The Muny’s Festive ‘Joseph’ Puts Audience in a Golden State of Mind

The Muny’s Festive ‘Joseph’ Puts Audience in a Golden State of Mind

By Lynn Venhaus
As frothy as a cappuccino and sweet as cotton candy, “Joseph and the Amazing Technicolor Dreamcoat” took hold of The Muny stage as a swirling kaleidoscope of color, a glittery burst of cheer from a youthful ensemble that brings it home.

In the first full season after the challenging post-pandemic years 2020-2021, The Muny wraps up a groundbreaking summer with this beloved big, splashy musical that has been here six times. Last produced in 2012, the show first arrived in 1986 and returned in 1997, 2002 and 2007.

With its technical razzle-dazzle matched by the effervescent Muny Kids and Teens in the youth ensemble and children’s choir, the entire company looked like they were at the happiest place on earth.

That engaged the crowd, and the charismatic principals Jason Gotay as golden child Joseph, Jessica Vosk as the regal Narrator, and Mykal Kilgore as the swaggering Pharoah elevated the wispy material, delivering knock-out performances.

Narrator and Potiphar. Photo by Phillip Hamer.

However, the show is not without heartache and adversity – with a turnaround because of strength, perseverance, and blessings, for it is based on the Old Testament Book of Genesis tale of Jacob, his favorite son Joseph, his 11 other sons, and that famous coat of many colors.  

After Joseph’s jealous brothers sell him into slavery, he impresses the Egyptian noble Potiphar, but then rejects his wife’s amorous advances, and is thrown in jail. While locked up, Joseph’s talent for interpreting dreams is put to good use. He ingratiates himself with the Pharoah because he offers a solution to the country’s famine, and that stroke of fortune results in Joseph becoming the Pharoah’s right-hand man. He is eventually reunited with his family.

In the stylized re-imagining by composer Andrew Lloyd Webber and lyricist Tim Rice, the story is told through song and dance.

Considered innovative in the 1970s, the musical comedy has expanded over time, and is now regarded as a family-friendly favorite staged by thousands of schools and groups in the U.S. and across the pond. 

The EGOT duo began this journey collaborating for the second time in 1968. Commissioned by a music teacher who was a family friend of Webber’s, their 15-minute pop cantata was performed at the Colet Court School in London. After more tinkering, it was recorded by Decca Records in 1969.

When their next piece, the rock opera “Jesus Christ Superstar,” skyrocketed them to fame in 1971, the earlier musical was stretched to 35 minutes for the Edinburgh International Festival the next year. More modifications followed, and the modern format was staged in 1974. It was mounted on Broadway in 1982 and nominated for seven Tony Awards. Revivals, tours and a 1999 direct-to-video film starred Donny Osmond followed.

Like the other pop Biblical musical of that era, Stephen Schwartz’s “Godspell,” it is re-interpreted for every presentation. Consider this the theme park ride version, with the youngsters displaying as much energy as those attending summer cheerleading camps.

Photo by Phillip Hamer.

It’s a swell dance party, briskly performed in several celebratory scenes and elaborate pastiches – including countrified “One More Angel in Heaven/Hoedown,” the French-inspired lament “Those Canaan Days,” island-flavored “Benjamin Calypso” and the grandmaster flashy finale “Megamix.”

The pleasant pop-py tunes “Any Dream Will Do” and “Go, Go, Go Joseph.” are certain to be hummable on your way home.

Music director Charlie Alterman, who won last year’s St Louis Theater Circle Award for “Chicago,” is adept at lively shows with many moving parts and his orchestras are a treat to listen to — and he’s aware of the Muny’s pit challenges this season.

Of course, a show directed and choreographed by Josh Rhodes would seize the day. Rhodes, who is known for his athletic and acrobatic dances, returns after successes helming “Jersey Boys,” “Paint Your Wagon” and that stunning tap number to “Putting on the Ritz” in 2016’s “Young Frankenstein.”

This is a show that requires a special set of skills, and Rhodes’ crisp and snappy choreography is flat-out fun. He was aided by associate choreographer Lee Wilkins and dance captain Emilie Renier.

