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

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

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

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

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

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

Narrator and Potiphar. Photo by Phillip Hamer.

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

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

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

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

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

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

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

Photo by Phillip Hamer.

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

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

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

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

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

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

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

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

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

Mykal Kilgore as the Pharoah. Photo by Phillip Hamer.

However, the showstopper in this production is Mykal Kilgore.

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

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

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

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

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

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

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

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

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

Photo by Phillip Hamer.

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

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

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

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

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

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

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

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

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

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

Cast of ‘Joseph.’ Photo by Phillip Hamer.

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

Eric Jordan Young. Photo by Phillip Hamer.

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

By CB Adams

 Whether you’re a die-hard Muny season ticket holder, a Stephen Sondheim devotee, someone attracted to a dark Dickensian tale about a murderous Victorian barber, someone seeking a great night of musical theater, or anything in between, “Sweeney Todd: The Demon Barber of Fleet Street” is a must-see.

Fresh off the heels (or should we say umbrella) of “Mary Poppins” comes a show with a wholly different cut. It’s populated with hordes of the great unwashed, a steampunk-inspired set, love songs sung to razors and more dead bodies on stage than a Greek tragedy. And if that’s not enough, add in the music and lyrics by Sondheim (one of his greatest showpieces). Who else could have created a toe-tapping sing-along about meat pies made with human flesh?

“Sweeney Todd” originally opened in 1979 and, after sweeping the Tony Awards, has since grown into one of Broadway’s top-ten musicals – emphasis on musical because 80 percent of this show is sung. It is just now making its Muny premiere after a two-year pandemic-induced delay. It is definitely worth the wait.

Photo by Julia Merkle

This a muscular “go big or go home” production. Rob Ruggiero, director, and Mike Isaacson, artistic director and executive producer, leveraged their many talents and definitely chose the go-big option. They take full advantage of the Muny’s automated stage with its performer lifts, turntable and scenery wagons. A tip of the hat also goes to Jessica Hartman, associate director and musical staging, and James Moore, musical director, for their talents.

One of the challenges of “Sweeney Todd” is presenting the violence and carnage, which includes numerous throat slashings. The bloodletting is cleverly and effectively portrayed through lighting (thanks to design by John Lasiter) rather than with fountains of fake blood.  

As befits the big production values, this “Sweeney Todd” requires – and delivers – a powerful principal cast. Tony nominee Carmen Cusack, an audience favorite, plays the crafty, ambitious Mrs. Lovett. Cusack’s voice is equal to Ben Davis’s booming Sweeney Todd. Davis achieves a Todd who is complex, wounded and angry, and can still fill the stage with a larger-than-life presence. Julie Hanson’s bawdy Beggar Woman weaves throughout the scenes like an annoying fly with a Cockney accent, while Stephen Wallen’s corpulent The Beadle waddles about like an officious toady in service to Robert Cuccioli’s imperious, love-struck lech, Judge Turpin.

Photo by Phillip Hamer

Even a slasher show like “Sweeney Todd” has a love story at its heart. Riley Noland plays Johanna with a thin high voice that befits her role as captive and victim. Her duet with Jake Boyd as sailor boy/love interest Anthony Hope is an extended highlight of this production. Though the two interact mostly from afar, their love and attraction is palpable.

Lincoln Clauss’s Tobias Ragg is a standout. The Ragg character evolves from wig-wearing hawker of snake-oil hair tonic to sprite-like table server and finally to traumatized avenger. Clauss has the acting and vocal range to match.

This production also makes full use of a large ensemble chorus with a panoply of tatty, bedraggled characters who introduce and frame Sweeney Todd’s descent from a cruelly treated barber into a lusty lasher and ultimately tragic victim of his own revengeful scheming. And, there haven’t been this many raised fists on the Muny stage since “Les Misérables” was in town.

The ensemble sings the last chorus at the conclusion of “Sweeney Todd,” but it’s the audience, walking toward the exits and excitedly talking about this production’s wow factor, that gets the last word and best positive review.

Photo by Phillip Hamer

The Muny presents “Sweeney Todd” July 16 – 22 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets or more information, visit: www.muny.org.

Photo by Phillip Hamer
The cast of Sweeney Todd. Photo by Phillip Hamer

The Muny Completes $100 Million Second Century Capital Campaign

The Muny Completes $100 Million Second Century Capital Campaign

On Friday, The Muny celebrated the successful completion of its Second Century Capital Campaign, raising over $100 million securing the future of the historic theatre in Forest Park. A lively garden party welcomed invited guests to the new donor plaza and dedication of the donor wall commemorating the contributions of the community. Last November, Steward Family Foundation and The Centene Charitable Foundation provided the lead gifts from the closing group of donors.

“The Muny is a cultural pillar in this community—serving as a home for celebration, entertainment, commonality and opportunity. The team boldly embarked on a campaign to ensure its future for generations with the faith that realizing this goal would be possible. Steward Family Foundation is proud to share our blessing and bring to fruition all that the future of The Muny promises,” said David Steward, Founder and Chairman of World Wide Technology.”

“The realization of this campaign goal guarantees that the tradition of musical theatre for and by the people of St. Louis will remain for generations yet to be born. It allows us to continue to evolve both our physical campus and the scope of opportunity and experience we provide,” said Muny President & CEO Kwofe Coleman. “I am immensely grateful to everyone whose work and leadership made this possible and to the generous donors who have made our future a reality. On behalf of The Muny, thank you.

