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
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A big-hearted love letter to roots and the people who shape us, “In the Heights” sizzles with a refreshing spark that lights up the expansive Muny stage. You feel the joy.
In an exciting and much-anticipated Muny premiere, this 2009 Tony-winning musical bursts with high-spirited performances and exuberant, inventive choreography that combines salsa, hip-hop, jazz, ballet and Afro-Cuban moves.
Using all the exceptional production tools available at America’s largest outdoor theater, this “In the Heights” will wow the unfamiliar and satisfy its devotees. You can feel a connection form as the show unfolds for the first time in this environment.
While honoring his Latin heritage and traditions, creative force of nature Lin-Manuel Miranda’s inspirational scenario, lyrics and music about people chasing their dreams related in such a universal way that it ushered in a directional change in music theater storytelling.
Miranda, who went on to worldwide acclaim with the cultural phenomenon “Hamilton” and the smash hit Disney film “Encanto,” conceived the musical while still in college, wrote the songs, and originated the lead role, but the book was written by Quiara Alegria Hudes.
From left: Alysia Velez, Marlene Fernandez and Darilyn Castillo in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Hudes has included strong women characters, which is rare and impactful. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009 (the show was nominated for 13 awards), and his influence continues to grow. He breaks barriers, and the Muny is mindful of marking historic milestones too.
Set in the Washington Heights neighborhood in New York City, where he grew up, the story takes place over three days during a blistering summer heat wave in the barrio. This is a neighborhood on the brink of change – businesses face economic uncertainty, tensions rise.
This ultimately jubilant celebration of Latin heritage and identity includes family ties to the Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, and a highlight is when the cast displays flags from their characters’ countries of origin.
In the vigorous opening title number, we are introduced to the personalities and places that are woven together in this corner of the world. The Muny has been transformed by the colorful sights and sounds as the characters deal with everyday realities hoping for a better day.
In a warm, welcoming debut, Benji Santiago endears as lovable hard-working Usnavi de la Vega, who operates the corner bodega. A community hub, he sells coffee, sodas, snacks and lottery tickets while he dreams of moving to somewhere tropical where he thinks he can find happiness. When his store is notified a winning lottery ticket has been sold, things may change.
Usnavi describes himself as “a streetlight, chillin’ in the heat/ I illuminate the stories of the people on the street!”
Benji Santiago and Nancy Ticotin in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
The appealing young performer is nimble in guiding the action as we move from store to Rosario’s car service to Daniela’s beauty salon, homes, balconies and the bustling streets – on a nifty gritty grid design by Arnel Sancianco that captured the distinct ambiance and sleekly used the asset that is the monstrous turntable for deft transitions. He was the set designer for last year’s “Rent” and the year before’s “The Color Purple.”
Usnavi’s devotion to his family and friends is evident throughout, even when he’s grumbling. Santiago masterfully anchored this show that seems to be perpetually in motion, and he is joined by an equally dynamic ensemble, all but two new to the Muny..
Nancy Ticotin is a sensational Abuela Claudia, Usnavi’s beloved confidante, who is heart-tugging in “Paciencia y Fe (Patience and Faith)” and “Hundreds of Stories.” She’s everybody’s ‘grandma,’ dispensing love and advice.
Ariana Burks as sweet Nina, a standout student who feels she has let everyone down by dropping out of a prestigious college, gains sympathy by explaining her sad situation in “Respira (Breathe).” She is soulful in her tender ballad “Everything I Know” (tissue time) that’s a tribute to Abuela Claudia.
In a romantic arc, she pairs well with earnest Benny, and Alex Joseph Grayson is likeable from his introduction number “Benny’s Dispatch.” They are affecting in “When You’re Home,” which maps out their long-distance relationship, and the Act Two opener “Sunrise.” And Burks robustly leads the group in “When the Sun Goes Down.”
Ariana Burks and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Alysia Velez is a memorable Vanessa, Usnavi’s crush who is striving for a better life and planning to move to Manhattan. She’s an ebullient presence with Usnavi and Sonny in the charming “It Won’t Be Long Now” that addresses aspirations while they go through daily tasks, and has fun in the “Champagne” duet with Usnavi.
Martin Sola and Karmine Alers are strong in portraying Kevin and Camila Rosario, who are Nina’s parents and own the limo service. They both have knockout numbers – he “Inutil(Useless)” and “Atencion,” and she pours out her soul in “Enough” and “Siempre (Always).” The ballads help define the characters’ uncertainty and hopes. The pair were in the Muny’s dazzling “On Your Feet!” in 2021, and Sola, who played Gloria Estefan’s father Jose, originated the role on Broadway.
While poignant moments, such as the sad, sentimental “Alabanza (Praise),” and the calamitous “Blackout” that ends first act, bring everyone together, so do the animated dance numbers “The Club” and “Carnaval del Barrio,” and the catchy earworm “96,000.”
Several amusing characters each have moments to shine – including the vivacious hairstylists Daniela (Darilyn Castillo) and Carla (Marlene Fernandez), who join Vanessa in “No Mi Diga (You Don’t Say!)” and lead the raucous “Carnaval” number.
Miguel Gil is delightful as Usnavi’s goofy cousin Sonny, so are Eddie Martin Morales as the Piragua Guy and U.J. Mangune as Graffiti Pete.
From left: Karmine Alers, Martín Solá and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
William Carlos Angulo, serving as director and choreographer, has achieved a laudable synergy, creating a swirling kaleidoscope of movement and rhythm, performed with contagious joie de vivre.
Angulo, who has previously choreographed three Muny shows – the electrifying “On Your Feet!”, “Legally Blonde” and “Little Shop of Horrors,” shows his mettle in managing such a big-deal premiere. He has authentically represented three generations with spry staging and engaging characterizations.
The high-energy numbers alternate with the more intimate scenes of relationship conflicts and resolutions for people at crossroads, and he finds a suitable balance.
His collaboration with associate choreographer Shani Talmor, a world-renowned performer and choreographer, is ingenious. Special shout-outs to dance captain Emily Madigan, production stage manager Jhanae K-C Bonnick, and assistant stage managers Hope Michelson, Kentrell Jamison and Alycia Martin for their brisk navigation skills.
The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
The ensemble kept the tempo lively, bringing the heat and the heart: Marissa Barragán, Angelica Maria Beliard, Ixchel Cuellar, Ralphie Rivera De Jesús, Adriel Flete, Reyna Guerra, Emily Madigan, Sebastian Martinez, Eddie Martin Morales, José J. Muñoz, Matthew Rivera, Kiana Coryn Rodriguez, Francisco Javier Thurston and Alora Tonielle. They were joined by the Muny youth and teen ensembles.
Music Director Roberto Sinha’s dexterous conducting of the 25-piece orchestra added a brightness to the pulsating score, which is a hybrid of Latin, urban, hip-hop and salsa beats. They elevated the music’s rich texture.
The Muny’s outdoor setting was ideal for this modern story, with brilliant bursts of fireworks for the July 4th celebration enthralling. The creative team leaned into this new landscape, and Rob Denton’s lighting design, affecting shades of day and night, and Leon Dobkowski’s bright and bold costume design expertly reflected the location’s contemporary outfits. Kelley Jordan’s wig design was unobtrusive. John Shivers and David Patridge’s layered sound design included the cacophony of the urban tableau.
The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Much has been said about the themes of community in each of the Muny’s shows this season, and you feel the audience embrace that connection in “In the Heights.” After the isolation of the pandemic, and struggles in a dark time, the urge to find comfort and examples of our humanity is tangible.
When I first saw this on its national tour at the Fox Theatre in November 2009, I was struck by its universality, the unique new voice in the creative genius that is Lin-Manuel Miranda, and its ability to create deeper meanings through its emotional connection. I still feel this way, after seeing other regional professional theaters undertake it, and Miranda’s subsequent extraordinary works. It’s been on my list for each Muny season survey for years, and was ecstatic to learn of its inclusion this year.
The timing is right, the message is clear, and the wave of hope and dreams it inspires makes it a special experience.
To get that many people in an audience unified is remarkable, and you could feel the uplift in real time during the performance. For 15 years, “In the Heights” has reinforced the enduring theme “There’s no place like home.” And whatever that means individually and collectively vibrantly echoed through Forest Park on Saturday.
The Muny presents “In the Heights” at 8:15 p.m. nightly, Aug. 9-15, on the outdoor stage in Forest Park. The musical is 2 hours and 23 minutes, with one 15-minute intermission. Tickets are on sale at muny.org, by calling MetroTix at (314) 534-1111 or at the Muny Box Office in Forest Park.
From left: Benji Santiago, Alysia Velez and Miguel Gil in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Let’s cut to the chase. Tiffany Mann’s electrifying rendition of the signature song, “And I Am Telling You I’m Not Going,” is everything you want it to be and more, exceeding the highest expectations.
If The Muny had a roof, she would have smashed it to smithereens. She met her Muny moment by unleashing a torrent of fury, hurt, pain and devotion with such ferocity – and control – that the only one not breathless after listening was Ms. Mann. She was stunning in her range and vocal reservoirs.
It was truly one of the most spectacular powerhouse performances in my 60 years of attending Muny shows. She received thunderous ovations throughout, with some of us leaping to our feet as we applauded at the finish.
It’s no wonder she took us to church, for she’s been doing that for a long time. Her parents are nationally renowned gospel singers and actors David and Tamela Mann. You may recall Tiffany bringing the house down in “Smokey Joe’s Café” in the Muny’s first post-pandemic show in 2021.
Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
That “Dreamgirls” showstopping first act closer has been thrilling audiences since its debut in 1981 and was ranked the no. 1 rhythm-and-blues song of 1982 on the Billboard chart. It’s an intimidating one to master, even for the most gifted vocalists.
Tony winner Jennifer Holliday’s career took off after originating the role of Effie White on Broadway, winning a separate Grammy for best vocal performance, and Jennifer Hudson won an Oscar as Best Supporting Actress for the 2006 movie adaptation.
This rags-to-riches showbiz musical stands out because it delves into the complexities of gender and race at a time when pop music was going through a seismic cultural shift, with changing times and tastes.
