about their choices.

The family scene in “Sabbath Prayer” is poignantly staged, and the sweet younger daughters are played with relish by Ellie Schwartz (Shprintze) and Zoe Klevorn (Bielke).

Andrew Alstat and Emerson Glick in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The eldest daughters’ life partners are terrific matches, too –besides Chernin as lovable Motel, Clay Singer is engaging as the fervid radical Perchik, and so is Andrew Alstat as the kind Russian soldier Fyedka. The men demonstrate they are skilled dancers as well.

Adding to the colorful cadre of villagers are Jeremy Radin as gruff butcher Lazar Wolf – outstanding in “To Life!”, Cheryl Stern hilarious as busybody Yente, Bob Amaral amusing as the respected Rabbi, and Zoe Vonder Haar as Motel’s mother Shaindel.

Susan J. Jacks and Blair Goldberg are quite a dynamic duo as Grandma Tzeitel and Fruma-Sarah in the Dream, always a highlight.

Max Chucker is a splendid Fiddler, and Jim Butz is imposing as a Russian constable, sympathetic to a certain extent.

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Bottle Dancers Ze’ev Barmor, Michael Bullard, Derek Ege, Michal Kolaczkowski, Nick Nazzard and Nick Raynor deliver a sensational crowd-pleaser during the festive wedding, and Bullard, Kolaczkowski and Raynor, along with Jonathan Bryant, are equally muscular in the Russian dance portion of “To Life!”

Of special note for this production is the fine work by fight choreographer Bart Williams, who worked on last season’s “West Side Story,” “Little Shop of Horrors” and Disney’s “Beauty and the Beast,” and the contributions of dialect and culture coach Barrie Kreinik, who was also in the ensemble and one of the solos in “The Rumor” gossip song.

The musical is so well-constructed that there isn’t a wasted song or a moment, not a false move. Director Rob Ruggiero, a master at deconstructing classic musicals, injects this version with a fresh outlook and renewed vigor.

Through his many shows in St. Louis, at both the Muny (“Sweeney Todd,” “West Side Story,” “Gypsy,” “Hello, Dolly!”, “South Pacific,” and “Oklahoma!” and others), and the Repertory Theatre of St. Louis (“Follies,” “Sunday in the Park with George” and “Evita” – St. Louis Theater Circle Awards for directing) his commitment to artistic excellence never wavers nor does his belief in the transformative power of the arts.

His expert touch is evident here, for every facet is a polished gem and seamless in its execution.

Hannah Corneau and Clay Singer in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

In his Muny debut, music director Darryl Archibald flawlessly conducts a robust 32-piece Muny orchestra, bringing out the score’s lush textures and punctuating the lovely, lyrical songs.

Noteworthy are concertmaster Tova Braitberg and eight violinists, who are exquisite in delivering every emotional beat, aided by three cellos, bass and a harp. (And of course, the gorgeous sounds blending woodwinds, trumpets, French horns, percussion, guitar, bassoon, flute, piccolo, clarinet, and drums.)

The exuberant and athletic choreography, based on the original 1964 work by Jerome Robbins, his final musical theater dance for Broadway, has been adapted for the Muny stage by Parker Esse, who did the same thing for the Muny’s transcendent “West Side Story” last year.

The creative team must be lauded for their efforts. The sparse effective set design by Tijana Bjelajac is a marvel of smooth flow, and striking atmosphere.

The layered Eastern European peasant looks of award-winning costume designer Alejo Vietti differentiates each character and captures the turn-of-the-century period and culture perfectly, as does Tommy Kurzman’s wig design.

Adam Heller in the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The lighting design by John Lasiter is crisp in definition, meticulously shifting Tevye’s inner thoughts and the show’s swift mood changes. The Dream sequence is particularly striking, and Kevan Loney’s creative video design adds a spooky element to ‘the nightmare.’. John Shivers and David Patridge’s sound design is immaculate.

The original Broadway production in 1964 was the first musical to surpass 3,000 performances and held the record for the longest-running musical on Broadway for nearly 10 years until “Grease” took over. Today, it is ranked 18th, with “The Phantom of the Opera,” “Chicago,” “The Lion King,” “Wicked” and “Cats” the top five.