“This is a historic and monumental accomplishment for this theatre and our community,” said Muny Artistic Director and Executive Producer Mike Isaacson. “The $100 Million goal – dream, really – was wildly ambitious and unprecedented.  Because of the hard work, faith and generosity of so many, The Muny can continue to be “Alone In Its Greatness.”

“Reaching our $100 million goal was extremely important to me. Knowing that the final $10 million included gifts to honor my retirement was more than heartwarming. I’m proud, not only of the work we did but also of what this campaign has done and will make possible for The Muny for years to come.” said Muny President Emeritus Denny Reagan. 

“Throughout this campaign, we have seen incredible generosity on full display and this successful final push to the goal was a remarkable testament of our community’s love for the theatre’s history and an investment in its future.” said Board and Campaign Chair Jim Turley. “It was also important to all of us that we completed this campaign in time to honor the unbelievable amount of work Denny put into the campaign and to recognize the legacy of excellence and stability he established.” 

In addition to Steward Family Foundation and The Centene Charitable Foundation, the final group of gifts included support from the Bardol Chervitz Families, the Coleman Family, Donald Fassold, the Finerty Family Foundation, David Hogan, Mike Isaacson & Joe Ortmeyer, the Johnston Family Fund, Tim & Elizabeth Kertz, Ned & Sally Lemkemeier, Mr. & Mrs. William Scheffel and Mary & Joseph Stieven.

Launched in 2018 during The Muny’s centennial season, the Second Century Capital Campaign was a $100 million fundraising effort to fund major capital improvements including a complete rebuild of the Muny stage, the support, maintenance and upkeep of its 11.5-acre campus, and to build the theatre’s endowment, which supports The Muny’s ever-growing education and outreach programs. The endowment not only ensures a future of financial accessibility for The Muny’s community programs but also allows the outdoor theatre to respond to unforeseen events.

Transformational leadership gifts of $20 million made by Mr. & Mrs. James S. McDonnell III, and the Enterprise Holdings Foundation and the Taylor & Kindle families top an extensive list of supporters including the closing group announced above.


Ben Davis, Carmen Cusack and Robert Cuccioli Headline the Muny’s ‘Sweeney Todd’

Ben Davis, Carmen Cusack and Robert Cuccioli Headline the Muny’s ‘Sweeney Todd’

The Muny announced today that Ben Davis, Carmen Cusack and Robert Cuccioli, will star in the musical thriller, Sweeney Todd: The Demon Barber of Fleet Street, July 16-22, 2022.

The Muny Premiere is directed by Rob Ruggiero, with musical staging by associate director Jessica Hartman, music direction by James Moore and Michael Horsley serving as associate music director. Sweeney Todd: The Demon Barber of Fleet Street is proudly sponsored by Missouri Lottery.

“These extraordinary artists in these iconic roles will be thrilling,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I cannot wait to see them our Muny premiere of this musical masterpiece.”

Ben Davis

BEN DAVIS (Sweeney Todd) Muny: 1776, Guys and Dolls, Jesus Christ Superstar, Oklahoma!; Spamalot and South Pacific.

Tony Honor (Ensemble) for his work in Baz Luhrmann’s Broadway production of La Bohème (Marcello).

NYC: Lady in the Dark (NY City Center Encores!), Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables and Thoroughly Modern Millie.

National tour: The Sound of Music and Spamalot. Other favorites include Kiss Me, Kate for the BBC at London’s Royal Albert Hall and Kurt Weill’s Knickerbocker Holiday opposite Kelli O’Hara and Victor Garber at Lincoln Center (recorded live) and in concert opposite Ms. O’Hara with Ted Sperling.

TV/Film: NBC’s Annie Live!; Chicago Fire, Law & Order: SVU; Woman in the Window, Boogie, The Magic Flute (directed by Kenneth Branagh), A Hand of Bridge, Blue Bloods, 30 Rock and Numb3rs.

Concerts: Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor and many others.

Davis has been nominated for three St. Louis Theater Circle Awards — for “South Pacific,” “Oklahoma” and “Jesus Christ, Superstar.” at the Muny.

Carmen Cusack

CARMEN CUSACK (Mrs. Lovett) Broadway: Steve Martin and Edie Brickell’s Bright Star (Tony Award nomination), Flying Over Sunset (Clare Boothe Luce).

Streaming/Film: Facebook series, Sorry For Your Loss (recurring opposite Janet McTeer and Elizabeth Olsen), TriStar’s A Beautiful Day in the Neighborhood (opposite Tom Hanks).

Cusack studied opera at the University of North Texas, which gave her its first honorary baccalaureate degree in 2018

ROBERT CUCCIOLI (Judge Turpin) Muny: 42nd Street. Broadway: Jekyll & Hyde (Tony Award nomination, Drama Desk, Outer Critics Circle, FANY and Chicago’s Joseph Jefferson Awards), Les Misérables and Spider-Man: Turn Off the Dark.

Some favorite off-Broadway credits include A Touch of the Poet, The White Devil, Caesar and Cleopatra (Caesar), And the World Goes ‘Round (Outer Critics Circle Award), Rothschild & Sons (London’s Offie nomination), Jacques Brel is Alive and Well and Living in Paris and White Guy on The Bus.

Robert Cuccioli

Robert has performed at such notable regional theatres as The Guthrie, Paper Mill Playhouse, The Shakespeare Theatre of NJ, Shakespeare Theatre Company (Lorenzaccio, Helen Hayes nomination), McCarter Theatre Center, George Street Playhouse, Ford’s Theatre (1776, Helen Hayes nomination).

Television: The Sinner, Elementary, White Collar, Sliders, Baywatch, Guiding Light. Film: Celebrity, The Stranger, The Rest of Us, Impossible Monsters, Columbus on Trial.

