‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

By CB Adams

Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations. 

“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour. 

Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances. 

To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell. 

As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.  

“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement. 

Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.

As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way. 

“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family. 

The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders. 

This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”

Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com   

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.

Complete Cast, Design and Production Team for Muny’s ‘Guys and Dolls’ Announced

Complete Cast, Design and Production Team for Muny’s ‘Guys and Dolls’ Announced

Ken Page to Star in his 41st Muny Show

The Muny announced today its complete cast, design and production team for Guys and Dolls, the first show of its second century, June 10 – 16. Guys and Dolls is proudly sponsored by Wells Fargo Advisors.

“We soar into our second century with one of the most beloved musicals of the last century,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I can’t wait to see this amazing production on our beautiful new stage. Luck be a producer, indeed.”

Joining the previously announced Ben Davis (Sky Masterson), Brittany Bradford (Sarah Brown), Jordan Gelber (Nathan Detroit) and Kendra Kassebaum (Miss Adelaide) are Ken Page (ArvideAbernathy), Doreen Montalvo (General Cartwright), Orville Mendoza (Nicely-Nicely Johnson), Jared Gertner (Benny Southstreet), Brendan Averett (Big Jule), Kevin Cahoon (Harry the Horse) and Rich Pisarkiewicz (Lt. Brannigan). A high-rolling ensemble completes this cast, including Calvin Cooper, Darien Crago, Colby Dezelick, Tyler Eisenreich, Whitney G-Bowley, Berklea Going, Julie Hanson, Jeff Kuhr, Alicia Lundgren, Erin N. Moore, Jevares Myrick, Michael Santomassimo, Michaeljon Slinger, Matthew Steffens, Keith Tyrone, Amy Van Norstrand, Jerry Vogel and Sharrod Williams. The company will also be joined by the Muny Kid and Teen youth ensemble.

As previously announced, Guys and Dolls is directed by Gordon Greenberg and co-choreographed by Lorin Latarro and Patrick O’Neill with music direction by Brad Haak.

This production includes scenic design by Paul Tate dePoo III, costume design by Tristan Raines, lighting design by Rob Denton, sound design by John Shivers and David Patridge, video design by Nathan W. Scheuer and wig design by Leah J. Loukas. Production stage manager is Nancy Uffner.

Ben Davis

BEN DAVIS (Sky Masterson) Muny: Jesus Christ Superstar (Pilate), Oklahoma! (Curly); South Pacific (Emile), Spamalot (Galahad). Ben was most recently seen as Cosmo Constantine in New York City Center’s Encores! Call Me Madam, opposite Carmen Cusack. Broadway: 2003 Tony Honor for La Bohème (Marcello), Dear Evan Hansen (Larry), Violet (Preacher), A Little Night Music, Les Misérables(Javert and Enjolras), Thoroughly Modern Millie (Trevor Graydon). Tours: The Sound of Music (Georg von Trapp), Spamalot (Galahad). Regional: Kiss Me, Kate (Fred/Petruchio) at The 5th Avenue Theatre. UK: BBC Proms Kiss Me, Kate (Fred/Petruchio). Concerts: Philly Pops, Boston Pops, LA Philharmonic, RTÉ and many others. Film/TV: Blue Bloods, A Hand of Bridge, The Magic Flute, 30 Rock, Numb3rs. www.benjaminjaydavis.com

