Bouncy ‘Little Shop of Horrors’ is freaky, geeky fun at The Muny

Bouncy ‘Little Shop of Horrors’ is freaky, geeky fun at The Muny

By Lynn Venhaus

A mod, madcap rock musical, “Little Shop of Horrors” is a perfect palate cleanser after two serious prestige productions this season. The Muny merrily delivers this bright bouquet of quirky black comedy to ride out an inevitable midsummer St. Louis heat wave.

A pleasant evening of escapist entertainment, the campy cult classic shows why it is an enduring ‘little engine that could’ – a zippy two-hour musical that puts the bop in doo wop and delights with kooky characters while glossing over what is potentially icky with a lightness of being.

It is, after all, a horror comedy – and one loosely based on a cheesy 1960 movie meant to be a goofy cautionary tale about the atomic age. Designed to satirize science fiction, B-movies, the Faustian bargain and even musical comedy, the appeal of “Little Shop of Horrors” has now reached multiple generations.

Perhaps a maniacal plant that feeds on human flesh and blood doesn’t sound appealing, but in its fourth presentation and the first one since 2011, the Muny’s creative team knows how to get it just right, winning us over with the show’s lively tempo and unpretentious yet irreverent attitude.

Maybe when you discover Audrey II, the freakish carnivorous plant picked up by botanically curious Seymour in Chinatown during a solar eclipse, is a dastardly schemer from outer space that takes over Seymour’s life, it’s more palatable.

Nicholas Ward. Photo by Emily Santel.

“Two-eys” hearty appetite for destruction is the catalyst for Seymour blooming where he’s planted — providing him with a taste of fame and opportunities, the allure of celebrity leading to a possible livin’ large lifestyle that he’s been longing for – a dare to dream scenario.

And let’s talk about that spectacular centerpiece of the show – the Venus flytrap-like plant that grows to epic proportions is a doozy, a marvel of engineering and innovation designed by James Ortiz. (I was fortunate to see this puppet designer’s remarkable work in the recent Broadway revival of “Into the Woods,” and this guy’s got game.)

His neon green one-of-a-kind otherworldly monstrosity was created just for the Muny run. Four puppeteers impressively guide this mean green machine, with astonishing mobility credited to Travis Patton as “Audrey II Manipulation.” Just watching Patton move with Swiss-watch precision is fascinating, and he deservedly takes a bow during the curtain call.

The bloodthirsty, pushy character is voiced by Nicholas Ward with devilish charm. His “Feed Me (Git It)” is saucy, and his “Suppertime” is unsettling, those robust pipes a delight to hear – even if Audrey II’s endgame is world domination. Of course Ward played Mufasa in “The Lion King” on Broadway. You may recall his impressive vocal performance as Caiaphas in “Jesus Christ Superstar” here in 2017.

The fact that this intimate show feels comfortably at home on the Muny stage is a major achievement, for striking the right tone between playful and offbeat with fear and murder is not easy to do given the source material, and its unconventional backstory. It’s far more complicated than it appears, and this small cast and crew make it appear effortless.

What first became a low-budget Roger Corman horror B-movie in 1960, featuring an unknown Jack Nicholson as a masochistic dental patient (cut out of stage version) and written by Charles Griffith, was turned into an off-Broadway musical sensation penned by none other than those cheeky composing pals Howard Ashman (book and lyrics) and Alan Menken (music) in 1982.

Turned into a movie musical in 1986, the stage version finally made it to Broadway in 2003. It was revived off-Broadway in 2019, with the top-shelf cast of Jonathan Groff, Tammy Blanchard and Christian Borle.

Now household names, the late Ashman and Menken’s star rose with their Disney collaborations – “The Little Mermaid,” “Beauty and the Beast “and “Aladdin.” After Ashman’s death in 1991, Menken wrote music with other lyricists to maintain a Hall of Fame career – “Newsies,” “Pocahontas,” “The Hunchback of Notre Dame” and “Hercules” among a long list that has earned 8 Academy Awards, 11 Grammy Awards and 1 Tony (4 nominations).

Menken, unintentionally, is being showcased this season with three productions – “the kids’ show” “Beauty and the Beast” and closer “Sister Act,” displaying his range.

The Urchins and the Dentist. Photo by Phillip Hamer.

This Ashman-Menken score shows their compatibility, sense of humor, understanding of music history, and the ability to change styles fluidly. (For a deeper dive into their beginnings, “Howard” is a terrific documentary available streaming on Disney+).

Director Maggie Burrows keeps the pace crisp and snappy, as she did in “On Your Feet!” and last year’s “Legally Blonde,” and so does her collaborator, choreographer William Carlos Angulo. Along with music director Andrew Graham, they added the oomph to Ashman-Menken’s genial numbers. Orchestrations are by Robert Merkin and vocal arrangements by Robert Billig.

The high-spirited ensemble frolics with glee. The two leads are polished pros with strong voices – three-time Tony nominee Robin De Jesus and reliable Muny favorite Patti Murin are smoothly in sync as florist shop co-workers, genuine in song and performance. They sing from the heart in the romantic ballad “Suddenly, Seymour,” and have a good time with “Closed for Renovation” and “Call Back in the Morning.”

Working hard as the sweet and lovable dork Seymour, De Jesus draws us in to the poor orphan’s tough life on Skid Row, but the dead-end hasn’t hardened him to hope, even though he appears hapless. He’s craving change, noticeably so in “Grow for Me.”

Undeterred, he won’t stop trying to win over Audrey, the love of his life who feels unworthy of anyone’s affection. Without a shred of self-esteem, she is the victim of an awful, abusive boyfriend, which is the other ‘horror’ (after all, the title is plural). She delivers a heartrending “Somewhere That’s Green.”

Audrey II and Audrey. Photo by Phillip Hamer.

De Jesus’s humanity as conflicted Seymour comes through. And that’s usually a component evident in all his performances. He was last seen here as the title character in the pre-Broadway tryout of “Aladdin” in 2012. The original Sonny in “In the Heights,” for which he was Tony-nominated, he also scored a nomination as housekeeper Jacob in “La Cage Aux Folles” and Emory in “The Boys in the Band” stage play revival. He reprised his role in the 2021 Netflix movie.

I first noticed him in the underrated indie gem, “Camp,” from 2003, as one of the young misfits at a performing arts summer camp. In 2021, he played opposite Andrew Garfield as Michael in the Lin-Manuel Miranda directed “tick, tick…Boom.”

Murin is an affable Audrey, just as she has engaged here as Paulette in last year’s “Legally Blonde,” as Ariel in “The Little Mermaid” and Roxie in “Chicago,” both in 2011. She originated the role of Princess Anna in Disney’s “Frozen” on Broadway.

Tony winner Michael McGrath gives shop owner Mr. Mushnik an edge, for he treats Seymour shabbily but does have comical lines. A longtime Muny performer, he won a Tony for “Nice Work If You Can Get It,” and was nominated for “Spamalot.”