In its last national tour in 2014, the ingenious three-time Tony Award winner Andy Blankenbuehler directed and choreographed a fresh interpretation that ran at the Fox Theatre that spring. That show featured American Idol finalist Ace Young as Joseph and his wife, fellow finalist Diana DeGarmo, as the Narrator.

The role of Joseph is often filled by a pop star – and teen heartthrobs David Cassidy, Andy Gibb and Donny Osmond have played the lead before. (And first American Idol runner-up Justin Guarini, who has played various roles at the Muny, was Joseph in 2012.)

At the Muny, Jason Gotay has won over hearts as a charming leading man, appearing as Prince Eric in “The Little Mermaid,” Prince Topher in “Rodgers + Hammerstein’s Cinderella” and as Jack in “Into the Woods.”

His strong velvety vocals emphasize he is no lightweight, heart-tugging in “Close Every Door.”  He commands the stage confidently, capably leading the large cast in the group numbers.

Mykal Kilgore as the Pharoah. Photo by Phillip Hamer.

However, the showstopper in this production is Mykal Kilgore.

One of my favorites since I saw him at the Muny Magic concert at the Sheldon in 2017, the affable Kilgore slays as the megawatt Pharoah. It’s as if James Brown and Little Richard had a baby.

 In a departure from the previous Elvis-like personas, Kilgore reaches back to his R&B roots for “Song of the King,” bringing the house down. The Pharoah’s stage time is brief, but his impact is mighty.

Jessica Vosk makes her Muny debut, playing a hands-on narrator who just doesn’t just observe the action from the sidelines, but propels it along. Here, she is a surrogate mother hen to the youngsters as she tells the tale.

Vosk has the powerful pipes to fill an arena and is well-suited for this grand production. She has played the role before, in the 50th anniversary show at the Lincoln Center, and is remarkably assured while the action bubbles up around her.

Other noteworthy debuts are multi-hyphenate Eric Jordan Young in the dual role of well-meaning Jacob and flamboyant Potiphar, and Darron Hayes as playful Judah, who takes the lead in “Benjamin Calypso.”

The adult choir is chock-full of Muny regulars, and some familiar castmates are playing brothers. Dynamic Harris Milgrim, a standout as Benjamin in last year’s “Seven Brides for Seven Brothers,” is again as Reuben in “One More Angel.”

Sean Ewing, in his third season at the Muny, is second son Simeon, amusing in “Old Canaan Days.”

Not all the hijinks work, for the mashups often are silly, and the gaudy pageantry can easily slide into trivial frivolity, but that’s the problem with the show itself. As the years ago on, they keep gilding the lily, adding more to an already over-the-top show. But it remains a huge crowd-pleaser.

And the joyous look on those kids’ faces on stage said it all. (I counted 40 in the youth ensemble and 14 in the children’s choir, in addition to the 19 in ensemble, not to mention principals.)

Photo by Phillip Hamer.

Edward E. Haynes Jr., the award-winning scenic designer for “Smokey Joe’s Café” last year, combines glitz, a Skittles rainbow of bold colors, and Egyptian symbols for the second act, in a whimsical set reminiscent of Tim Burton and the Marvel superheroes’ cinematic universe.

In a stunning backdrop, he references King Tutankhamen’s gold headdress in a giant piece anchoring a fancy staircase with neon piping..

Video designer Greg Emetaz is in sync with Haynes’ vision, and an extension of the gold-plated theme uniting the looks is on the LED screens.

Costume designer Leon Dobkowski references Vegas showgirls, exotic images and B.C. looks to create sparkly outfits and a sunny vibe. His elaborate headdresses are something special to see. The different gold fabrics stand out in garments, and kudos to wig designer Kelly Jordan for the Pharoah’s massive ‘do.

Jason Lyons’ lighting design capitalizes on the wonder and magical parts, and smartly ascertains between the dreamy sequences and the dark times.

It’s fitting that The Muny focused on home, family, relying on each other and connection for the last show of the 104th season, particularly after what they endured from mid-June to now with the double-whammy of back-to-back floods, extreme heat – even by St. Louis standards (oh you layered Edwardian Londoners in “Mary Poppins”!), and a new strain of COVID-19 on the rise in the region (but thanks to understudies and swings, the shows went on).

