Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

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

The Muny Announces Creative Teams for 101st Season

The Muny Announces Creative Teams for 101st Season

The Muny announced Tuesday the directors, choreographers and music directors for its 2019 season, which opens on June 10 with Guys and Dolls.
“We head into our second century with the first phase of our new stage, and a renewed sense of passion and commitment to our audiences, artists and community,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I’m so thrilled to announce these brilliantly talented colleagues who will create this season. They are already hard at work, ready to make this season just as historic and memorable as our 100th.”
GUYS AND DOLLS
June 10 – 16
Book by Abe Burrows and Jo Swerling
Music and Lyrics by Frank Loesser
Based on The Idyll of Sarah Brown and characters by Damon Runyon
GORDON GREENBERG (Director) co-wrote and directed the Broadway stage adaptation of Irving Berlin’s Holiday Inn for Roundabout, Universal and PBS Great Performances. Recent work includes Barnum (London), Heart of Rock and Roll (Old Globe), the acclaimed West End revival of Guys and Dolls, nominated for six Olivier Awards (Savoy Theatre, Phoenix Theatre, Chichester, UK and international tour), the Drama Desk Award-winning NYC revivals of Working and Jacques Brel, the stage adaptation of Tangled for Disney, and writing TV musicals for Disney and Nickelodeon. Muny: Meet Me In St. Louis (revised book), Jesus Christ Superstar, Holiday Inn, West Side Story, Pirates! Upcoming: The Secret of My Success (Universal), Mystic Pizza (MGM), Dracula (Maltz). He attended Stanford University and NYU and is a member of SDC, WGA and the Dramatists Guild.

LORIN LATARRO (Choreographer) Broadway: Waitress, Les Liasions Dangereuses, Waiting for Godot. Curious Incident of the Dog… and American Idiot (Associate). Additional choreography: La Traviata (The Met), Chess (Kennedy Center), Twelfth Night (The Delacorte), Lin-Manuel Miranda’s 21 Chump Street(BAM), Heart of Rock and Roll (Old Globe), Assassins, God Bless You, Mr. Rosewater (Encores!), Between The Lines (KC Rep), Queen of The Night (Drama Desk Award), Kiss Me, Kate (Barrington); The Best Is Yet To Come (59E59, Drama Desk Award). Director: Taste of Things to Come (Chicago). Lorin performed in 12 Broadway shows and danced for Tharp, Momix, Graham. Juilliard graduate. Upcoming: Merrily We Roll Along (Roundabout), SuperHero (Second Stage), Waitress and Home Street Home (West End).
BRAD HAAK (Music Director/Conductor) Muny: A Funny Thing…Forum, Fiddler on the Roof, Into the Woods, South Pacific, The King and I and Gypsy. Broadway: An American in Paris, Mary Poppins, Lestat and Il Divo – A Musical Affair. National tours: The Lion King, Miss Saigon. Music supervision and orchestrations:Daddy Long Legs (Off-Broadway, London, Tokyo, Seoul and 19 US productions) and John Caird’s A Knight’s Tale (Tokyo, 2018). International: Sousatzka (Toronto), An American in Paris (Paris), Honk! (Singapore and Philippines); Jane Eyre (Tokyo). Chicago Shakespeare Theater’s Sunday in the Park with George and Follies (Jeff Award for music direction), Children of Eden (Kennedy Center). Orchestrations for New York and Boston Pops, National Symphony, L.A. Philharmonic.
KINKY BOOTS
June 19 – 25
Music and Lyrics by Cyndi Lauper
Book by Harvey Fierstein
Based on the Miramax motion picture of the same name, written by Geoff Deane and Tim Firth
DB BONDS (Director) is thrilled to be making his directorial debut at The Muny after appearing as Emmett in Legally Blonde in 2011. DB is the associate director of Kinky Boots and Pretty Woman on Broadway. He also served as the associate director of Kinky Boots worldwide with productions in England, Australia, Canada, Germany, Japan and Korea. As an actor, he appeared in Broadway and national touring productions of Les Misérables, The Phantom of the Opera, Legally Blonde and Dirty Rotten Scoundrels.