Winner of nine Tony Awards in 1965, including best musical, score, book, direction and choreography, it has been revived five times – won a Tony for the 1990 revival starring Chaim Topol, who also starred in the critically acclaimed 1971 film that is known as one of the best musical-to-movie adaptations. The most recent triumph was a 2015 production starring Danny Burstein and directed by Bartlett Sher.

“Fiddler on the Roof” retains its zest, sincerity, charm and abundance of heart that made us fall in love with it the first time. There are moments that take your breath away. Did I mention how funny it is? It is one of those ‘forever Muny shows’ that is welcome any time, but chillingly relevant this summer.

Go. See. Enjoy. Now! (And bring tissues).

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

The Muny presents “Fiddler on the Roof” from July 19 – 25 nightly at 8:15 p.m. at the outdoor stage in Forest Park. The production is 2 hours, 45 minutes, with a 15 minute intermission. For more information and tickets, visit www.muny.org.

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Cooper, Mulligan Soar in Sumptuous Leonard Bernstein Opus ‘Maestro’

Cooper, Mulligan Soar in Sumptuous Leonard Bernstein Opus ‘Maestro’

By Lynn Venhaus

Geniuses are complicated; therefore, the life of America’s first superstar conductor and composer Leonard Bernstein is explored in an uncommon yet charismatic way in “Maestro.”

“Maestro” chronicles the complex 30-year relationship between Leonard Bernstein (Bradley Cooper) and actress Felicia Montealegre Cohn (Carey Mulligan) in an intricate portrait of art and love.

At their career-best are Bradley Cooper and Carey Mulligan who eloquently capture the passion of two people experiencing the highs and lows of an artistic life in the spotlight. They’re terrific together, and they throw themselves into these roles with a heartfelt and powerful intensity that’s mesmerizing throughout this unconventional 30-year love story.

As director, co-writer and star, Cooper masterfully conveys a larger-than-life cultural icon from his first conducting opportunity at Carnegie Hall when he was 25 to his later years after Felicia’s death in 1978. But he doesn’t gloss over his flaws, particularly as an often selfish, self-absorbed artist accustomed to attention.

The dynamic between the couple is the film’s biggest strength. And in crafting indelible portraits, they both are flawless executing the speech cadences of their characters. Mulligan, in particular, adds emotional depth to Felicia’s steely resolve and confused feelings.

Maestro. (L to R) Bradley Cooper as Leonard Bernstein (Director/Writer/Producer) and Carey Mulligan as Felicia Montealegre in Maestro. Cr. Jason McDonald/Netflix © 2023.

The movie isn’t your typical linear womb-to-tomb biopic, and Cooper made the decision to concentrate on the married couple’s mercurial yet unbreakable union that produced three children despite the tangled nature of Bernstein’s sexuality.

His open affairs with men are more implied than delved into, however, with Matt Bomer miniscule as early lover David Oppenheim and Gideon Glick as later lover Tommy Cothran. In real life, Bernstein separated from Felicia to live with Cothran, and then returned when she became terminally ill, but that’s not specifically mentioned – only surmised.

Cooper and Josh Singer, Oscar winner for “Spotlight” who worked with producer Steven Spielberg on “The Post,” focused more on the family situation, with career highlights woven into an intriguing life tapestry.

Bernstein’s zest for living was contagious, and he dreamed big. He achieved unparalleled success in music – both conducting the New York Philharmonic Orchestra and for his legendary compositions and was the first American conductor to get international acclaim.

I remember his “Young People’s Concerts” (1958-1972) on television on Sunday afternoons. He was the first conductor to share and explore classical music to a mass audience that way.

His range was vast, and he won seven Emmys, two Tonys, and 16 Grammys during his lifetime.

One drawback is that if you aren’t familiar with Bernstein’s epic body of work, you may be lost, for there are no date stamps and sometimes only a quick reference to the material. The music score features Bernstein’s most famous compositions, re-recorded for the film.

If you didn’t know about his Broadway musical theater works “On the Town” in 1944 and “West Side Story” in 1957, both choreographed by Jerome Robbins, you’ll not be further enlightened unless you do your own research, for you only hear snippets here.