Black singers were breaking down racial barriers with ‘crossover’ music, yet often compromised in a live music and recording business hierarchy.
These are subjects explored in such crowd-pleasing jukebox musicals as “Motown: The Musical,” “Memphis,” and “Tina – The Tina Turner Musical,” but “Dreamgirls” was among the first, marked by its style and sophistication.
The book and lyrics by Tom Eyen and music by Henry Krieger focuses on an all-girl singing group – think Diana Ross and the Supremes, the Shirelles, Martha and the Vandellas, and the Chiffons — as they rocket to superstardom in the 1960s and 1970s.
From left: Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
They must learn the ins and outs of a cutthroat system while not having much control over their contracts or lives. The soul sounds recall the Motown music trajectory of 1962-1976 in a peppy upbeat score, with meaningful emotional ballads to reflect character transitions.
It’s the kind of big splashy production that lends itself well to the glitz and glamour that the Muny can dazzle us with – and the creative team worked its customary magic to generate.
The look is super-sleek, with chic fashions from indomitable costume designer Leon Dobkowski, trendy wig designs from master stylist Kelley Jordan, ritzy set designs from ever-sharp Edward E. Haynes Jr., and perceptive bygone era video design from clever Elaine J. McCarthy.
Now in his 12th season, lighting designer extraordinaire Rob Denton enhances the in-vogue parade of fashions, glittery nightclub settings and mod TV appearances.
In 2012, the Muny staged a robust production featuring Holliday as Effie – and future “Hamilton” star Christopher Jackson as unscrupulous manager Curtis Taylor Jr.
Tiffany Mann and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
In this dynamic reprise, Mann makes Effie her own – and the high-spirited ensemble comes together seamlessly as a family along to an effervescent pulsating rhythm.
The principal characters are an impressive gathering of seasoned pros who’ve made a name for themselves on Broadway.
Immensely likable performers Aisha Jackson is classy Deena Jones and Courtnee Carter is flashy Lorrell Robinson, with the later addition of Effie’s replacement, Natalie Kaye Clater as charming Michelle Morris. They bring a lot of sparkle and pizzazz to the ambitious and naïve rising trio The Dreamettes.
They beautifully blend harmonies, and you root for them and their big dreams. Making their Muny debuts, Jackson was the first black woman to play the role of Anna in the Broadway production of “Frozen” and Carter was recently in the Tony-winning revival of “Parade.”
And the male leads are equally strong – silky-smooth Charl Brown is again impressive as the ethically challenged Curtis Taylor Jr., the Svengali manager-producer, after his memorable turn in the aforementioned “Smokey Joe’s Café” the summer of 2021. He was Tony nominated as pioneering Smokey Robinson in “Motown: The Musical.”
From left: Aisha Jackson, Nick Rashad Burroughs, Tiffany Mann, Courtnee Carter and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
With the theatricality and bluster of James Brown and Little Richard, Nick Rashad Burroughs is on fire as live-wire star Jimmy “Thunder” Early. He quickly won over the audience with his brash charm and high energy.
Burroughs originated the role of Ike Turner in “Tina – The Tina Turner Musical” on Broadway and was recently seen as Henri de Toulouse-Lautrec in the touring production of “Moulin Rouge” that came to the Fox this spring.
Aramie Payton is warm and personable as the talented songwriter C.C. White, Effie’s brother. He was the original Michael Jackson standby in “MJ – The Musical.”
Local treasure Ron Himes is a formidable Marty, an early mover and shaker who helps the group navigate the biz and tries to keep Curtis in check.
They are a tight-knit unit gliding through the ups and downs of fame.
Director Robert Clater makes sure we feel the heart along with the soul as a whirlwind rise marks Act One. His vivacious staging of the Apollo Amateur Night line-up opening and a supercool “Steppin’ to the Bad Side” gets us off to a rousing start.
The company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
The momentum keeps going with “Dreamgirls” and “Party Party,” followed by the serious “Heavy” and that soul-stirring rafter-shaking hit song.
Highlights also include the ironic white milquetoast rendition of “Cadillac Car” by Dave and the Sweethearts – really hammering a serious point with humor – and one of the most poignant numbers, “Family.” That is the enduring theme that ultimately saves some of them from themselves.
Choreographer Lesia Kaye keeps the dancers moving while music director/conductor Anne Shuttlesworth ensures everybody’s grooving, although I did feel at times the orchestra overpowered the vocals..
The late great legend Michael Bennett, fresh from the phenomenon that was “A Chorus Line,” directed and choreographed the original “Dreamgirls” 43 years ago, and Kaye honors that legacy with vigor.
Because of the heady mix of achieving their dreams in Act One, there is a believable joy throughout – until Effie’s heartbreaking personal and professional betrayal, although her erratic unprofessionalism and off-putting diva behavior precipitates her inevitable downfall.
Aisha Jackson and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
The cool and refined Deena becomes the more ‘presentable’ leader of the group, now known as Deena Jones and the Dreams, and is everything hot-headed Effie lacks, so Act Two interjects more of the pitfalls of fame and personal strife as fortunes run high and low.
While the cliched backstage drama also features Effie’s redemption, karma for Curtis, and Jimmy’s career tumbles, the girls’ can’t stop the detrimental cracks in their upward direction.
The consequences of single-minded success are obvious, and the book isn’t as strong in this snapshot, and the pacing sags midway.. You can see the strain of having everything tied up neatly on the page, yet the resolution feels earned for the principals, if rushed..
“And I Am Telling You…” isn’t Mann’s only slam dunk, for her contrite “I Am Changing” and her pensive “One Night Only” soar.
And darn if that long-time-coming reunion doesn’t produce a lump in the throat!
Among noteworthy elements to emphasize, Dobkowski’s elegant interpretations of retro fashions deserve their own standing ovation. His work always suits the characters perfectly, and he’s won two St. Louis Theater Circle Awards, for “Seussical” and “The Wiz.” He is in his 11th season, and brings out a shiny, happy vibe to everything he produces. Remember his jubilant “Sister Act” from last season?
From left: Courtnee Carter, Aisha Jackson, Natalie Kaye Clater and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
And Haynes’ scenic design is so fluid, one must salute his depth – briskly moving scenes in Chicago, Detroit, St. Louis, Miami, Las Vegas, and other cities with remarkable dexterity. Theater Circle winner for “Smokey Joe’s Café,” he created the landmark set for last season’s “Chess.”
One doesn’t achieve this slick sense of time and place with its distinctive sound and fury without prioritizing collaboration. That is what sets this show apart from a typical “Behind the Music” documentary, with a cast and crew determined to razzle dazzle us in a most exuberant triumph.
Come for THE SONG, stay for the teamwork.
From left: Courtnee Carter, Aisha Jackson and Natalie Kaye Clater in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer
The Muny presents “Dreamgirls” at 8:15 p.m. nightly June 27 – July 3 on the outdoor stage in Forest Park. The run time is nearly 2 hours and 30 minutes, including intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
After a brief hiatus, we’re back with our round-up of people, places, and events in the St. Louis region, a tad behind in posting our September/summer swan song.
IN COMES COMPANY: Stephen Sondheim’s groundbreaking musical “Company” – the female-led revival that won the Tony in 2022, kicks off its 25-city national tour on Oct. 8 in Schenectady, N.Y., with the St. Louis stop Feb. 27-March 10 at the Fox Theatre.
Belleville native Ann Beyersdorfer, associate set designer for the Broadway revival, worked with production designer Bunny Christie, who won her fourth Olivier Award for the London production design. And she’s on the team that has been preparing the hilarious and sophisticated show for the road.
(Three-time Tony Award winner Jack Lane, co-founder and executive producer emeritus of Stages St. Louis, was one of the Broadway show’s co-producers.)
Ann was back in town this summer, as scenic designer for “Disney’s Beauty and the Beast” and “West Side Story” at The Muny, and I was fortunate to interview her then for the Belleville News-Democrat.
For a deeper dive into the mechanics of getting a Broadway show transferred to the road, read about her journey here on PopLifeSTL.com:
A winner of best set design of a play for “Afterglow” at the Los Angeles Drama Critics Circle Awards, she’ll be part of the team taking the production to London Oct. 17–Nov. 24, with an official opening Oct. 22.
And as an art director on the visual shorts for “Saturday Night Live,” hopefully you will be able to see more of her work when the show resumes on Oct. 14. You may have seen the elaborate “HBO Mario Kart Trailer” she worked on when Emmy-nominated Pedro Pascal hosted.
Cheers to Ann and the tour launch! (We’ll drink to that!). For more information, visit: https://companymusical.com/
Nichelle Lewis, Wayne Brady
BRAND NEW DAY: “The Wiz,” the 1974 super-soul musical adaptation of L. Frank Baum’s beloved children’s novel “The Wizard of Oz,” which was given a reworking for The Muny’s 2018 season, is Broadway-bound in 2024, with St. Louis-connected producers, but this new revival is touring first. Opening night was Sept. 23 at the Hippodrome Theatre in Baltimore, and the reviews were raves.
“The audience and the whole evening was full of joy and energy, extended applause, and standing ovations,” stated the Maryland Theatre Guide on Sept. 29. “Powerhouse performances and stunning choreography,” enthused the Baltimore Sun.
The first-ever revival will be easing down the road to 12 other cities, including Chicago (Nov. 28 – Dec. 10). For more information, visit: https://wizmusical.com/
The producing team of Kristin Caskey and Mike Isaacson (Muny artistic director and executive producer) and a long list of others, including Terry Schnuck, is behind this show. Caskey, now of the Ambassador Theatre Group, spent 20 years with Fox Theatricals. She and Isaacson produced the Tony-winning “Fun Home” in 2015 and this year’s Best Revival winner “Parade.”
Isaacson said they have been working on a revival for eight years, and plans are to mount another national tour after the Broadway limited engagement. In preparation for The Muny, he received permission from the original creators to make some changes. Amber Ruffin, recent Tony nominee for “Some Like It Hot,” wrote additional material – and had worked on the Muny script – from William F. Brown’s original book. You may know her as a writer on “Late Night with Seth Meyers,” as she frequently appears.