In his annual farewell address, Mike Isaacson, executive producer and artistic director since 2011, joked that the season was ‘biblical,’ and who could argue?

Known for its fizzy fun, “Joseph” delivered a spectacle to end the season on a high-spirited note.

If you think of the Muny in terms of a summer vacation, “Chicago” was nightlife fun, “Camelot” was a Renaissance Faire, “Mary Poppins” was a trip to the Magic House, “Legally Blonde” was a class reunion, “Sweeney Todd” was visiting the Louvre, “The Color Purple” was the Smithsonian and “Joseph and the Amazing Technicolor Dreamcoat” was a trip to Disneyland.

Until we meet again under the stars in Forest Park, here’s raising a glass to a summer tradition that I am grateful for, and will never ever take for granted.

Cast of ‘Joseph.’ Photo by Phillip Hamer.

The Muny presents the musical “Joseph and The Amazing Technicolor Dreamcoat” Aug.13-18 at 8:15 pm. Performances take place on the outdoor stage in Forest Park. For more information, visit www. muny.org.

Eric Jordan Young. Photo by Phillip Hamer.

Mighty Muny Effort to Transform ‘Seven Brides for Seven Brothers’

Mighty Muny Effort to Transform ‘Seven Brides for Seven Brothers’

By Lynn Venhaus
Inspired by an adored golden-age movie musical 67 years ago, the stage version of “Seven Brides for Seven Brothers” has been updated to rework some of the more problematic portions of the plot for contemporary audiences.

While the Muny’s latest production tries mightily to breathe new life into one of the more neanderthal mid-century musicals, selling the macho characters is a pesky issue to overcome – even with a cast deep with exceptionally skilled dancers and singers.

Head of an all-male household in the mountains, Adam’s caveman way of thinking has influenced his uncultured backwoods brothers. However, they have their ‘teachable’ moments in the revamped book.

The focus on the uncouth siblings becoming more civilized around women – as they have zero experience with the opposite sex – is part of the show’s enduring charm.

They are tutored by their new sister-in-law, the dissatisfied yet determined townswoman Milly (Kendra Kassebaum). Though strong-willed, she is coerced into marrying Adam (Edward Watts) in a weak moment when he comes to town on a woman-hunt.

We can look it this as a ‘glass half full’ or a ‘glass half-empty’ experience.

After all, that is the period. The time is 1850, during the great migration to the Pacific Northwest on The Oregon Trail, when men still acted like women were property, and society felt marriage was in part a financial transaction.

In so many words, people didn’t discuss gender politics. Times, as they tend to do, have changed. But we are still evolving as a society, and theater must address the modern sensibilities to stay relevant. Musical theater, by virtue of its history, is forced to mirror those changes, and this discussion will be ongoing.

As we are painfully aware, during this 21st century, particularly in the last five years, with the #MeToo and #Time’s Up movements, the old-fashioned sexist attitudes on display in the old chestnuts are hard to get beyond. (Think of the abused women in “Carousel” and “Oliver!”). In the upcoming “Chicago,” we hear another side from fed-up females in “Cell Block Tango.”

Thankfully, among the improvements to “Seven Brides for Seven Brothers,” they have removed Adam’s song, “A Woman Ought to Know Her Place,” and Milly’s “One Man.”

Edward Watts and Kendra Kassebaum as Adam and Milly. Photo by Phillip Hamer.

They have added a feisty “I Married Seven Brothers” for a peeved Milly – a highlight for Kassebaum — and “Where Were You?” as a vehicle for Adam to vent his anger from his perspective.

Nevertheless, a musical that is based on a Stephen Vincent Benet short story, “The Sobbin’ Women,” which was shaped by an ancient Roman legend called “The Rape of the Sabine Women,” that’s just hard to spin – and swallow — these days. And the plot hinges on the other six brothers encouraged to kidnap women they took a shine to in town, so that is a controversial hurdle.

And despite a Herculean effort from the Muny’s creative team to focus on a battle of the sexes and bring out the personality and humor, the aggressive song “Sobbin’ Women” and some of the remaining dialogue are wince-inducing, even like nails on a chalkboard.