His supple compositions for “West Side Story,” arguably the greatest musical theater score of all-time with lyricist Stephen Sondheim, are barely a footnote. His propulsive Oscar-nominated score for the 1954 Best Picture winner “On the Waterfront” is another masterpiece getting only a brief mention.

Some of his massive choral pieces “Candide” and “Mass” are presented in rehearsal and performance, but again, without a timeline, one may not recognize their significance. That must be frustrating to those who didn’t grow up with his music, which I did – and recognize there are gaps for a modern audience.

The film’s best scene is Bernstein vigorously conducting the London Symphony Orchestra in Mahler’s Second Symphony (“Resurrection”) performed at the Ely Cathedral in 1973. It’s an incredible show-stopper – but without knowing what or when. Still, that scene is stunning, revealing his musical virtuosity and innate theatricality for six and a half minutes – and resulted in the New York Film Festival audience bursting into thunderous applause and cheers. It was as if we witnessed Bernstein become the music.

Credit must go to conducting consultant Yannick Nézet-Séguin, whose expertise helped Cooper feel the music, and it’s thrilling. He is currently conducts the Metropolitan Opera at Lincoln Center.

The look of the film is luxe, especially the sumptuous black-and-white cinematography by Matthew Libatique that depicts a dazzling magical time for young artists in Manhattan in the ‘40s and ‘50s.

The costumes designed by Mark Bridges are also swoon-worthy, with Mulligan’s outfits not only representing Felicia’s class and grace, but also their rising fortunes. Bridges is a two-time Oscar winner for “The Artist” and “Phantom Thread,” and has a keen eye for textures and detail. The scene where Felicia wears a Chanel suit to get bad news from her doctor is a small, but memorable, character element.

Special make-up effects artist Kazu Hiro’s seamless transformation of a 48-year-old Cooper into Bernstein at different ages is stunning, with the prosthetics lifelike. He has won two previous Oscars, for “Bombshell” and “The Darkest Hour,” transforming Gary Oldman into Winston Churchill.

Production designer Kevin Thompson’s affinity for details is striking, from the concert halls to the private residences, particularly Bernstein’s’ idyllic country home in Connecticut and a lavish apartment in the historic Dakota building. Thompson’s previous work includes “Birdman or (The Unexpected Virtue of Ignorance)” and “Ad Astra.”

The sound mixing and editing is astonishing in aural quality and should be recognized with year-end awards. That level of excellence is not just reserved for big blockbuster visual effects extravaganzas.

Even by narrowing the focus, the movie still spans decades of remarkable achievements while offering a warm portrait of a comfortable family life, with the three Bernstein children surrounded by love and affection. Maya Hawke portrays eldest daughter Jamie as a teenager with questions, Sam Nivola is son Alexander and Alexa Swinton is daughter Nina.

Another key supporting performance in this tableau is Sarah Silverman as Lennie’s sister Shirley. Bernstein’s lifelong friend Aaron Copeland (Brian Klugman) doesn’t get much screen time.

The movie packs many details in its 2 hours, 9 minutes run time, and perhaps would have been clearer in a limited series, like “Fosse-Verdon.” However, a second viewing produced far more nuance and narrowed attention.

The majestic grandeur came through on a large screen, and because the scope is ambitious, I hope it is not lost on the smaller screen.

But those bravura performances will linger no matter what format.

“Maestro” is a 2023 drama, biography directed by Bradley Cooper and starring Cooper, Bradley Cooper, Carey Mulligan, Matt Bomer, Maya Hawke, Sarah Silverman, and Gideon Glick. It is rated R for language and some drug use and it’s runtime is 2 hours, 11 minutes. In select local theaters Dec. 8 (St. Louis area) and streaming on Netflix Dec. 20. Lynn’s Grade: A-

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

By Lynn Venhaus

Bursting with vitality, The Muny’s latest heart-tugging interpretation of “West Side Story” emphasizes its potency as a cultural snapshot and the exceptional elegance of its buttery vocals.