RUSTY MOWERY (Choreographer) is thrilled to be back at the magical Muny after serving as choreographer for The Muny productions of Legally Blonde and Hairspray. He is currently the Associate Choreographer of Pretty Woman on Broadway and the Associate Choreographer of Kinky Boots for Broadway, both U.S. national tours, England, Australia, Canada, Germany, Korea and Japan tours. Proud SDC member. As an actor, Rusty appeared on Broadway in Cats, Ragtime, Hairspray, Seussical and Legally Blonde.
RYAN FIELDING GARRETT (Music Director/Conductor) NYC/national tour: Kinky Boots, Jasper in Deadland, The Man in the Ceiling, Hamilton, Mary Poppins, Sweeney Todd (NY Philharmonic), Wicked, Big River (Encores!), Finding Neverland, The Three Little Pigs. Regional: Next to Normal (Weston Playhouse), Little Miss Scrooge (Rubicon Theatre), Passing Strange, [title of show], Chess (Playhouse Square), Two Gentlemen of Verona (Lake Tahoe Shakespeare). NYC orchestration credits include Darling, A Night Like This. Graduate of Baldwin Wallace University.
JERRY MITCHELL (Original Broadway Direction and Choreography) Tony Award winner for Best Choreography: La Cage aux Folles (revival) and Kinky Boots (also nominated as Director). Broadway: Pretty Woman (Director/Choreographer) and the Gloria Estefan musical On Your Feet! (Director). Other recent work includes the pre-Broadway productions of Half Time (Chicago and Paper Mill Playhouse) and Dirty Rotten Scoundrels (West End, Olivier nomination for Choreography). In the 35 preceding years, Jerry has been involved with over 50 Broadway, West End and touring productions, including as choreographer of You’re A Good Man, Charlie Brown, The Full Monty (Tony nomination), The Rocky Horror Show, Hairspray (Tony nomination and NBC telecast), Gypsy, Never Gonna Dance (Tony nomination), Dirty Rotten Scoundrels (Tony nomination), La Cage aux Folles, Legally Blonde (Tony nomination), Catch Me If You Can and Kinky Boots.
1776
June 27 – July 3
Book by Peter Stone
Music and Lyrics by Sherman Edwards
Based on a concept by Sherman Edwards
ROB RUGGIERO (Director) is thrilled to be returning for The Muny’s 101st season. Last year, he directed Gypsy, as well as past productions of The Music Man, Oklahoma!; Hello, Dolly!; South Pacific and The King and I. He has also directed many award-winning productions at The Repertory Theatre of St. Louis, including Follies, Sunday in the Park with George and a recent production of Evita. Broadway: High and Looped. Off-Broadway he conceived and directed Make Me a Song (Drama Desk and Outer Critics Circle nominations). Rob also recently directed Oliver!, his 11th collaboration with Goodspeed Musicals, with whom he also adapted and directed a new production of Show Boat. He is the Producing Artistic Director for TheaterWorks in Hartford, Connecticut.
JAMES MOORE (Music Director/Conductor) The Muny: Gypsy, The Music Man, Irving Berlin’s Holiday Inn, Hello, Dolly!; West Side Story, Meet Me In St. Louis, The Producers. Broadway: Miss Saigon, On the Town, Gigi, Follies, South Pacific, Ragtime, Steel Pier, Company. National tours: The Producers, Kiss Me, Kate; Crazy for You, And the World Goes ‘Round. The Kennedy Center: Camelot starring Brian Stokes Mitchell, My Fair Lady starring Jonathan Pryce, Mame starring Christine Baranski. Concerts: National Symphony, Orchestra of St. Luke’s, Santa Barbara Symphony. Mr. Moore serves as the music supervisor for the United States touring productions of Les Misérables and Miss Saigon. Upcoming: Titanic (Broadway revival). Education: Master and Bachelor degrees from the Indiana University Jacobs School of Music.