I know, I know – people generally go to musical theater to be entertained, to escape the realities of daily life and usually aren’t seeking enlightenment while enjoying song and dance. They are just fine taking a respite, blissfully unaware of the real world. They enjoy a bouncy, tuneful musical and take it all in stride.

That’s not me. So, this review is from my perspective. As a friend said, “Every musical is someone’s favorite.” I had to keep reminding myself: “Context.”

It’s like my inexplicable fondness for “Mamma Mia!” Everything screams silly, but I love it, and have seen it at least six times — reminds me of “Gidget” movies when I was growing up, comfort food for the soul.

Under a magnifying glass, many musicals can’t hold up to current scrutiny, but that debate will keep on keeping on.

Peruse a list of musicals from the 1940s through 1970s, and so many female characters are underwritten – typically waiting for a man to rescue her or change her life, which should be annoying to current generations.

Modern musical theater has hopefully moved beyond that. Maybe someday our princes will come, but none of that royal superiority, he’ll be on equal footing, and in the meantime, we’re following paths trailblazed by women who clamored to be heard.

Next week’s “On Your Feet!” will show a true partnership between a husband and a wife, Gloria and Emilio Estefan.

“Seven Brides for Seven Brothers” isn’t the first musical to deal with deception – for starters, the list includes “Light in the Piazza,” “The Most Happy Fella,” “Dirty Rotten Scoundrels,” “A Funny Thing Happened on the Way to the Forum” (and ‘go!’), among others.

And bull-headed Adam and assertive Milly work on trust issues to advance the plot.

People really do have affection for the 1954 movie. It was nominated for Best Picture, losing the Oscar to “On the Waterfront,” but won Best Scoring of a Musical Picture. In 2006, the American Film Institute named it one of the best American musicals ever made, and in 2004, the Library of Congress’ U.S. National Film Registry selected it for preservation because of it being “culturally, historically or aesthetically significant.”

Many fans enjoy the nostalgia, the appealing leads – brawny Howard Keel as Adam and sweet girl-next-door Jane Powell as Milly, plus the gymnastic Russ Tamblyn as youngest brother Gideon, and foremost, those rousing dance numbers.

The Muny drew 6,907 patrons on opening night. This is the sixth time the Muny has produced the show. Taking a cue from a reworked version by the Goodspeed Opera House in 2005, brought in David Landay, an original co-writer of the stage play, to do some rewrites and editing. A female contribution may have been helpful too.

The script feels like whiplash. One minute, the women are acting empowered, and the next minute the guys seem in “Me, Tarzan, you Jane” mode. It’s like when people attempt to update Shakespeare by a couple hundred years, but don’t commit to a wholly new vision.

Oh well. Baby steps. Growth is good.

In recent years, the Muny has resurrected some of the creakier shows and presented versions with freshened books – most notably “The Unsinkable Molly Brown” and “Paint Your Wagon,” both of which I enjoyed.

I was hoping this would be similar. Several members of the “Paint Your Wagon” production team have returned for this reboot, including director-choreographer Josh Rhodes and associate director-choreographer Lee Wilkins, along with music supervisor Sinai Tabak.

The music direction by Valerie Gebert is crisp. Additional arrangements and orchestrations are by Larry Blank and Mark Cumberland. That’s quite a collaboration.

The Muny was one of the first theaters in America to present the stage adaptation of the movie, back in 1978 during a pre-Broadway tryout. The new stage show didn’t make it to Broadway until 1982; its last year at the Muny was 2011.

The music retained from the movie, written by Saul Chaplin and Gene de Paul, with lyrics by Johnny Mercer, includes “Bless Your Beautiful Hide,” “Wonderful Wonderful Day,” “Lonesome Polecat” and “Goin’ Courtin’.”

Al Kasha and Joel Hirschhorn wrote “Love Never Goes Away,” “We Gotta Make It Through the Winter,” and “Glad That You Were Born” for the stage show.

The maidens in The Quilt Dance. Photo by Phillip Hamer.