The ensemble sparkles, especially Taylor Marie Daniel, Kennedy Holmes and Stephanie Gomerez as the Urchins girl group, an R&B trio honoring the Brill Building/early Motown songwriters with the names Chiffon, Crystal, and Ronnette.

They bring the pizzazz as the Greek chorus, harmonious and spunky in the Prologue, “Skid Row (Downtown),” “Da Doo,” “Don’t It Go to Show Ya Never Know,” and “Dentist!”

Philip Hamer photo.

The meaty roles in supporting parts are one of the show’s selling points. Ryan Vasquez kills it as the sadistic dentist Orin Scrivello. He’s absurdly exaggerated in this plum part, especially in “Now (It’s Just the Gas).”

And he’s very funny as gaudily dressed assorted characters in the second act, showing a good-sport sense of humor in his Muny debut — and quite a range for an actor who played Alexander Hamilton and various founding fathers in “Hamilton” on Broadway.

The costumes are sensational, an integral part of the atmosphere. Costume Designer Leon Dobkowski created blasts from the past with the Urchins’ flashy fashions, and bosom-enhancing skin-tight outfits worn by Audrey that look like they were purchased from Frederick’s of Hollywood.

He also selected suitable nebbish attire worn by Seymour and Mushnik, and Kelly Jordan’s wig design also aided the retro look. Dobkowski won two St. Louis Theater Circle Awards for “Seussical” and “The Wiz,” and he has such a fun-loving eye.

The scenic design by Kristen Robinson is a striking grungy streetscape of an area that has seen better days, and an effectively shrewd interior of Mushnik’s Flower Shop, which includes subtle changes as the business prospers, and well-chosen pieces reflecting the economic fortunes. She tells the story well depicting those touches.

Greg Emetaz’s video design is seamless, deftly enhancing the set design and story progression with strong visuals.

This is a swiftly paced musical with a zest for fantasy, yet grounded in a dark side that is still amusing after all these years.

Photo by Philip Hamer

The Muny presents “Little Shop of Horrors” July 25-31 at 8:15 p.m. on the outdoor stage in Forest Park. For more information, visit: www.muny.org.

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

Love and Light Shines Through the Muny’s Glorious ‘The Color Purple’

By Lynn Venhaus

In its Muny premier, “The Color Purple” is a momentous experience — one that cannot be missed for its historic and landmark significance, but also because it’s one of the finest ever ensembles in its 104 seasons.

The cast takes us on an unforgettable emotional journey, and their glorious harmonies soar into the summer night.

Delivering a story of uncommon courage and grace in a harrowing account of deeply rooted cruelty and oppression, the core group of female principals makes us feel their sorrows, love, pain, and indomitable spirit.

To paraphrase Annie Lennox and Aretha Franklin, sisters are doing it for themselves (referencing a 1985 Eurythmics female empowerment song). And what a sisterhood it is!

In 1909, Celie is a humble, hard-working 14-year-old poor black girl living in rural Georgia, who has delivered two babies whose father is her father, and Pa (Duane Martin Foster) has taken them away.

Several years later, he makes a deal to give Celie to Albert “Mister” Johnson, an emotionally and physically abusive widower and farmer, to care for his unruly children and serve him and his family.

She spared her sister, Nettie, so that she could follow her dream of being a teacher. Unbeknownst to Celie for a long time, the compassionate Nettie winds up with a missionary family in Africa, and is eventually tracked down by Shug Avery, another important influence in Celie’s life.

Celie has gone from one house of horrors to another. This is unsettling, of course, but her unwavering faith sees her through these tough times, as do the people who raise her up. She has always found solace with her sister and in church, and as time passes, it is the community that relies on her that pays back her kindness.

While taking care of Mister’s home, the nurturing Celie meets the glamorous, worldly, and determined nightclub chanteuse Shug Avery. They eventually share a romantic relationship and deep bond despite the singer having an on-again, off-again affair with Mister and a marriage to Grady.

One of Mister’s grown children, Harpo, marries Sofia, and she is a strong-willed free spirit, known for her independence and speaking her mind, with her phrase: “Hell, no!” even a song title. She cannot be ‘tamed,’ but she loves Harpo. Sofia’s stance will bring her serious harm.

Over the course of several decades, what the women learn, how they grow and overcome obstacles will tug at our hearts, so that the mercy shown in the second act leads to triumph– and for the men too.

Marsha Norman wrote this tough adaptation of Alice Walker’s Pulitzer Prize-winning touchstone novel, a National Book Award winner in 1982, which told Celie’s story through letters she wrote to her sister and children.

Sisters Nettie and Celie “Our Prayer.” Photo by Phillip Hamer.

For director Steven Spielberg, Menno Meyjes adapted the book into a 1985 movie that garnered 11 Academy Award nominations (but famously did not win any). A new movie based on the musical is set for a December 2023 release.

The heart and soul of any version is Celie, and it’s no fluke that both actresses who played Celie on Broadway — LaChanze in the original 2005 production and Cynthia Erivo in the 2016 revival — won Tony Awards (Director John Doyle’s re-imagining also won the Tony Award for Best Revival).

In this powerhouse role, Anastacia McCleskey is transcendent, bringing out the dignity, heartbreak, and virtues of a true survivor of overwhelming trauma. This tour de force performance is deeply felt and delivered with remarkable strength and skill.

Her eyes glistening with tears, McCleskey became a bona fide star in her 11 o’clock number, “I’m Here,” in which she expresses self-love and perseverance, and left us in awe. The thunderous ovation that followed was one of the longest in memory. Goosebump moments, indeed.

When she leads the cast in the finale, a fervent reprise of “The Color Purple,” it’s impossible for the audience to not have been affected by this sublime show.

Yes, it’s gut-wrenching, but it’s also about healing, resilience, and the mighty power of love. Throughout our history, we have learned that we should never forget what’s happened before, those teachable moments that make us better people.

The score includes gospel, jazz, ragtime, blues, and African beats, with songs by Brenda Russell, Allee Willis, and Stephen Bray that bring out the purpose, yearnings and period of these early 20th century lives.

“Mysterious Ways” number. Photo by Phillip Hamer.

The cast is stellar from leads to brief parts, evident from the Sunday church services depicted in “Mysterious Ways,” with Omega Jones belting out praise as the preacher and Alexis J. Rosten, Shantel Cribbs and Melanie Loren instant crowd-pleasers as the supremely talented trio of church ladies Doris, Darlene, and Jarene.

You will quickly discover what a joyful noise this ensemble will make, their strong vocals providing a sense of faith, hope and charity that church communities share.

Nasia Thomas, who stood out in last year’s “Smokey Joe’s Cafe,” is impressive as Celie’s beloved sister Nettie. You can feel a palpable bond between them, as if they were real sisters. Their duets are beautiful, especially the touching “Our Prayer.”