About the show:
The Broadway legend and American musical masterpiece makes its Muny debut. Set in 19th century London, Sweeney Todd: The Demon Barber of Fleet Street has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.

Considered to be one of composer Stephen Sondheim’s greatest showpieces, this eight-time Tony Award-winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny.
 
The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.

The Muny’s 2022 Season includes Chicago (June 13-19), Lerner and Loewe’s Camelot (June 22-28), Disney and Cameron Macintosh’s Mary Poppins (July 5-13), Sweeney Todd: The Demon Barber of Fleet Street (July 16-22), Legally Blonde, The Musical (July 25-31), The Color Purple (August 3-9) and Joseph and the Amazing Technicolor Dreamcoat (August 12-18).

Season tickets are currently on sale. Single tickets will be available beginning May 23. Muny gift cards for the 104th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

The Muny announced the exciting seven show lineup for its 104th Season in 2022 Thursday.

Joining the previously announced “Disney and Cameron Mackintosh’s “Mary Poppins” and Stephen Sondheim’s masterpiece “Sweeney Todd,” will be the 2021 show “Chicago” cut short and the second premiere, “The Color Purple,” in addition to three fan favorites.

The triumph of the 2021 season returns when six-time Tony Award-winning Chicago kicks of 2022 (June 13 – 19). The salacious turns enchanting with Lerner and Loewe’s Excalibur-sharp classic Camelot (June 22 – 28). Fulfilling two 2020 commitments to the Muny audience: all-time family favorite Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13) will finally soar over The Muny (July 5 – 13), followed by the long-awaited Muny debut of Stephen Sondheim’s spine-tingling musical masterpiece, Sweeney Todd (July 16 – 22). The fabulously fun award-winning musical Legally Blonde (July 25 – 31) bounces back to the Muny stage for its
first production in 11 years. Making its Muny debut, the landmark musical The Color Purple (August 3 – 9) bears a Grammy Award-winning score and moving tale of love, faith, resilience and sisterhood. Closing out the 104th Season is Tim Rice and Andrew Lloyd Webber’s multi-colored family favorite, Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

The seven shows are: Chicago (June 13 – 19), Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd (July 16 – 22), Legally Blonde (July 25 – 31), The Color Purple (August 3 – 9) and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

“Last summer was extraordinary for so many reasons,” said Muny Artistic Director and Executive Producer Mike Isaacson, “and now we will return with our full seven show season, and this extraordinary line-up of shows.”

“More than ever, we are so grateful to be a place where the community gathers each summer,” said Muny President and CEO-elect Kwofe Coleman. “For what will be my first season as President and CEO, I am excited for us to produce a season that reflects the breadth of musical theatre and welcomes audiences from far and wide.”

Season ticket renewals will begin in December, with new subscriptions on sale in March 2022. Muny gift cards for the 104th Season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

Information about auditions for the 2022 Muny season can be found at muny.org/auditions.


Show Descriptions:

Chicago
The triumph of the 2021 Muny season returns! Audiences and critics went “Whoopee!” for last
season’s thrilling production of Chicago. Following an abbreviated run and early close to the
2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater
Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the
town! So re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!

Camelot
The Broadway legend returns for its first Muny production in 13 years! Come re-discover this
powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one
brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a
lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk
Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an
unforgettable (k)night at King Arthur’s Round Table.

Mary Poppins
Based on one of the most popular films ever, Disney and Cameron Mackintosh’s Mary
Poppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking
dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious,
magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love.
With winds in the east and mist coming in, your heart will soar for this enchanting show – and
yes, Mary Poppins will fly over The Muny!

Sweeney Todd
Muny premiere! The spine-tingling American musical masterpiece makes its long-awaited Muny
debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world
with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.
Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award-
winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at
The Muny


Legally Blonde
“Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows
the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law
graduate. Her journey of determination, self-discovery and finding true love receives its first
Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is
ready to “Bend and Snap” for a great time!

The Color Purple
Muny premiere! Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s
landmark film, The Color Purple makes its long-awaited Muny debut! Featuring a Grammy
Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a
testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016
Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of
courage, hope and healing.

Joseph and the Amazing Technicolor Dreamcoat
Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and
the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved
shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor® adventures of Joseph
features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph”
and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a
night of big Muny family joy – with, of course, a megamix!

Muny Mission

The Muny’s mission is to enrich lives by producing exceptional musical theatre,
accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest
outdoor musical theatre, we produce seven world-class musicals each year and welcome over
350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis,
The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.or

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

The Muny announced today attendance totals for its triumphant 103rd season. After a 714-day intermission, The Muny opened its gates on July 26, 2021, for a five-show season that included Smokey Joe’s Cafe, The Sound of Music, Seven Brides for Seven Brothers, On Your Feet! and Chicago. The highly anticipated lineup for the 2022 season will be announced later this fall and will include Sweeney Todd and Disney and Cameron Mackintosh’s Mary Poppins.

“After an extended intermission, Season 103 offered an incredible homecoming for many,” said Muny President and CEO Denny Reagan. “We are so proud to have gotten the chance to present five productions for our audience, and to have had the opportunity to put our dedicated teams back to work. We cannot thank St. Louis enough for coming out and showing their support — we are forever grateful.”

“This past season will live in our hearts forever,” said Muny Executive Producer and Artistic Director Mike Isaacson. “You could scoop the audiences’ joy at being back at The Muny. It was so powerful. And everyone backstage gave everything they have as people and professionals to create our five extraordinary productions. I am enormously grateful.”