Arthur Laurents’ 1957 contemporary slant on Shakespeare’s “Romeo and Juliet” brims with pulse-pounding tension as rival ethnic gangs, The Jets and Sharks, fight on the mean streets of Manhattan’s pre-gentrified Upper West Side while you root for forbidden yet fairy-tale hopeful love.

As the star-crossed lovers Tony and Maria, Christian Douglas and Kanisha Feliciano will break your heart and their lush vocals will melt it. Their duets “Tonight” and “One Hand, One Heart” are exquisite, as is standout Douglas exuberant in “Maria” and projecting the longing in “Something’s Coming.”

The timeless music score again demonstrates its power as one of the greatest American musicals of all-time. Some 66 years earlier, Leonard Bernstein’s supple orchestrations and 27-year-old Stephen Sondheim’s brilliant lyrics forged unforgettable songs – including poignant “Somewhere,” vibrant “America,” propulsive “The Jet Song,” comical “Gee, Officer Krupke” and the fervid “Cool.”

The Jets. Phillip Hamer photo.

Rob Ruggiero seamlessly directs the musical with compelling urgency, stressing the emotional weight of an ‘us vs. them’ culture clash, an ingrained blind hatred that fuels the tumultuous turf wars of entrenched ‘white’ lower-class locals vs. Puerto Rican immigrants.

As is his custom, Ruggiero is a master at stripping down a show to its essentials, deconstructing a piece and making us see it through new eyes. He’s been the go-to guy for definitive productions of “Sweeney Todd” (2022), “Gypsy” (2018), “Hello, Dolly!” (2014) and “South Pacific” (2013) at the Muny, and transplendent productions of Sondheim’s “Sunday in the Park with George” and “Follies” at The Repertory Theatre of St. Louis.

When the musical first debuted on Broadway, while spellbinding and integrating those visionary dance scenes, audiences didn’t know how to take such a dark story that resulted in two major characters killed off before intermission. Tragedy wasn’t a forceful plot point in those golden era musicals – hence, “The Music Man” defeating it for Best Musical at the Tony Awards.

Photo by Phillip Hamer.

However, through the years, its appeal has grown, and several Broadway revivals have enhanced its stature, including a heralded 2009 reworking, with contributions by Lin-Manuel Miranda for more Latino authenticity.

The landmark 1961 film, the top-grosser that year, was nominated for 11 Academy Awards, and won 10, including Best Picture, making it the record-holder for movie musicals. The film is second only to “Singin’ in the Rain” on American Film Institute’s list of Greatest Movie Musicals.

Sixty years after its release, director Steven Spielberg reimagined this gritty street symphony in 2021, earning critical acclaim and seven Oscar nominations, with Ariana DeBose winning Best Supporting Actress as Anita.

The film first captured my heart on the big screen, as a reissue in fall 1968 before being sold to television, and I was immediately entranced at age 13. After multiple repeat viewings, a special anniversary DVD, and devouring all sorts of behind-the-scenes materials, it still holds my heart.

Jerusha Cavazos as Anita, center. Phillip Hamer photo.

While the original hasn’t aged well in the millennium with a predominantly white cast, bad makeup and some dubbed voices, it does capture a moment in time, and the 2021 adaptation corrected the egregious.

Eager to experience the magic again, this electric production did not disappoint Sunday night. The last Muny one, in 2013 with Kyle Dean Massey and Ali Ewoldt, was epic and became my gold standard, so a high bar. Let’s just say the Muny has come a long way since the first time I saw it there in 1982, as a season ticket holder, with Barry Williams, aka “Greg Brady,” as Tony. Ah, those old days of stunt casting.

This is the ninth time “West Side Story” is at the Muny, and retains its grip with such vigor, alive with possibility. It draws out the sadness because optimism is thwarted by ill-fated violence.

This run coincides with the 60th anniversary of the Muny’s first staging in 1963. It returned for a two-week run in 1967, and was seen again in 1982, 1990, 1995, 2000, 2005 and then 10 years ago.

While some of the dialogue is insipid in that ‘50s daddy-o way, the stage musical continues to take me to my happy place as my all-time favorite. It does still pack an emotional punch in its truth and remains relevant today.

Why did this version make me fall in love with it all over again, after seeing it countless times on tour, in regional, community and youth theaters? Let me count the ways.

the Jets vs Sharks. Phillip Hamer photo.