Actor | New York | Headshot| Brittany Bradford

BRITTANY BRADFORD (Sarah Brown) Muny debut! Brittany was recently seen in Roundabout Theatre Company’s production of Merrily We Roll Along, staged by the critically-acclaimed Fiasco Theater. She made her Broadway debut last fall as Ophelia in Bernhardt/Hamlet opposite Janet McTeer. Additional credits: For Colored Girls… (Public Theater), Flyin’ West (Westport Country Playhouse), Family Resemblance (Eugene O’Neill), The Profane and Taming of the Shrew (Chautauqua Theater Company), A Midsummer Night’s Dream (Ten Thousand Things Theater), Neighbors, AvenueQ and Next to Normal (Mixed Blood Theatre), Ragtime and Stick Fly (Park Square Theatre). 2018 graduate of The Juilliard School, Group 47. Credits: Father Comes Home from the Wars, Hoodoo Love, Triumph of Love, King Lear, Cymbeline, Christina Martinez and The Marriage of Bette and Boo. Co-Founder of HomeBase Theatre Collective. www.brittany-bradford.com

JORDAN GELBER (Nathan Detroit) Muny debut! Broadway: Sunday in the Park with George, Elf the Musical (Buddy), All My Sons, Avenue Q (original cast, special Outer Critics Circle Award). Off-Broadway: John Guare’s Nantucket Sleigh Ride (Lincoln Center Theater), Mike Leigh’s 2000 Years, Avenue Q, The Joke, Birth and After Birth. TV: Elementary, Mr. Robot, Mindhunter, Insatiable, Boardwalk Empire, Nurse Jackie, The Good Wife, Rescue Me, Ugly Betty, first three Law & Order series (recurring on SVU), The Sopranos, 100 Centre Street. Film: (upcoming) The Kitchen, Bleed for This, Dark Horse, The Taking of Pelham 1 2 3, Before the Devil Knows You’re Dead, Everyday People (IFP/Gotham Award nominee for Breakthrough Acting), Riding in Cars With Boys, Changing Lanes. BA, Stanford University; MFA, NYU Tisch Graduate Acting (2000 Laura Pels Award). www.JordanGelber.com

KENDRA KASSEBAUM (Miss Adelaide) Muny: A Chorus Line (Val). On Broadway, Kendra originated the role of Janice in the Tony-nominated production of Come From Away as well as Sam in Leap of Faith. She played Glinda in Wicked on Broadway, in San Francisco and on the first national tour (Helen Hayes nominee). Other New York: The Receptionist (MTC) and the Tony Award-winning, Grammy-nominated production of Assassins, both directed by Joe Mantello. Kendra made her Broadway debut in Rent. For the Roundabout, she performed the role of Petra in A Little Night Music starring Vanessa Redgrave and Natasha Richardson. Kassebaum’s regional appearances include Actors Theatre of Louisville, The 5th Avenue Theatre, ACT, Ordway and Florida Stage. Film: The Other Woman (with Natalie Portman and Lisa Kudrow).

Ken Page will be in his 41st Muny show

KEN PAGE(Arvide Abernathy) is proud to be part of the 101st season of The Muny. This will be his forty-first show on the stage and his fourth year as “the voice” of the theatre. Ken made his Broadway debut as Nicely-Nicely Johnson in the all-black revival of Guys and Dolls, receiving the Theatre World Award for his performance. This year, he received a Lifetime Achievement Award from The St. Louis Arts & Education Council and directed a sold-out run of Love, Linda with Max & Louie Productions. Recent/upcoming: live-to-film concerts of Disney’s The Little Mermaid (Sebastian) at the Hollywood Bowl,Grumpy Old Men (La Mirada Theatre) and the UK live-to-film tour re-creating his role of Oogie Boogie in The Nightmare Before Christmas. 

DOREEN MONTALVO (General Cartwright) Muny debut! Broadway: On Your Feet! (Gloria, original Broadway cast); In the Heights (original Broadway cast, Drama Desk Award). Off-Broadway: Curvy Widow (Heidi, Westside Theatre), Giant (Lupe, The Public Theater), Flashdance The Musical (Louise), Mamma Mia! (Tanya); In the Heights (Camila, Westport Country Playhouse), American Mariachi(Denver Center/Old Globe), La Lupe (Lupe, Puerto Rican Traveling Theatre), In the Heights (37 Arts), Havana Under the Sea (Cecilia, INTAR Theatre). TV/Film: Law & Order, Elementary, Madam Secretary, The Tale of Timmy Two Chins, Smash, All My Children, One Life to Live. Recordings: American Soul/Latin Heart, Disney’s Moana soundtrack. Live: 54 Below, Joe’s Pub, The Metropolitan Room, The Duplex, Green Room 42. www.doreenmontalvo.com