RODGERS AND HAMMERSTEIN’S CINDERELLA
July 8 – 16
Music by Richard Rodgers
Book by Oscar Hammerstein II
Lyrics by Oscar Hammerstein II
MARCIA MILGROM DODGE (Director) is a Tony and Drama Desk nominated director & choreographer. The Muny: Meet Me In St. Louis (100th Season!), The Little Mermaid, Young Frankenstein, The Buddy Holly Story, The Addams Family. Broadway: Ragtime, High Society. National tours: Ragtime, Curious George,Seussical, Cookin’. New York: Venus Flytrap, Radio Gals, Maltby & Shire’s Closer Than Ever (original production) and William Finn’s Romance in Hard Times. TV/Video: Sesame Street and Elmo‘s Wild West. Upcoming: Deathtrap (Cape Playhouse), Mary Poppins (Drury Lane) and a new Buddy (Cincinnati Playhouse). Between reimagining revivals and directing & choreographing world premieres regionally and abroad, Dodge is also a wife, a mother, a teacher, an SDC Executive Board Member and a published and produced playwright.
JOSH WALDEN (Choreographer) returns to The Muny after choreographing Meet Me In St Louis (2018), The Little Mermaid (2017) and The Buddy Holly Story (2015). He directed/ choreographed A Chorus Line for Maltz Jupiter Theatre and Theatre Memphis, The Rocky Horror Show for University of Buffalo, Legally Blonde for Merry-Go-Round Playhouse and the rock opera Fallen Angel in the New York International Fringe Festival. Josh has also choreographed for Des Moines Metro Opera, Signature Theatre, Sacramento Music Circus, Doonce Productions, Actors Theatre of Louisville, Gateway Playhouse and Morag Productions for Seabourn Cruise Lines. On Broadway, he was the associate director/associate choreographer for the revival of Ragtime. As a performer, Josh was in the Broadway revivals of 42nd Street, La Cage aux Folles, A Chorus Line and Ragtime.
GREG ANTHONY RASSEN (Music Director/Conductor) Drama Desk winner and Tony nominee for Bandstand. Other Broadway credits include: An American in Paris, Bullets Over Broadway, The Little Mermaid, The Book of Mormon, R&H’s Cinderella, A Chorus Line (revival). Arranger/ orchestrator: Jerry Springer: The Opera (New Group); Between the Lines (Kansas City Rep.), The Beast in the Jungle (Vineyard). Commissions include: New York Pops, Boston Pops, Philly Pops, Indianapolis Pops; Leslie Odom, Jr., Ashley Brown, Sierra Boggess, Jeremy Jordan, Norm Lewis, Darren Criss, Liz Callaway, Julia Murney, André Previn, John Williams. TV: The Late Show with Stephen Colbert, Live with Kelly & Michael, The View. M.M. degree from Cincinnati Conservatory of Music. www.greganthonymusic.com
FOOTLOOSE
July 18 – 24
Music by Tom Snow
Lyrics by Dean Pitchford
Stage Adaptation by Dean Pitchford and Walter Bobbie
Based on the original screenplay by Dean Pitchford
Additional Music by Eric Carmen, Sammy Hagar, Kenny Loggins and Jim Steinman
CHRISTIAN BORLE (Director) is a two-time Tony Award winner and has starred in a myriad of roles both on stage and screen. His turn as Shakespeare in Something Rotten! garnered him both Tony and Drama Desk Awards for Best Featured Actor in a Musical, as well as a Tony Award for Best Featured Actor in a Play as Black Stache in Peter and the Starcatcher. Other Broadway: Footloose, Jesus Christ Superstar, Thoroughly Modern Millie, Amour, Spamalot, Mary Poppins, Legally Blonde, Falsettos and Charlie and the Chocolate Factory. Film: Blackhat, Bounty Hunter. TV: Masters of Sex, Lifesaver, The Good Wife, Smash and NBC’s TheSound of Music Live! Most recently, Christian made his directorial debut with the off-Broadway production of Popcorn Falls at The Davenport Theatre.