Isaacson revealed that in a terrific Broadway World interview with James Lindhorst, who also talked with producers Jack Lane, Mike Bosner and Terry Schnuck – heavy-hitters at this year’s Tonys (“& Juliet,” “Shucked” and “Parade”).
Schele Williams is helming this show, with Wayne Brady as The Wiz from Jan. 16 to Broadway engagement, and Alan Mingo Jr. in the title role Sept. 23 – Jan. 14, 2024, and newcomer Nichelle Lewis as Dorothy.
The original 1974 production, directed by Geoffrey Holder and choreographed by George Faison, won seven Tony Awards including Best Musical, and was adapted into a movie in 1978 starring Diana Ross, Richard Pryor, and Michael Jackson. NBC broadcast a live version in 2015, but a planned revival then did not materialize.
Colin, Jeanine
BRUSH WITH GREATNESS: Speaking of the musical “Fun Home,” composer Jeanine Tesori — the most honored and most prolific female theatrical composer in history, was in St. Louis this summer, and stopped in to visit with the local cast rehearing “Caroline, or Change,” produced by Fly North Theatricals.
To get the opportunity to talk with Tesori, who has written five Broadway musicals and received six Tony Award nominations, winning for “Fun Home” and the recent “Kimberly Akimbo,” was one of the best moments ever, according to music director Colin Healy.
Healy summed it up this way on Facebook: “She and Mike Isaacson (producer) offered such wonderful insight into the process of writing, building, and producing ‘Caroline, Or Change,’ validating what is already apparent when hearing the score: how much a labor of love and Herculean creative endeavor ‘Caroline’ was and continues to be… She spoke to us for over an hour and took questions from everyone.”
(Photo: Colin Healy and Jeanine Tesori)
NEW HORIZONS: All good wishes for theater and media folks moving on, changing directions and making the most of opportunities.
Bravo to Taylor Gruenloh, whose new musical “Cascade’s Fire,” a modern Antigone story co-written by Kyle Wernkel, will premiere Oct. 12 and run 13-15 and 19-21 in the Black Box Theatre at Missouri Science and Technology in Rolla, where he is on the Arts, Languages and Philosophy faculty. Taylor wrote the book and lyrics while Wernkel wrote the music.
Taylor recently stepped down as Creative Director at The Tesseract Theatre Company at the end of August, after their successful run of “Kinky Boots.” One of the most prolific and creative folks in town, I can’t wait to see what else he will accomplish.
Congratulations to Joe Gfaller, who has been managing director of Metro Theater Company since 2019, on becoming managing director of Clear Space Theatre Company, a 20-year-old regional theater in Rehoboth Beach, Delaware. He’ll be leaving in mid-October. Jessie Youngblood, the current development director, will serve as interim managing director beginning Oct. 9. Always enjoyed working with Joe, starting with the Opera Theater of St. Louis in 2014. Joe has served Metro, St. Louis’s premiere professional theater for youth and families, well.
Best wishes to Julia Flood, Metro artistic director for the past 10 years, who has announced her retirement after the 51st season. Of Joe’s departure, she said: “Joe has had boundless energy and enthusiasm for the mission and work of Metro Theater Company. I feel lucky to have had the benefit of his partnership through the complexities of the pandemic times and wish him much success and happiness in his new venture.” (They both can be very proud of their endeavors). A free Fall Family Festival to celebrate MTC’s 50 years of service to the community will be held on Oct. 21 and 22. A toast in Gfaller’s honor will be held at that event on Sunday, Oct. 22 at 1 p.m.
Carol Daniel
Carol Daniel may have retired from one prominent longtime gig, but she is embarking on a fantastic journey. The award-winning St. Louis journalist, reporter, host, columnist, and author has joined Nine PBS as a Senior Producer and Host.
Daniel said she looks forward to telling the stories of her community in a new way — with a podcast about people making an impact here, and also produce interviews and stories that celebrate and showcase underrepresented voices for Nine PBS’s content flagship, Living St. Louis. Yes to this! I look forward to seeing her next chapter.
Daniel has more than 40 years of experience as a host on KMOX Radio, as well as work on Great Day St. Louis on KMOV/Channel 4, and a columnist for the St. Louis American. She’s been honored as a Living Legend by the National Association of Black Journalists–St. Louis, was recently inducted into the Lincoln University Alumni Hall of Fame, and was a 2022 inductee into the St. Louis Media Hall of Fame.
Longtime public relations and marketing maestros Eric Pugh and Dylan Stanley have departed our fair river city for beachier pastures. Last at the Muny, Eric is now promoting The Asolo Repertory Theatre in Sarasota, Fla., the largest Equity theatre in Florida, and the largest Repertory theatre in Southeastern U.S. Just wonderful to work with both, and I’m glad we had time together.
Dylan, who has moved to Los Angeles with his fiancé, Nicolas Valdez, who is embarking on a fellowship at USC, will keep us posted on his next challenge after giving us his all at Stifel Theatre and Enterprise Center (and performing in Tesseract Theatre Company’s triumphant “Kinky Boots.”
Best wishes to Lee Anne Mathews in her new role as Education and Artistic Director for the Fox Performing Arts Charitable Foundation! Before May, she was making things happen at Westport Playhouse.
Congratulations to Brian McKinley on his new role as Director of Education and Community Program at the Black Repertory Theatre of St. Louis.
HOMETOWNERS: Comedian-actor Cedric the Entertainer’s new book, crime caper “Flipping Boxcars,” fictionalizes his grandfather, Floyd “Babe” Boyce.
Jon Hamm is in two, not one, television series this fall. He joined the cast of “The Morning Show” for season 3, now streaming on Apple TV+, and will be in “Fargo,” season 5, which starts Nov. 21 on FX and Hulu.
Nicholas “Sifu” Alsup. Photo: Robert Voets/CBS
Best wishes to Nicholas “Sifu” Alsup of O’Fallon, Ill., who was chosen as one of 18 contestants on the 45th season of CBS’ “Survivor” that started Sept. 27.He is a larger-than-life personality, and I was able to interview him through permission with CBS. https://news.yahoo.com/o-fallon-gym-owner-one-120000863.html
CHEERS: Congratulations to New Jewish Theatre on their 25th anniversary as a regional professional theatre in St. Louis; and Gateway Center for Performing Arts school, and youth theater company, on their 10th anniversary in Webster Groves. A feature article by me will be in the Webster-Kirkwood Times soon.
OUT AND ABOUT: Two Colins in the ‘Lou news! Co-owners Colin Healy and Bradley Rohlf of Fly North Theatricals, have opened their new home and social hangout, The Greenfinch Theater and Dive, at 2525 South Jefferson Avenue (the old Way Out Club).. The bar is open every night from 5 p.m. to 1 a.m. You won’t want to miss Stool Pigeon Open Mic Comedy Night on Mondays and Drunk Voice Lessons karaoke with live piano accompaniment (and critiques) by Colin Healy on Wednesdays, plus Burlesque Bingo’s in the rotation too. They are also accepting reservations for their black box theater.
Colin Jost
SNL Head Writer Colin Jost was the Celebrity Guest Host at the Foundation for Barnes-Jewish Hospital’s Illumination Gala on June 3 at The Ritz-Carlton, a major fundraising event for the Siteman Cancer Center. Not sure what he said about “The Square Beyond Compare” but Imo’s posted his photo. Since 2007, the event has raised more than $42 million to support research funds
MEMORY LANE: Last month in pop culture history.
Sept. 26, 1975: “The Rocky Horror Picture Show” opened in Westwood, Calif., and tanked at the box office, but later would become the definition of a cult classic, inspiring interactive screenings with toast, toilet paper and more.
If you attended midnight screenings in the late ‘70s at the Varsity Theatre in St. Louis (where Vintage Vinyl is now), you might have run in to a teenage Michael Stipe, future alt-rock band REM frontman, who is dressed as Frank-n-Furter here in this vintage newsclip on KSDK’s “Newsbeat.” He told the reporter: “We’re all normal, really.”
Why on earth was Stipe, now 63, in St. Louis then? His dad was in the Army, and they moved to several states during his childhood. In the late ‘70s, he lived in Collinsville, Ill., and attended high school there and went on to Southern Illinois University in Edwardsville.. Later, he would move to Athens, Ga., for college, and met record store clerk Peter Buck, which led to forming a band with Mike Mills and Bill Berry…and the rest is history..
Rocky Horror played midnights at the Varsity Theatre from April 1976 until Jan. 3, 1988 when it closed for good. It was one of the first 30 theatres in the U.S. to do so.
I was fortunate to interview Barry Bostwick (Brad in the movie) when he had been scheduled to appear at Wizard World in St. Louis, but had to cancel, and he graciously talked about making the movie by phone. True delight to talk with and write about — here’s my BND feature from 2017.
IN MEMORIAM: Frequent visitor to Gaslight Square with the infamous Compass players, RIP Alan Arkin (March 26, 1934 – June 29, 2023). Archival photo is at Crystal Palace with Anne Meara.
From William Roth, the founder and artistic director of St. Louis Actors’ Studio, who renovated The Gaslight Theatre in the Central West End, on Arkin:
“He made his off-Broadway debut in the late 1950s and joined the St Louis improvisational group the Compass Players in 1959. This led to a stint with the Chicago improv troupe Second City and his Broadway debut, in 1961, in the company’s show ‘From the Second City, which he co-wrote.’