“Our 2021 season will, hopefully, be remembered as the summer this community came together and showed what the heart and willpower of a city can do,” said Muny Managing Director Kwofe Coleman. “Watching thousands of patrons light up as they passed through our gates each night is the reason we exist. While challenging, Season 103 will forever stand out in our history as poignant and unforgettably necessary.”

Total attendance for the five-show summer season: 192,806. This number does not include the Aug. 12 rainout of Seven Brides for Seven Brothers, or the Aug. 31 rainout and final three cancelled performances of Chicago. Through The Muny’s free seat and Community Access programs, over 50,000 guests experienced a Muny production at no cost.

103rd season attendance by show:

SMOKEY JOE’S CAFE: 37,290
The Songs of Leiber and Stoller
July 26 – August 1
Words and Music by Jerry Leiber and Mike Stoller
Sponsored by Ameren

Muny Premiere
Ben E. King, The Coasters, Elvis Presley, Peggy Lee and The Drifters – what do they have in common? Besides being some of the most popular artists of the 50s and 60s, their hits, and over 35 others, were the bread and butter of Smokey Joe’s Cafe. Set in St. Louis’ historic Gaslight Square, Broadway’s longest-running musical revue included Grammy Award-winning favorites such as “Yakety Yak,” “Jailhouse Rock,” “On Broadway” and “Love Potion No. 9.” With this generation-defining Muny premiere, audiences were dancing in the aisles.

THE SOUND OF MUSIC: 55,409
August 3 – 9
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Suggested by “The Trapp Family Singers” by Maria Augusta Trapp
Sponsored by Edward Jones
Considered by many to be the world’s most beloved musical, The Sound of Music reminds us that with high-spirited hope, heartfelt compassion and unwavering determination, life’s mountains can always be climbed. With its Tony, Grammy and Academy Award-winning score, including “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the iconic title track “The Sound of Music,” the hills of Forest Park came alive once more!

Photo by Phillip Hamer

SEVEN BRIDES FOR SEVEN BROTHERS: 39,974
August 12 – 18
Book by Lawrence Kasha and David Landay
Lyrics by Johnny Mercer
Music by Gene de Paul
New Songs by Al Kasha and Joel Hirschhorn
Based on the MGM Film and
“The Sobbin’ Women” by Stephen Vincent Benet
Dance Music Arrangements by Sam Davis
Sponsored by U.S. Bank
Based on the Academy Award-winning 1954 film, Seven Brides for Seven Brothers is Americana at its finest. With an age-old tale of wooing and winning, the battle of the sexes and some barn-raising dancing, this western rollick featured whistle-worthy favorites, including “Bless Your Beautiful Hide” and “Goin’ Courtin’.” With two of the most eminent dance scenes in musical theatre history and seven times the fun, audiences saddled up for an unforgettable joyride through the Oregon frontier.

Note: The attendance total does not include the Aug. 12 rainout performance of Seven Brides for Seven Brothers.

Photo by Phillip Hamer

ON YOUR FEET!: 38,335
The Story of Emilio & Gloria Estefan
August 21 – 27
Featuring Music Produced and Recorded by Emilio & Gloria Estefan & Miami Sound Machine
Book by Alexander Dinelaris
Sponsored by BMO Harris Bank

Muny Premiere
Based on the inspiring true story of the queen of Latin pop, Gloria Estefan and her husband, Emilio, On Your Feet! is a universal sensation that shows what can happen when two people believe in their talent, music and one another. Their moving rags-to-riches story featured some of the most chart-topping songs of the past quarter-century, including “Rhythm is Gonna Get You,” “1-2-3,” “Coming Out of the Dark” and the title hit, “Get On Your Feet.” With this Muny premiere, audiences left ready to “Conga!”

Photo by Phillip Hamer

CHICAGO: 21,798
August 30 – September 5
Book by Fred Ebb and Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Based on the play by Maurine Dallas Watkins
Script Adaptation by David Thompson
Sponsored by Missouri Lottery
Start the car and head to a “whoopee spot” where crime and corruption are hot! Kander and Ebb’s internationally-acclaimed musical about fame, fortune and justice features a headline-worthy story of how two icon-victs become Jazz Age celebrities. Set during the Prohibition era, this six-time Tony Award-winner, the longest-running American musical in Broadway history, included showstopping standards such as “Cell Block Tango,” “Mister Cellophane” and the notorious “All That Jazz.”

Note: The attendance total does not include the Aug. 31 rainout or final three cancelled performances of Chicago.

Emerson is proud to be The Muny’s 2021 Season Sponsor.

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

. Smokey Joe’s Cafe. Photo by Phillip Hamer.

COVID Breakthrough Cases in Cast Force Muny to Cancel Final 3 Shows

COVID Breakthrough Cases in Cast Force Muny to Cancel Final 3 Shows

The Muny announced Friday afternoon the cancellation of the three remaining performances of Chicago, the theatre’s fifth and final production of its 103rd season, due to positive COVID-19 breakthrough cases within the cast. There will be no performances Friday through Sunday, Sept. 3, 4 and 5, 2021.

“While deeply unfortunate, the decision to cancel the remainder of this season is unquestionably necessary. The safety of our Muny family, both onstage and off, has been a top priority since day one,” said Muny President and CEO Denny Reagan. “Out of 35 nights of Muny magic scheduled for 2021, we were able to spend 31 of them together. We cannot thank St. Louis enough for helping us usher live theatre back into Forest Park. This season has been nothing short of a homecoming for many.”

“The heartbreak of this moment is real,” said Muny Artistic Director and Executive Producer Mike Isaacson. “This was a remarkable production of Chicago, and I am so grateful for its three nights of glory. I feel the same about our entire 103rd season. It was extraordinary, and I honor everyone for their artistry, humanity and commitment.”