In the showy role as the irrepressible Shug, singer Tracee Beazer sashays across the stage with ultra-confidence. She leads the big splashy number “Push Da Button” but it’s her poignant ballads, “Too Beautiful for Words” and “The Color Purple,” that showcase her vocal strengths, as well as the exquisite “What About Love?”, a tender duet with Celie.

Nicole Michelle Haskins as Sofia and Gilbert Domally as Harpo reprise their roles from the acclaimed 2019 Drury Lane Theatre production in Chicago and endear as a dynamic couple — and as individuals. They have a fun, playful duet “Any Little Thing.”

Gilbert Domally, Nicole Michelle Haskins, Evan Tyrone Martin, Anastacia McCleskey. Photo by Phillip Hamer.

As the villain Mister, Evan Tyrone Martin inspires a gamut of emotions as the heartless husband perpetuating a long cycle of suffering. After he’s cursed and lost everything, “The Mister Song” begins his redemption.

Fine in supporting roles are Erica Durham as the colorful Squeak, Sean Walton as flashy Grady, and Jos N. Banks as lively Buster. Muny favorite Kennedy Holmes portrays Olivia and Rodney Thompson is Adam, Celie’s children.

The staging on a simple slab with different levels depicting various locales is a smart move by scenic designer Arnel Sanciano, which narrows our focus to the human interaction. Other accoutrements, such as Harpo’s sign for his juke joint and fields of purple flowers, are deftly handled on the LED screen by video designer Paul Deziel.

The creative team is new to the Muny but not the material. Director Lili-Anne Brown, music director Jermaine Hill and choreographer Breon Arzell were responsible for the Drury Lane Theatre production in fall 2019 that received seven Joseph Jefferson Awards nominations and won two — for directing and supporting role (Haskins).

Their collaboration has transferred well to the large outdoor stage. Every part of this exercise is told with attentiveness and passion.

The trio’s vision is brought vividly to life by the top-tier ensemble and their team, including outstanding craftsmanship by lighting designer Heather Gilbert and sound designers John Shivers and David Patridge. Production stage manager Jhanae Bonnick keeps everything at a brisk pace.

“Miss Celie’s Pants.” Photo by Phillip Hamer.

The costumes are a panoply of 40 years of style, with costume designer Samantha C. Jones dressing a church-going community in their Sunday best, what they wear to work and play in a Southern town, and how they dress up for a juke joint. Wig designer is Kelly Jordan.

With Celie designing pants in the second act, a striking array of comfortable yet stylish outfits are on display. That celebration number “Miss Celie’s Pants” marks such a turning point in the story and is one big smile.

If you believe, as I do, that if you spread light and love in the world, and are a good person, then the universe responds in kind. That is ultimately why Celie’s story resonates. Yes, she endured hell on earth, but she never gave up her belief in goodness, and finally realized her worth as a human being.

Purple symbolizes strength, transformation, power, wisdom and bravery, and all meanings can be applied here.

What an inspiration Alice Walker’s book was to the world 40 years ago, and continues to be, and what a distinguished accomplishment this show is for The Muny and St. Louis.

Nasia Thomas, Anastacia McCleskey, Rodney Thompson, Kennedy Holmes. Photo by Phillip Hamer.

The Muny presents the musical “The Color Purple” Aug. 3-9 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For more information or tickets, visit www.muny.org.

Church Ladies. Photo by Phillip Hamer.

Muny Offers Special Holiday Video Series Featuring Many Favorites

Muny Offers Special Holiday Video Series Featuring Many Favorites
After a record-breaking online summer season, The Muny announced today Muny Holiday Magic. A special four-day holiday video series, Muny Holiday Magic will feature performances from Muny family across the country, including The Muny Kids and Teens. Each free pre-recorded performance will air daily at 12:00 p.m. CST Dec. 21 – 25 via The Muny’s social media platforms, including Facebook, Instagram, Twitter and YouTube.

The Muny Holiday Magic schedule is:

Dec. 21 – Members of The Muny Kids and Teens performing “Underneath the Tree.”
Dec. 22 – Members of The Muny Kids and Teens performing “The Chanukah Song (We Are Lights).”
Dec. 23 – A medley of “The 12 Days of Quarantine” and “Have Yourself a Merry Little Christmas” featuring Broadway and The Muny’s Jason Gotay, Mamie Parris, Nasia Thomas, St. Louis favorites and more than 30 Muny family from coast to coast.

“The 12 Days of Quarantine” features original lyrics written by Gordon Greenberg and Steve Rosen and stars Muny 2020 Summer Variety Hour Live! favorites Maya Bowles, Stephen Buntrock and Erin Dilly with their family, Beth Crandall, Chloe O. Davis, Colby Dezelick, Emma Gassett, Jason Gotay, Matt Kunkel, James T. Lane, Raymond J. Lee, Mamie Parris, Tony Scandora, Trevor Michael Schmidt, Jack Sippel, Blakely Slaybaugh, Gabi Stapula and Nasia Thomas, with music direction by Michael Horsley, orchestrations and arrangements by Andrew Graham, video editing by Matthew Young and many more surprises.

“Have Yourself a Merry Little Christmas,” The Muny’s take on the Meet Me In St. Louis classic, stars St. Louis favorites Leah Berry, Patrick Blindauer, Duane Martin Foster, Zoe Vonder Haar, Julie Hanson, Kennedy Holmes, Kamal Lado, Ben Nordstrom, Rich Pisarkiewicz and April Strelinger, with music direction and arrangements by Michael Horsley, video editing by Matthew Young, sound design by Bill Buzan and video captured by Switch.

Dec. 24 – Broadway, West End and Muny star Ken Page reading the timeless holiday classic The Night Before Christmas. “The voice” of not only The Muny, but also Oogie Boogie in The Nightmare Before Christmas, Ken has been a Muny staple in over 40 productions.

On Dec. 25, a compilation of the four shows will air as a complete package. Each holiday video will be available until midnight Dec. 31, 2020.
The Muny Box Office. Photo by Julia Merkle

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.
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The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org

Muny Summer Variety Hour Episode 5: An Overflowing Cup of Kindness

Muny Summer Variety Hour Episode 5: An Overflowing Cup of Kindness

By Lynn Venhaus
Sometimes, we see magic happen under the stars in Forest Park. This summer, we saw a different kind of Muny Magic – but enchanted evenings nonetheless.

It took a global pandemic for the Muny to achieve its greatest magic trick ever – they transformed our isolation into a community through a live variety special.

And they did it with such hard work and passion. Using modern technology, incredibly creative professionals and tip-top talent from coast to coast, it was a huge undertaking, which was obvious to anyone who tuned in for even a fraction of an episode.