Tony-winning actor Michael McGrath, whose last show was at the Muny this summer – he did a fine job as Mr. Mushnik in “Little Shop of Horrors,” passed away in his sleep Sept. 14 at his home in Bloomfield, N.J. He was 65. That wasn’t his first show in St. Louis – in 1990, he played John Adams in Theater Factory’s “1776.” He was first nominated for a Tony in “Spamalot,” and won for “Nice Work If You Can Get It,” playing a bootlegger, in 2012. https://www.nytimes.com/2023/09/15/theater/michael-mcgrath-dead.html
Maggie Ryan, founder of Insight Theatre and inspiration to many, who spent 36 years as an English teacher and director of theater at Nerinx Hall, died Sept. 10, at age 80, after a short battle with leukemia. She was a lovely woman to interact with and cared passionately about theater. Insight operated for 12 years, won several St. Louis Theater Circle Awards including a legendary “Death of a Salesman” directed by Wayne Loui and starring father-son duo John and Jason Contini. Unfortunately, Insight closed in 2020. https://www.legacy.com/us/obituaries/stltoday/name/margaret-ryan-obituary?id=53065958
Calvin Wilson, St. Louis Post-Dispatch movie and theater critic, died Aug. 29, from an undisclosed illness. He was 70. I worked with Calvin, both in the St. Louis Film Critics Association, and with the St. Louis Theater Circle, and much admired his writing skill. His insight and passion for the arts will be missed.
CALENDAR NOTES: John Cusack’s screening of “Say Anything,” originally scheduled for October 28 at Stifel Theatre, has been rescheduled for Saturday, March 30. All tickets for the Oct. 28 performance will be honored at the rescheduled date. The popular actor will follow the screening with a conversation regarding his career and the making of the film. Fans will get the opportunity to experience a moderated discussion, with John answering audience questions as well.
Me and Greta, Oct 1, 2022
SHAMELESSNAME-DROPPING: Before she had the biggest movie of the summer (“Barbie”!) and her second son in February, Greta Gerwig was pleasantly accommodating us press troops at the New York Film Festival 2022 (for “White Noise”). The accomplished actress-writer-director is exactly as she seems, a lovely person in person. I had to compliment her on the 2019 “Little Women,” and she said she had a great time working with the cast of that movie. Hopefully, we will be seeing her during the upcoming awards season. On Aug. 6, the film crossed the $1 billion mark worldwide, making her the first woman with sole director credit to have a movie make more than $1 billion.
(My film review: https://poplifestl.com/unexpected-unpredictable-barbie-is-an-irresistible-pop-o-culture/)
Our coda has been added for this issue:
RANDOM THOUGHTS: As you can probably tell, I enjoy waltzing down memory lane, and yes, I was one of the early attendees of “The Rocky Horror Picture Show” midnight showings at the Varsity Theatre in 1977, which was so much fun. If you are a lover of cosplay, I have spied folks in Barbie and Ken outfits at “Barbie” — my prediction for hottest Halloween costumes — and I hear from Abe Goldfarb, hilarious as Otho in the touring company of “Beetlejuice,” who was on the weekly PopLifeSTL.com podcast co-hosted by Carl “The Intern” Middleman and myself on Oct. 4, that there’s many folks dressing up at the shows. He’s excited that they’re here Oct. 13.
The St. Louis Blues open at home Oct. 12. Just once I’d like to buy a team T-shirt where the player I selected isn’t traded. (I bought an Alexander Pietrangelo one — with a C — before the playoffs in ’19 and a Ryan O’Reilly in 2022.)
Are we having the Daylight Savings Time ‘fall back’ happen this year or is it over? Anyone? I’m so confused.
Where in the world is Lynn this weekend? Judging the costume contest at the sensational annual Witches and Wizards Festival in O’Fallon, Ill., a really fun event
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny has announced that Sara Sheperd, Jackie Burns, Jarrod Spector, Steven Good, Noah Weisberg and Sharon Hunter will star in the kickoff to The Muny’s 2023 season, Beautiful: The Carole King Musical, June 12-18, 2023. The inspiring true story is led by director Marcia Milgrom Dodge, choreographer Patricia Wilcox, associate choreographer Kelly Liz Bolick, with music direction by Charlie Alterman. Beautiful: The Carole King Musical is proudly sponsored by Emerson.
“Carole King’s music and story have been an inspiration to millions,” said Muny Artistic Director and Executive Producer Mike Isaacson, “this is a thrilling group of artists to bring her journey to powerful life on our stage. Sweet inspiration indeed.”
Sara Sheperd
SARA SHEPERD (Carole King) Muny: Legally Blonde (Vivienne Kensington), Les Misérables, The Pajama Game, Hello, Dolly!; Irving Berlin’s White Christmas, The Wizard of Oz. Broadway: Beautiful: The Carole King Musical (OBC), Paradise Square, Cry-Baby. National tour: Beautiful (Carole King), Legally Blonde (Kate/Chutney). Regional: Oliver! (Nancy, Human Race Theatre Company), Funny Girl (Fanny Brice, Drury Lane), Little Women (Jo March, Engeman Theater). Sara is so excited to be back at The Muny, where her professional career began, getting to play this iconic role.
JACKIE BURNS (Cynthia Weil) is Broadway’s longest running Elphaba in Wicked. She replaced Idina Menzel on the national tour of If/Then and was also a part of the original Broadway company. Other credits include the Tony Award-winning revival of Hair (OBC) and Rock of Ages (original off-Broadway company).
Selected regional theatre credits include Pittsburgh Civic Light Opera, Paper Mill Playhouse, Alley Theatre, Broadway Sacramento, Casa Mañana and George Street Playhouse. Film/TV: Set It Up, The Magnificent Meyersons, Power Book II: Ghost; The Great Wall of Warren. Jackie has sung all over the world with Grammy and Tony Award-winning composer Frank Wildhorn. She most recently completed a successful run as the title character in the new musical Cowboy Bob and the leading role in the new musical A Walk on the Moon.
Jarrod Spector
JARROD SPECTOR (Barry Mann) Broadway: Les Misérables (Gavroche), Jersey Boys (Frankie Valli), Beautiful: The Carole King Musical (Barry Mann, Tony nomination), The Cher Show (Sonny Bono). New York: Hamlet (Hamlet). National tours: Les Misérables, Jersey Boys. Regional: Piece of My Heart (Bert Berns, New York Stage and Film), Presto Change-O (Michael, Barrington Stage), Roman Holiday (Irving Radovich, Golden Gate Theatre), The Cher Show (Sonny Bono, Nederlander Theatre), Bruce (Steven Spielberg, Seattle Rep). TV/Streaming: Halston, Wormwood, A Killer Party, The Kate (in concert, playing himself, Regional Emmy nomination). Jarrod tours the country with his critically acclaimed solo concerts and duet performances with his wife, Kelli Barrett, and has released two solo albums.
STEVEN GOOD (Gerry Goffin) Broadway: Waitress (Dr. Pomatter), Escape to Margaritaville (Mr. Utley, u/s Tully). National tour: Waitress (Dr. Pomatter). Regional: Lend Me a Soprano (Leo, Alley Theatre, world premiere), Austen’s Pride (Mr. Darcy, 5th Avenue Theatre), Grey Gardens (Ahmanson), Prometheus Bound and Once (American Repertory Theater), Woyzeck (Santa Barbara Ensemble Theatre). Film/TV: Younger (Rob Davis), The Blacklist (NBC), A Neighbor’s Vendetta (Tubi), Nightmare Nurse (Lifetime), Notorious (ABC), Hart of Dixie (WB). Education: MFA (Acting) Harvard, Moscow Art Theatre, A.R.T.; BFA (Music Composition/Classical Voice) UC Santa Cruz.
NOAH WEISBERG (Don Kirshner) Muny: Bye Bye Birdie, Grease, Damn Yankees, Joseph…Dreamcoat, Meet Me In St. Louis. Broadway: Legally Blonde, South Pacific, Enron, Elf. National tour: Charlie and the Chocolate Factory (Willy Wonka). New York: Two Gentlemen of Verona (Shakespeare in the Park). Regional: Calvin Berger (Calvin, George Street Playhouse, Original Cast Recording), Diner (Delaware Theatre), Enter Laughing (Wallis Annenberg Center). TV: NBC’S Emmy-winning Zoey’s Extraordinary Playlist (Danny Michael Davis), Showtime’s Super Pumped (Quentin), Modern Family (Brett), Major Crimes, Law & Order, K.C. Undercover, Wisdom of the Crowd, The Good Wife, iCarly, Franklin & Bash, Team Umizoomi, Bad Teacher, Bones, TheNew Normal, JoJo’s Circus, Cashmere Mafia, Law & Order: CI;Kenny the Shark, Love Monkey, Indoor Boys, Snowy Day, Charlie’s Big Flight, Doonce. Film: Zoey’s Extraordinary Christmas. Weisberg wrote and directed the award-winning films Thank You Kindly and What’s Life Got to Do with It? Education: NYU.
SHARON HUNTER (Genie Klein) is thrilled to be making her Muny debut! Off-Broadway:The House of Bernarda Alba (Gene Frankel Theatre), Bad Seed (Nicu’s Spoon Theater), The House of Blue Leaves (Gallery Players), The Picture of Dorian Gray (Robert Moss Theatre). Regional: Imaginary Theatre Company, Jake’s Women (Karen, Moonstone Theatre Company), Working (Waitress, Hot House Theatre), Falsettos (Trina) and Hello Muddah, Hello Faddah! (Sarah, New Jewish Theatre). Sharon has maintained an active cabaret career in both New York (Metropolitan Room, Don’t Tell Mama) and St. Louis (The Monocle). Sharon is the Producing Artistic Director and Founder of Moonstone Theatre Company in St. Louis, where she directed critically acclaimed productions of Proof, Barefoot in the Park and Grand Horizons. She just directed Gloria: A Life at New Jewish, and last season’s highly successful Dear Jack, Dear Louise. Later this summer she will star in Moonstone’s production of TheSound Inside.
Carole King and Gerry Goffin
About the show:
An inspiring true story of a music legend, Beautiful: The Carole King Musical takes you on an unforgettable journey of a remarkable career. A tapestry of creativity and innovation, Carole King paved the way for female artists for generations to come. The musical’s Grammy Award-winning album features over two dozen pop classics including “It’s Too Late,” “You’ve Got a Friend” and “I Feel the Earth Move.”
The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.
The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).
Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Of course there are always notable people left off the list of nominees, but this crop of Tony Awards nominations is quite impressive. Announced this morning.