ORVILLE MENDOZA (Nicely-Nicely Johnson) is thrilled to be back at The Muny where he got his Equity card 25 years ago in The King and I. Other Muny: Miss Saigon (2001), The King and I (2006), Godspell (2009). Broadway: Peter and the Starcatcher, Pacific Overtures. Most recently, the world premiere of The Heart of Rock and Roll (Old Globe, coming to Broadway). Previously, he toured with Small Mouth Sounds (Ars Nova). Off-Broadway: Found (Atlantic Theater Company), Pacific Overtures, Passion (Classic Stage Company); Romeo and Juliet, Timon of Athens and Road Show all at The Public Theater/NYSF. He’s worked all across the U.S. from La Jolla Playhouse to Long Wharf Theatre. TV: The Blacklist, Law & Order: CI and many commercials. Drama Desk nominee and Barrymore Award winner. www.orvillemendoza.com

JARED GERTNER (Benny Southstreet) Muny debut! Jared is best known for playing Elder Cunningham in The Book of Mormon on Broadway, on the first national tour and in London (Olivier nomination). Other New York: The 25th Annual Putnam County Spelling Bee (Broadway) and Ordinary Days (off-Broadway, premiere). Regional: Repertory Theatre of St. Louis, Cincinnati Playhouse, Goodspeed, The Fulton, Cape Playhouse and Sacramento Music Circus. Television: Mom, Modern Family, 2 Broke Girls, Supernatural, Superior Donuts, How I Met Your Mother, Marvel’s Agent Carter, Ugly Betty, The Good Wife, American Dad, Family Guy and the popular Broadway-themed web series, Submissions Only. Jared also starred in an NBC pilot called How We Live. Film: Nightmare Cinema(upcoming), Smallfoot and Pup Star. Education: NYU’s Tisch School of the Arts. Twitter: @JaredGertner Instagram: @Jaredgertner1

BRENDAN AVERETT (Big Jule) is excited to make his Muny debut. Off-Broadway: Hamlet (Waterwell), Sam and Dede (Custom Made Theatre/59E59), Titus Andronicus (NY Shakespeare Exchange), The Killer, A Midsummer Night’s Dream (TFANA), As You Like It (Shakespeare in the Park), Massacre: Sing to Your Children (Rattlestick), Hamlet (Gallery Players), Passion Play (Epic Theatre Ensemble). Tours: Guys and Dolls. Regional: The Comedy of Errors, Kiss Me, Kate (Hartford Stage), Romeo and Juliet(Actors Theatre of Louisville), Of Mice and Men (Cincinnati Playhouse in the Park), Cyrano de Bergerac, The Tempest (Theatricum Botanicum), Henry V (California Shakespeare Company), Bloody Poetry, The Alchemist (Everyman Theatre), Measure for Measure, Guys and Dolls, The Swanne: Pt. III(Stratford Shakespeare Festival of Canada). TV/Film: Law & Order: SVU, Trapped in the Closet, Blossom. Former Associate Producer for NYSX’s The Sonnet Project.