For the fifth Summer Variety Hour Live! on Monday, Aug. 17, the Muny supersized the presentation and it was a splashy grand finale, tugging on our heartstrings in a big but intimate way. So much genuine emotion in new works, in memories and archival footage that reminded us how special our outdoor theatre is, the largest and oldest one in the country.

Seeing Muny mainstay Beth Leavel perform her showstopper “Rose’s Turn” from “Gypsy” (2018) with the view from the wings! My heart was bursting. Tari Kelly leading the ebullient “Forget About the Boy” in “Thoroughly Modern Millie” (2012) and one of the all-time great musical theater numbers, ‘Sit Down, You’re Rocking the Boat” from last year’s “Guys and Dolls,” with the surprise appearance by Kennedy Holmes to hit those high notes. I was grinning ear to ear. The Mission: Feel-Good was on!

Zoe Vonder Haar, Orville Mendoza and Kennedy Holmes in “Guys and Dolls” – Photo by Phillip Hamer

For five episodes, the Muny reinvigorated its treasure trove of tradition, 102 years strong, to provide virtual entertainment that filled the void of a cancelled season. The collaborative spirit on display was inspiring.

Let’s face it, the summer has been dismal, especially with rising coronavirus cases in our bi-state region. More things shut down and were postponed in a never-ending stream of disappointments in 2020. But as a gift to “the Muny family,” the management and creative teams conceived a way to connect us. We all felt it, whether tuning in on Monday or catching the rerun on Thursday from July 20 to Aug. 17 as the evening twilight faded.

For a brief shining moment, it seemed like old times. The 8:15 p.m. start was a constant to look forward to in an uncertain year during an unprecedented public health crisis. With Executive Producer and Artistic Director Mike Isaacson’s bold and unique concept, and his ability to attract the talent he did, each episode was a captivating mix of tempo and tone, under the direction of multi-talented Michael Baxter.

Colby Dezelick

What an emotional palette we experienced, touching on why we love the Muny, from veteran performer Colby Dezelick’s touching original song, “I Will Be Your Home” — with a behind-the-scenes video love letter dedicated to his Muny family, to sweet Jenny Powers describing her feelings about flying above the audience as Mary Poppins in 2013, and how the staff took such good care of her. Straight to the heart.

And while seeing up-and-coming talent do what they do best is always enjoyable, feeling their sheer joy in performing is blissful. Watching St. Louis native and Broadway performer Richard Riaz Yoder use his exceptional talents to dance “Broadway Melody” using the Muny as his canvas – tap-dancing for a time in sneakers! – was breathtaking.

So was jubilant Jack Sippel’s choreographed dance number, the cheery “You Can’t Stop the Beat!” from “Hairspray,” which was performed by 19 Muny alums and sung by Nasia Thomas, Muny vet and Broadway performer in “Beautiful,” “Ain’t Too Proud to Beg” and soon, the revival of “Caroline, or Change.”

In the 2017 production of “A Chorus Line,” director-choreographer Denis Jones used young versions of the dancers in certain scenes, to emphasize their dreams and drive. On Monday, they showed the wistful “At the Ballet” number, which was performed by Holly Ann Butler as Sheila, Bronwyn Tarboton as Maggie and Caley Crawford as Bebe, with little ballerinas in view.

As lump-in-the-throat as that song is, nothing can match the show’s curtain call for its spectacular finish, and they recreated it for The Muny Centennial Gala, complete with fireworks. Such a thrilling moment to revisit.

The energy, enthusiasm and talent of the Muny Teens and Kids each episode was another heart-tugger. Because six teens were graduating, they had a special senior sendoff: Michael Harp, Cate Phillips, Michael Lee Jr., Fiona Scott, Jack Deters and Caitlin Chau sang “Our Time” from Stephen Sondheim’s “Merrily We Roll Along.” I have seen these kids grow up. Misty eyes.

“Worlds to change, and worlds to win Our turn, coming through.”

The Muny Kids’ adorable and confident youngsters mashed up “Come Alive” from the film “The Greatest Showman,” with songs by Oscar and Tony winners Benj Pasek and Justin Paul, with “A Little More Homework” from Jason Robert Brown’s “13.”

For comic relief, there was the fun “Munywood Squares” game show, good sports all, and jolly John Tartaglia reprising his Murray the Muny Raccoon schtick, making Isaacson laugh.

Mike Isaacson

Isaacson, who has been the visionary executive producer and artistic director since the 2012 season, named to the post in 2010, cares deeply about the Muny’s place in historic context and local lore, and with his Broadway experience, he’s able to give us quality casts, teams and a really dedicated staff.

Clearly wearing his heart on his sleeve as this summer’s host, he gave us something that we could enjoy on many levels and for many reasons. Isaacson has multiple Tony Awards and 24 Broadway shows and national tours to his credit. He makes things happen in a way that elevates the Muny in stature, boosting our civic pride, but also gains respect in the larger theatrical world. His reverence for the art form is obvious, and he has shown us, time and again, the possibilities of what the Muny can accomplish.

That connection that he spoke of, all the people who came together without hesitation, all the selfless devotion, a renewed sense of purpose – it felt very real and elicited a teary farewell.

I think, like “Field of Dreams,” Forest Park and the Muny are mystical places. After all, musical theatre is a constant in our lives, like baseball. We want to believe that in a time of everything turned upside down, of norms being shattered, that there exists a place we feel safe, happy, loved. That sharing theater and music brings us together like no other art form.

So, the Muny Variety Hour gave us the opportunity to be in the company of performers who love the Muny like it is a family, a home. That theme was repeated over and over. And that’s what we are craving in these anxious times.

And in Colby’s song: “When it’s dark, I’ll be the light.”

Beth Malone

Another almost spiritual song was the centuries-old tune and Muny season-ender tradition “Auld Lang Syne,” sung by Beth Malone, who accompanied herself on acoustic guitar. Beautiful and bittersweet.

The ties that bind us, recalling happy golden days of yore. “Meet Me in St. Louis” appeared again in the line-up – of course. Yes, it’s schmaltzy, but its inclusion of the 1904 World’s Fair, which has impacted our lives and region ever since those seven months, and the work preceding it, make it a nostalgic chestnut.

Married couple and Muny performers Erin Dilly and Stephen R. Buntrock sang a lovely duet, “You and I,” from their home. They appeared as Mr. and Mrs. Smith in the 2018 production, the Centennial season finale.

Maggie Kuntz, a Muny vet and two-time winner of the Best Actress Award from the St. Louis High School Musical Theatre Awards, sang the iconic “The Trolley Song” live from under the Culver Pavilion with polish and panache.

Dan De Luca and Emily Walton in “Meet Me in St. Louis” Photo by Phillip Hamer

And then in the sentimental sweet spot, they played “The Skinker’s Swamp” picnic scene featuring Emily Walton as Esther and Dan DeLuca as John Truitt. The video projection was The Palace of Fine Arts, now the St. Louis Art Museum, under construction in a muddy field.