Notable news is that two of our local theater titans have been nominated as producers this season. Jack Lane, retired as Stages St Louis executive director, is one of the producers on “& Juliet,” a lively jukebox musical with familiar pop tunes by Max Martin, with 9 nominations, including Best Musical, and Mike Isaacson, Muny executive producer and artistic director, is nominated, along with his producing partner Kristin Caskey, for “Parade,” the Jason Robert Brown musical, as Best Musical Revival, a total of 6 nominations, including leads Ben Platt and Micaela Diamond.
(I was introduced to this outstanding musical by R-S Theatrics, which presented it in 2013, with memorable performances by Pete Winfrey and Jennifer Theby Quinn, and Marshall Jennings.).
Some performers that we’ve seen in town in shows are also part of the Tonys conversation this year.
J. Harrison Ghee, St Louis Theater Circle nominee for “Kinky Boots” and “Chicago” at the Muny (as Velma Kelly), is earning rave reviews in the Jack Lemmon role in the “Some Like It Hot” musical, which is the most nominated show this year – 13. They are nominated, making history as one of the first nonbinary identifying performers.
Here is their statement:
“I’m thrilled! It has been a fantastic journey to portray Jerry/Daphne, and I’ve been overwhelmed — in a good way — to see how audiences have received these characters. I’m thankful to every member of this production for creating such an affirming space where I get to show the complexity of this human and go on a beautiful ride every time the curtains go up. I’m grateful to the committee for recognizing this work. It’s a moment I will cherish forever.”
New York New York
Other Muny favorites on Broadway this spring include Ben Davis as Gordon Kendrick (last year’s award-winning Sweeney Todd) and Emily Skinner (Ursula in “The Little Mermaid”) as Madame Veltri in “New York, New York,” and Jay Armstrong Johnson (“Hello Dolly” and “42nd Street”) in “Parade.”
A lot of buzzy big names are among the nominations, and their shows earned rave reviews. One show that I would have loved to have seen is the revival of “Topdog/Underdog” with Corey Hawkins and Yahya Abdul-Mateen II, which ran Oct 2022-Jan. 15, 2023. I enjoy their film work, and I can only image the electricity on stage.
I was fortunately introduced to Suzan-Lori Parks’ intense play by St Louis Actors’ Studio in 2013 with unforgettable performances by Chauncy Thomas and Reginald Pierre,
Here’s the full list of nominees. Awards are on June 11.
Topdog/Underdog
Best Play
Ain’t No Mo’ Between Riverside and Crazy Cost of Living Fat Ham Leopoldstadt
Best Musical
& Juliet Kimberly Akimbo New York, New York Shucked Some Like It Hot
Best Revival of a Play
August Wilson’s The Piano Lesson A Doll’s House The Sign in Sidney Brustein’s Window Suzan-Lori Parks’ Topdog/Underdog
Parade
Best Revival of a Musical
Into the Woods Lerner & Loewe’s Camelot Parade Sweeney Todd: The Demon Barber of Fleet Street
Best Book of a Musical
& Juliet David West Read
KimberlyAkimbo David Lindsay-Abaire
New York, New York David Thompson & Sharon Washington
Shucked Robert Horn
Some Like It Hot Matthew López & Amber Ruffin
Best Original Score (Music and/or Lyrics) Written for the Theatre
Almost Famous Music: Tom Kitt Lyrics: Cameron Crowe & Tom Kitt
Kimberly Akimbo Music: Jeanine Tesori Lyrics: David Lindsay-Abaire
KPOP Music & Lyrics: Helen Park & Max Vernon
Shucked Music and Lyrics: Brandy Clark & Shane McAnally
Some Like It Hot Music: Marc Shaiman Lyrics: Scott Wittman & Marc Shaiman
Between Riverside and Crazy
Best Performance by an Actor in a Leading Role in a Play
Yahya Abdul-Mateen II, Suzan-Lori Parks’ Topdog/Underdog
Corey Hawkins, Suzan-Lori Parks’ Topdog/Underdog
Sean Hayes, Good Night, Oscar
Stephen McKinley Henderson, Between Riverside and Crazy
Wendell Pierce, Arthur Miller’s Death of a Salesman
Prima Facie
Best Performance by an Actress in a Leading Role in a Play
Jessica Chastain, A Doll’s House
Jodie Comer, Prima Facie
Jessica Hecht, Summer, 1976
Audra McDonald, Ohio State Murders
Best Performance by an Actor in a Leading Role in a Musical
Christian Borle, Some Like It Hot
J. Harrison Ghee, Some Like It Hot
Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street
Brian d’Arcy James, Into the Woods
Ben Platt, Parade
Colton Ryan, New York, New York
Kimberly Akimbo
Best Performance by an Actress in a Leading Role in a Musical
Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street
Sara Bareilles, Into the Woods
Victoria Clark, Kimberly Akimbo
Lorna Courtney, & Juliet
Micaela Diamond, Parade
Best Performance by an Actor in a Featured Role in a Play
Jordan E. Cooper, Ain’t No Mo’
Samuel L. Jackson, August Wilson’s The Piano Lesson
Arian Moayed, A Doll’s House
Brandon Uranowitz, Leopoldstadt
David Zayas, Cost of Living
Best Performance by an Actress in a Featured Role in a Play
Nikki Crawford, Fat Ham
Crystal Lucas-Perry, Ain’t No Mo’
Miriam Silverman, The Sign in Sidney Brustein’s Window
Katy Sullivan, Cost of Living
Kara Young, Cost of Living
Shucked
Best Performance by an Actor in a Featured Role in a Musical
Kevin Cahoon, Shucked
Justin Cooley, Kimberly Akimbo
Kevin Del Aguila, Some Like It Hot
Jordan Donica, Lerner & Loewe’s Camelot
Alex Newell, Shucked
Best Performance by an Actress in a Featured Role in a Musical
Julia Lester, Into the Woods
Ruthie Ann Miles, Sweeney Todd: The Demon Barber of Fleet Street
Bonnie Milligan, Kimberly Akimbo
NaTasha Yvette Williams, Some Like It Hot
Betsy Wolfe, & Juliet
Best Scenic Design of a Play
Miriam Buether, Prima Facie
Tim Hatley & Andrzej Goulding, Life of Pi
Rachel Hauck, Good Night, Oscar
Richard Hudson, Leopoldstadt
Dane Laffrey & Lucy Mackinnon, A Christmas Carol
Best Scenic Design of a Musical
Beowulf Boritt, New York, New York
Mimi Lien, Sweeney Todd: The Demon Barber of Fleet Street
Michael Yeargan & 59 Productions, Lerner & Loewe’s Camelot
Scott Pask, Shucked
Scott Pask, Some Like It Hot
Good Night, Oscar on Broadway at the Belasco Theatre
By Doug Wright
Directed by Lisa Peterson
Opening Night: April 24, 2023
Photo credit: Joan Marcus
Best Costume Design of a Play
Tim Hatley, Nick Barnes & Finn Caldwell, Life of Pi
Dominique Fawn Hill, Fat Ham
Brigitte Reiffenstuel, Leopoldstadt
Emilio Sosa, Ain’t No Mo’
Emilio Sosa, Good Night, Oscar
Best Costume Design of a Musical
Gregg Barnes, Some Like It Hot
Susan Hilferty, Parade
Jennifer Moeller, Lerner & Loewe’s Camelot
Clint Ramos & Sophia Choi, KPOP
Paloma Young, & Juliet
Donna Zakowska, New York, New York
Life of PI
Best Lighting Design of a Play
Neil Austin, Leopoldstadt
Natasha Chivers, Prima Facie
Jon Clark, A Doll’s House Bradley King, Fat Ham
Tim Lutkin, Life of Pi
Jen Schriever, Arthur Miller’s Death of a Salesman
Ben Stanton, A Christmas Carol
Best Lighting Design of a Musical
Ken Billington, New York, New York
Lap Chi Chu, Lerner & Loewe’s Camelot
Heather Gilbert, Parade
Howard Hudson, & Juliet
Natasha Katz, Some Like It Hot
Natasha Katz, Sweeney Todd: The Demon Barber of Fleet Street
Best Sound Design of a Play
Jonathan Deans & Taylor Williams, Ain’t No Mo’
Carolyn Downing, Life of Pi
Joshua D. Reid, A Christmas Carol
Ben & Max Ringham, A Doll’s House
Ben & Max Ringham, Prima Facie
Best Sound Design of a Musical
Kai Harada, New York, New York
John Shivers, Shucked
Scott Lehrer & Alex Neumann, Into the Woods
Gareth Owen, & Juliet
Nevin Steinberg, Sweeney Todd: The Demon Barber of Fleet Street
Fat Ham
Best Direction of a Play
Saheem Ali, Fat Ham
Jo Bonney, Cost of Living
Jamie Lloyd, A Doll’s House
Patrick Marber, Leopoldstadt
Stevie Walker-Webb, Ain’t No Mo’ Max Webster, Life of Pi
Best Direction of a Musical
Michael Arden, Parade
Lear deBessonet, Into the Woods
Casey Nicholaw, Some Like It Hot
Jack O’Brien, Shucked
Jessica Stone, Kimberly Akimbo
Best Choreography
Steven Hoggett, Sweeney Todd: The Demon Barber of Fleet Street
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny has announced that Bryonha Marie, Mamie Parris, James T. Lane, Alan H. Green, Thom Sesma, Meredith Aleigha Wells, Madeleine Doherty, Katy Geraghty, Brandon Espinoza, F. Michael Haynie and Darron Hayes will star in the divine musical comedy Sister Act, August 14 – 20, 2023. The grand finale to The Muny’s 2023 Season will be directed and choreographed by Denis Jones, with associate choreographer Barry Busby and music direction by Sheilah V. Walker. Walker will also conduct.
“To head directly to the obvious, this cast is heaven,” said Muny Artistic Director and Executive Producer. “We are so inspired that so many great talents will be creating our “Sister Act.” Our prayers have indeed been answered.”