Jerome Robbins’ original stylized dance numbers are precisely reproduced by choreographer Parker Esse – the enthralling “Prologue,” “Dance at the Gym,” “America,” and “Cool” and the muscular, balletic ensemble leapt on the ginormous stage in breathtaking fashion. The staging of the “Somewhere” dream ballet pulls the heartstrings, enhanced by Grace Marie Rusnica’s affecting vocal.

It’s a thing of lyrical and kinetic beauty to see those polished, passionate performers burn bright with red-hot intensity. Their version of the “Tonight” Quintet and Chorus is magnetic.

Arguably, there is not a better musical score, and the numbers are admirably delivered. Music Director James Moore is such a graceful conductor that a few bars into the overture, and his artistry has you hooked with his expertly orchestrated pieces. You may recall his luxurious skills in conducting Sondheim before – “Sweeney Todd,” “Gypsy,” and the last “West Side Story.” He makes you feel the music.

Performers familiar with their role’s challenges boost the show’s dynamics. Yurel Echezarreta is the seething, smoldering Bernardo, and it’s his seventh “West Side Story,” including Spielberg’s movie.

In his fifth Muny show, Kyle Coffman brings the heat as a limber Riff, the cocky, driven leader of the Jets and Tony’s best friend “womb to tomb.” He was Ice in Spielberg’s movie and part of the 2013 ensemble.

Making her Muny debut, Jerusha Cavazos is a fiery Anita, and along with her lissome dancing, she conveys a solid chemistry with Feliciano’s Maria, including the sublime duet, “A Boy Like That/I Have a Love.”

Caylie Rose Newcom is a feisty Anybodys, the tomboy Jet, and Ethan David Steph as hothead Action, Ethan Van Slyke as greenhorn Baby John and Daniel Assetta as explosive A-rab are also notable.

Ken Page as Doc. Phillip Hamer photo.

Local actors elevate the standard “adult” roles, with revered Muny all-star Ken Page touching as the kind, frustrated Doc, Tony’s boss and drugstore owner. Versatile veteran Michael James Reed portrays Lt. Shrank with a disquieting hostile edge and what a pleasure to see outstanding dramatic actor James A. Butz making his Muny debut as the sweaty, ineffectual Officer Krupke.

Ann Beyersdorfer’s scenic design is a striking urban jungle grid, depicting the decaying tenements that would be later torn down for Lincoln Center and such. Her set pieces – the dress shop, Doc’s drugstore – are smartly detailed, and both fluid and functional. Beyersdorfer is from Belleville, Ill., and this is her third show at the Muny, after this season’s opulent “Beauty and the Beast” and last year’s earthier “Camelot.”

Other noteworthy designs include the vintage costumes from Gail Baldoni, who has selected specific muted color palettes for the Jets and the Sharks and crafted a stunning white dress as Maria’s iconic outfit for the dance. Her bright fuchsia-violet shades for the Sharks’ girls in the “Mambo” and “America” scenes are eye-catching and enliven the dances.

And John Lasiter’s lighting design takes us from sweltering summer playgrounds to moonlit fire escapes to desolate concrete battle grounds while Shawn Duan’s video design punctuates exteriors and interiors.

“West Side Story” endures as a idealistic love story dashed by the gut-punch of tragic circumstances of gang war because of the reality we live. At a time when we hear of tribal sparring daily across the nation, this story is a reminder that decades after this social commentary pointed out what misguided hostilities can lead to, this musical provides a glimmer of hope that fists won’t stay clenched, and headlines won’t point out another young gun-related death.

Whether you have never seen it or have sat under the stars mesmerized multiple times, this season’s “West Side Story” entices – it has a significant snap and pop to it, and the care involved in its presentation is perceptible. We may be dreamers, but love is a powerful tool. And these soaring vocals will give you goosebumps.

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Somewhere. Grace Marie Rusnica sings. Phillip Hamer photo.

The Muny presents “West Side Story” nightly at 8:15 p.m. from July 15 to 21 on the outdoor stage in Forest Park. For more information, visit muny.org.

Dance at the Gym. Amy Maier photo.