“We’ve remained in constant communication with health professionals and officials throughout this pandemic, and are remarkably grateful for their guidance in getting us to this point,” said Muny Managing Director Kwofe Coleman. “While this is a disappointing end to our 103rd season, we remain proud and grateful that this community, including our crews and staff, worked together to make it possible for an unforgettable return to live theatre in Forest Park. We’ll see you next summer.”

Season ticket holders for the 2021 season will be contacted with detailed information regarding remaining balance options. Single ticket holders who purchased their tickets through MetroTix will receive an email and automatic refund from MetroTix. The Muny Box Office in Forest Park will be closed Sept. 3 – 6. Beginning Tuesday, Sept. 7, Muny Box Office hours will be Monday through Friday, 9 a.m. – 5 p.m. Single ticket holders who bought their tickets in person at the Muny Box Office in Forest Park m ay call or return to the box office to receive a refund. Refunds for the canceled performances are available Sept. 7 through Sept. 30, 2021.

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

A Crisp and Snappy ‘Chicago’ Closes Out Muny’s Rejuvenated Season

A Crisp and Snappy ‘Chicago’ Closes Out Muny’s Rejuvenated Season

By Lynn Venhaus

The best produced show of the Muny’s 103rd season, “Chicago” capped off the welcome return to tradition in Forest Park this summer with a sultry and sleek music-and-dance showcase.

Everything about the production was on point – from the crisp staging by director Denis Jones and his snappy choreography to the jazzy brass beats from the swinging orchestra conducted by music director Charlie Alterman.

And this production blazes with star power. You will remember the names of the lead trio: Sarah Bowden (Roxie Hart), J. Harrison Ghee (Velma Kelly) and James T. Lane (Billy Flynn).

With snazzy music by John Kander and barbed lyrics by Fred Ebb, patterned after old-timey vaudeville numbers, and a saucy original book by Ebb and Bob Fosse, the story is a sardonic take on fame and the justice system set during the freewheeling Jazz Age.

It is based on a 1926 play by reporter Maurine Dallas Watkins about actual criminals she covered for a newspaper in Chicago. This current script adaptation is by David Thompson, who worked with Kander and Ebb on the musicals “The Scottsboro Boys” and “Steel Pier.”

Jones’ clever concept was to set the show as an entertaining spectacle at a speakeasy, with café tables around a perimeter so it’s watched by not only the Muny audience but also by performers on stage. He did a similar staging, but not an exact replica, for the 2012 Muny version. That point of view works brilliantly.

Scenic designer Tim Mackabee gave it a striking look while the lighting design by Rob Denton added to the stylized atmosphere and the stellar video design by Shawn Duan complemented the experience perfectly.

Drenched in cynicism, “Chicago” satirizes corruption and is a show-bizzy spin on tawdry headline-grabbing trial that marked the Prohibition Era — but are also timely today. Merry murderers Roxie Hart and Velma Kelly attempt to seize the spotlight and become celebrities.

Perhaps when the musical debuted in 1975, it was ahead of its time, for contemporary audiences didn’t find it relatable.  The week after the Broadway show closed after 936 performances in the summer of 1977, it transferred to the Muny. Starring Jerry Orbach and Ann Reinking, it was not well-received (I was there).

The mostly unsympathetic characters take part in a three-ring circus that’s part illusion and part rhapsody in sleaze. Its relevance has only grown over the years, especially in the digital age of social media.

A rebirth after a robust 1996 Tony Award-winning revival received universal acclaim and broke records as the longest-running musical revival and the longest running American musical in history, second only to “The Phantom of the Opera” on the all-inclusive list (it surpassed “Cats” on Nov. 23, 2014, with its 7,486th performance).

Because the 24-hour news cycle has helped fuel an obsessive celebrity culture and the emergence of reality television has made stars out of unsavory housewives, wealthy influencers like the Kardashians and self-absorbed narcissists, now society has caught up with “Chicago’s” place in pop culture history.

It took me awhile to warm up to the musical, but after watching a few high-profile celebrity trials, you see the parallels. And those songs from the team that gave us the insightful “Cabaret” get better every time you hear them.

Sarah Bowden as Roxie Hart. Photo by Phillip Hamer.

A movie adaptation in 2002 garnered an Academy Award for Best Picture, earning six total, including Best Supporting Actress Catherine Zeta-Jones as Velma, which also helped its acceptance. It was the first musical since “Oliver!” in 1968 to win the top award.

Cut to Artistic Director and Executive Producer Mike Isaacson’s first season at The Muny in 2012, and “Chicago” was second in the line-up following Fox Theatricals’ Tony winner “Thoroughly Modern Millie.” He said it had been the most requested show on the annual survey for several years.

It’s back, for just the third time, 10 years later, with Jones, now a two-time Tony Award nominee for choreography on “Tootsie” in 2019 and “Holiday Inn” in 2017, raising the bar once again.

He has put his stamp on of two of the Muny’s best shows during the past decade, “42nd Street” in 2016 (Jones, St. Louis Theater Circle Award) and “A Chorus Line” in 2017, and now with another fresh outlook on “Chicago.”

Jones is familiar with the Broadway revival, for he was a swing performer and later dance captain, during four separate runs for him (performing in total for about four and a half years). He worked with Ann Reinking, Bebe Neuwirth, Joel Grey and James Naughton, who began their roles in 1996. So, he had specific ideas on what to keep and what to change.