KEVIN CAHOON (Harry the Horse) Muny: The Wizard of Oz and Spamalot. Broadway: The Wedding Singer, Chitty Chitty Bang Bang, The Lion King, The Rocky Horror Show revival and The Who’s Tommy(debut). Off-Broadway: original Hedwig and The Angry Inch, How I Learned to Drive (Second Stage), The Foreigner (Roundabout, Lortel nomination), The Shaggs (Playwrights Horizons), The Wild Party (Manhattan Theatre Club), Hair and Babes in Arms (NY City Center Encores!). Regional: The Old Globe, Guthrie, Williamstown. TV: A Series of Unfortunate Events, Glow (upcoming), Nurse Jackie, Elementary, NCIS, Modern Family, The Mentalist, The Good Wife, CSI, Odd Mom Out, Six Degrees, Black Box, The Royale, Law & Order (original/CI). Film: I Am Michael, Mars Needs Moms, The Thing About My Folks, Curse of The Jade Scorpion. Debut album: Doll (OutMusic Award).

RICH PISARKIEWICZ (Lt. Brannigan) Muny 101 marks Rich’s 38th season on the Muny boards, appearing in over 80 productions, including last season’s An Evening with the Stars and Annie. He has appeared regionally with The Fox Theatres (Atlanta and St. Louis), Dallas Summer Musicals, Kansas City Starlight, and locally with Stages St. Louis, Shakespeare Festival St. Louis, Repertory Theatre of St. Louis, The Black Rep, Westport Playhouse and Opera Theatre of Saint Louis. He has also enjoyed working with the Variety Theatre in several productions, most recently The Wizard of Oz. Upcoming: Man of La Mancha (Stages St. Louis). 2019 is his 41st year in professional theatre beginning with 1776 at Summerstage in 1979.

Link for more information: muny.org/guys-and-dolls.

About the show:

Guys and Dolls is based on a story and characters of Damon Runyon with music and lyrics by Frank Loesser and a book by Jo Swerling and Abe Burrows. 

Considered by many to be the perfect musical comedy, Guys and Dolls gambles with luck and love during a time when Broadway was rampant with wise guys, mission girls and Lindy’s cheesecake. This all-time Broadway classic features a high-rolling score, including “Luck Be a Lady,” “If I Were a Bell” and “Sit Down, You’re Rocking the Boat.” With this Muny favorite, everyone’s a winner!

The seven shows in the 2019 Muny season are: Guys and Dolls (June 10 – 16), Kinky Boots (June 19 – 25), 1776 (June 27 – July 3), Rodgers + Hammerstein’s Cinderella (July 8 – 16), Footloose (July 18 – 24), Lerner and Loewe’s Paint Your Wagon (July 27 – August 2) and Roald Dahl’s Matilda (August 5 – 11). For more information, visit muny.org.  

Season and single tickets are currently on sale. Muny gift cards for the 101st season are available online and at The Muny Box Office. MetroTix is the only official online point-of-purchase vendor for The Muny. For more information, visit muny.org or call (314) 361-1900.

‘Waitress’ is Sweet and Sassy Celebration of Friendship

‘Waitress’ is Sweet and Sassy Celebration of Friendship

By Lynn Venhaus
Managing Editor
Flour, butter and sugar can create magic if other ingredients are at play.
“Waitress,” the musical equivalent of comfort food, shows us that if love, hope
and inspiration are in the mix, that is a dandy can’t miss combination.

Besides inducing cravings for pie – whatever expert
pie-baker Jenna Hunterson calls them (“Getting Out of the Mud Pie” is just one),
this stage adaptation of writer-director-actress Adrienne Shelly’s 2007 hit
independent film evokes warm feelings about family and friends.

Its charming workplace setting in a small-town Southern-fried diner is easily relatable because of a tight trio of spunky females who have made it their home away from home.

This delightful threesome – Christine Dwyer as dreamer Jenna, Ephie Aardema as geeky Dawn and Maiesha McQueen as sassy Becky, even with their thorny man-troubles, is all for one and one for all, just like those famous fictional friends.

The women shine because of their noticeable bond and harmonize beautifully in such numbers as “A Soft Place to Land” and “The Negative.”

The national tour, now playing at The Fox Theatre in St.
Louis for the first time since it began in 2017, has quickly won over audiences
with humor and heart – and the smell of baking pies wafting through the lobby.