Bryonha Marie
BRYONHA MARIE (Deloris Van Cartier) Muny: The Sound of Music (Mother Abbess) and A Little Sondheim Music (Powell Hall). Broadway: Prince of Broadway, The Book of Mormon, After Midnight, The Gershwin’s Porgy and Bess, Ragtime. Off-Broadway/NY: Promenade (NY City Center Encores!), Candide (Carnegie Hall), NY Philharmonic’s Show Boat and Sweeney Todd (Beggar Woman), Ragtime (Lincoln Center). Tour: Falsettos. World premiere: Dave (Arena Stage, 2019 Helen Hayes nominee), Prince of Broadway (Tokyo Orb). A 2022 Jeff nominee for her performance in Life After, Bryonha has appeared regionally, most recently as Mrs. Lovett in the Signature Theatre production of Sweeney Todd, directed by Sarna Lapine, The Gershwin’s Porgy and Bess (ART), Ragtime (Kennedy Center), TheCivil War (NETworks), Hair (Broadway Sacramento), Dreamgirls (Effie White, North Shore), Little Shop of Horrors (Berkshire Theatre Group) and many more. TV: The SpongeBob Musical: Live on Stage!; Madam Secretary, Show Boat and Sweeney Todd (Live from Lincoln Center).
MAMIE PARRIS (Mother Superior) Muny: Paint Your Wagon (Cayla Woodling), Hello, Dolly! (Irene Molloy) and Joseph… Dreamcoat (Narrator). On Broadway, Mamie is perhaps best known for her iconic rendition of Memory from the recent revival of Cats. Other Broadway: School of Rock, Ragtime, The Drowsy Chaperone, On The 20th Century and 110 in the Shade. Off-Broadway: Anything Can Happen in The Theater (plus cast album), Pump Boys and Dinettes (Prudie). Tours: Wicked (Elphaba), 9 to 5 (Judy), Legally Blonde. Regional: Paper Mill Playhouse, Arena Stage, The Old Globe, Goodspeed, Pittsburgh CLO and more. Film/TV: A Standup Guy, State of Affairs, The Blacklist and The PBS Great Performances 50th Anniversary special. Audiobook narrator and lauded symphony soloist.
JAMES T. LANE (Eddie Souther) is from Philadelphia. Muny: Chicago (Billy Flynn), Disney’s The Little Mermaid (Sebastian). West End: The Scottsboro Boys, A Chorus Line. Broadway: Chicago (Billy Flynn), Kiss Me, Kate (Paul), King Kong, The Scottsboro Boys (Ozie Powell/Ruby Bates), A Chorus Line (Richie Walters). National tours: Ain’t Too Proud – The Life and Times of The Temptations (Paul Williams), Jersey Boys. Regional: Guys and Dolls (Nicely-Nicely Johnson), Mary Poppins (Bert), The Wiz (Tin Man) and more. Lane also created and performed in Triple Threat,a “play that moves and sings.”
Alan H. Green
ALAN H. GREEN (Curtis Jackson) Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act and Play On! Original Cast Albums include his Broadway shows as well as Broadway Bounty Hunter, Freaky Friday and Carols for a Cure. First national tours: 25th Annual Putnam County Spelling Bee, Swing!; Smokey Joe’s Cafe. International: Miss Saigon (sung in German). Recent Regional: The Griswold’s Broadway Vacation (5th Avenue Theatre), The Karate Kid (Stages St. Louis), A.D. 16 (Olney Theatre). TV: Almost Family, Unforgettable, Murphy Brown, 30 Rock, Peter Pan Live!; Law & Order: SVU; Guiding Light and lots of national commercials. Awards: Outstanding Lead Actor in a Musical (Berkie), Best Performer in a Streamed Musical (BroadwayWorld). BA in Vocal Performance from Rice University. Board Member and Associate Artist at Barrington Stage Company.
THOM SESMA (Monsignor O’Hara) made his Muny debut in 2013 as Jafar in Disney’s Aladdin. He has numerous credits at Repertory Theatre of St. Louis, where he appeared in Sweeney Todd, A Little Night Music, Dinner with Friends and where he directed Life (x) 3. Elsewhere, he was most recently seen in Oliver! (New York City Center Encores!), followed by the world premiere production of Madeline Myers’ Double Helix (Bay Street Theatre, Sag Harbor, NY). Other recent New York credits include A Man of No Importance (Classic Stage Company), Letters of Suresh (Second Stage, Lortel Award nomination), Unknown Soldier (Playwrights Horizons) and Ghosts (Williamstown/Seattle Rep). Broadway/National tour credits include: The Times They Are A-Changin’; Disney’s The Lion King, Titanic, Miss Saigon, Man of La Mancha, Search and Destroy, Nick & Nora. Select TV credits: Instinct, The Good Wife, Madam Secretary, Gotham, Jessica Jones.
MEREDITH ALEIGHA WELLS (Sister Mary Robert) made their national tour debut in Dr. Seuss’ How the Grinch Stole Christmas!,marking the first performance in a Broadway national tour by a wheelchair user. They have also toured their original one-person musical Dysfunctioning Just Fine (Purple Skies Playwright Award) across the northeast. Off-Broadway: Various readings with New York Theatre Workshop. Regional: Teenage Dick (Buck, Seattle Rep), Disney’s The Little Mermaid (Atina, Music Theater Works), Blue Roses (Laura Wingfield, Rec Room Arts), Shrek (Ugly Duckling, Beck Center) and Cleveland Public Theatre.Other appearances include Dance St. Louis, CounterBalance, OhioDance Festival, Boston’s Symphony Hall, Playhouse Square, Ailey Citigroup Theater, The Macy’s Thanksgiving Day Parade, and the Luminous Festival in Beijing, China. In 2020, Meredith started their newsletter, Message in a Bottle, where they continue to spread chronic illness awareness and help others through sharing their experience as a queer disabled performer.
MADELEINE DOHERTY (Sister Mary Lazarus) Broadway: Les Misérables (Ensemble, u/s Madame Thenardier, dance captain), AChristmas Carol (Char Woman, original cast), The Producers (Hold Me Touch Me, original cast), Sister Act (Sister Mary Teresa, original cast), Gigi (u/s Mamita/Alicia, original cast/revival), Charlie and The Chocolate Factory (Grandma Georgina, original cast). Off-Broadway: Romance, Romance (original cast), A Time for Singing (York Theatre). Six national tours, over 50 regional theatres, one son, one grandson, four step-kids, five step-grandkids, one dog and three unions.
Katy Geraghty
KATY GERAGHTY (Sister Mary Patrick) was most recently seen as Little Red in Into the Woods on Broadway as well as the national tour. Other Broadway credits include the original cast of Groundhog Day, as well as the pre-Broadway run of & Juliet in Toronto. Select Regional: Hairspray (Tracy Turnblad), Bliss (Princess Carmella, world premiere, 5th Avenue), Shrek (Gingy). TV: Modern Love and Sing It On.
BRANDON ESPINOZA (Pablo) Muny: Grease (Danny Zuko, Director/Choreographer: Denis Jones). Broadway: SpongeBob SquarePants, Tuck Everlasting, Gypsy, Big, Les Misérables, The Will Rogers Follies. Off-Broadway: The Visitor (Public Theater), Substitution (Playwrights Realm), Scarcity (Atlantic Theater Company), Tea andSympathy (Keen Company), CaptainsCourageous (Manhattan Theater Club; Drama League honoree/nominee). Regional: The Rembrandt (TheaterWorks Hartford), Anna in the Tropics (Director/Playwright: Nilo Cruz, Miami New Drama, 20th anniversary production), On Your Feet! (Paper Mill Playhouse), The Way of the World (Director/Playwright: Theresa Rebeck; Folger Theatre), A View from the Bridge (Director: Ivo van Hove; Goodman Theatre). Current TV: Power Book III: Raising Kanan (Detective Garcia, Starz). Other TV: The Blacklist (NBC), Law & Order: Organized Crime (NBC), The Equalizer (CBS), FBI (CBS), The Leftovers (HBO), The Following (Fox), The Mysteries of Laura (NBC), The Carrie Diaries (CW).
F. MICHAEL HAYNIE (Joey) most recently starred as Olaf in the North American Tour of Frozen. Broadway: Wicked, Charlie and the Chocolate Factory, Holler If Ya Hear Me. Off-Broadway: Carrie (MCC), Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC) and more. TV/Film: Jesus Christ Superstar Live in Concert (NBC), Peter Pan LIVE! (NBC), Not Fade Away (Paramount).
DARRON HAYES (TJ) Muny: Joseph and the Amazing Technicolor Dreamcoat. He recently returned home to the states after playing Pharus in the Australian Premiere of Choir Boy. Australian Theatre: The National Theatre of Parramatta. Off-Broadway/New York: The Gospel According to Heather, Notes from Now, Love Around the Block. Regional: Asolo Repertory Theatre, Music Theatre Wichita, Two River Theater, New London Barn Playhouse, and JAG Productions where he premiered in the first ever all-Black Production of Next to Normal. University of North Carolina School of the Arts 2017. Penn State Musical Theatre 2021.
About the show:
Based on the smash hit film, Sister Act is a heavenly musical comedy that proves nothing can stand in the way of sisterhood! Disco diva Deloris dreams of fame and fortune, but is she prepared for the way she receives it? Songs inspired by Motown, soul and disco, including “Take Me to Heaven,” “Fabulous, Baby!” and “Raise Your Voice,” this score is sure to raise your spirits. The grand finale to the Muny season promises to be divine!
Music by Alan Menken, Lyrics by Glenn Slater, Book by Cheri Steinkellner & Bill Steinkellner, Additional Book Material by Douglas Carter Beane. Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard.
The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.
The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).
Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny announced April 27 that Ashley Blanchet, Ben Crawford, Claybourne Elder, Ann Harada, Kelvin Moon Loh, Eric Jordan Young, Holly Ann Butler, Tommy Bracco, Harrison White, Debby Lennon and Michael Hobin will star in the magical production of Disney’s Beauty and the Beast, June 22 – 30, 2023.
A Muny family favorite, guests will be dazzled with spectacular sets and costumes from the creative team, led by director John Tartaglia, with choreography by Patrick O’Neill and music direction by Ben Whiteley. Disney’s Beauty and the Beast is proudly sponsored by Ameren.