His associate choreographer, Barry Busby, deserves a shout-out too, for the dance numbers are seamless. They put the roar back in The Roaring Twenties, and the vibrancy shows in Bowden-led “Roxie” and “Me and My Baby,” and Billy’s flashy “Razzle Dazzle.”

“Chicago” will always be Fosse’s magnus opus, for his signature moves, those distinctive deliberate dance steps – and jazz hands! But this isn’t a copycat at all.  (Fosse may have lost the Tonys for choreographer and director pf “Chicago” to “A Chorus Line” in 1976, but he holds the all-time record, with eight, for choreography).

The athletic dancers excel at the high-octane numbers. Six performers carry out “Cell Block Tango” with the attitudes you expect – Liz (Madison Johnson), Annie (Taeler Cyrus), June (Veronica Fiaoni), Hunyak (Lizz Picini), Velma (Ghee), and Mona (Carleigh Bettiol), more commonly known as “Pop, Six, Squish, Uh-Uh, Cicero, and Lipschitz.”

Bowden plays Hart with verve, oozing phony wholesomeness in the public eye and a ruthless craving for attention when not. She was here once, in “Jerome Robbins’ Broadway,” and is an energetic firecracker on stage.

The magnetic Ghee sashays and struts as tough-as-nails Kelly, resentful of Hart being the shiny new sensation. He got our attention as Lola in “Kinky Boots” in 2019 and is a dynamic force every time he appears. Wearing satiny outfits and displaying a silky voice, he sets the tone with a seductive “All That Jazz” and an indignant “I Know a Girl,” and shows off his dexterity in “I Can’t Do It Alone.”

J Harrison Ghee, Sarah Bowden. Photo by Phillip Hamer.

Bowden is fire to Ghee’s ice, a combustible fun mix for the “My Own Best Friend” that closes Act 1 and the “Nowadays”/ “Hot Honey Rag” finale with those omnipresent canes and hats Fosse was so fond of using.

James T. Lane embodies the slick ambulance chaser lawyer Billy Flynn with a demanding and greedy nature – and delivers a dandy disingenuous “All I Care About” – accompanied by a marvelous fan dance that received its own ovation. Lane was last seen as Sebastian in 2017’s “Little Mermaid” here.

One of this show’s standout numbers is the “We Both Reached for the Gun” press conference rag with Billy pulling Roxie’s strings like a ventriloquist and the ensemble doing fast footwork.

It’s good to see veteran performers Emily Skinner and Adam Heller, who were both in The Rep’s magnificent “Follies” in 2016, and St. Louis Theater Circle nominees for previous Muny work, back on the outdoor stage. As Matron “Mama” Morton, Skinner belts out a terrific “When You’re Good to Mama” and teams with Ghee on one of my favorites, “Class.”

Heller, last seen as Ben Franklin in “1776,” plays Roxy’s cuckolded husband Amos Hart as a more naïve sad sack, not realizing how he is being manipulated. He strikes the right tone for an affecting ‘Mr. Cellophane.”

With her sweet soprano, Ali Ewoldt poses as the powerful radio personality Mary Sunshine and sings the ironic “Little Bit of Good.”

Regular Michael James Reed capably portrays five different roles in the ensemble: stage manager, Sgt. Fogarty, doctor, Aaron and the Judge.

The technical elements were also superior, with costume designer Emily Rebholz’s striking work with vintage fashions and for limber dance outfits, accompanied by strong wig design by Tommy Kurzman.

The shortened season is coming to an end, and what the Muny achieved this summer is remarkable, putting five shows together in eight weeks. This is also the time for a fond farewell to Denny Reagan, who is retiring after spending 53 years at the Muny, the last 30 as President and CEO.

A trip to the Muny isn’t complete until you greet Denny, or see him greeting patrons, at his ‘spot.’ We look forward to working with his top-shelf successor, Kwofe Coleman, starting in January.

Cell Block Tango. Photo by Phillip Hamer.

This collaborative production was a grand, great, swell time where all the elements came together in blissful harmony.

Attendance for the opening night performance was 6,435. The show runs an estimated 2 hours and 30 minutes.

“Chicago” is the final show of the shortened 103rd five-show season,  through Sunday, Sept. 5. Performances are at 8:15 p.m. each evening on the outdoor stage in Forest Park. Emerson was the 103rd season sponsor.

For more information, visit muny.org.

Tickets can be purchased in person at the box office, online at muny.org or by phone by calling (314) 361-1900 ext. 1550.

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

The company of ‘Chicago.” Photo by Phillip Hamer.

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

By Lynn Venhaus
With the nostalgic glow of scrapbook memories, the toe-tapping and hummable “Smokey Joe’s Café” opened The Muny’s eagerly anticipated 103rd season.

In this spirited localized production of the longest-running musical revue in Broadway history, the creative team imagined a soulful stroll down memory lane, intersecting a generation’s familiar soundtrack with Gaslight Square, one of the city’s most iconic neighborhoods.

And just like that, the U.S.’s oldest and largest outdoor theater demonstrated why it’s an essential part of St. Louis summers.

It had been over 700 days since we were last gathered under the stars in Forest Park – at “Matilda,” to be exact, which ran Aug. 5-11, 2019.

Nobody does what the Muny does, and did we miss it! On Monday, warm-and-fuzzy feelings energized the crowd of 5,956, who collectively exhaled and shared a glorious moment, sprinkled with pixie dust, during a pleasant July evening.

“You’re here. You made it through!” exclaimed Mike Isaacson, executive producer and artistic director, with palpable joy.

One glance at that expansive stage and we were home.