How many times have we been in the shadow of our treasured landmarks?

The world was watching when the Louisiana Purchase Exposition celebrated the 100th anniversary of the U.S. expansion under Thomas Jefferson. More than 60 countries and 43 states participated from April 30 to Dec. 1 in Forest Park and nearby locations.

So, the Muny and Forest Park remain crown jewels that we cherish.

And the Summer Variety Hour Live! reinforced our past, present and future. I’ll meet you at the Muny next summer. Looking forward to greeting the Muny family once more. “Through the years, we’ll always be together, if the fates allow.”

‘The Moon, Stars, Love’ and More in Muny’s Episode 4 of Summer Variety Hour Live!

‘The Moon, Stars, Love’ and More in Muny’s Episode 4 of Summer Variety Hour Live!

By Lynn Venhaus
Among the many thousands of people tuning in to the Muny’s Summer Variety Hour Live! on Monday nights, a health care professional told Mike Isaacson, the executive producer and artistic director who conceived this musical mash-up, that the show has saved her sanity and her summer. I second that.

If this summer were a mix-tape, mine would include all the magical Muny-ized showtunes, “Hamilton” (just because) and the TwinstheNewTrend (just watch). This bittersweet blend has become Operation: Summer Salvation. We didn’t know how desperately we needed this balm, like a cool breeze on an unbearably muggy day (or a Lemon Freeze under a Muny fan).

Kennedy Holmes

Why else would tears be streaming down my face as the sublime Kennedy Holmes beautifully sang “Children Will Listen” live under the Culver Pavilion, with Tali Allen on piano on Aug. 10, the fourth episode? Holmes, who broke out as Little Inez in 2015’s “Hairspray,” went on to become a phenom on “The Voice,” with a fourth-place finish. (She was robbed!). She remains a loyal Muny Teen and, as the soloist Monday, displayed a stunning maturity.

Under Isaacson – who loves Stephen Sondheim as much as I do – we were able to witness an extraordinary “Into the Woods” in 2015, and as I teared up at least five times during the Muny production back then, watching Tony winner Heather Headley sing “Children Will Listen” was the highlight among many. Leave it to a young woman, Kennedy, to remind us:

Children will look to you
For which way to turn
To learn what to be
Careful before you say
“Listen to me”

From a musical stressing the reality behind the make-believe, Monday’s rendition took on a greater poignancy. And being able to see Kennedy’s growth and blossoming as a future major star was another unforgettable “Muny moment.”

In a crazy world of scary happenings and headlines, we have been comforted by the talent of this joyful, faithful and hopeful ‘family’ of entertainers and the time-honored tradition of the Municipal Opera, now 102 years old, for four shows so far. Every superbly mixed show has elicited a rollercoaster of emotions as we take our seat, not in the 11,000 open-air theater, on a warm summer night, but instead before our televisions and computer screens, tissues at the ready.

The anticipation is matched by the exquisite renditions, whether live or on tape, but the added bonus has been seeing the work of such creative spirits – putting together all those filmed clips and using Zoom technology. And then you have the sunny optimism of those Muny Kids and Teens, and well, leaky eyes.

It feels real, even if it is make-believe. Somehow, through cyberspace, we feel connected. And we need it, apparently, for more than 140,000 people tuned in to the first three.

“Through the years, we’ll always be together, if the fates allow” — little did we know how much the lyrics of “Meet Me in St. Louis” would mean during a pandemic, “right here.” So, of course, this cast from the Centennial presentation in 2018 would be this week’s heartwarming sing-a-long reunion.

The sentimentality showed up in waves during the penultimate super-duper deluxe show, despite a heavy thunderstorm in the region that caused uprooted trees, power outages and flash flooding. Yet, here was Mike, underneath the stage, guiding us through another enchanted evening. We weren’t huddled together with our umbrellas, but nonetheless united.

And the urgency of underlying theme “Gotta Dance!” saved the day with some fresh, fantastic choreography.

The unbridled happiness of tap dancers, near and far, took us from stages to home spaces in “Tap Your Troubles Away.” Conceived and choreographed by Muny Resident and Teen Choreographer Katie Johannigman, this was a jolt of jubilation that had me grinning ear to ear, featuring alums from the past decade. And then Jack Sippel’s moving contemporary dance piece, “Speechless” featuring Muny Teens. Breath-taking! A St. Louis native, Broadway performer and Muny alum, Sippel is currently working on the Netflix version of “The Prom,” as he was the dance captain of the Broadway show.

“West Side Story” is my all-time favorite musical, and the Jerome Robbins choreography is swoon-worthy, so to be treated to the goosebumps-inducing “Dance at the Gym” from “Jerome Robbins’ Broadway” in 2018 was a treat. The Muny’s 2013 production of “West Side Story” will always stand as one of the best ever, and the West Side Story suite from the Robbins’ greatest-hits compilation reminded me why the show is timeless 63 years later.

The archival footage included “Jersey Boys,” the sensational national premiere outside Broadway/national tours in 2018, and the splendid re-imagining of “The Unsinkable Molly Brown” with life force Beth Malone from 2017. Plus, one of the best “Annie” shows I’ve ever seen – “NYC”! — in 2018 helmed by the one-of-a-kind John Tartaglia.

John Tartaglia

It would not be a Muny summer without the exceptional Tartaglia, and he delivered the night’s best laugh-out-loud surprise – appearing as Murray the Muny Raccoon,” the pesky scene-stealer who waddled on stage during ‘The Addams Family” and is missing his scraps and his adoring fans. The versatile performer has memorably played The Cat in the Hat in “Seussical,” the Genie in “Aladdin” and won the St. Louis Theater Circle Award for Supporting Actor in a Musical for playing Hysterium in “A Funny Thing Happened on the Way to the Forum,” in 2017, in addition to his directing work. He started as a puppeteer on “Sesame Street,” and went on to “Avenue Q” and playing Pinocchio in “Shrek.”

For the weekly Couple Duo, we had not one but two. Real-life couple Jason Gotay (Jack! Prince Eric! Prince Charming (well, Topher) in Cinderella!) and Muny regular Michael Hartung charmingly performed “Song on the Sand” from “La Cage aux Folles.”

Then the adorable power couple Jenny Powers and Matt Cavenaugh – who wowed us at the Sheldon a few years ago – brought baby daughter Rose with them to reprise “New Words,” a song by composer Maury Yeston. It’s not from a show, but he has composed “Titanic,” “Nine,” “Grand Hotel” among others. Waterworks.

This multi-tissue moment brought the house down, so to speak. All across the nation, we collectively burst into tears while they sang about “the moon, stars and love.”

Wait there was more! “Do-Re-Mi,” a special song-and-dance performance by those effusive Muny Kids and Teens. And those indomitable teens sang a bouncy rendition from “It Roars” from “Mean Girls.”