JESSICA HARTMAN (Choreographer) is thrilled to return for The Muny’s 101st after choreographing Annie(2018), All Shook Up (2017), Mamma Mia! (2016); Hairspray (2015/Co-Choreographer) and Seussical (2014/Associate). Broadway: Lysistrata Jones (Associate Choreographer), The Boy from Oz starring Hugh Jackman (Assistant Choreographer). Off-Broadway: Elephant and Piggie’s We Are in a Play! (Choreographer, New Victory Theatre). Other credits include: Memphis (Choreographer, TUTS), Norwegian Creative Studios/Oceania Cruise Lines (Choreographer), Disney Jr. Dance Party (Associate Show Director/ Choreographer, Universal Studios/The Wizarding World of Harry Potter (Associate), How to Succeed… (Associate, TUTS), West Side Story (Associate, Signature Theatre), Next to Normal (Choreographer, BaltimoreCenter Stage). Up next: Mamma Mia! at TUTS (Choreographer) and a new musical for The Kennedy Center. Jessica is the Artistic Director of Broadway Theatre Connection.
ANDREW GRAHAM (Music Director/Conductor) New York: The Book of Mormon, Wicked and Avenue Q. Las Vegas: Spamalot, Avenue Q. National tours: Wicked, Avenue Q, Pippin, Thoroughly Modern Millie, Seussical, The Music Man, Footloose. European tours: Hair and Grease. Regional: world premiere of Disney’s Freaky Friday at Signature Theatre, La Jolla Playhouse, Cleveland Play House and Alley Theatre. Muny: Aida, Annie and Footloose. Beauty and the Beast and the world premiere of Disney’s When You Wish at Tuacahn Center for the Arts. He holds degrees from both Capital University in Columbus, Ohio and Trinity College of Music in London.
LERNER & LOEWE’S PAINT YOUR WAGON
July 27 – August 2
Book and Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Revised Book by Jon Marans
Produced in Association with On the Wagon Productions and Garmar Ventures
JOSH RHODES (Director/Choreographer) directed Grand Hotel (NY City Center Encores!), Ken Ludwig’s Baskerville (Old Globe Theatre), Jersey Boys (The Muny), Guys and Dolls (Asolo Rep/Old Globe), Evita(Asolo Rep), Spamalot (5th Avenue Theatre), Ebenezer Scrooge’s Big Playhouse Christmas Show (Bucks County Playhouse) and Celestina Warbeck and the Banshees at The Wizarding World of Harry Potter. He alsochoreographed the Broadway productions of Rodgers & Hammerstein’s Cinderella, It Shoulda Been You, First Date and Bright Star. On London’s West End, he choreographed Carousel at the English National Opera and Sweeney Todd starring Emma Thompson. Other choreography credits include Company starring Neil Patrick Harris and Sondheim: The Birthday Concert (PBS), Young Frankenstein (Muny) and the current U.K. tour ofDoctor Dolittle. Rhodes is a proud graduate of the University of Michigan.
BEN WHITELEY (Music Director/Conductor) Muny: Singin’ in the Rain, A Chorus Line, 42nd Street, My Fair Lady, The Addams Family, Spamalot, Pirates!; The Sound of Music (twice), Beauty and the Beast (thrice), Kiss Me, Kate; Oklahoma!; The Music Man, Meet Me In St. Louis, South Pacific. Music director for 1776 at NY City Center Encores! Broadway/national tours: A Christmas Story, The Addams Family, Spamalot, The Full Monty, Cats (conducted final original Broadway performance), Grand Hotel, Falsettos, Big. Carnegie Hall: Sail Away (with Elaine Stritch). Choral direction: Carousel (NY Philharmonic/PBS), My Fair Lady (NY Philharmonic). Encores!: associate music director and chorus master for over 30 productions. Other: St. Louis Symphony, Paper Mill Playhouse, The 5th Avenue Theatre, University of Michigan. Recordings: Allegro, Boardwalk Empire (Grammy Award),Paint Your Wagon.