The show has always been considered a major dance vehicle, and five-time Tony Award winning choreographer Michael Kidd cemented his reputation through his robust barn-raising dance and his movements based on reality.

Kidd’s unpretentious style earned him Tony Awards in “Guys and Dolls,” “Can-Can,” “Lil Abner,” “Finian’s Rainbow” and “Destry Rides Again,” and lasting Hollywood admiration (check out Danny Kaye in “Knock on Wood.”)

His uncommon approach transformed frontier chores into rollicking dance numbers. He once said if he had made slobs in the woods break out in ballet, people would have ridiculed it.

And the Muny has assembled an outstanding dozen triple threats to portray the men and women going courting – the Pontipee brothers show off their muscular moves in “The Challenge Dance” at the church social while the maids-in-waiting demonstrate a graceful, sophisticated elegance in “The Quilting Dance.” The finale, “The Wedding Dance,” wraps everything up on an enthusiastic, happy note as a long winter has turned into spring.

Rhodes has emphasized the ensemble’s energy and spotlighted the athletic and acrobatic dances. He helmed an exhilarating “Newsies” in 2017 and has finessed these pieces with vigor.

Kassebaum, who grew up in St. Louis, was impressive as lovable and comical showgirl Adelaide in the 2019 “Guys and Dolls” (and won a St. Louis Theater Circle Award for that performance). She is an emphatic Milly, strong in voice and spirit.

Edward Watts, saddled with a distracting shaggy hairstyle, struggled with the push-pull of that stubborn barbaric character, but is assured in his commanding vocal numbers and a sturdy physical presence as the dominant hero.

The brothers, nowhere near as educated as the snotty East Coast-bred smart-alecks running the town, show plenty of spirit and ‘street smarts’ when they are struck by love and try to impress the town maidens.

Raised to think marriage is the end-all for their young lives learning how to cook, sew and clean, the women must play the stereotype common to the era. But here, they have a tad more gumption, individually attracted to the guys, no matter what their dads say.

Harris Milgrim is a standout as second-oldest brother Benjamin, and lithe Carly Blake Sebouhian’s beautiful movements and ballet-training are noticeable as Martha.

The seven brothers. Photo by Phillip Hamer.

The limber Pontipee lads include Waldemar Quinones-Villanueva as Caleb, Ryan Steele as Daniel, Garett Hawe as Ephraim, 4-time Muny vet Kyle Coffman as the tempestuous Frank, and Brandon L. Whitmore as Gideon.

The supple refined city girls are Leslie Donna Flesner as Dorcas, Shonica Gooden as Sarah, Sarah Meahl as Ruth, Mikayla Renfrow as Alice and Kristin Yancy as Liza.  

Michael Schweikardt has provided majestic mountains to convey the grand open spaces and dense forests for the topography while video designer Caite Hevner’s striking work on the changing seasons and the Echo Pass avalanche are spectacular. Schweikardt’s multi-floor log farmhouse is masterful in levels and details.

While some shows like the culturally inappropriate “Flower Drum Song” have unofficially been ‘retired,’ the jury is obviously still out on this show. The passionate performers carry this one here over the threshold

A look back can be a step forward in some instances. The Muny has put a tremendous amount of effort in making this production palatable for its multi-generational audience. Yet, the outdated debate will continue.

As Thursday’s opening night rainout indicated, patience is a virtue. Not to be a Debbie Downer, this isn’t a step backwards, but some of us are ready to move on.

The company of “Seven Brides for Seven Brothers.” Photo by Phillip Hamer.

“Seven Brides for Seven Brothers” is at 8:15 p.m. through Wednesday, Aug. 18, at the Muny outdoor stage in Forest Park.

The shows remaining are Seven Brides for Seven Brothers (Aug. 12 – 18), On Your Feet! (Aug. 21 – 27) and Chicago (Aug. 30 – Sept. 5). For more information, visit muny.org. 

Tickets can be purchased in person at the box office, online at muny.org or by phone by calling (314) 534-1111.

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.


Muny Photos by Phillip Hamer.