The Munywood Squares was another fun segment, and behind the scenes is always illuminating. We heard about the Clydesdales Ace and Deuce, and seeing the excitement of that experience from the creative anecdotes was a nice perk.

One more chance to see this show Thursday at 8:15 p.m. on Muny TV. For more information: muny.org/varietyhour/

And then Monday will be the swan song. Supersized (and with the traditional “Auld Lang Syne” too). Aug. 17, 8:15 p.m.

I’m so glad we’ve had this time together, just to have a laugh or sing a song…

Excuse me while I go grab another tissue.

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

By Lynn Venhaus
Managing Editor
Broadway’s glorious past merges with The Muny’s dazzling state-of-the-art
present in “Guys and Dolls” for a sensational start to the second century that
bodes well for the future.
What an ideal show to show off the new stage and other upgrades made possible
through the Muny’s Second Century Campaign!

As impressive as the changes set out to be, all the spiffy
new elements made this endearing show sparkle – the redesigned stage allowed
the action flow smoothly, the sound was crystal clear (designers John Shivers
and David Patridge) and the lighting systems’ enhanced illumination by designer
Rob Denton and the expanded LED screens, with video designs by Nathan W.
Scheuer, were eye-catching. Director Gordon Greenberg was able to incorporate
the new downstage lifts into scenes. Overall, an A+ effort.

Besides the successful revelation, the weather was
tailor-made for the 101st season opener June 10. A crowd of 7,677 enjoyed
one of Broadway’s most delightful golden-age classics, filled with Frank
Loesser’s peppy and hummable musical numbers, sweet romance, and colorful
characters based on Damon Runyon’s short stories and given zip by the late
comedy writer Abe Burrows.

“Take Back Your Mink”Jaunty and joyous, “Guys and Dolls” combines hustling high rollers and honorable holy rollers in the bustle of the fabled Times Square, their intentions clashing when the gamblers want to be lucky and the evangelists want to save souls. Paul Tate dePoo III’s vibrant scenic design of neon signage and advertisements reflects a flashy bright lights, big city vibe that pops in every scene.

Once dubbed “the perfect musical comedy” by a critic and I
wholeheartedly agree, the Muny proved how evergreen the show can be, now in its
eighth time here and 15 years since the last one. The talent made sure this
first bicentennial production was a crowning achievement by integrating all the
new-fangled improvements seamlessly.

Zoe Vonder Haar, Orville Mendoza, Kennedy Holmes. Photo by Philip Hamer.Greenberg bathed this frothy concoction in the warm glow of
nostalgia while emphasizing the humor and elevating the romance. The high-spirited
cast injected it with zing through crisp and snappy movements, whether it was a
sharply choreographed number – those elastic dancers in “Crapshooters Dance”
and “Havana” made it fun — or the wise-guys singing Nathan Detroit’s praises
in “The Oldest Established.”
First-time Muny co-choreographers Lorin Latarro and Patrick O’Neill intertwined
different styles with energy and precision, and Music Director Brad Haak freshened
the songs, with arrangements by Larry Blank. Musicians were under a covered pit
for the first time, carrying the upbeat tempos well.
The creative team focused on the original 1950 roots and the rock-solid cast cheerfully
immersed themselves in this idiosyncratic world. One must accept its now dated
story as a period piece to fully appreciate the relationships. Calling women
“tomatoes” and “broads” is no longer acceptable, and no one in contemporary
times would, but this is from a bygone era – and displays how different men and
women roles were back then.

“Guys and Dolls” took Damon Runyon stories about New York
City from the 1920s and 30s, namely “The Idyll of Sarah Brown” and “Blood
Pressure,” with a nod to “Pick the Winner,” and radio comedy writer Abe Burrows
boosted Jo Swerling’s original script by giving the distinctive characters
Runyon’s unique vernacular, a mix of formal speech with slang. Damon, a
newspaperman and sportswriter, favored writing dialogue for gamblers, hustlers,
actors and gangsters.

However, this Runyonland appears more innocent. Detroit, the hapless but lovable mug behind the biggest crap game in NYC, keeps his adorable girlfriend Adelaide waiting for him to marry her after 14 years. The prim and proper Sarah Brown falls in love with the suave Sky Masterson in an opposites-attract storyline.

The script makes all of this seem logical and then throws in merry men named Benny Southstreet and Rusty Charlie, and it’s a surefire winner, especially with Kevin Cahoon hilarious as Harry the Horse and so is Brendan Averett as Big Jule.

From the first bars of the opening number “Fugue for
Tinhorns” to “The Happy Ending” finale, this cast connects with each other, and
ultimately, the audience.

As the sophisticated ladies man Sky Masterson, Ben Davis is
a welcome presence on the Muny stage, continuing his successful run of classic
male leads after Curly in “Oklahoma!” and Emile in “South Pacific.” He has
palpable chemistry with Brittany Bradford, who is one of the best Sarah Browns
I’ve ever seen (sometimes, the actors playing these different types don’t gel,
but this pair does). Their clashing couple delivers velvety-smooth ballads.

Bradford is quite a special talent, genuine in acting and a
splendid soprano. Her breakout number, “If I Were a Bell,” shows her
versatility. Their “I’ve Never Been in Love Before” superbly blends their
voices, another standout moment, and his sleek “My Time of Day” rendition was
terrific.

Davis propelled “Luck Be a Lady” to be one of the evening
highlights, aided by the crackerjack ensemble.

St. Louisan Kendra Kassebaum lights up the stage as Miss
Adelaide, and wow, what a home-grown triple threat. Bubbly and bouncy, she displays
impeccable comic timing in her fully dimensional lived-in performance.

She’s a fitting and funny foil for wacky Nathan, well-played by Jordan Gelber. Their “Sue Me” was on point, and “Adelaide’s Lament” is confident and comical. She leads the Hot Box Girls in a vivacious “A Bushel and a Peck” and “Take Back Your Mink.” (Tristan Raines’ costumes fit each role appropriately, but those purple-sequin gowns draped with the gray furs are stunning.)

Kassebaum and Bradford are a dynamic duo in “Marry the Man
Today” (just don’t wince at those lyrics).

The best scene, the second act showstopper that puts its indelible stamp on “Guys and Dolls,” is “Sit Down, You’re Rockin’ the Boat.” A marvel of movement and pure jubilation, this version is made even more special by the surprise appearance of Kennedy Holmes, the Muny Kid who placed fourth on “The Voice” in 2018, belting out the usual General Cartwright solo. (Zoe Vonder Haar has replaced Doreen Montalvo as General Cartwright),

Orville Mendoza fits, well, nicely, as Nicely-Nicely
Johnson, who leads the number, and is dandy in his duet with Jared Gertner as
Benny in the title number “Guys and Dolls.”