MATILDA
August 5 – 11
Book by Dennis Kelly
Music and Lyrics by Tim Minchin
Based on Matilda by Roald Dahl
JOHN TARTAGLIA (Director) Director: Stephen Schwartz’s The Secret Silk (Princess Cruises, writer/director), Beauty and the Beast (Maltz Jupiter Theatre), Annie, The Wizard of Oz, Tarzan and Shrek (Muny), Claudio Quest (NY Musical Festival, Best of the Fest), Shrek the Halls (DreamWorks Theatricals) and many more. Broadway: Avenue Q (Tony nomination), Beauty and the Beast and Shrek. Muny: Aladdin (The Genie), Seussical (The Cat in the Hat), A Funny Thing Happened on the Way to the Forum (Hysterium, St. Louis Theater Circle Award). Film/TV: The Happytime Murders (STX Films), Johnny and the Sprites (Disney Jr., Emmy nomination), Sesame Street (PBS Kids), Jim Henson’s Word Party and Julie’s Greenroom (both on Netflix), creator, co-executive producer and star of Jim Henson’s Splash and Bubbles (PBS Kids, Emmy nomination).
CHRIS BAILEY (Choreographer) Gettin’ The Band Back Together (Broadway), Jerry Springer: The Opera(New Group, 2018 Chita Rivera Award nomination); The New Yorkers and 1776 (NY City Center Encores!), The Entertainer with Kenneth Branagh (West End), Assassins (Menier Chocolate Factory), Because of Winn Dixie (Alabama Shakespeare Festival), 2013 Tony Awards (CBS), Muny: Jerome Robbins Broadway(production supervisor), Newsies (St. Louis Theater Circle Award), The Music Man, Into the Woods, My Fair Lady, Tarzan, West Side Story and Thoroughly Modern Millie. 2013-2015 Academy Awards (Assistant Choreographer). Film: Cinderella, Ted 2, A Million Ways to Die in the West and Beyond the Sea. Chris was also the movement director for the Roundabout Theatre Company’s production of Cyrano De Bergerac on Broadway.
MICHAEL HORSLEY (Music Director/Conductor) is The Muny’s music supervisor. 25 Muny seasons include: Jerome Robbins Broadway, Mamma Mia!; The Buddy Holly Story, Grease, Mary Poppins, Joseph and the Amazing Technicolor® Dreamcoat, Thoroughly Modern Millie, 42nd Street, Godspell, White Christmas, Damn Yankees, Sleeping Beauty, Singin’ in the Rain, and many more. National tours: Thoroughly Modern Millie, Chicago, Cinderella, White Christmas and Seven Brides for Seven Brothers. Other regional: Into the Woods (Theatrezone), Roman Holiday (Guthrie Theater), On a Clear Day You Can See Forever (Music Theatre Wichita), Fiddler on the Roof (AMT San Jose), A Chorus Line (Pioneer Theatre Company), The Full Monty(North Carolina Theatre). Voice director: Christmas Concert Series for the Detroit, National and Birmingham Symphony Orchestras. He is the music director for the San Francisco Conservatory of Music.
The 2019 season schedule is: Guys and Dolls (June 10 – 16), Kinky Boots (June 19 – 25), 1776 (June 27 – July 3), Rodgers and Hammerstein’s Cinderella (July 8 – 16), Footloose (July 18 – 24), Lerner and Loewe’s Paint Your Wagon (July 27 – August 2) and Matilda (August 5 – 11).
World Wide Technology (WWT) and The Steward Family Foundation became the first overall season sponsor in the history of The Muny in 2014. They are committed to continuing in this role with their leadership gift as The Muny’s 2019 Season Presenting Sponsor.