Photo by Phillip Hamer

The impressive scenic design by Edward E. Haynes Jr., who was responsible for the bright and playful fantasy world of “The Wiz” in 2019, included realistic facades of Crystal Palace, Jack Carl’s 2¢ Plain (a New York-style deli), Annadel’s Olde-Fashioned Ice Cream Parlor, Smokey Joe’s Grecian Terrace and a Sinclair service station built into the streetscape.

That bygone-era theme continued in Kevan Loney’s video design and Rob Denton’s lighting design, which bathed the nightclub scenes in neon and stardust.

In its heyday, Gaslight Square was the entertainment district in St. Louis – located between Olive and Boyle in the eastern portion of the Central West End. Attracting bohemians, hipsters and the well-heeled, it was known for comedy, dining and dancing. Such rising stars as Barbra Streisand, Lenny Bruce, Woody Allen and The Smothers Brothers appeared in venues there. By the late ‘60s, urban decay took over and people were flocking to the suburbs.

Astute observers will be able to pick out “Easter eggs,” those clever nuggets from the past that mean something to fans — and a major find is shopping bags with the Stix, Baer and Fuller logo. There’s a Sealtest Dairy ad on a back cover – and more blasts from the past.

Never underestimate the emotional connection shared by a live audience, listening to a talented mix of performers sing their hearts out.

As we are all aware of how a global coronavirus pandemic disrupted our lives during the past 16 months, The Muny had been forced to cancel its 102nd season in 2020 – for the first-time ever – and moved five shows to this year, which received the green light when it was deemed safe to do so. Isaacson noted that the performers hadn’t been able to “do what they do” either.

Enter an eclectic cast of nine (five guys, four women), who could be classified as “acting singers” – and their strong interpretations created easily identifiable vignettes during musical numbers. All but three were making their Muny debut.

Photo by Phillip Hamer

Robust ovations began early, even before they harmonized in the first number “Neighborhood,” and continued through the enduring catalogue of prolific lyricist Jerry Leiber and composer Mike Stoller, for a total of 39 songs, mostly hits from the 1950s and 1960s.

Mutual fans of rhythm-and-blues, Leiber and Stoller collaborated on a pop-rock sound known as “crossover” music back in the day. Their catchy melodies and tender ballads are thread together without a storyline or a chronological order.

From the dance party that is “Baby, that is Rock and Roll” to the classic Drifters’ chart-climber “On Broadway,” the songs vary in mood and tempo.

For the most part, they reflect a more innocent time, especially the amusing novelty songs heard on transistor radios — golden oldies “Charlie Brown,” “Yakety Yak,” “Poison Ivy” and “Love Potion No. 9.”

The assembled artists are a balanced group of pros with Broadway and national tour credits. By the time they united for a moving finale of “Stand by Me,” each performer had a knockout rendition.

First-timer Charl Brown. who was nominated for a Tony for his portrayal of Smokey Robinson in “Motown: The Musical,” showcased his smooth style and wide register with “There Goes My Baby” and “Young Blood.”

Immediately, the audience reacted to Christopher Sam’s rich, deep baritone, and his silky delivery wowed on “Spanish Harlem,” “Loving You” and “Dance with Me.” It’s easy to picture him as Mufasa in “The Lion King” on Broadway.

Photo by Phillip Hamer

Belter Tiffany Mann was sensational with “Fools Fall in Love” and “Hound Dog,” soaring with the gospel tinged “Saved,” which closed the first act with a flourish. Mann, quickly a favorite, was in “Be More Chill” and “Waitress” on Broadway.

The charismatic Mykal Kilgore brought the house down with a passionate “I (Who Have Nothing).” He was Annas in the Muny’s 2018 “Jesus Christ Superstar” and part of the NBC live television concert version earlier that Easter, and also in the network’s live “The Wiz.”  

Excellent dancers Hayley Podschun and Michael Campayno stood out with “Teach Me How to Shimmy.” Podschun, the dance captain, starred as Dainty June in the Muny’s 2018 “Gypsy,” and touched with her sweet solo “Falling.”

Campayno, who played opposite Tony winner Stephanie J. Block in “The Cher Show,” channeled his inner Elvis Presley to lead a peppy “Jailhouse Rock,” and charmed with “Ruby Baby.”

Podschun teamed with Nasia Thomas on a sassy “Trouble.” Thomas, who was in the 2015 “Hairspray” Muny ensemble and played Little Eva in “Beautiful: The Carole King Musical” on Broadway, sang “Don Juan” solo.

In a take-note debut, Dee Roscioli, a long-running Elphaba in “Wicked,” showed versatility in “I Keep Forgettin’” and “Pearl’s a Singer.”. The females all have frisky fun in “I’m a Woman.”

A Smokey Joe’s veteran, expressive Jason Veasey paired with Thomas on “You’re the Boss,” and lead the men in the burlesque homage, “Little Egypt.”

Mykal Gilmore sings “I (Who Have Nothing)” — Photo by Phillip Hamer



Many of the lyrics, being from a different time decades ago, feature sexual innuendo and set society roles. That means it is preferable for more mature audiences, not the wee ones.

Music Director Abdul Hamid Royal, a Tony Award nominee and NAACP Image Award winner for “Five Guys Named Moe,” nimbly conducted the skilled musicians placed on stage, initially behind a storefront and then in plain view during the second act.

Choreographer Josh Walden designed the movements based on original choreography by director Marcia Milgrom Dodge, with whom he has worked before. He wove in the buoyant Muny Teen youth ensemble with aplomb.

Dodge, a frequent Muny collaborator, had helmed “Smokey Joe’s Café” in Chicago, winning a Jefferson Award. Her vision here added oomph to the characters’ stories, and the ensemble seamlessly slipped into specific archetypes.