Big Dreams, Big Voices Boost ‘Paint Your Wagon’ Makeover at The Muny

Big Dreams, Big Voices Boost ‘Paint Your Wagon’ Makeover at The Muny

By Lynn Venhaus
Managing Editor
Eureka! A robust makeover to an unremarkable ‘50s era musical “Paint Your
Wagon” has hit pay dirt on the Muny stage.

Those behind the new edition have dreamed as big as the
characters in this fresh look at the American identity, those yearning for a
better life who came over land and by sea, as many as 300,000 during the
rough-and-tumble California Gold Rush.

It’s one of our nation’s most significant tipping points (1848-1855).
The musical, set in a mining camp in 1853, has everything we associate with
those rugged settlers – the wild untamed west, the wide-open spaces and the
pioneer spirit, only this version sharpens the American melting pot feel.

Despite its Alan Jay Lerner and Frederick Loewe pedigree,
the 1951 homage to the Old West had fallen out of favor – not that it ever was
a hot property, for it had only run on Broadway for 289 performances. And then,
there was the much-maligned 1969 movie starring those songbirds Lee Marvin and
Clint Eastwood (27 percent on Rotten Tomatoes!).

The latest incarnation, developed by the Frederick Loewe
Foundation and playwright Jon Marans, has new orchestrations, vocal
arrangements, dance and characters – and presents the reimagined story through
a different lens. You won’t be able to forget this one, an unvarnished snapshot
that touches on bigotry and prejudices as fortune seekers headed West.

Photo by Phillip HamerMarans has focused on historical accuracy and made deep
incisions so that it’s not merely unsatisfying filler between the signature
songs “They Call the Wind Maria,” “I Talk to the Trees” and “Wand’rin’ Star,”
but a journey about lives and loves with real emotional heft.

Those compelling changes are as much a surprise as Josh
Rhodes’ inspired direction and innovative choreography, assisted by Lee
Wilkins, because they have rescued an otherwise lightweight show and connected
with a modern audience.

Marans wrote the 1996 Pulitzer Prize-nominated play “Old
Wicked Songs,” a character study about a Holocaust survivor and his burnt-out
pupil. A New Jewish Theatre production won Best Drama at the St. Louis Theater
Circle Awards in 2017.

The story still has brawny prospector Ben Rumson (Matt Bogart) as the strong center, the enterprising leader among the rag-tag settlers of “No Name City,” but in the first act, the only female is not his daughter, as the earlier incarnations, but his lovable new wife, Cayla (Mamie Parris).

He ‘wins’ her in a bidding contest, like a commodity, for
she has been abused by her despicable lout of a husband (Michael James Reed,
yelling at 11). Well, that was awkward. Parris, so winning as Irene in the 2014
“Hello, Dolly!,” conveys genuine warmth and caring, and her lilting voice is
lovely.

Mamie Parris and Matt Bogart. Photo by Phillip HamerBogart and Parris have combustible chemistry, and their harmonies mesh beautifully. While Bogart didn’t seem to be as smooth as other performers on opening night, he delivered an electric “They Call the Wind Maria,” and his other numbers showcased his commanding baritone.

After striking it rich, sturdy Ben becomes the boomtown’s
chief developer. Now named Rumson City, the outpost becomes home to Rumson
Palace in the second act, a place for socializing and gambling that he
envisioned for everybody.

Michael Schweikardt’s scenic design is a distinct mix of awe-inspiring
panoramic exteriors and fresh-hewed lumber interiors. Lighting designer John
Lasiter makes the night sky glow while video design by Caite Hevner expanded picture
postcard vistas.

However, Ben’s one-world theory isn’t exactly practiced when his right-hand man Armando (Omar Lopez-Cepero), whose wealthy and cultured family lived in the Mexican territory of northern California,  takes a shine to Rumson’s feisty daughter, Jennifer (Maya Keleher), who has traveled from the East Coast to join her father.

Much to the horror of his college-educated daughter and wife,
Rumson will not accept the Armando-Jennifer union, therefore not practicing
what he preaches. His luster is dimmed, only to see him work through those
feelings.