“What a thrilling, joyous cast, one sure to create true enchantment,” said Muny Artistic Director and Executive Producer Mike Isaacson. “We all can’t wait to delight thousands of Muny lovers each night with the beloved Disney classic. Be Our Guest, indeed!”
Ashley Blanchett
ASHLEY BLANCHET (Belle) Broadway: Waitress (Dawn), Frozen (u/s Elsa), Beautiful (Little Eva), Annie (Star To Be), Memphis. Recent select regional productions include The Sound of Music (Maria, Paper Mill Playhouse) and Oklahoma! (Ado Annie, Pittsburgh Civic Light Opera).
This spring, she was Miss New Hampshire in the world premiere of the new musical The Bedwetter, written by Josh Harmon, Adam Schlesinger and Sarah Silverman. Film/TV: The Equalizer, The Good Fight, Better Nate Than Ever (Disney+) and the voice of Raquelle in the award-winning animated short film Are You Okay? Proud alumna of University of Michigan and The Walnut Hill School in Natick, MA.
BEN CRAWFORD (Beast) Muny: Footloose (Chuck), Titanic (Frederick Barrett), Oliver! (Bill Sikes). Broadway: The Phantom of the Opera (Phantom, 35th Anniversary), Charlie and The Chocolate Factory (Mr. Salt), On the Twelfth Century, Big Fish (Don Price, u/s Edward), Shrek (Shrek) and Les Misérables (u/s Jean Valjean, Javert). Off-Broadway: Irma la Douce (Persil-Le-Noir/Mec) and Merrily We Roll Along (Terry) for Encores!; Jasper in Deadland (Prospect Theatre).
National tour: Guys and Dolls (Sky Masterson). Regional: Evita (Che, Studio Tennessee), 110 in the Shade (Starbuck, Ford’s Theatre), Big Fish (Don Price, u/s Edward, Oriental Theatre), South Pacific (Luther Billis, Ogunquit Playhouse), Next to Normal (Madden, Pioneer Theatre), Assassins (John Wilkes Booth, Arizona Theatre Company), Shrek the Musical (Shrek Standby, Seattle 5th Avenue Theatre), Oklahoma! (Jud Fry, Atlanta Theater of the Stars) and A New Brain (Gordan Schwinn, Arizona Onstage Productions). Concerts: Carousel (Billy Bigelow) with Rochester Philharmonic, and Hello, Dolly! (Cornelius) and Yuletide for Indianapolis Symphony.
Claybourne Elder
CLAYBOURNE ELDER (Gaston) was most recently seen on Broadway as Andy in the Tony Award-winning revival of Company with Patti LuPone. He is a Drama Desk and Lucille Lortel Award nominee, known for his Broadway performances in Bonnie and Clyde, Sunday in the Park with George and Torch Song. He also appeared in Sondheim on Sondheim at the Hollywood Bowl, Road Show at the Public Theater, Do I Hear A Waltz? at NY City Center Encores!; Allegro at Classic Stage and Venice at the Public Theater. Other roles include George in Sunday in the Park with George, Giorgio in Passion, Tony in West Side Story, Joe in Angels in America, Curly in Oklahoma!; and Wolf/Cinderella’s Prince in Into the Woods. TV/Film credits include John Adams on The Gilded Age, The Carrie Diaries, FBI, Bad Cupid and the video game Grand Theft Auto V.
ANN HARADA (Mrs. Potts) has appeared at The Muny in High School Musical, 42nd Street, Mamma Mia!; Gypsy and Matilda. She is best known for playing Christmas Eve in Avenue Q on Broadway and London’s West End. Other Broadway: Into the Woods, Rodgers & Hammerstein’s Cinderella, Les Misérables, 9 to 5, Seussical, M. Butterfly. Recent off-Broadway: Dear World, Fairycakes, Emojiland, I Married an Angel, Pacific Overtures, Brooklynite. TV: Schmigadoon!; Smash, Blue Bloods, TheJim Large.
Kelvin Moon Loh
KELVIN MOON LOH (Lumiere) Muny Debut! Broadway: Beetlejuice The Musical (Otho), SpongeBob SquarePants, The King and I (Lincoln Center 2014), Side Show (2013 Revival). Select Theatre: Here Lies Love (Public Theater), Pacific Overtures (Classic Stage Co.), American Idiot (first national tour). Regional: Utah Shakespeare Festival, Pioneer Theatre Company, Houston TUTS, Arvada Center for the Performing Arts, La Jolla Playhouse, The Kennedy Center, Gateway Playhouse, North Shore Music Theatre, Kansas City Starlight, National Asian Artists Project. TV: Only Murders in the Building. Kelvin can be heard as a vocalist in the movies Spirited; Lyle, Lyle, Crocodile; and The Greatest Showman. He appears as Perch Perkins in the movie version of SpongeBob SquarePants The Musical. NYU Steinhardt.
ERIC JORDAN YOUNG (Cogsworth) Muny: Joseph and the Amazing Technicolor Dreamcoat (2022). Broadway: Ragtime (1998), Ragtime (2009), The Look of Love, Chicago and Seussical. Select off-Broadway and regional credits include Neighbors, Dessa Rose, Little Fish, Side Show (Helen Hayes Award), Ragtime, Jesus Christ Superstar, Sammy & Me. National tours: Chicago, Ragtime, Dreamgirls. Las Vegas: Cocktail Cabaret, Rock of Ages, Vegas! The Show; Shakin’;Chicago, Starlight Express.
Holly Ann Butler
HOLLY ANN BUTLER (Babette) Muny: Holiday Inn (Lila Dixon), Annie (Lily St. Regis), A Chorus Line (Sheila). Broadway/off-Broadway: Diana (Sarah Spencer), Come From Away, On the Town, How to Succeed In Business Without Really Trying, Grease, Happiness, Anyone Can Whistle. Tours: Evita, Shrek, Jersey Boys. Regional: The Royal Family of Broadway (Barrington, world premiere), The Honeymooners (Paper Mill Playhouse), Thoroughly Modern Millie (Drury Lane, Jeff Award nomination). Film/TV: Diana the Musical, A Holiday Spectacular, Spirited, SeaQuest 2032, Figure It Out.
TOMMY BRACCO (Lefou) Broadway: Disney’s Newsies (Spot Conlon, OBC), Pretty Woman: The Musical (Giulio, OBC) and A Chorus Line (Mike Costa, NY City Center Encores!). In addition to theatre, Tommy has a love for reality TV and competed on CBS’ Big Brother and MTV’s The Challenge.
HARRISON WHITE (Maurice) makes his Muny debut in Disney’s Beauty and the Beast. Broadway: The Lion King and Sarafina! West End: Smokey Joe’s Cafe. Off-Broadway: A Good Swift Kick and Romance in Hard Times at the Public Theater. Other credits include Dreamgirls, Seussical, Jesus Christ Superstar, The Full Monty, Gulls, Miss Saigon, It’s A Wonderful Life;Purlie, Ain’t Misbehavin’;Five Guys Named Moe, Once on This Island, as well as world premieres of Ray Charles Live and Sister Act. TV: The Villains of Valley View, The Underground Railroad, Kenan, Danger Force, The Kominsky Method, Fresh Off the Boat, How To Get Away With Murder, This Is Us, 9-1-1, Modern Family and many more. Film: Mermaid, I Got the Hookup 1 and 2, The Way You Look Tonight, Waiting in the Wings 1 and 2, Opening Night, The Muppets, Se7en. Proud member of AEA since 1988.
DEBBY LENNON (Madame de la Grande Bouche) is thrilled to be a part of The Muny’s 105th Season. Muny credits: Chicago (Standby Matron Mama Morton/Mary Sunshine), Mary Poppins (Miss Andrew), Sweeney Todd, The Sound of Music, Singin’ in the Rain (Dora Bailey), Oliver!; Cinderella on Ice, South Pacific, Annie, Fiddler on The Roof and Show Boat. St. Louis Theater Circle Awards for Grey Gardens (Edith/Little Edie, Best Actress in a Musical) and Souvenir: A Fantasia on the Life of Florence Foster Jenkins (Best Actress in a Comedy). She looks forward to playing the role of Mother in Union Avenue Opera’s upcoming production of Ragtime. Debby celebrates 23 years as director of The Webster University Jazz Singers and is an adjunct professor of voice at Webster University in St. Louis, MO.
MICHAEL HOBIN (Chip) is honored to make his debut this summer at The Muny as a member of the principal cast in Beauty and the Beast. His favorite and recent roles include Ralphie (A Christmas Story), Bruce (Matilda), Young Luke (The Lightning Thief: The Percy Jackson Musical), Jeter (Footloose) and Olaf (Frozen Jr.). He has performed with Gateway Center for Performing Arts, Shooting Star Productions, Stages Performing Arts Academy and Kirkwood Youth Theatre. Michael is a member of the Muny Kids Touring Troupe. He studies voice with Dr. Philip Woodmore and dance training at Gateway Center for Performing Arts.
About the show:
Be our guest and bring the entire family for an enchanting night under the stars! Disney’s Beauty and the Beast reminds us to look for the beauty within. With a dose of Muny Magic, this production will bring all your favorite fanciful characters to life, with spectacular sets and costumes. Join Belle, the Beast, Mrs. Potts, Cogsworth, Lumiere and all the spellbound characters of the fabled castle in a summer celebration for any age!
Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice and Book by Linda Woolverton.
The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.
The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).
Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Every so often, The Muny and the St. Louis Symphony come together like Peaches & Herb: “Reunited, and it feels so good…”
These two cultural cousins know how to celebrate. That was definitely the vibe at Power Hall on October 2 when these two local cultural titans combined talents for “A Little Sondheim Music,” a concert to celebrate composer-lyricist Stephen Sondheim, a titan of different sort. The last time the Symphony and Muny combined forces was to celebrate the The Muny’s 100th birthday.
With Mike Isaacson, the Muny’s Artistic Director and Executive Producer, at the helm as host and master of ceremony, the lively event perked along through a well-curated roster of songs from Sondheim’s career. This was no jukebox jaunt through Sondheim’s songbook. It was a journey into Sondheim’s impressive range of songs and characters, some of which aren’t among his greatest hits.