As Arvide Abernathy, Ken Page has a twinkle in his eye and adds
poignancy to the “More I Cannot Wish You” number sung to his granddaughter,
Sarah. This is his 41st appearance at the Muny – and little-known
fact, he played Nicely-Nicely in the 1976 Broadway revival.

The musical has been revived two more times, in 1992 and
2009, with the 1992 version starring Nathan Lane and Faith Prince the most
acclaimed, winning four Tony Awards including Best Revival and running until 1995,
tallying 1,143 performances. The original “Guys and Dolls” won five Tony Awards
in 1951, including Best Musical, and has been a favorite among regional, school
and community groups for decades.

That renowned 1992 version’s spunk is evident in this Muny
production, but the cast makes it their own. They put a fresh sheen on the
characters, imbuing them with heart and humor, and it never sags.

This production is worth rejoicing about, starting out the
summer in swell fashion.

The Muny presents “Guys and Dolls” June 10 – 16 nightly at 8:15 p.m. in Forest Park. For tickets or more information, visit www.muny.org

Photos by Phillip Hamer.

Bright Lights Column: Breakthrough Time

Bright Lights Column: Breakthrough Time

By Lynn Venhaus
Managing Editor
You go, girls! Local singer-actors get national attention, and the St. Louis-produced Broadway musical “The Prom” made Thanksgiving Parade television history.
BREAKING OUT: We have a talented trio of local ladies who are living their dreams right now.
Lexi Krekorian, 27, of Waterloo, Ill., is one of the nine struggling musicians featured on the Netflix reality series, “Westside,” now available. She goes by the stage name, Alexandra Kay, and has released her first single, “You Think You Know Someone,” and several music videos of songs on the “Westside” soundtrack. She started out in school and community theater, and is chasing her dream in L.A. Here is the feature I wrote for the Belleville News-Democrat about her rising star.
https://www.bnd.com/living/magazine/article221600685.html
Kennedy Holmes of Florissant, the John Burroughs student and Muny Kid who is wowing the nation as a contestant on “The Voice,” made it through to the Top 11 Live Playoffs on Nov. 20. She sang “Wind Beneath My Wings” and is on Jennifer Hudson’s team, headed for the Top 10 showdown Nov. 26. Here is her Top 11 performance:
https://www.nbc.com/the-voice/video/kennedy-holmes-wind-beneath-my-wings/3832852
Thirteen proved to be lucky for Kennedy, as she was not among the 12 eliminated from the Top 24 Live Playoffs in Episode 13. She sang Beyonce’s “Halo.” “The Voice” is on Mondays and Tuesdays on NBC, with live voting the first night and results the second night. She is 13.
Meadow Nguy, providedMeadow Nguy, 23, of O’Fallon, Ill., performed in two musicals at Stray Dog Theatre (Marta in “Spring Awakening” in 2012 and the female lead in the original musical “Spellbound” in 2015), and in community and school theater. She guest-starred on the Nov. 18 episode of “Madam Secretary” called “Baby Steps,” as a Southeast Asia surrogate caught up in a human trafficking imbroglio . She made her crime-drama debut in ‘The Blacklist” earlier this year. Both shows available on demand. Here is the news article I wrote for the Belleville News-Democrat:
https://www.bnd.com/news/local/article221829910.html

***ATTABOY: Congratulations to Cory Finley, who scored a Film Independent Spirit Award nomination for Best First Screenplay for his “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. The awards are always announced the day before the Oscars, and this year, it will be Saturday, Feb. 23.
Focus Features photoIn fall 2017, the St. Louis Actors’ Studio presented Finley’s play, “The Feast.” A John Burroughs School grad, Finley’s movie opened nationwide in March after premiering at the Sundance Film Festival in January. It played the St. Louis International Film Festival in 2017.
Olivia Cooke (“Ready Player One,” “Me and Earl and the Dying Girl”) and Anya Taylor-Joy (“Split,” “The Witch”) play upper-class Connecticut teenagers who rekindle their unlikely friendship and hatch a plan to solve both of their problems — no matter what the cost. It’s the last film of Anton Yelchin.                                                                    Finley, who grew up in Clayton, is based in New York City. He is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater, has received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for his play, “The Feast,” at The Flea Theater. Check out www.thoroughbredsmovie.com
***STANDING O’s: Standing ovation for stand-up guy, Kwofe Coleman, who started as an usher at the Muny the summer of 1998, and now has been named managing director! He has served as Director of Marketing and Communications since 2013.
Kudos to the Cinema St. Louis team on their record-setting attendance of 28,723 at this year’s St. Louis International Film Festival Nov. 1 – 11. SLIFF screened 413 films, including 88 narrative features, 77 documentary features, and 248 shorts. Local actors are often seen in the regionally produced short films.