Muny gift cards for the 101st season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
###
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 400,000 theatregoers over our nine-week season. Celebrating 101 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
For more information about The Missouri History Museum’s
Muny Memories: 100 Seasons Onstage exhibit, visit mohistory.org
For more information about The Missouri History Museum’sMuny Memories: 100 Seasons Onstage exhibit, visit mohistory.org 

‘Meet Me in St. Louis’ Crystallizes Past, Present and Future at Muny

‘Meet Me in St. Louis’ Crystallizes Past, Present and Future at Muny

By Lynn Venhaus
Managing Editor
By wrapping up its Centennial Season with a sweet nostalgic slice of Americana, the Muny has tugged at our hearts and reminded us to treasure our traditions.
This “Meet Me in St. Louis” makeover is a richly textured tapestry significant to St. Louis – one that you can see and feel. With a freshly revised book and new orchestrations, the Muny has connected the ordinary Smith Family’s quaint story to emotionally resonate through the ties that bind us.
A tight-knit cast and tip-top crew wore their hearts on their sleeves opening night, offering a gift to the region that spends its summers in the nation’s oldest and largest outdoor theater. You could sense the love for our town onstage, backstage and in the audience.

The Smiths’ upper-middle class life at 5135 in Kensington Avenue was not different than countless others, but through their typical goings-on, they faced change, and that impending family transition from their comfortable routine to the uncertainty of a big metropolis is what drives their 1903-1904 story through seasons along the Mississippi River.
Sally Benson’s memoirs, “The Kensington Stories.” eventually became the beloved classic movie musical “Meet Me in St. Louis.” Even with its MGM-Hollywood pedigree, that unique turn-of-the-century site-specific history makes it ours alone – not Kansas City, Chicago or Indianapolis.
That civic pride resulted in the Muny presenting stage versions in 1960, 1965 and 1977 – before Broadway adapted it in 1989, and a variation has been staged four more times, including a dull one its last time in 2009.
The stage adaptation wasn’t special enough, and not even close in comparison to the movie. When the film opened in 1944, it became the studio’s biggest hit next to “Gone with the Wind” and nominated for four Oscars, including Best Song (“The Trolley Song”). Margaret O’Brien won a Juvenile Academy Award as Tootie. The film is now preserved in the National Film Registry (Library of Congress) and 10th on American Film Institute’s Greatest Movie Musicals in History list.
It’s closing line, “Right here in St. Louis,” became the Muny’s tagline for their 100th anniversary, and the show’s inclusion inevitable.
But this production has some surprises in store. To make this one memorable, Artistic Director and Executive Producer Mike Isaacson called on Gordon Greenberg to revamp the book by Hugh Wheeler. Greenberg is a veteran Muny director whose writing work includes the “Holiday Inn” Broadway adaptation.
He has inserted many local references to heighten the hometown feel. He had us right away when Grandpa talks about the St. Louis Cardinals beating the Chicago Cubs. Other mentions of neighborhoods and long-distance phone calls to Clayton were big crowd-pleasers.
No matter how corny you think the romantic entanglements are, the Smith kids’ excitement about seeing their hometown prepare to become the center of the universe is contagious.
The simple framework of children growing up is secondary to the time and place, as our forefathers are honored for their vision that included the biggest World’s Fair yet, and the first Summer Olympics in the U.S. And we continue to enjoy the fruits of those labors.

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 many contributions of long-lasting impact came from those seven months in 1904, and the work preceding it.
That’s what director Marcia Milgrom Dodge brings out as the characters express love for the city and family, friends and neighbors during daily routines and holiday rituals.
Mr. and Mrs. Smith (real-life married couple Stephen R. Buntrock and Erin Dilly) have five children: Rose, Esther, Alonzo Jr. “Lon,” Agnes and Tootie (Liana Hunt, Emily Walton, Jonathan Burke, Elle Wesley and Elena Adams, all in Muny debuts). Anna Smith’s father, retired doctor Grandpa Prophater (local legend Ken Page) lives with them. Alonzo Sr. is a lawyer and they live comfortably enough to afford a housekeeper, Katie (Kathy Fitzgerald).
This cast injected individual pizzazz into a show that’s still boxed in by the period’s social mores. Let’s face it, the schmaltz factor is high, and the two oldest girls’ boy troubles are trivial.