The funny and uplifting show, nominated for three Tony Awards in 2016 – the year “Hamilton” was a runaway train — is still playing on Broadway, enticing audiences with its appealing female empowerment theme and catchy melodious pop songs. Jenna is a plucky sort trapped in an unhappy marriage who dreams of breaking free if she wins a nearby county’s baking contest prize money. She suffers a few setbacks, namely a surprise pregnancy with a controlling, abusive husband. She also falls for the new doctor in town –and he’s married, but they engage in a mad affair. So, it’s complicated. She’s in this unusual pickle, and how can she find her way to a better life? She must concoct her own recipe for success.

As Jenna, Dwyer projects vulnerability and resolve, finally taking courageous steps once she gives birth (“The Contraction Ballet” – yes, they go there). Her numbers “What Baking Can Do” and the rise-up motherhood anthem “Everything Changes” are among the highlights. The book by Jessie Nelson doesn’t skirt that Jenna’s life is a hot mess, nor do the candid songs. You gotta love a musical with a musical number “Club Knocked Up,” which is set in a doctor’s office.

The music and lyrics are by Grammy-nominated
singer-songwriter Sara Bareilles (“Love Song,” “Brave,” “King of Anything”),
who provides emotional soul-baring ballads, such as “She Used to be Mine,” in
this medium too.

However, the peppy cast really sells the big numbers with panache – making them crisp and snappy from the start, “Opening Up” and “Bad Idea” among them.

The Ogie-centered numbers, “Never Ever Getting Rid of Me” and “I Love You Like a Table” feature Lorin Latarro’s fast-paced choreography and the scene-stealer Jeremy Morse as the odd soulmate Dawn discovers on her blind date, who she met online. He and Aardema are terrific together.

Morse’s comic timing is superb, as is Ryan G. Dunkin as laid-back
but put-upon cook/manager Cal. The other sympathetic male is Richard Kline as cantankerous
customer Joe, who owns the diner. In the movie, the character was played by
Andy Griffith, in his last film role.

As for the husband and lover, these are one-note parts. Earl doesn’t have any redeeming quality whatsoever, and Matt DeAngelis plays him well as an insufferable jerk, but it’s a head-scratcher that Jenna has been married to him for as long as she has.

Then, Dr. Pomatter is the dreamy OB/gyn, but he’s married to a perfectly fine woman who is working her residency at the hospital. The infidelity is hard to get past. But Steven Good is fine in the role, pairing well with Dwyer in “It Only Takes a Taste” and conveying his conflicted heart in “You Matter to Me.”

DeAngelis and Good were in the Broadway cast, as was Morse.

Morse’s Ogie is such a lively goofball that he clearly steals the show. But giving him a run as audience favorite is Dawn Bless as Nurse Norma, whose impeccable comic flair is a hoot, especially when the pair-in-heat think they’re fooling her.

Another favorite moment is the arrival of young Lulu for the final scenes in the diner. In St. Louis, she is played by Penelope Garcia and Norah Morley, both 5 years old, who were selected in local competition for the cameo roles. The adorable and energetic Penelope played Jenna’s daughter on this night.

Of note would be that Jenna and Dr. Pomatter’s physical relationship in his office is more naughty than nice. Just in case you are bringing younger children. If there was a rating, it would likely be PG-13 (at least).

A nice touch is the band’s presence in the diner. The six musicians are a tight group – with Music Director Robert Cookman on keyboards, Conductor Lilli Wosk on piano, Jeff Roberts on drums, Lexi Bodick on base, Nick Anton as cello/guitar and Ed Hamilton as guitar. “Waitress” is a small, sweet show with enough tartness and zip to make it a pleasant pop experience, all the better with girlfriends in a female-heavy crowd.

“Waitress” is at The Fox Theatre March 26 – April 7. For tickets, contact Metro-Tix or the Fox Box Office, and for more information, visit www.fabulousfox.com