Cast members from “Disney’s Aladdin” presented “Sultan’s Soiree,” an exclusive cocktail reception, Nov 18 to benefit Broadway Cares/Equity Fights AIDS. Guests mingled while enjoying cocktails, hors d’oeuvres, photo opportunities, live entertainment and karaoke. To learn more, visit www.broadwaycares.org. Michael James Scott, a Webster University Conservatory graduate, is playing the Genie while Jonathan Weir, formerly of Belleville, is Jafar. “Aladdin” is at the Fox through Nov. 25.
***BIG SPLASH: The reviews are in, and it’s all raves for the new original musical comedy “The Prom,” which opened on Broadway Nov. 15 at the Longacre Theatre, following previews that began Oct. 23.
The New York Times said: “Makes you believe in musical comedy again.”
Variety said: “This original musical has laughs, tears and joy — not to mention jaw-dropping star-turns — in a clash-of-cultures hoot that earns a big Broadway corsage.”
Vanity Fair photoThe show has multiple local connections – Centralia, Ill., native Chad Beguelin is the co-book writer, with Bob Martin (co-creator of “The Drowsy Chaperone”) and lyricist, with music by Matthew Sklar. Beguelin wrote lyrics to Disney’s “Aladdin” and both he and Sklar were Tony-nominated for “The Wedding Singer.”
Some local producers include Jack Lane, executive director of Stages St. Louis; Ken and Nancy Kranzberg, Patty Gregory of Belleville, Terry Schnuck, Andrew S. Kuhlman of St. Louis and Fairview Heights native Joe Grandy. St. Louis performers Jack Sippel and Drew Reddington are part of the ensemble, and stars Beth Leavel and Christopher Sieber have appeared several times at The Muny. The Broadway cast also includes Brooks Ashmanskas (Tony nominee for ‘Something Rotten!”),
Casey Nicholaw, Tony winner for “The Book of Mormon,” directed and choreographed the show.
“The Prom” is about a canceled high school dance – a student is barred from bringing her girlfriend to the prom — and four fading Broadway stars who seize the opportunity to fight for justice — and a piece of the spotlight. Its tagline is “There’s no business like getting in other people’s business.”
***
NOBODY RAINED ON THEIR PARADE: “The Prom,” one of four musical acts in the 92nd annual Macy’s Thanksgiving Day Parade Nov. 22, made parade history with the first same-sex kiss televised live. As the number, “It’s Time to Dance,” closed, cast mates Isabelle McCalla and Caitlin Kinnunen embraced and kissed. The LGBTQ community cheered.
Here is that performance: https://youtu.be/VDZDLJjzJBI
Tony nominee Taylor Louderman of Bourbon, Mo., performed with the cast of “Mean Girls.” She plays Regina, the snotty leader of the cool girls’ pack. Taylor was last seen locally on the Muny stage in 2016’s “Aida” as Amneris.
Fun Fact: The dance company, Radio City Rockettes, was founded in St. Louis in 1925 by Russell Markert. First known as the “Missouri Rockets,” the precision chorus line has performed in Radio City Music Hall since 1932.
***HANNUKAH HULLABALOO: The eighth annual Brothers Lazaroff show to benefit Metro Theater Company will take place on Saturday, Dec. 8, at 7 p.m. at The Grandel Theatre, and all ages welcome.
The show will feature Rabbi James Stone Goodman and the Eight Nights Orchestra, DJ Boogieman, tributes to Bob Dylan, Leonard Cohen and more! As always, free latkes will be fried on-stage! Food vendors will include Taco Buddha, The Dark Room and STL-Style will be selling their St. Louis-inspired apparel.
***AROUND TOWN: Legendary Wilco founder and Belleville native Jeff Tweedy took to The Pageant stage with Jon Hamm Nov. 17 to discuss his storied career. The book tour stop was sold-out.
St. Louis Post-Dispatch photoThe Grammy-winning singer-songwriter’s memoir “Let’s Go (So We Can Get Back”): Memoir of Recording and Discording with Wilco, Etc.,” features stories about his childhood, putting Uncle Tupelo together, and recollections about St. Louis record store, rock clubs and live-music scene during his formative years.
Now based in Chicago, Tweedy can be spotted in the indie movie “Hearts Beat Loud” as a customer, in what else, a record store.
Playwright Vladimir Zelevinsky was in town for the opening weekend of West End Players Guild “The Great Seduction,” and graciously spoke to Tina Farmer of KDHX and I about his interesting life and writing process.
 
Zelevinsky also wrote “Manifest Destiny,” performed at WEPG in 2016, which was nominated for Best Ensemble by the St. Louis Theater Circle.
***SANTA’S COMING! I KNOW HIM: With the holiday essential film “Elf” as its next movies-for-foodies event, Tenacious Eats returns to the St. Louis Banquet Center in Holly Hills, at 5700 Leona Street, on Saturday, Dec. 15.
Guests will feast on five courses and have cocktails themed to the movie, and the event also includes contests and live music. Chef Liz Schuster has left West End Grill and Pub to devote more time to her cinema-and-theme-dining experience – and Tenacious Eats is known for its “full-contact dining experiences.” Tickets are on sale now at BrownPaperTickets.com.
***GO SEE A PLAY POLL: Ah, Church Ladies and Christmas Pageants are customary fixtures during the holiday season, so the folks behind the Lutheran laugh-apalooza, “Church Basement Ladies: Away in a Basement” have returned with a warm, sentimental and uproarious show.
Now playing at The Playhouse @ Westport through Jan. 6, this is a perfect show to take your mom or grandma to – and you can win two free tickets to the show if you enter our drawing.
Select a show from the list below to answer our question: “What is your favorite holiday-themed play or musical?”
 
The Best Christmas Pageant Ever
A Christmas Carol
A Christmas Story
Elf
Inspecting Carol
It’s a Wonderful Life
White Christmas
And send it via email, along with your name, cell phone and email address by 5 p.m. on Sunday, Nov. 25, to lynnvenhaus@gmail.com and you will be entered in a drawing. Winner will receive 2 tickets to an upcoming show.
In our last “Go See a Play” poll, Graham Emmons of St. Louis won two tickets to Rebel and Misfits’ “Macbeth: Come Like Shadows.” The survey’s response to best mystery play landed the 1952 classic “Dial M for Murder” by Frederick Knott op top, with “Wait Until Dark” – another Frederick Knott play from 1966 — a close second.
***FOSSE, VERDON AND ALL THAT JAZZ: The next show-biz limited series for FX will be “Fosse/Verdon” in 2019, about the legendary Broadway choreographer Bob Fosse and his professional and personal relationship with dancer Gwen Verdon.
Oscar winner Sam Rockwell is cast as Fosse while Oscar nominee Michelle Williams will be Verdon, returning to the network 20 years after “Dawson’s Creek.”
The cast features St. Louis native Norbert Leo Butz as writer Paddy Chayefsky, Margaret Quall as Ann Reinking and Nate Corddry as Neil Simon.
Lin-Manuel Miranda is executive-producing the eight episodes and “Hamilton” choreographer Andy Blankenbuehler is creating the dance.
***WHISTLING A HAPPY TUNE: The lavish acclaimed Tony-winning revival, “The King and I,” will be shown two nights at the Plaza Frontenac Cinema, on Nov 29 and Dec. 4 at 7 p.m. The Rodgers and Hammerstein musical filmed during its run at the London Palladium, June 21 to Sept. 29 and features more than 50 performers.
Kelli O’Hara reprised her Tony Award-winning performance and Tony and Oscar nominee Ken Watanabe played The King again. Tony winner Ruthie Ann Miles returned as Lady Thiang and West End “Aladdin” star Dean John Wilson and Na-Young Jeon played Lun Tha and Tuptim. Director Bartlett Sher reunited the original creative team.
***TRIVIA TIME-OUT: With St. Louis performers making a name for themselves on the national stage, here’s a little flashback to the halcyon days of “American Idol,” the big-bang of reality competition singing shows.
1. Who is the only St. Louisan to make “American Idol” Top Ten Finalists?
2. What “American Idol” winner tried out in St. Louis one of the two times auditions were held here?
Answers (both Season 4):
Nikko Smith, born Osborne Earl Jr., son of Cardinal Hall of Famer Ozzie Smith, who wound up ninth overall in 2005. He had been voted off in the third round of the semi-finals, but the producers asked him back to take the place of Mario Vazquez, who left for “family reasons.”
Carrie Underwood, who drove up with her mom from the family farm in Checotah, Okla., in 2004, sang “I Can’t Make You Love Me” by Bonnie Raitt.
Here’s that audition: https://youtu.be/P0j9NGV-Jm4
She just won CMA Female Vocalist of the Year, killed with a live awards show performance of “Love Wins” at six months’ pregnant, and has to date seven Grammy Awards, including Best New Artist in 2007, the only second country artist to win it.
St. Louis has hosted auditions for Seasons 4 and 11.
***WORD: “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” – Plato