There is the potential to view the characters as spoiled in the way the older daughters maneuver the guys and bratty Tootie causes mayhem while they all whine about moving to New York City, but if they didn’t gripe, we wouldn’t have any dramatic conflict, would we? And the performers are winsome.
Rose’s intended fellow, the earnest Warren Sheffield, is well-played by Michael Burrell, and Dan DeLuca, as the proverbial boy-next-door John Truitt, matches Emily Walton’s adventurous zest as Esther.
Jonathan Burke is an impressive Lon Jr., getting ready for Princeton and dating the worldly Lucille Ballard (St. Louis regular Madison Johnson, looking swell in a Gibson hairstyle). He is a marvel of movement in the dance number, “The Banjo,” innovatively staged by choreographer Josh Walden. Jeff Jordan is a good sport as a gangly uncoordinated dance partner, Pee Wee Drummond.
Music Director Charlie Alterman glides through old standards and the stand-out numbers written by Hugh Martin and Ralph Blane – “The Boy Next Door,” “The Trolley Song” and “Have Yourself a Merry Little Christmas,” which Walton beautifully delivers.
An earlier song list was trimmed to thankfully cut the bloat, and John McDaniel’s new orchestrations provide some zing. McDaniel, a St. Louis native, is a Grammy and Emmy-winning composer, conductor, pianist and producer. He was the band leader on Rosie O’Donnell’s talk show from 1996 to 2002 and has returned to conduct the St. Louis Symphony Orchestra five times and worked on “Pirates!” during the Muny’s 2012 season.
They included a dandy song Rodgers and Hammerstein wrote but cut from the movie, “Boys and Girls Like You and Me.”

Supporting player Ben Nordstrom’s spotlight moment was delightful, as he sang “Under the Anheuser Bush” as the Christmas Ball band singer.
(Fun fact: That is a popular beer garden song commissioned by the brewery in 1903, and an instrumental version was used in the 1944 movie).
The vibrant vintage look sharpened the focus, with outstanding work by scenic designer Michael Schweikardt and video designer Matthew Young, who highlighted the bygone era with beautiful vistas.
Costume designer Tristan Raines and wig designer Leah J. Loukas immersed the players in exquisite detail. The youth ensemble’s Halloween costumes provided merriment as they scampered through the crowd.
Lighting designer Rob Denton spectacularly illuminated the World’s Fair, which elicited audible appreciation. Sound designers John Shivers and David Patridge captured the old-timey feel.
In two extraordinary moments, “Meet Me in St. Louis” crystallized the past, present and future of our crown jewels — Forest Park and The Muny, all in the shadow of our treasured landmarks.
The “Skinker’s Swamp” picnic scene, where video projection showed The Palace of Fine Art (now the St. Louis Art Museum) under construction, along with the Ferris Wheel, in a muddy field. Awestruck Esther and John rode that famous trolley to his baseball practice first.
The grand finale was breathtaking – as the anticipation of the World’s Fair built, to reveal the Smith Family standing on a bridge overlooking the Grand Basin, with thousands of festive lights. It was a vivid tableau that continued in a fireworks-festooned curtain call.
Sometimes, we see magic happen under the stars in Forest Park, just as our ancestors did in the 20th century. Hope about the future has been a running theme in all seven shows this season, and “Meet Me in St. Louis” became the cherry on top.
After the fireworks light up the sky for the last time Aug. 12, we move onto the second century.
Look around the park now – majestic remnants mark our heritage. It’s a stunning sight, recalling happy golden days of yore, as is the Muny’s love letter to the community we cherish.
This unabashedly sentimental production conjured up many personal memories and feelings about what Forest Park, the Muny and St. Louis mean to me. I don’t think I was alone in this regard, judging the audience’s reaction
“Meet Me in St. Louis” is presented from Aug. 4 to Aug. 12 nightly at 8:15 p.m. at The Muny in Forest Park. For more information or for tickets, visit www.muny.org.
.
 
Photos by Phillip Hamer