So, along with the familiar titles from “Follies,” “A Little Night Music,” “Company” and “Sweeney Todd,” the audience was also to treated to selections from the lesser-known “Saturday Night,” “Evening Primrose” and “Anyone Can Whistle.” Another entire concert or two could be created from Sondheim’s deep cuts from other shows. To borrow a line from “Send In the Clowns, “…well, maybe next year.” (hint, hint).
In his opening, Isaacson quoted the three guiding principles that Sondheim hewed to during his career: content dictates form, less is more and God is in the details. To which Sondheim also added, “All in service of Clarity, without which nothing else matters.”
Bryonha Marie in rehearsal. Julie Merkel photo.
Clarity ruled the afternoon performance and elevated the achievements of Sondheim rather than mourn his passing last November at age 91. Lending their vocal talents to the celebration were some of Broadway’s brightest babies: Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner and Elizabeth Stanley. Their talents were on full display, whether performing individually, in duets or as an ensemble. And it would be unfair if not impossible to cite any one performance as a standout because they were all standouts.
Ask 10 audience members what their favorite was, and you’d probably get 10 different answers. My own personal favorite was Skinner’s interpretation of “Send In the Clowns.” Her use of pauses and emphasis provided new insight into the lyrics’ meanings and to the rueful ruminations of the character Desirée in “A Little Night Music.” I’m just a sucker for that song.
Clarity was certainly one of the concert’s throughlines. Songs such as ”If You Can Find Me, I’m Here,” sung by Scott, and “Broadway Baby,” sung by Marie, exemplify Sondheim’s ability to pack an entire show’s worth of characterization into a single lyric. And Scott interpreted his song by channeling an inner Dustin Hoffman, ala “The Graduate,” and Marie delivered sass, sashay and plenty of boop-oop-a-doop to hers.
Each Sondheim song is its own mini-musical. All of the performers tapped into this with brio and moxie, moving across the narrow strip of stag and conjuring the spirit of the actual musicals. Even if you didn’t know the show, you understood it from the song itself. That’s part Sondheim genius, part musical magic and part high-caliber performance from the artists.
Rehearsal photo of the two Bens – Davis and Whiteley. Photo by Julie Merkel.
Cases in point: Davis, fresh off this last summer’s successful Muny production of “Sweeney Todd,” reprised his take on the chilling “My Friends” by pivoting from fetishistic heavy petting of cutlery to the abrupt declaration, “At last, my arm is complete again!” Dexter should be so lucky.
And Stanley provided a disarmingly plaintive interpretation of “In Buddy’s Eyes” from “Follies” that reworked the breathless suffering usually associated with this song – written for an older character – into an ironic conscience examination of someone younger.
Also providing clarity to the concert was the St. Louis Symphony Orchestra, under the direction of Maestro Ben Whiteley, who has long been a member of the Muny artistic family. Host Isaacson thanked Whiteley “…who really created this program, bringing his incredible knowledge and passion to the creation of this program.”
The orchestra launched the performance with the opening overture to “Merrily We Roll Along” and was featured post-intermission with the overture to “A Funny Thing Happened on the Way to the Forum,” as well as a smooth and graceful “Night Waltz” from “A Little Night Music” in the second half. These were a potent reminder of the beauty of Sondheim’s compositions and how much a fine performance of them deepens their impact.
Also in the second half was a special appearance by St. Louis native Ken Page who sang “Anyone Can Whistle” with a sage-like preciousness that did the Old Deuteronomy cat proud.
As the concert drew to a close, Isaacson quoted Sondheim who answered an interviewer’s question about what he hoped his legacy would be. “Oh, I just would like the shows to keep getting done. Whether on Broadway, or in regional theaters, or schools or communities, I would just like the stuff to be done. Just done and done and done and done and done.”
With a concert like “A Little Sondheim Music,” The Muny and the Symphony have ensured that at least one of those done’s was accomplished – and done to perfection. It doesn’t get much clearer than that.
Featured Photo: Ben Whiteley, Michael Baxter, Nicolas Valdez, Bryonha Marie, Ben Davis, Matthew Scott, Emily Skinner.. Photo by Julie Merkel.
Matthew Scott in rehearsal. Photo by Julie Merkel.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
Collaborative Concert “A Little Sondheim Music” Oct 2. at Powell Hall
The St. Louis Symphony Orchestra and The Muny announced details about their latest collaboration: the upcoming concert honoring the late Stephen Sondheim, A Little Sondheim Music on Sunday, October 2, at 3:00pm. Sondheim, who passed away in November 2021 at age 91, is credited with reinventing the American musical, both as a lyricist and composer, throughout his prolific career.
Hosted by Mike Isaacson, Artistic Director and Executive Producer of The Muny, with musical staging by Michael Baxter, and conducted by Muny veteran Ben Whiteley, the concert includes selections from many of Sondheim’s most beloved musicals, including Merrily We Roll Along, Sondheim On Sondheim, Into the Woods, Follies, A Little Night Music, Company, and Sweeney Todd. All lyrics and music by Stephen Sondheim, with various arrangers and orchestrators.
Performing with the SLSO are several veteran theater performers, whose credits include Broadway musicals, West End productions, Muny productions, television, and more: Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner, and Elizabeth Stanley. Broadway veteran and St. Louis native Ken Page also makes a special appearance.
Collaborations between the two organizations date back to at least 1919, when the SLSO provided entertainment for patrons of The Muny during summer performances including Robin Hood and The Mikado. The tradition of collaboration returned in 1994 when the SLSO performed on The Muny stage in a celebration concert titled “Gateway to the Gold,” a salute to the U.S. Olympic Festival. The SLSO and The Muny last performed together in 2018 as part of The Muny’s centennial celebration.
Tickets are on sale now for this unique concert partnership between two of St. Louis’ most storied and celebrated arts institutions. Tickets can be purchased by visiting slso.org or by calling the SLSO Box Office at 314-534-1700.
Mike Isaacson
A Little Sondheim Music: The Muny and SLSO Celebrate Stephen Sondheim
Sunday, October 2, 2022, 3:00pm
Ben Whiteley, conductor
Ben Davis, vocals Bryonha Marie, vocals Matthew Scott, vocals Emily Skinner, vocals Elizabeth Stanley, vocals With special appearance by Ken Page
Mike Isaacson, host
Artist Bios:
Ben Davis recently received critical acclaim as Sweeney Todd in the Muny’s production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Davis received a Tony Honor for his work as Marcello in Baz Luhrmann’s Broadway production of La Boheme. His extensive credits, spanning from Broadway to London, include Encores! Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables, The Sound of Music, Kiss Me Kate for the BBC at London’s Royal Albert Hall and NBC’s, Annie Live. Concert credits include Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor, and many others.
Bryonha Marie
Bryonha Marie has rapidly established herself as one of the brightest young stars currently on Broadway and in the classical crossover arena. Best known for her tour de force Broadway performance in Prince of Broadway, a career retrospective of the work of Harold Prince, Marie has also thrilled Broadway audiences as Serena in Porgy & Bess. Other Broadway credits include After Midnight (featured and principal cover for Patti LaBelle, Toni Braxton, k.d. lang, and Fantasia), the revival of Ragtime (Sarah’s Friend), and The Book of Mormon.
Matthew Scott has performed as Adam Hochberg in An American In Paris on Broadway and the National Tour; Sondheim On Sondheim with Barbara Cook and Vanessa Williams; and A Catered Affair, Jersey Boys, and Grand Horizons. On the West End he has performed as Lee in I Loved Lucy at the Arts Theatre. Regional credits include The Light In The Piazza (Barrymore Award); Saturday Night, Beaches, Company, Side by Side by Sondheim, Chaplin (San Diego Critics Nomination), A Wonderful Life,Ragtime, My Fair Lady, Carousel, West Side Story (Kevin Kline Award Nomination), Legally Blonde, Swing!, Les Miserables, Sunset Boulevard, and Mamma Mia.
Emily Skinner has established herself as one of Broadway’s most engaging and versatile performers. She was most recently seen in Barrington Stage’s production of A Little Night Music where she received rave reviews for her fresh take on Desiree Armfeldt. Previously she appeared in the Broadway-bound musical Once Upon a One More Time at the Shakespeare Theatre Company in Washington, DC, and on Broadway as Georgia Holt, Cher’s Mother, in The Cher Show.
Heralded as one of the “Breakout Stars of 2020” by The New York Times, Elizabeth Stanley received Tony, Drama Desk, Outer Critics Circle Award nominations, and a Grammy Award for her recent performance as Mary Jane Healy in the musical Jagged Little Pill, inspired by the music of Alanis Morissette, book by Diablo Cody, and directed by Diane Paulus. Stanley has dazzled Broadway audiences as Claire De Loone in the revival of On the Town (Drama Desk Nomination), Dyanne in Million Dollar Quartet, Allison in Cry Baby, and April in the Tony Award-winning revival of Company.
Ken Page is a St. Louis native with a career spanning over 45 years. He is most widely known as the voice of “Oogie Boogie” in the Tim Burton/Disney film The Nightmare Before Christmas and has recreated his role in sold out concerts live to film at The Hollywood Bowl on four occasions as well as at Brooklyn’s Barclay Center, Tokyo, Glasgow, London (with the London Philharmonic Orchestra), and Dublin. Broadway/UK credits include Guys & Dolls, Ain’t Misbehavin’ (Emmy-winning NBC special, Drama Desk Award-Best Actor, Grammy Award), Cats as Old Deuteronomy (Original Broadway Cast, London Video Cast, Grammy Award), The Wiz, Ain’t Nothin’ But the Blues, Wizard of Oz, Children of Eden (London West End Original Cast), My One and Only (London Palladium), Mr. Wonderful (Theatre Royal Drury Lane), and The Little Mermaid (Hollywood Bowl).
SLSO
About the St. Louis Symphony Orchestra
Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.
The SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
About The Muny
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. The country’s largest outdoor musical theatre produces seven world-class musicals each year and welcomes over 400,000 theatregoers over our seven-show season. Now celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