Racism is rampant among the rowdy miners, who are frustrated
and fearful of the ‘foreigners.’ Two brothers from China, Ming Li (St. Louis
native Austin Ku) and Guang Li (Raymond J. Lee), once of royal lineage now just
wanting to survive; a down-on-his-luck Irish immigrant William (Bobby Conte
Thornton), who regrets leaving his family but is desperate to provide for them after
the Great Famine (aka Irish Potato Famine); two African-Americans, free man H.
Ford (Rodney Hicks) and slave Wesley (Allan K. Washington); and Europeans of
various nationalities all jostle for their piece of the pie.

Ku, Lee, Thornton, Hicks and Washington are outstanding talents who immersed themselves in these meatier roles. And the men revealed bold and controlled voices in such numbers as “How Can I Wait?” and “Four Hundred People Came to No Name City.”

Allan K. Washington and Rodney Hicks. Photo by Phillip HamerSome of the characters are contemptible, especially Preston
Truman Boyd as an intolerable loudmouth Jake, a Southerner who owns a tavern
and looks at all of life as transactional.

Sinai Tabak is conducting the Muny orchestra for the first
time, and the richly textured sound adds another layer of complexity to a testosterone-heavy
show. There is a harp among all the strings, and the sounds of country and bluegrass
impart an Americana homespun feel.

One is reminded how elegant and lyrical Lerner and Loewe
were, as this show was written in between the more successful “Brigadoon”
(1947) and “My Fair Lady” (1956). 

Photo by Phillip HamerThe dancing girls show up in the second act, in quite the
entrance – arriving by stagecoach, “There’s a Coach Comin’ In.” Two magnificent
Clydesdale horses pull them – and the audience went crazy.

Some of the lonely men lose their way and go a little batty,
and this 180-degree turn, while true to life, is disconcerting. Gold fever makes
some of the men envious, greedy and bitter. Things get ugly, reminding us that
while the high road is preferred, human nature suggests otherwise. This is harsh
and hard-hitting, recovering in a hail of hope. If you are expecting fluff,
this is not that kind of show, dancing girls aside.

Nevertheless, the performers are indeed the gold nuggets
enticing us to make the emotional investment. The vocal prowess on display is as
breathtaking as the scenery, so it’s unfortunate there was a myriad of uncharacteristic
sound issues Saturday – static, mics cutting out or not on for singers, and
rough patches. Sound design is by John Shivers and David Patridge.

“Paint Your Wagon” was one of those lackluster second-rate musicals whose contemporary overhaul is quite an accomplishment, and the Muny has polished it with tender loving care. You might as well forget any previous version.

A new world premiere production in Los Angeles, with a revised
libretto by David Rambo, ran from Nov. 23, 2004 to Jan. 9, 2005. Then a fall
2007 production by the Pioneer Theatre Company in Salt Lake City, Utah had a
cast of nearly 30. An Encores! Staged concert production in New York City in
March 2015 starred Keith Carradine as Rumson and Justin Guarini as Julio.

There is no Julio here, replaced by Armando. It’s a stronger role, and Lopez-Cepero unleashes a glorious voice in his standout performance. His “Carino Mio” duet with Keleher is lush and romantic.

Photo by Phillip HamerHelping to shape the in-the-works musical is a natural fit
for the Muny, for it presented spirited reboots of “The Unsinkable Molly Brown”
in 2017 and “The Wiz” last year. During the Mike Isaacson era, the emphasis on
imagination and the theme of home has been recurring elements. So, it’s no
surprise that the Mother Lode Muny is again a birthplace, producing in
association with On the Wagon Productions and Garmar Ventures.

By virtue of its American patchwork quilt make-up, “Paint Your Wagon” may remind people of “Oklahoma!” – especially that number pleading harmony, “The Farmer and the Cowman Should Be Friends,” but I recalled “Fiddler on the Roof” instead, a proud community clinging to its customs but having to move forward at great sacrifice for survival. In the West, hardships knocked down many a soul, but hope springs eternal in “Paint Your Wagon,” and smartly addressing changing tides so dramatically will be able to resonate. You can hear America singing with its varied voices. The Muny presents “Paint Your Wagon” evenings at 8:15 p.m. July 27 – Aug. 2. For more information, visit www.muny.org.

Bobby Conte Thornton as William. Photo by Phillip Hamer