Costume designer Sully Ratke created characters’ backstories with a keen eye for vintage wardrobes, and the retro apparel captured their personas, especially snazzy hats. Their looks were accented with spot-on wig design by Kelley Jordan.

The sound design by John Shivers and David Patridge was crisp and did not have any noticeable issues.

At an estimated run time of two hours, 11 minutes, the Tony-nominated musical from 1995 zipped along in swift fashion.

Those who like a beefier story with their musical interludes will not be satisfied by the structure, but if you expect a concert-type experience, then you know what is in store.

What is surprising is how the elements all came together to elevate a conventional revue into a more layered theatrical experience. By expanding on what’s considered routine entertainment, the show — directed and performed with verve — is a cut above the ordinary.

Projecting genuine affection for the material and each other, this cheerful cast and splendid creative team achieved its shining moment. And voila! A community was reborn and welcomed back.

I will never take this tradition for granted ever again.

A Muny premiere, “Smokey Joe’s Café” opened July 26 and runs through Sunday, Aug. 1 at 8:15 p.m. on the outdoor stage in Forest Park. Emerson is the 2021 season sponsor.

For more information, visit www.muny.org. For tickets, visit muny.org or call (314) 361-1900 ext. 1550.

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

Jack Carl’s vintage postcard of Gaslight Square.

Muny Photos by Phillip Hamer.

The Muny Announces Naming of Broadhurst Pavilion and Purina Plaza

The Muny Announces Naming of Broadhurst Pavilion and Purina Plaza

Following the previously announced acquisition of a $4 million gift from Barbara and Andrew Taylor in February of 2019, and the previously announced acquisition of a $2 million gift from Purina in February of 2020, both towards The Muny’s Second Century Capital Campaign, The Muny announced today the naming of the Broadhurst Pavilion and Purina Plaza, formerly known as the West Platform and West Lawn, respectively.

The Taylor’s gift, given in honor of their great niece and Muny Kid and Teen alumnae Allison Broadhurst, who began performing at The Muny in 2011, aided in the state-of-the-art renovation of the platform – the same platform where Broadhurst spent many summers. Recently completed pavilion renovations include enhanced lighting, large-scale fans, a new dance floor with an operational turntable, the first of its kind in North America, landscaping and updates to the prop storage warehouse located directly beneath the pavilion.

Located adjacent to Purina Plaza, the pavilion will be utilized not only for rehearsals, but also as a performance stage for The Muny Kids and Teens showcases and private preshow events. In the off-season, the Broadhurst Pavilion will serve as a gathering space for community events, including Earth Day, the African Arts Film Festival and private events.

Purina’s gift aided in a complete renovation of The Muny’s West Lawn. Nestled in the northwest corner of the campus, Purina Plaza features a small performance stage to showcase local talent, art installations, versatile photo opportunities, game areas and lush landscaping. The Purina Plaza will serve as a dynamic, community-focused preshow space where patrons can gather for meals, entertainment and recreation throughout the season.

Ali-Hogan-Amelia-and-Lee-Broughton-Jo-Ann-Kindle-Chrissy-Andy-and-Barbara-Taylor-Grace-Broughton-Allison-Melinda-Bo-and-Benjamin-Broadhurst

Both spaces were revealed to a small group on June 19 at a private event hosted at the pavilion and plaza. In attendance, were members of the Taylor and Broadhurst families, including Barbara, Andrew, Allison, and her parents Bo and Melinda Broadhurst, and Nestlé Purina PetCare Chairman Joe Sivewright, Nestlé Purina PetCare President and CEO Nina Leigh Krueger, with remarks from Muny Board Chairman and Second Century Capital Campaign Chairman James S. Turley, Muny President and CEO Denny Reagan, Muny Artistic Director and Executive Producer Mike Isaacson, Muny Managing Director Kwofe Coleman and Allison.

The event included inaugural Broadhurst Pavilion performances by The Muny Teens and Tony Award nominee and Muny favorite Taylor Louderman, a turntable demonstration, a ribbon cutting and a surprise appearance by a member of the Purina Incredible Dog Team.

“With the generous support of Barbara and Andy Taylor, and Purina, the west side of our campus has undergone an incredible, much-needed transformation,” said Muny President and CEO Denny Reagan. “The Broadhurst Pavilion is now a state-of-the-art rehearsal, performance and gathering space that will allow artists boundless tools to create and special events to shine. Its neighbor, the Purina Plaza, is the intersection of art and nature that makes for the perfect preshow area for friends, family and community members to gather before catching a Muny show.”

“Allison gave us a first-hand look at the immense effort and time it takes to put on a Muny production. After her wonderful experience as a Muny Kid and Teen, we knew we wanted to honor her through The Muny’s Second Century Capital Campaign,” said Barbara and Andrew Taylor. “We are thrilled to see the immeasurable creativity this renovated rehearsal space will provide for future generations of Muny performers.”

“The Muny is such an iconic part of this city, and as a fellow institution that has called St. Louis home for more than 100 years, we’re thrilled to be part of the exciting updates and renovations to this civic treasure,” said Joe Sivewright, Chairman of Nestlé Purina PetCare. “We can’t wait to enjoy the new Purina Plaza with our families and friends, as well as the rest of the Muny’s patrons before the great performances to come this season and beyond.”

To give, or for more information regarding The Muny’s Second Century Capital Campaign, please visit muny.org/secondcentury.

###

The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce world-class musicals each year and welcome over 350,000 theatregoers over our summer season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org